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Pininfarina Presents Teorema, Its First Ever 100% Virtually Developed Concept Car

Turin, July 14, 2021 Pininfarina paves the way to the future through a futuristic and daring Virtual Concept Car, TEOREMA, completely developed by using VR technologies. An all-new interpretation of fully electric, autonomous mobility in the name of user experience and technology, studied to create a sense of community and foster interactions amongst passengers and the outdoor environment.

“Pininfarina has always looked to the future using concept cars as an innovation tool to chart the direction and introduce new visions in terms of usability and technology in the automotive industry – comments Chief Creative Officer Kevin Rice. – TEOREMA, in particular, wants to give people back the pleasure of living the car, driving and travelling, without the frustrations of increased congestion and other compromises, all while integrating AI, 5G and the latest technology to drive passengers towards new incredible experiences along the journey.”

As the expression of Pininfarina’s vision for a shared, hyper connected mobility of the future, TEOREMA was designed from the inside out. The design teams in Cambiano and Shanghai created the interior experience before developing the exterior, starting from an electric skateboard chassis which allows the car to have a comfortable large space on its inside. Over the course of the project, the Pininfarina Virtual Lab, which is integral part of the design process, employed Augmented Reality, Virtual Reality and also new Mixed Reality technology to explore different shapes, experiences and scenarios quickly.

1400 mm in height and 5400 mm in length, TEOREMA is conceived both to allow passengers to share experiences along the journey and to provide moments of privacy when desired. Like entering a living room, getting inside the TEOREMA takes place by simply walking inside of it as the rear opens and the roof extends upwards and forwards, leaving ground to a foot-triggering floor that guides passengers to their seats.

Leveraging Pininfarina’s expertise in interior design and the search for wellbeing, TEOREMA provides an interior space that can be used in different ways and offers a completely new ease of movement inside the car. The occupants are positioned in a pentagon which creates the narrow cabin at the front and a wide body further back. A central, modular space similar to a home environment enables passengers to engage in different actions, moments and experiences including for example a private backspace where passengers can seclude to rest or sleep. The side of the car can be used as backrest when passengers want to, as there is no side entry, thus also making the car stiffer and lighter.

TEOREMA also embeds an innovative aerodynamic concept validated though CFD assessments, in light of Pininfarina’s unique experience enabled by its proprietary Wind Tunnel. When seen from above, TEOREMA is split into three separate parts. Between the central living space and the outside surface of each side of the car, open air channels allow air to stream through the whole vehicle. Duct sections smoothly decrease their area and this shape generates an acceleration of air flow passing through them. The high-speed jets that exit at the rear end of the car reduce the wake dimension improving the aerodynamic performance, helping reduce drag and improving the car’s efficiency.

Even the exterior shape of TEOREMA is driven by technical concepts and the experiences the occupants should feel. As with all Pininfarina’s designs, purity, elegance and innovation are the foundations of the design of the TEOREMA, but this time the team wanted to create something sophisticatedly impressive despite using really simple forms, where the lack of side doors gives an unexpected styling lightness.

TEOREMA is completely autonomous but it can easily switch across different driving modes according to passengers’ preferences and the different driving situations: in AUTONOMY MODE, the vehicle is completely autonomous therefore needing no driver. The driver faces the other four passengers, leaving enough distance between to give everyone the feeling of having their own private cocoon. The DRIVE MODE guarantees a community feeling and everything that happens in the motion of the vehicle is shared. The different areas of the interiors become of the same color, providing a subconscious connection holding all the occupants to a shared experience. When the car is in REST MODE, the whole interior becomes a social space where people can move to any desired position. The internal environment and the smart seats automatically change to allow people to socialize or lounge.

Pininfarina’s Virtual Concept Car features different technologie integrated thanks to the collaboration of selected leading partners who worked together to deliver the most incredible passenger experience.

WayRay for True Augmented Reality – Crisp and vivid virtual images with unprecedented color depth are aligned with the real world and allow passengers to be informed about the relevant traffic information, the places of interest and curiosities. They appear behind the car’s windshield and side glasses. Passengers also have a possibility to interact with the information displayed in order to learn more or share it with other people onboard.

“Within the near future we will be getting a whole new visual experience while travelling. A seamless combination of the virtual world and the real one will provide a qualitatively new level of safety and comfort. This car may still seem futuristic to most of us but part of our technologies implemented in TEOREMA are already here and ready for mass production”, says Vitaly Ponomarev, Founder & CEO of WayRay.

Continental Engineering Services for Smart Surfaces and Intelligent Glass – Continental’s competences on Smart Surfaces and Intelligent Glass provides the Pininfarina Virtual Concept Car with important features in terms of both user experience and safety. Pop-up buttons are hidden under the car’s interior surfaces and only emerge when the driver passes his hand over them. Each button has a slightly different shape, allowing the driver to easily recognize them without taking the eyes off the road. The use of Smart Glass in the rear part of the car allows passengers to enjoy their privacy and to regulate the light that enters from the outside, giving then the possibility, also thanks to the foldable flat seats, to create a comfortable cocoon in which to rest.

Poltrona Frau for Seats – The seats were designed together with Poltrona Frau to ensure maximum relaxation and to allow passengers to stretch out and dose off. The seats of TEOREMA are able to fold down flat, turning into a bench or a cot providing for the possibility either to face each other, in a moment of conviviality, or to lie down, during a more intimate time.

BENTELER for the Rolling Chassis – TEOREMA is based on a platform solution built on the BENTELER Electric Drive System (BEDS). This is a very efficient solution and an enabler for setting up new electric vehicles very fast, with reduced complexity and high quality, thanks to its scalable and modular design. With its low construction the Rolling Chassis allows the car to have space on its inside and still keep a relatively low height.

TEOREMA, a true demonstrator of Pininfarina’s skills in digital car development, which makes the design process faster and more efficient, will be the subject of presentations aimed at the Group’s Italian and international customers in the coming weeks.

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PP90
PP90
2 years ago

Whats the point of this “virtual” concept car? Will it ever be produced? Maybe…but there are plenty of freelance designer who designed and render their creations. Pininfarina please get back to the roots and actually produce your cars and not virtually…

Mark84
Mark84
2 years ago
Reply to  PP90

An EV virtual concept car? You mean a virtual Microwave

One of the subtle pleasures that the study of history offers is the discovery of the debatability of a common belief, of a consideration accepted supinely out of mental habit.

Italy witnessed the emergence of a wide variety of automotive companies, especially between Turin and Milan, at the beginning of the last century. However, over the following decades, these companies gradually disappeared, culminating in recent years with all surviving brands converging under a single entity: Fiat. This phenomenon has seldom been compared to another, equally significant but fundamentally different occurrence, namely the proliferation of automotive coachbuilders. Unlike the automotive companies, the coachbuilders did not experience a similar disappearance, but rather a gradual consolidation, with some even transforming their operations into robust industrial entities.

From Flourishing Diversity to Consolidated Excellence

As the onset of the First World War loomed, approximately fifty coachbuilders emerged in the bustling regions between Turin and Milan. Similarly, another fifty establishments emerged during the interwar period, followed by an additional twenty-five from the post-war era up to the 1960s. Today, only a handful of names remain, predominantly acquired by foreign funds or companies such as Italdesign, Pininfarina, Touring Superleggera, Zagato, and the new Ares Design from Modena, all of whom continue to champion the legacy of Italian design excellence.

What accounts for this discrepancy, particularly within the same timeframe and geographic area, namely the Turin region? One would logically assume that the same forces driving the emergence and subsequent decline of numerous automotive factories would also impact the birth and closure of many coachbuilders.

In the 1930s, as the aftershocks of the American economic crisis led to the downfall of illustrious automotive brands unable to compete with Fiat’s dominance, Garavini, a modest artisanal coachbuilder, unveiled the breathtaking Fiat 508 Cabriolet. This cabriolet by Garavini swiftly became emblematic of sportiness, elegance, charm, grace, and affordability. Carrozzeria Garavini’s craftsmanship extended beyond Fiat vehicles; they collaborated with Lancia, Alfa Romeo, Itala, Bugatti, Delahaye, Citroen, boasting clientele including the King of Belgium, Menelik, Emperor of Ethiopia, and even a Maharaja, for whom they crafted an Isotta Fraschini featuring an ivory steering wheel and a gold-plated engine.

Garavini was not alone; numerous other coachbuilders thrived during the golden age of Italian coachbuilding, from Stabilimenti Farina to Castagna, from Balbo to Touring, Allemano, Vignale, Zagato, Francis Lombardi, Fissore, Savio, Boneschi, Boano, and beyond.

Fiat's Paradox: The Lifeline for Italian Coachbuilders

Only Italian coachbuilders seemed to flourish, while foreign counterparts – some renowned names like Labourdette, Saoutchik, Figoni and Falaschi, Chapron, Van den Plas, Mulliner, Fleetwood, Le Baron, Rollston, Graber – mostly faded away by the 1950s.

Hence, the explanation must lie within Italy itself, specifically with Fiat. Despite often being associated with the decline of numerous automotive manufacturers, Fiat paradoxically played a crucial role in the survival of many coachbuilders.

Towards the end of the 1930s, most car manufacturers ceased producing chassis, a vital component for coachbuilders, opting instead for monocoque construction. This shift significantly increased costs for coachbuilders, leading many to struggle.

However, Fiat continued to offer chassis, even when it became economically burdensome. This availability allowed Italian coachbuilders to remain operational. As the automotive industry moved towards monocoque designs, coachbuilders survived only where there was a partnership with a factory willing to supply mechanized platforms and support sales.

The importance of this partnership cannot be overstated. While competing automotive brands required independent sales networks, coachbuilders benefited from utilizing the factory’s sales channels. This unique dynamic turned what would have been a differentiation challenge in a competitive market into a unifying and economically beneficial relationship between factory and coachbuilder.

Evolution of Italian Coachbuilding: Creativity in the Face of Industrialization

Of course, nothing unfolds arbitrarily. At the core lies the ingenious inventiveness and creativity of Italian coachbuilders, alongside distinct historical and economic conditions. In the early automotive era, Italy, though not a frontrunner, kept stride with other European automobile-producing nations like France, Germany, and Great Britain. However, as automobiles transitioned from elite novelties to industrial products, Italy lagged behind. Its market resembled that of a less affluent nation, unprepared for such costly commodities. Meanwhile, other countries, including the United States, recognized the vast commercial potential of motor vehicles and geared up to offer comprehensive products.

In this shift, the aesthetic intricacies of automobile design took a backseat to factors like reliability, affordability, and mass production. The skilled artisan coachbuilder, proficient in various crafts like saddle-making, bodywork, painting, and upholstery, was gradually supplanted by efficient machinery capable of mass-producing car parts in a fraction of the time. While industrialization adopted a pace akin to Charlie Chaplin’s “Modern Times,” automobiles became commonplace commodities.

In contrast, Italy retained a relatively underdeveloped motorization landscape, which, while presenting challenges, also served to preserve the craft of coachbuilding. Despite Italy’s slower adoption of automobiles on a mass scale, its coachbuilders continued to cater to discerning clients with their exquisite and refined products, largely undeterred by the changing industrial landscape.

The Fiat Carrozzerie Speciali Department

Within the rich collaboration between Fiat and coachbuilders lies a lesser-known period spanning from 1910 to 1931. During this time, a “Fiat Bodywork Department” (Carrozzerie Speciali) operated from its headquarters on Via Madama Cristina in Turin. This department housed sections for body framing, metalworking, finishing, and notably produced elegant and sophisticated body styles with grandiose names of foreign origin: Run-about Courreuse, Gun boats, Double Phaeton Embouti, Landaulet Limousine, Coupé Berlina, Char à Bancs. Adorning the establishment’s façade was the name “Carrozzeria Italiana J. Rothschild & Fils” – a French coachbuilder that had established a presence in Turin.

However, this department’s history merely represents a temporary yet illustrious phase in the ongoing dialogue between Fiat and coachbuilders since the company’s inception. Until 1903, Fiat primarily relied on Carrozzeria Alessio, a licensee of the Weymar patent, for its bodywork needs.

Carrozzeria Alessio

Marcello Alessio embarked on his career as a laborer at Locati & Torretta, quickly surpassing his mentor in skill and knowledge. Recognizing the burgeoning potential of the automotive market, he ventured out on his own, establishing a small coachworks factory at Via Dell’Orto Botanico 19 (now Via Cesare Lombroso). With immense passion and innovative construction methods, Alessio swiftly rose to prominence, attracting prestigious clientele and earning a reputation as one of Turin’s foremost coachbuilders.

His renown extended beyond serving wealthy private customers, as several new car manufacturers sought his expertise in crafting coachworks. Alessio collaborated with Michele Lanza, producing the Welleyes for Ceirano and crafting bodies for early Fiat models. Additionally, he worked on chassis from various other brands, including Darracq, De Dion-Bouton, Panhard, Mors, and Renault, among others.

Alessio’s success led him to represent French Kriéger and Rochet-Schneider cars, as well as German Mercedes, importing bare chassis and adding his bespoke coach-built bodies. This venture created tension with Fiat, prompting the automaker to shift its body orders to G. Lanza.

Navigating Turbulence: Fiat, Carrozzeria Alessio, and the Carrozzerie Speciali Department

The dynamic between Fiat and Carrozzeria Alessio wasn’t devoid of hurdles. At a pivotal Board of Directors meeting on January 17, plans for the establishment of Carrozzeria Industriale G. Lanza e C. were unveiled by Agnelli. This venture aimed at manufacturing automobile bodies, with Fiat proposed as a key participant to expedite bodywork tasks.

The proposal was met with mixed reactions among board members, with some interpreting it as a retaliatory measure against Alessio’s actions. In response, Agnelli passionately defended Fiat’s stance, highlighting instances where Alessio had diverted potential clients away from Fiat. He argued vehemently against facilitating competitors’ profitability, emphasizing the need to safeguard Fiat’s interests amidst a competitive market landscape.

Despite initial reservations, Fiat’s involvement in Carrozzeria Industriale was solidified, signifying a strategic move to streamline production processes and assert Fiat’s influence in the automobile industry. However, managing this partnership presented its own set of challenges.

Within a year, signs of strain began to emerge. Racca, tasked with supervising Carrozzeria Industriale, resigned from his position, citing issues regarding the autonomy of the managerial role. This development underscored the complexities inherent in navigating partnerships within the automotive sector, where competition and collaboration often intertwine.

In the wake of Racca’s departure, Carrozzeria Rothschild & Fils emerged as a significant player, acquiring Lanza’s operations and establishing a new branch at Via Madama Cristina 147. This transition marked a pivotal moment in the evolving landscape of Turin’s automotive industry.

By 1910, Fiat made a strategic decision to absorb Rothschild, effectively integrating its operations and resources. Consequently, Fiat’s bodywork department underwent a rapid transformation, emerging as a fully functional entity capable of catering to diverse demands.

Initially serving as Fiat’s primary client, the department gradually expanded its clientele to include external firms such as Lancia. This strategic pivot underscored Fiat’s commitment to innovation and adaptability in navigating the evolving automotive landscape.

Despite undergoing various transformations over the years, the bodywork department remained a cornerstone of Fiat’s operations. Its legacy endured through the establishment of the Carrozzerie del Lingotto in the late 1940s, symbolizing Fiat’s enduring legacy and influence in the automotive realm.

Conclusion

In conclusion, thus ended an important chapter in Fiat’s history. However, as we have seen, the productive and diverse relationship between Fiat and numerous coachbuilders continued to thrive, delighting our eyes and celebrating Italian creativity. This collaboration persisted over time, evoking admiration and showcasing the Italian flair for design. Fiat’s adaptability and willingness to collaborate helped keep alive the legacy of Italian coachbuilders, fostering an ongoing blossoming of automotive design. This underscores the crucial role that creativity and innovation play in the Italian automotive landscape.