A commercial hit for Mercedes-Benz at launch, but Father Time has not been kind to the 1997 CLK.
We didn’t know it at the time, but when Mercedes-Benz ceased production of the C124 coupé line in 1996, its terminus would be more than a stylistic one. If not quite the final example of the legendary ‘Vertical Affinity, Horizontal Homogeneity’ design ethos overseen by Bruno Sacco, the C124 would prove to be the last mid-sized Mercedes coupe built upon its saloon counterpart’s platform for another two generations. Continue reading “Fleeting Star”
After sighting a few dark and tatty examples I saw this conveniently clean and pale W-201 yesterday. Where’s quality hiding?
I asked this of a BMW 3-series (E-30) recently. Both came out the same year, 1982 (as did the Ford Sierra). So, presumably the cars gestated at the same time and without a large likelihood of designers and clay modellers migrating between studios. First let’s take a close look to find Ms. Quality… Continue reading “Can’t, and Will Anyway”
Far from being the worst offspring of the late Sacco/Peter Pfeiffer era at Mercedes-Benz, the CL-coupé (C215) still exhibits a very poignant reminder of what went wrong at Untertürkheim during this particular period of time.Its proportions are actually very pleasing indeed (unlike those of its immediate predecessor), yet the CL is utterly let down by its detailing. Continue reading “Mind the Gap!”
Carl Heinz Bauer’s stylistic legacy isn’t necessarily one to shout about, but with the 2007 Mercedes W204 C-Class it could be argued he got at least one car (more or less) right.
It’s probably unavoidable. Over a lengthy career, every car designer worth his magic marker drops at least one absolute whopper on his CV, and frankly if the bulk of your time has been spent within Peter Pfeiffer’s dream factory, the chances of being responsible for anything even half decent is remote in the extreme.
But even by those famished standards, Carl Heinz Bauer’s portfolio stands out, having overseen the styling of the derided W212 E-Class saloon and Coupé. This alone would be reason enough to Continue reading “A Partial Absolution”
“A wholly new motoring experience” said Mercedes in 2006, but the R-Class not only fell between two stools, it also fell well short of expectations.
Product planning is an unholy art, akin to sticking a wetted finger in the air to see which way the wind is blowing – scientific it ‘aint. Showing a marked similarity in conceptual terms to Giugiaro’s Maserati Kubang proposal of 2003, Mercedes-Benz showed their Vision GST (Grand Sports Tourer) concept in 2004, a window into the Swabians’ plans to straddle SUV, MPV and estate sectors; a concept habitually known as niche-bending. A year later they displayed the car in pre-production clothes as Vision R – the production car, dubbed W251 and marketed as R-Class debuting exactly a decade ago. Continue reading “Starship Benz – 2006 Mercedes R-Class”
Yesterday, Driven to Write gave you an overview of the A-pillar. Today however, we’re going a little deeper.
Since we started this month’s theme I’ve spent more time looking at shutlines and panel gaps than is either healthy or rational. Nevertheless, it’s been an absorbing study, giving rise to a number of observations about the manner in which manufacturers have managed these transitions over recent years. From a purely scientific perspective of course, we should really be limiting ourselves to those junctions where at least one of the abutting panels opens, but I’m trusting our editor will let this pass – and lets face it, we’re not about to get into all this again any time soon.
What do the Mercedes CLS, VW Passat CC and a forgotten 1982 rendering have in common? The stylist associated with each of them – Murat Günak.
The world of the international car design is a small and frequently incestuous one. Take the career of Turkish car designer, Murat Günak. Having studied design at the Royal College of Art during the 1980’s under Patrick Le Quement and Claude Lobo, he worked for Mercedes-Benz under then Styling Director, Bruno Sacco. During his time at Stuttgart-Untertürkheim, he was credited with the styling for the W202 C-Class and R170 SLK. With time came greater responsibility, so while the 2004 W219 Mercedes CLS body style was the work of American, Michael Fink, the project came under the supervision of Günak, reporting to Styling Director Peter Pffifer. Continue reading “Theme: Evolution – Refining a Theme”
Driven To Write descends into facelift hell. Pray for us.
Today’s foray into facelift hades stems from recent past. The original 2003 R230 SL series was a good 65% less attractive than its far more accomplished (R129) forebear. Nevertheless, amongst the less than stellar offerings emerging from Sindelfingen under design chief, Professor Peter Pfeiffer during the post-Sacco era, the R230 in its original form was at least relatively cohesive. Continue reading “Theme : Facelifts – New Adventures in Rhinoplasty”