Celebrating the Art of Italian Coachbuilding
Celebrating the Art of Italian Coachbuilding
Imagine strolling into a 1970 auto show and coming face-to-future with a vehicle so low and sharp it could slice the bell-bottoms right off your leisure suit. In the 1970s, Italian design houses like Pininfarina, Bertone, Ghia, and Italdesign were in a feverish race to envision the car of tomorrow – and apparently, tomorrow was shaped like a doorstop.
If you mention a “double bubble” in casual conversation, most people think of chewing gum or bathtubs – but car enthusiasts will instantly picture two curious bulges atop a sleek roofline. And not just any roof: the double-bubble roof is synonymous with Zagato, the legendary Italian coachbuilder. It’s one of the most striking and enduring design cues to emerge from post-WWII automotive design. In this in-depth feature, we’ll explore how this quirky-yet-genius roof was born, why it exists (hint: it’s not just for looks), how it became Zagato’s signature, and the iconic cars (old and new) that proudly wear these twin domes. Along the way, we’ll dive into Zagato’s design philosophy and see why the “double bubble” holds a special place in car culture. Buckle up – mind your head – and let’s pop the hood on this story.
The journey begins with the Nardi “Blue Ray” I, a visionary concept penned by Giovanni Michelotti. Built on a Lancia Aurelia chassis, this sleek coupé introduced a bubble-like plexiglass canopy that immediately evoked fighter aircraft aesthetics. The entire roof was a domed Perspex™ glass canopy tinted in blue, flowing into the windshield and rear window. Entry wasn’t via conventional doors at all – instead, the Blue Ray’s side windows slid upward into the roof’s center section, like the canopy of a jet, allowing occupants to climb in. This clear roof not only gave a panoramic view but also set the tone for using transparent forms to shape a car’s character. With its dazzling blue hue and curved glass, the Blue Ray’s canopy reflected light dramatically, showcasing form through reflection – a trait future designers (especially Giugiaro) would amplify with silver paint on later concepts. What Michelotti started here was nothing short of sci-fi on wheels, establishing the bubble top as a symbol of the optimistic 1950s futurism.
In the early 20th century, the Weymann system transformed automotive design with its innovative lightweight and flexible construction. Originally developed for aircraft, this technique significantly reduced noise and vibration, enhancing passenger comfort.
In 1950s Italy, Space Age Car Design, inspired by the optimism of space exploration and technological advancements, introduced sleek, futuristic aesthetics to consumer products, from automobiles to fashion and animation.
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 the rich tapestry of automotive history, few individuals have left as profound a mark as Virgil Exner. Revered for his visionary designs and groundbreaking concepts, Exner’s legacy continues to inspire generations of automotive enthusiasts and designers alike. Among his many contributions to the world of automobiles, one of the most intriguing chapters is undoubtedly his series of “Revival Cars” – a collection of designs that breathed new life into classic marques from bygone eras.
The Tank Style cars from Stabilimenti Farina defied automotive norms with their low-slung profiles, signaling a departure in design during the post-war era. Originally intended as a unique cabriolet masterpiece, the Tank-Style concept surprised many by evolving beyond a solitary creation. The subsequent coupé, distinguished by its low roofline and covered wheel arches, presented an avant-garde vision akin to a floating monolith.
The birth of the Spiaggina (Spiaggia = Beach) takes place in the immediate post-war period at the initiative of some Italian coachbuilders which transformed small mass production cars in order to make them suitable for the needs of wealthy customers during the holiday period in the seaside resorts.
At the turn of the 60s, Carrozzeria Boneschi, together with the designer Rodolfo Bonetto, gave life to a stylistic movement called “Linea Tesa”. As the name suggests, this design style features knife edged lines and clean cuts, in contrast with the trends of the time. This bravery shown by Carrozzeria Boneschi was not rewarded by success, but it was somehow a precursor of the 70s and 80s style.
The car with which Zagato inaugurated the “Panoramica” series in 1947 was a Fiat “1100”, characterized by a large and bright passenger compartment, in which the transparent surfaces were expertly made with a mix of crystal and Plexiglas, an experimental material that allowed the curvature.
The Flying Star is a type of body created by Touring Superleggera introduced at the 1931 Milan Auto Show on a Isotta Fraschini 8B chassis which gained a great success. It was also adapted to other chassis maintaining the same basic settings. The trademark elements of this kind of bodywork were basically a thick chrome strip on the side that starts from the radiator, runs along the entire car forming a ‘V’ at the doors and descends on the tail.
