As the crisis-torn Lybra programme came under microscopic scrutiny, longstanding Lancia engineer Bruno Cena took responsibility for its salvation.
Cena, a talented engineer who came to mainstream attention for his work on the dynamic setup of the Alfa Romeo 156, was a self-described ‘Uomo Lancia’ from way back. Joining Fiat in the early 1970s, he had moved to Lancia in 1978, working under Ing. Camuffo on the initial stages of the Type Four project.
Appointed head of four-wheel drive development for the marque in 1984, he was promoted to head of Lancia development two years later, and given responsibility for vehicle testing across Fiat, Lancia and Alfa Romeo in 1991. In October 1996, he was made Fiat Auto’s ‘D-platform’ director – just in time to Continue reading “Tilting the Scales : (2)”
Music history has frequently been littered with the broken wreckage of bands who blasted into the public consciousness with an precocious debut, only to lose it with the follow-up. Artists such as the Stone Roses, The Sugarcubes, Franz Ferdinand and perhaps most notoriously, 80’s pop sensation, Terence Trent D’Arby all followed their well-reviewed debuts with what were varying degrees of disappointing to disastrous.
Ultimately then, how does one encapsulate the Lancia Gamma?
When Fiat handed Sergio Camuffo Lancia’s flatlining cadaver and told him to administer emergency CPR, he did the best he could, but there was only so much that could be achieved. Because despite Fiat management allowing him sufficient autonomy during the immediate post-takeover period to produce cars that were (on the face of things at least) respectful of Lancia’s traditions, the Italian car giant’s locked-in prejudice against the upmarket led to a fatal ambivalence. This schizophrenic attitude to their new acquisition most likely informed the compromises that damned both the Beta family and later, the Gamma itself. Continue reading “Gamma: Signs and Portents – Part Twelve”
The Gamma Berlina’s appearance would divide opinion. In this part, we examine the concept that inspired it.
The styling of both Gamma variants was the responsibility of Pininfarina, a design house with a lengthy and distinguished association with the Lancia marque. While the Gamma coupé would reference themes from Lancia’s stylistic past, the scheme for the Berlina would prove a complete departure; echoing, particularly in the canopy area, the carrozzeria’s 1967 Berlina Aerodynamica, possibly the most influential saloon concept since their Lancia Florida series a decade earlier. Continue reading “Gamma: Signs and Portents – Part Seven”
Examining the Gamma’s technical specification and its initial press reception.
Technically speaking, the Gamma was classic Lancia in that it mated an unconventional powerplant to a largely orthodox chassis layout. However, the big Lancia’s mix of conventional components came with an added dash of élan. The engine was a development of the proven Flavia unit, bored out to 2.5 litres. Sergio Camuffo outlined why he chose to enlarge the engine capacity saying, Continue reading “Gamma: Signs and Portents – Part Four”
Fiat acquired the shattered remnants of Lancia in 1969. The Italian car giant was ill-prepared for what it discovered.
Fiat made its name, reputation and not inconsiderable fortune from small cars, cost-engineered and rationalised to be inexpensive to produce, to buy and to maintain. During Italy’s post-war industrial boom, the Turin car maker grew massively, catering to the home market’s growing affluence and thirst for motorisation. By the late 1960’s however, Fiat’s management realised that over 70% of their car business was concentrated in the bottom end of the market – one with the least potential for profit. Continue reading “Gamma: Signs and Portents – Part Two”