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A closer look27 February 2024 by Andreas 121 Viewed

The Bugatti EB112: A Visionary design

Bugatti EB112

When the Bugatti EB112 was unveiled at the Geneva Motor Show in 1993, its design and engineering caused quite a stir. It managed to establish a brand new segment for ultra-luxurious Grand Tourisme vehicles, showcasing Bugatti’s unrivaled heritage and commitment to innovative technologies. Moreover, the EB112 successfully revolutionized the concept of a saloon car.

The origin of the Bugatti EB112

After, Bugatti had unveiled the EB110, for which Italdesign had also competed for the commission with the ID90 concept, during the Turin motor show, Giugiaro asked Artioli if he could have a chassis to create a car for his own purposes-to attract customers.

The EB112 made its debut at the 1993 Geneva Motor Show, captivating the audience with its remarkable presence. A significant announcement was made, stating that production of this extraordinary vehicle would commence in 1995, with an anticipated output of approximately 300 units annually.

Bugatti EB112

But in that very year, Bugatti SpA fell into bankruptcy, a fact that decreed the end of every dream and project of Romano Artioli, the architect of the company’s short-lived rebirth. At the time it closed its doors, pre-series production had just begun and four examples were still incomplete. Gildo Pallanca Pastor, owner of the small French manufacturer Venturi, purchased these examples with the aim of making two complete ones, examples that were completed in 2001. These, together with the Geneva prototype, are the only representatives of the EB112.

A visionary design

Giorgetto Giugiaro continues to shower the EB112 with utmost admiration to this day. According to him, the Bugatti EB112 incorporated several nostalgic design elements inspired by the iconic models of the renowned French brand from the late 1930s. However, it presented these features in a car that showcased innovative mechanics. The EB112 can be considered a visionary vehicle, as it paved the way for the high-performance fastback models we are familiar with today. It seamlessly merged cutting-edge design with advanced technological and engineering characteristics that were significantly ahead of its era.

Giugiaro’s design has been widely acclaimed as a significant accomplishment, receiving praise from numerous critics who consider it the most exquisite sedan ever crafted and a true embodiment of Bugatti’s excellence, seamlessly combining performance and luxury.

Bugatti EB112

The visionary touch of the EB112’s flowing aesthetic has been proven. As a genuine precursor to Bugatti’s current philosophy of ‘form follows performance’, the EB112 successfully merged a bold and sophisticated aesthetic with impressive technical prowess. This led to the creation of a high-performance Berline car with exceptional aerodynamic capabilities. In numerous aspects, the EB112 is now regarded as a spiritual predecessor to both the Veyron and Chiron models.

The EB112 showcases an exquisite aesthetic approach that embodies Bugatti’s renowned design DNA. Positioned at the forefront, it sets the stage for the grille arrangement seen in the Veyron a decade later. Additionally, the longitudinal rib extending from the bonnet, over the roof, and through the rear window pays homage to the stylistic elements of the Bugatti Type 57 SC Atlantic. This design feature was subtly recreated in both the Veyron and the Chiron.

Tecnical specifications

The EB112 possessed a captivating and enduring charm, while also introducing a groundbreaking revolution. Its all-aluminum body, coupled with a carbon fiber monocoque derived from the advanced EB110 super sports car, showcased a remarkable fusion of elegance and innovation. This pioneering body and chassis technology not only set new standards in the sports car segment in 1993 but also marked a significant milestone in the realm of saloon cars.

The world premiere at Geneva was the highlight of the event. Meticulously crafted over several months leading up to the prestigious Swiss exhibition, the EB112 gracefully made its way to the display area using its own propulsion. The powertrain itself was revolutionary, featuring a remarkable 60-valve (five per cylinder) 6.0-liter (5994cc) V12 engine coupled with a six-speed manual transmission and an advanced four-wheel drive system.

The V12 engine, without any forced induction, generated 460 horsepower at 6,300 revolutions per minute. Its maximum torque of 590 Newton meters was accessible from as low as 3,000 revolutions per minute, enabling the possibility of achieving exceptional performance surpassing that of other high-performance sedans of its time. The EB112 had a maximum speed of 300 kilometers per hour (186 miles per hour) and could accelerate from 0 to 100 kilometers per hour (62 miles per hour) in a mere 4.3 seconds.

Bugatti EB112

The EB112 featured an upgraded version of the advanced four-wheel drive system found in the EB110. In this model, the torque distribution was optimized with 38% going to the front wheels and 62% to the rear wheels. This ensured exceptional performance and stability in any driving conditions. Additionally, the engineers at Bugatti strategically positioned the powerful V12 engine towards the rear, between the axles, in a front mid-mounted configuration. This not only improved the car’s weight distribution but also contributed to its crash safety performance, making it a well-rounded technical specification.

Luigi Galli, Bugatti’s Specialist Heritage and Certification, described the Bugatti EB112 as a true trailblazer, a visionary that foreshadowed the revolutionary transformation of the sedan segment in the automotive industry. In 1993, this car introduced a completely new category for Berline Coupé vehicles. Prior to its arrival, there was a lack of high-performance sedans that embodied the remarkable attributes showcased by the EB112, combining forward-thinking design with exceptional power and opulent luxury. Over time, it has become an iconic milestone in Bugatti’s illustrious automotive legacy.

Bugatti’s unparalleled EB112 sedan in 1993 exemplified Bugatti’s unwavering commitment to pushing boundaries, advancing technology, and establishing entirely new automotive standards, all while staying true to its core principles that define the Bugatti brand. Giorgetto Giugiaro, renowned for his visionary design and aesthetic prowess, also played a pivotal role in the brand’s revival in 1998 with the introduction of the Bugatti EB118, a two-door coupe concept car, and its four-door counterpart, the Bugatti EB218. As the brand enters a new era under the leadership of Mate Rimac, models like the iconic EB112 and visionary creations like Giugiaro’s will undoubtedly continue to serve as a source of inspiration.

the author

Andreas

Italian classic car enthusiast with German roots. Renowned as a respected figure in the classic car community, he serves as a jury member at various international concours d'elegance, including the Classic Gala Schwetzingen and Mantova. As a content creator, Andreas passionately shares his profound knowledge and appreciation for vintage automobiles. His heart beats for cars designed by Giovanni Michelotti, showcasing his discerning taste and dedication to preserving the timeless elegance of automotive history.

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A closer look 9 February 2024

The Fiat Panda Destriero: A Odyssey of Creativity and Uniqueness

In the ever-evolving tapestry of automotive excellence, there exists a singular masterpiece that transcends the ordinary—the Fiat Panda Destriero. Born from the creative vision of the Stola family and brought to life by the skilled hands of designer Aldo Garnero, this coastal marvel emerged as a testament to the limitless possibilities of automotive craftsmanship. Let us embark on a detailed exploration of the Panda Destriero’s journey, from its inception as the Panda Mirage to its evolution into a symbol of seaside luxury and sophistication.

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The early 1900s marked the birth of a new automotive concept: the station wagon. Originating in the United States around 1910, independent builders crafted wooden bodies for the chassis of Ford Model T cars. Initially conceived as commercial versions of sedan cars tailored for the working class, they were often referred to as carryalls, denoting their ability to carry a multitude of goods thanks to their spacious cargo compartments compared to traditional torpedo bodies.

In 1923, American manufacturer Star (a division of Durant Motors) made history by being the first to offer a station wagon assembled on its production line, utilizing a wooden frame bolted to the car’s body. However, these wooden structures demanded constant maintenance due to the natural expansion and contraction of wood, necessitating regular tightening of bolts and screws.

The tide turned when the Essex Closed Coach introduced the first mass-produced car with a fully enclosed steel body in 1929. Ford followed suit by officially producing Model T cars destined for wagon conversion in 1935, while General Motors unveiled its inaugural passenger transport station wagon, the Chevrolet Suburban, in 1935. This marked the onset of a wagon boom, as they were increasingly seen not only as spacious cargo haulers but also as versatile family vehicles.

One exemplary model was the 1941 Chrysler Town & Country, a luxurious wagon that positioned itself at the zenith of Chrysler’s lineup. In Europe, the first family-oriented cars emerged in the 1930s. Citroën introduced the Traction Avant Familiale in 1935, an elongated version of its Traction Avant model with three windows and a third row of seats, offering seating for nine passengers. In England, the Commer, based on the Hillman Minx Magnificent, debuted two years later.

Italy’s entry into the station wagon market came in the post-war years, courtesy of Carrozzeria Viotti‘s “functional body” design by Mario Revelli, built on the Fiat 1100 chassis. Revelli, who had previously worked on converting civilian cars into military vehicles during the war, envisioned applying similar solutions to civilian automobiles, facilitating versatile usage.

Despite its practicality, this new vehicle type faced lukewarm reception in Italy initially, perhaps due to its aesthetic resemblance to ambulances and hearses, from which it derived. Consequently, only compact family cars gained traction, as their diminutive size didn’t evoke associations with emergency or funeral vehicles.

Giardinetta or Giardiniera? Let's Clarify

Let’s clarify the distinction between the terms “Giardiniera” and “Giardinetta.” Is it accurate to label all station wagons from this era as “Giardinetta”? No, and here’s why: The debut of the first Italian family car, the Fiat 1100 Viotti Giardinetta, in 1946 marked a significant milestone. Vittorio Viotti, proud of his pioneering courage in bringing such a model to the market, had trademarked the term “Giardinetta.” Following this, other carrozzerie, such as Fissore, quickly presented their proposals. Even Fiat itself joined the competition two years later with the Fiat “Topolino” Giardiniera. 

The term “Giardiniera” was chosen to align with Viotti’s trademarked “Giardinetta,” which couldn’t be used by others. Consequently, other manufacturers adopted the term “Giardiniera,” although the public was accustomed to using “Giardinetta” due to Viotti’s early introduction of station wagons in Italy post-war. Eventually, the moniker “Metallica” was appended to these models to emphasize their metal construction rather than wood. This designation, “Giardiniera Metallica,” was primarily adopted by Francis Lombardi, Fissore, and Coriasco, distinguishing their models as contemporary interpretations of the classic station wagon, merging practicality with elegance.

Viotti: Pioneering the Giardinetta

In the aftermath of World War II, Viotti spearheaded efforts to revitalize the Italian coachbuilding industry, both within his own company and among his competitors. As a leader within the Carriage Builders Group of ANFIA (the National Fascist Association of Automobile Manufacturers, renamed the National Association of Automobile Industries), Viotti proposed the creation of a consortium to produce a new type of vehicle. This concept, developed in collaboration with stylist Mario Revelli di Beaumont, was named the Giardinetta.

The Giardinetta was a versatile vehicle designed for both passenger and cargo transport, constructed partially from wood to address the scarcity of steel immediately after the war. Its wooden body proved economical and adaptable, capable of being mounted on old Fiat 1100s and Lancia Aprilias still in use. The Giardinetta quickly gained popularity, with its formula being emulated by competitors, sparking a trend in the automotive industry within a few short years.

Despite skepticism from his colleagues, who viewed the concept as too American, Viotti forged ahead with production independently. By the late 1940s, he also resumed the production of custom-built luxury cars, particularly based on the Fiat 1100 and 1500 platforms. However, it was the Giardinetta that primarily occupied Viotti’s attention, leading to its development on various bases, including luxurious offerings such as those based on the Fiat 1900, Lancia Aurelia, and Alfa Romeo 6C 2500.

Designed mainly by Michelotti, these later iterations of the Giardinetta prioritized aesthetic appeal over functionality, transforming the utilitarian vehicle into a fashion phenomenon. Initially, other coachbuilders declined Viotti’s offer to collaborate, except for Carrozzeria Fissore of Savigliano, in the province of Cuneo. However, they later reconsidered as the Giardinetta gained immense popularity and was subsequently imitated by competitors, including Frua, Savio, Riva, and renowned Milanese firms such as Castagna, Boneschi, and Zagato with some speciments built with the Panoramica body.

The Fiat 1100 Panoramica Giardiniera by Zagato

It’s worth mentioning the station wagon based on the Fiat 1100/1200, dubbed the “Sleeping” for its ability to fold down the seats to create a space for sleeping. The last original small-series creations were the Fiat 1300/1500 Giardinetta, which didn’t achieve the anticipated success. This was partly due to Fiat’s decision to introduce its own family version of the model a few months after the sedan’s launch, offering it at lower costs and thus limiting the production of Viotti station wagons to just 50 units between the 1300 and 1500 models.

At that point, production was divided between “giardinetta” and “giardinetta metallica” convertibles, and customizations of standard vehicles. Indeed, Viotti was gradually moving away from building unique cars to focus, like other carrozzerie without their own chassis, on “American styling” standard vehicles such as the Fiat 600 and Lancia Appia, equipping them with chrome fittings and other accessories in vogue at that time across the Atlantic.

Following Vittorio Viotti’s death in 1956, the carrozzeria was engulfed in the crisis that affected manufacturers of derived cars and ultimately closed its doors for good in 1964.

The Fiat Topolino: Revolutionizing Mobility

In the aftermath of World War II, the Fiat Topolino became a symbol of resilience and adaptability in Italy. Used Topolinos were plentiful, sourced from the fields of ARAR (the Agency for Recovery and Disposal of War Surplus), with even damaged ones salvaged from bomb sites. If the bodywork was salvageable, repairs were made; if irreparable, they were transformed into racing barchettas. Topolino vans were converted into Giardinettas by adding two windows and a rear bench, offering a convenient solution to the nation’s pressing mobility needs in the post-war reconstruction era.

Once again, the visionary behind this transformation was Revelli, who, undoubtedly familiar with pre-war American woody wagons, found in Viotti the ideal collaborator to bring his ideas to fruition. The “wooden Giardinetta” phenomenon was revolutionary, addressing the chronic shortage of steel even after the war’s end. It could be constructed relatively easily and was incredibly practical, serving artisans and small traders alike for both work and family needs. Moreover, it could be fashioned from heavily damaged used cars, offering a cost-effective solution for many.

Practically every professional in the automotive sector, from large firms to small workshops, seized upon this opportunity. In 1948, even Fiat joined the fray, producing the elegant 500B Giardiniera Belvedere at the Lingotto Special Bodywork Department. However, as conditions normalized, the market gradually shifted back to traditional custom-built vehicles, although the legacy of the Topolino Giardinetta continued to resonate as a testament to ingenuity and resourcefulness during a challenging period in Italian history.

The Success of the Giardinetta

Following their initial introduction, Giardinetta vehicles experienced remarkable success, becoming sought-after commodities in various automotive circles.

Carrozzeria Monterosa emerged as a key player in the station wagon construction niche, capitalizing on the strong demand for utility vehicles during the reconstruction period. Monterosa’s station wagons, primarily constructed on Fiat 1100 and Lancia Aprilia platforms, were renowned for their quality and versatility, seamlessly transitioning from commercial to leisure use. Initially focused on Giardiniera production, Monterosa occasionally ventured into crafting ambulances, hearses, and advertising vehicles, later extending their repertoire to include models based on the new Fiat 1400 and Lancia Aurelia.

Unlike Viotti’s wooden Giardinette construction, Monterosa employed initially metal, reaping the benefits of durability and ease of maintenance. The Giardiniera’s popularity soared to such heights that it even warranted dedicated categories in prestigious concours d’elegance events, such as the “Promiscua” category.

Noteworthy examples of Giardinette success include the Fiat 1100 C Saloncino, which won an award at the 1949 Pincio Elegance Concours in Rome, the Fiat 1400 Giardinetta Viotti at the Pincio in 1950, and the already mentioned Fiat 1400 Giardinetta Monterosa at the Venice Concours d’Elegance in 1950.

Another triumph was the Moretti 600 Giardinetta, which participated in the World Raid of 120,000 kilometers across Europe, Africa, Asia, and America. Piloted by Luciano Albiero and Giulio Piccoli from June 14, 1952, to June 12, 1955, the Moretti 600 Giardinetta’s robustness was attested by having its engine sealed by a notary.

The evolution of Giardinetta variants also witnessed creative innovations, exemplified by Carrozzeria Savio’s Venilia, a convertible Giardiniera. Such adaptations underscored the Giardiniera’s evolution from utilitarian work vehicles to leisure and family-oriented automobiles, reflecting the dynamic nature of automotive design and consumer preferences during the post-war era.

Conclusion

As we conclude our exploration of the remarkable journey of the Giardinette, it’s evident that these versatile vehicles left an indelible mark on automotive history. From their humble beginnings as utilitarian workhorses to their transformation into symbols of elegance and leisure, Giardinettes embodied the resilience, creativity, and adaptability of post-war Italy.

Driven by necessity yet guided by ingenuity, craftsmen and manufacturers alike found inspiration in the Giardinette’s blend of practicality and style. From Monterosa’s sturdy metal constructions to Viotti’s iconic wooden bodies, each iteration showcased the evolving aspirations and aspirations of a nation rebuilding itself.

Whether gracing the podiums of prestigious concours d’elegance or embarking on epic transcontinental journeys, Giardinettes captivated hearts and minds, symbolizing the spirit of a generation determined to forge a brighter future.

As we bid farewell to these timeless icons, let us remember the legacy they leave behind: a testament to the power of innovation, the pursuit of excellence, and the enduring allure of Italian craftsmanship.

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