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A closer look2 March 2024 by Andreas 228 Viewed

The BMW Nazca M12 project by Italdesign

BMW Nazca M12

In the dynamic landscape of automotive design and engineering, the early 1990s saw the emergence of a groundbreaking collaboration between two industry giants Giorgetto Giugiaro’s Italdesign and BMW. The result of this union was the BMW Nazca M12, a vehicle that not only pushed the boundaries of aesthetics but also showcased technological innovations that set it apart from its contemporaries.

Background and Genesis of the Nazca Project

The Nazca project’s origins can be traced back to 1990 when the workload of the seasoned Giorgetto Giugiaro prompted him to pass the torch to his son, Fabrizio. At the tender age of 25, Fabrizio found himself at the helm of a project that would redefine the intersection of form and function in automotive design. The Nazca M12 made its debut in 1991 at the Tokyo Motor Show, revealing a design influenced by the Bugatti ID 90 concept unveiled a year prior.

The Bugatti ID90

As Fabrizio Giugiaro stepped into the role of lead designer, a unique dynamic unfolded during the collaboration with BMW. Recollections of bi-weekly meetings with a room full of 15 German engineers underscored the gravity of the project. The Nazca M12 was conceptualized even before the BMW 850, utilizing a pre-production engine that was still in the experimental phase.

The Aesthetic Marvel: Design Philosophy and Inspirations

The Nazca M12’s aesthetic appeal drew inspiration from the sleek lines and aerodynamic features of Group C race cars. This influence permeated every aspect of the design, from the pronounced curves to the streamlined silhouette. The 12-cylinder BMW engine, placed centrally, became both a visual centerpiece and a testament to the collaboration’s commitment to performance.

BMW Nazca M12

The BMW 12-cylinder engine, a technological marvel in its own right, was shrouded in secrecy during its development. An engineer, bound by confidentiality, constructed the engine in his own home. This clandestine approach not only highlighted the groundbreaking nature of the project but also added an air of mystique to the Nazca M12.

One of the Nazca M12’s defining features was its complete carbon fiber construction. Italdesign’s bold decision to utilize this lightweight yet robust material marked a paradigm shift in automotive manufacturing. The monocoque chassis, crafted from a single carbon fiber piece, contributed to the car’s svelte weight of 1,100 kg.

BMW Nazca M12

The gull-wing door mechanism, initially perceived as a theatrical touch, was a functional solution to the car’s low height. The glass engine cover, providing a mesmerizing view of the 5.0-liter V12 engine shared with the BMW 850i (Rumors suggest that its design is credited to Pininfarina, leading to alterations to accommodate the Ferrari 456 – read the story), added a layer of sophistication to the Nazca M12’s exterior.

Innovations Beyond Aesthetics

The BMW Nazca M12 was not merely a visual spectacle; it was a technological tour de force. It boasted the distinction of being the first car to feature ABS, anti-skid, and an adjustable suspension system: a testament to its commitment to both safety and performance. These innovations showcased the foresight and engineering acumen that characterized the collaboration between Italdesign and BMW.

The incorporation of BMW components into the interior of the Nazca M12 by Italdesign served a dual purposeç demonstrating the adaptability of German engineering and conveying the feasibility of mass production to BMW. By seamlessly integrating elements from BMW’s E36 series, such as the climatizer and onboard computer, into the Nazca M12, Italdesign showcased the versatility of BMW’s technology. This strategic utilization not only illustrated the seamless compatibility of German engineering components within the Nazca M12 but also sent a clear message to BMW regarding the ease of mass-producing this collaborative masterpiece. Moreover, the collaborative synergy extended beyond the E36 series, with Italdesign sourcing additional components from BMW’s existing lineup. Headlights and indicators, for instance, were borrowed from the BMW Z1 and the BMW GS80 motorbike, further emphasizing the collaborative bond between Italdesign and BMW. These choices were not arbitrary; instead, they were deliberate selections aimed at demonstrating the practicality and ease with which the Nazca M12 could be integrated into BMW’s existing production frameworks.

Evolution of the Nazca: The C2

A year after the Nazca M12’s debut, the evolution continued with the introduction of the Nazca C2 in 1992. This variant featured a redesigned front, relocating the headlamps beside the kidney grille, and a modified engine. Notably, the involvement of German manufacturer Alpina in the project added a new dimension to the Nazca C2’s performance capabilities.

Alpina’s contribution to the Nazca C2 included a modification of the engine, resulting in an additional 49 horsepower. This enhanced engine, shared with the Alpina B12 5.0, elevated the Nazca C2’s performance to new heights. The C2 also featured fixed racing seats and three rear spoilers, signaling its race-inspired status.

Beyond aesthetic modifications, the Nazca C2 boasted a claimed weight reduction of 100 kg compared to its predecessor. This reduction, coupled with the performance enhancements, transformed the driving dynamics of the Nazca C2, making it a worthy successor to the original M12. Also a Spider version was made.

Legacy and Limited Production

Despite the groundbreaking design and technological advancements, the Nazca M12 remained a rare gem in the automotive landscape. Originally intended as the official successor to the BMW M1, only three units were produced, each becoming a collector’s item. The original showcar is part of the Giugiaro Collection.

Today, these limited-edition vehicles stand as a testament to the indomitable spirit of collaboration between two automotive powerhouses. The BMW Nazca M12, a symphony of artistry and engineering excellence, continues to captivate enthusiasts and collectors alike with its enduring legacy. Its rarity, coupled with its technological innovations and avant-garde design, ensures that the Nazca M12 remains a coveted piece in automotive history.

Conclusions

The BMW Nazca M12 stands as a testament to the limitless possibilities that emerge when Italian creativity intertwines with German precision. Its design, influenced by Group C racing, pushed the boundaries of conventional aesthetics. The use of carbon fiber and the incorporation of cutting-edge technologies showcased a commitment to innovation. The Nazca C2, with its evolution, added another layer to the legacy, solidifying the collaborative efforts between Italdesign and BMW.

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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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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