www.carrozzieri-italiani.com

The ultimate italian coachbuilder site

The Cisitalia 202: the rolling sculpture

The Cisitalia 202 is important to automotive history both because it was the first car in the world to be permanently exhibited in a modern art museum, the MoMA in New York, and because it can be considered the first example of the postwar Italian-style granturismo.

The origin

Toward the end of World War II, industrialist, sportsman and semi-professional driver Piero Dusio from Turin founded Compagnia Industriale Sportiva Italia, in short Cisitalia, to build racing and granturismo road cars. After the success of the first car equipped with a tubular chassis and Fiat 1100 components, the single-seater D46 made in several speciments, Dusio decided to build a two-seater for Sport racing, the 202 S MM or Spyder Nuvolari, and a road car, the future 202 Coupé.

The Cisitalia team, consisting of five cars, two experimental berlinettas and and three 202 S MM spiders, took second, third and fourth place in June at the 1947 Mille Miglia, with Tazio Nuvolari second who remained at the wheel of the race for long stretches until he was slowed down by a violent thunderstorm in the last section.

The car

Starting with Nuvolari’s 202 S MM, the new Cisitalia 202 Gran Sport is built, which takes its tubular chassis and inline 4-cylinder engine, derived from that of the Fiat 1100 and elaborated to develop 55 hp. The new 202 is previewed to the public on the eve of the 1947 Italian Grand Prix, the first Grand Prix organized in Italy after the war, run on a city circuit built in the Portello district of Milan instead of at Monza as usual. Cisitalia, which participated with D46s, presented in that context not only its first granturismo but also and above all the first real automotive novelty of the postwar period. In fact, the other major Italian brands for reasons of cost and necessity simply retouched pre-war models whose production was interrupted by the war in 1940.

Battista Pininfarina with its creation

After its preview at the Grand Prix d’Italia, the Cisitalia 202 is officially presented to the international public at the Paris Motor Show on October 23 in two versions, Sport and Sport Special, with power outputs of 50 and 60 hp, respectively. Immediately these set-ups are unified into the single 55-hp Gran Sport version, which, thanks also to its weight of only 780 kg, reaches 165 km/h and is sold at 3,900,000 lire, an exorbitant price for the time.

The tubular chrome molybdenum steel chassis, derived directly from the aircraft industry, is one of the great innovations of the 202 because until then it had never been used on a road car. Until then, even sports cars used a spar frame on which they mounted hand-made sports bodies. For this car, Cisitalia project manager Giovanni Savonuzzi, with the invaluable collaboration of Dante Giacosa on loan from Fiat, decided to use the tubular chassis because it was lighter and stiffer, at the same weight, than the classic chassis with side members and cross-members and allowed the engine to be mounted lower, improving the car’s handling. The rest of the mechanicals are derived from Fiat parts, as on the single-seater D46.

The engine is a 1089 cm³ inline 4-cylinder (bore x stroke: 68 x 75 mm) derived from that of the Fiat 1100 but deeply tuned to develop 55 hp at 5500 rpm, so much so that only the cast iron cylinder block remains original. The aluminum cylinder head is completely new although it retains the overhead valve timing system, two per cylinder, with pushrod and rocker arm control, and single camshaft in the crankcase driven by gears. The exhaust and intake manifolds are also specific, as are the crankshaft, made from billet steel, connecting rods, pistons, and dry-sump lubrication system. The rear axle, with longitudinal leaf springs and friction dampers, and the 4-speed manual gearbox, with floor lever as standard, or steering wheel control, on request, come from the Fiat 1100, while the front suspension, with independent wheels and transverse leaf spring, and the steering, which is very hard to operate in maneuvering, come from the 500 “Topolino.” The wheels are spoked but covered with handcrafted aerodynamic “cups” that worsen the efficiency of the brakes, obviously drum brakes.

The design

The new 202 SC is a sensational coupe, combining the first-class technical content of the D46 and 202 S MMs with a modern bodywork created by Pinin Farina that sets the standards for future Italian granturismo, while maintaining a link to the best prewar achievements. Like all masterpieces, however, it did not have a single “father,” in addition to Giovanni Savonuzzi, and Battista “Pinin” Farina, who made most of the examples, mention should also be made of Alfredo Vignale, then head coachbuilder at Stabilimenti Farina, and later an imaginative independent coachbuilder.

The 202 is a hatchback sedan; the front end is very simple, with an oval opening for cooling covered by a grille formed by 23 convex vertical aluminum slats, and circular headlights placed on top of the fenders and surrounded by a chrome surround. The bumper is a thin strip of body-color metal with no rostrums. The profile, while following the “Ponton” style, maintains a link to pre-war bodies with separate fenders, highlighting the front ones by lowering the line of the hood, and extending its line to the door, and the rear ones by sculpting the side just behind it. The pavilion connects perfectly with the tail, which is almost truncated, on which are mounted the taillights, the bumper, identical to the front one, and a small hatch concealing the spare tire on which the license plate holder is housed; in fact, there is no trunk lid, accessible instead from inside the passenger compartment. Also, for the first time, the manufacturer’s mark is present on the tail of a car, specifically an italicized Cisitalia inscription in handwriting that replicates that of Corrado Millanta, a well-known automotive journalist.

The interior is simple but nicely finished; the steering wheel is on the left and the gearshift on the floor, but right-hand drive and steering-wheel-mounted gearshifting can be obtained on request at no extra charge. Behind the three-spoke steering wheel with bakelite crown are two large circular instruments, the speedometer/speedometer and tachometer; in the center of the painted dashboard are secondary controls, the ashtray and, on request, the car radio while in front of the passenger seat is a glove box. The floor is fully carpeted, and the two separate seats can be upholstered in leather or fabric, in a choice of colors.

The rolling sculpture

The Cisitalia 202 SC at the Moma in New York. Photo courtesy of Velocetoday.com

The beauty of this car’s line is certified by the fact that one of the Cisitalia 202s bodied by Pinin Farina was the first car to be included in the permanent collection of a modern art museum. In fact, after being presented at the Milan Triennale and the Villa d’Este Concorso di Eleganza in Cernobbio, a Cisitalia 202 has been on display at the Museum of Modern Art in New York since 1951, described at the time by its director Arthur Drexler as “a sculpture in motion.”

Production

As with other cars built in small series, production did not take place entirely in the Cisitalia factory; the tubular chassis, complete with mechanicals, was built there, while the bodywork in Itallumag, a special aluminum alloy, was entrusted to an outside coachbuilder. In fact, while maintaining a similar design, each example is different from the other because it is made entirely by hand by the specialized artisans of Pininfarina, Stabilimenti Farina, and later also by the newly formed Vignale. Along with the berlinetta, a cabriolet version was also built, sharing the salient features of the line with the coupe except for the manual soft top. The Cisitalia 202 Cabriolet is not to be confused with the 202 SMM or Spyder Nuvolari, which is also an open car but expressly intended for racing.

Over the course of production the design evolved but remained essentially the same. The most significant changes came after the 130 chassis, known as the B version, and are concentrated in the grille, which is simplified by becoming chrome-plated brass; in the windshield, which becomes single and curved from flat and split; in the presence of a new twin-body carburetor, which brings the power to 60 hp; in the hood, hinged at the front instead of opening left and right with a complex and unreliable system of double hinges; and in the trunk, now accessible from the outside thanks to a larger hatch.

The exact number of speciments made is not certain: reliable sources speak of one hundred coupes/berlinettes and about sixty cabriolets all built by the Turin coachbuilders between 1947 and 1949, when Cisitalia went into receivership, although the last cars were marketed until 1952. That year four or five Cisitalia 202 D were built with BPM (Botta and Puricelli, Milan) 2.8 l 185 hp marine engine and De Dion rear axle from the Lancia Aurelia B20 GT, which Piero Dusio with his son Carlo piloted until their retirement in the 1952 Mille Miglia.

After this experience, the tubular-framed 202s ended, but the brand still survived by first making about fifty cars on the spar frame of the 1100 with an tuned Cisitalia engine, and then by coachbuilding the chassis of the new Fiat 1100/103, giving rise to the 35 and 36 DF Volo Radente, again with elaborate Cisitalia mechanics. From there on, Cisitalia headed for closure in 1964, making a number of special cars based on the Fiat 600.

Cisitalia 202 SC

A Cisitalia 202 SC with Paolo Pininfarina

The 202 SC was the first version presented in 1947 at the 1947 Mostra della Carrozzeria, 1947 Villa d’Este Concours d’Elegance and 1947 Paris Motor Show. Equipped with 2 seats, the front grille featured 23 “blades”, had a split windshield and thin bumpers compared to the upcoming versions. It was built both as Coupé and Cabriolet by Pininfarina, Stabilimenti Farina and Vignale. It is exhibited at the MOMA in New York.

Cisitalia 202 B

A Stabilimenti Farina speciment. Photo courtesy of Finarte.

The Cisitalia 202 B was the updated version unveiled in 1949. The upgrades were: a more powerful engine, 4 seats – 3 front and one in back, a curved windscreen instead of the split one and a different front grille. Built both as Coupé and Cabriolet by Stabilimenti Farina and Vignale which exhibited the 2 versions at the 1950 Turin Motor Show.

Cisitalia 202 C

The Cisitalia 202 C was built by Vignale in 1951 as Coupé and Cabriolet. It was a more refined version with retangular-shaped portholes and trunk lid.

Cisitalia 202 D

Also called “Competizione”, the 202 D was built both as Coupé and Cabriolet (2 speciments each version). The first Coupé was unveiled by Vignale at the 1952 Geneva Motor Show and was equipped with a 2.8L engine and raced the 1952 Mille Miglia. Also a 2.0L version was built. Stabilimenti Farina was also envolved building the body for a Coupé and a Cabriolet.

Cisitalia 202 L

The 202 L was the last version built by Vignale in only 5 speciments with a 20 cm longer wheelbase  and space for 5 people.

One-off versions

Despite its limited production run, there were also some one-off’s built on the Cisitalia 202 chassis. Stabilimenti Farina for instance built a “fin-tail” Coupè, while Carrozzeria Castagna showcased its famous “Vistotal Patent” on a Cabriolet body. A spider version was also built by Pietro Frua, but the most breathtaking speciment is definitely the 202 Abarth built by Carrozzeria Allemano and designed by Franco Scaglione.

5 1 vote
Article Rating
Subscribe
Notify of
0 Comments
Oldest
Newest Most Voted
Inline Feedbacks
View all comments

In 2013, two of the most iconic names in the automotive world, BMW and Pininfarina, came together to present a remarkable creation at the Concorso d’Eleganza Villa d’Este: the BMW Pininfarina Gran Lusso Coupé. This one-of-a-kind luxury coupé represents the first official collaboration between BMW, known for its advanced technology and signature design, and Pininfarina, the Italian powerhouse renowned for its flair for elegance and refinement. The result is a unique interpretation of a BMW coupé, viewed through the lens of Pininfarina’s design philosophy.

This collaboration marks the first time the two giants worked together formally. However, their paths crossed long before this project. In the 1950s, Pininfarina had designed a proposal for the BMW 501 sedan, which was ultimately rejected by BMW due to its resemblance to the Alfa Romeo 6C sedan. Despite the missed opportunity, the shared vision of design and engineering excellence has endured over the years, culminating in the creation of the Gran Lusso Coupé.

Ironically, today, the BMW Pininfarina Gran Lusso Coupé represents a glimpse of what could have been a lifeline for BMW’s current design struggles. In recent years, BMW’s lineup has faced harsh criticism for its bulky, uninspired aesthetics, with many critics pointing out that the brand’s new styling lacks soul, cohesion, and design logic. In stark contrast, the Gran Lusso Coupé embodies a blend of elegance, purpose, and design harmony that stands in sharp opposition to the controversial direction of BMW’s current designs.

A Harmonious Blend of Elegance and Power

At first glance, the BMW Pininfarina Gran Lusso Coupé stands out for its perfect balance of elegance and dynamism. With its broad surfaces and taut lines, the coupé exudes both strength and grace. Its classic BMW proportions — a long wheelbase, extended hood, and set-back cabin — create a powerful stance even when the car is stationary. The vehicle’s design is further enriched by Pininfarina’s holistic approach, blending BMW’s precision and dynamics with Pininfarina’s artistry.

As Adrian van Hooydonk, Senior Vice President of BMW Group Design, highlighted, the BMW Pininfarina Gran Lusso Coupé expresses BMW’s core values of luxury and imposing presence in a highly refined form, all while incorporating Pininfarina’s minimalist precision.

Looking at the current BMW lineup, with its massive front grilles, exaggerated proportions, and incoherent styling choices, it becomes clear that the Gran Lusso Coupé represents a missed opportunity. This coupé could have been the salvation for BMW’s design identity, standing as a flagship model that defined a refined, timeless aesthetic. Instead, many of the current models are seen as excessive, lacking the balanced, elegant proportions that once defined BMW’s luxury vehicles.

The Front View: Dynamic and Commanding

The front of the BMW Pininfarina Gran Lusso Coupé commands attention with its wide, wheel-focused stance, radiating dynamism and presence. At the heart of the front design is BMW’s signature kidney grille, which immediately signals the car’s heritage. Framed by round twin headlights, this grille directs the viewer’s eye toward the powerful V12 engine housed under the hood. The grille’s aluminum matte finish contrasts sharply with the glossy black structure behind it, adding depth and visual intrigue.

Above the grille, the hood stretches across the car’s width, its contours originating from the BMW emblem, creating an impression of elegant dynamism. The slim headlights reinforce the car’s focus on the road and add to its commanding presence, enhanced by the modern LED technology that offers both a premium feel and depth to the lights.

The lower part of the front fascia is dominated by a sleek sports spoiler, flanked by a single-piece air intake that accentuates the width of the front. The air intake grows larger towards the wheels, emphasizing the car’s broad track. The Pininfarina badge subtly engraved just above the road surface is a nod to the Italian design house’s contribution, like a signature on a masterpiece.

In comparison to BMW’s current models, with their enormous, often disproportionate grilles, the Gran Lusso Coupé’s front end is a lesson in restraint and harmony. Its elegance and power do not rely on excessive design elements but are achieved through thoughtful, balanced proportions that are increasingly rare in today’s BMW design language.

Sculpted Side Profile: Elegance in Motion

The side profile of the BMW Pininfarina Gran Lusso Coupé is a testament to the importance of proportion in automotive design. Here, BMW’s renowned formal language is enhanced by Pininfarina’s signature clarity and refinement. The long, flowing silhouette and convex side forms give the coupé an athletic, poised look, while the clean, precise lines elongate the vehicle, adding a sense of exclusivity.

The high beltline runs almost horizontally along the length of the car, giving it stature and presence. Above it, the roofline sweeps elegantly towards the rear, terminating in a brief extension of the car’s rear. Below the beltline, a reverse curve, starting from the air outlet behind the front wheel, moves upward towards the rear, giving the back end a light, dynamic feel. This combination of light and shadow across the surfaces creates a visually striking play of form and depth.

Attention to detail further accentuates the coupé’s elegance. A semi-matte trim behind the front wheel integrates the side indicator, while BMW’s signature Hofmeister kink in the window line is seamlessly integrated into the car’s overall design. Interestingly, the Hofmeister kink is often credited to Giovanni Michelotti, who is said to have invented the design element. Michelotti, a legendary Italian designer, later worked for BMW as a freelance designer, further embedding his influence in the brand’s design language.

Behind the Hofmeister kink, the V12 badge hints at the raw power hidden beneath the car’s refined exterior. Completing the side profile are exclusive 21-inch wheels, which amplify the vehicle’s athletic presence. With five triplet spokes, these wheels balance elegance with sportiness, their semi-matte aluminum finish adding depth and visual complexity.

This graceful side profile contrasts sharply with the chunky, bloated forms seen in BMW’s current lineup. Where the Gran Lusso Coupé is sleek and refined, many modern BMWs are seen as heavy and oversized, lacking the elegance that once made BMW coupés stand out.

The Rear View: Sleek and Sophisticated

The car’s sleek side profile transitions into an elegant rear, where horizontal elements give the back of the BMW Pininfarina Gran Lusso Coupé a wide and flat appearance. The expansive surfaces and precise contours interplay with light and shadow, lending the rear a lively, dynamic feel. One of the most striking features of the rear is the smooth transition from the roof to the rear deck, where elaborately shaped supports extend the roof pillars toward the back of the car, creating a fluid, continuous line.

The rear taillights, which extend from the side panels to the back in a single, flowing gesture, bring a sense of visual unity to the car’s design. These lights offer a fresh interpretation of BMW’s traditional L-shaped tail light design, with a slim, jewel-like quality. The lights are encased in semi-matte aluminum frames, with an open design that allows air to pass through, a testament to the attention paid to every design detail.

A Modern Interpretation of Classic Values: The Interior

Inside the BMW Pininfarina Gran Lusso Coupé, the same modern elegance and dynamic authority seen on the exterior continue. The cabin offers an exclusive atmosphere where sportiness, luxury, and comfort combine for a unique driving experience. The interior’s flowing geometry is given new character through Pininfarina’s distinct touch. A carefully selected color scheme, high-quality materials, and geometric detailing in the doors, center console, and instrument cluster elevate the experience. Pininfarina’s attention to both elegance and innovation shines through in every detail.

The luxurious four-seat layout welcomes both the driver and passengers into a space that balances comfort with sportiness. The front and rear seats, designed by Pininfarina, provide a snug embrace with side supports that offer maximum comfort. The driver’s seat features BMW’s signature driver-oriented layout, with all driving functions angled slightly toward the driver for optimal ergonomics.

Materials throughout the cabin are of the highest quality. The interior is wrapped in premium leather in shades of black and tobacco brown, sourced from the prestigious Foglizzo leather workshop. Accents of black chrome offer a sleek contrast to the natural materials used.

48,000 years old Wood

Perhaps the most remarkable aspect of the BMW Pininfarina Gran Lusso Coupé’s interior is the use of kauri wood, a material that’s over 48,000 years old. Sourced exclusively for this car by Italian craftsmen from Riva 1920 (already responsable for the stunning Cambiano concept car interior), the kauri wood’s unique grain changes from gold to red to brown, depending on the angle of the light. This ancient, fossilized wood, polished and oiled to perfection, adds warmth and natural beauty to the interior.

Italian fine wool fabric lines the roof, with a Prince of Wales check pattern adding a touch of sophistication. Even the smallest details, like the seat stitching, echo this pattern, creating harmony throughout the cabin. To ensure a bright and inviting atmosphere, the interior features an elongated roof opening, illuminated by soft white LED lights. Luxurious carpeting in a deep gray hue completes the sense of well-being within the car.

A Timeless Masterpiece

The BMW Pininfarina Gran Lusso Coupé is a true testament to the power of collaboration between two legendary automotive brands. By combining BMW’s engineering precision with Pininfarina’s design elegance, the Gran Lusso Coupé offers a vision of what luxury cars should embody—refinement, purpose, and timeless beauty. In contrast to BMW’s current design struggles, this coupé stands as a reminder of the brand’s potential to create vehicles that balance boldness with grace. With its exquisite craftsmanship, attention to detail, and a nod to BMW’s design heritage, the Gran Lusso Coupé remains a symbol of what could have been a defining chapter in BMW’s future.