Retro Venom - The late 1960s were a time when cars embodied rebellion, freedom, and raw energy. Streets pulsed with the sound of V8 engines, and design studios buzzed with creativity that would define an era. Now imagine if, amid that cultural explosion, the Dodge Viper—a car born decades later—had roared into existence in 1967. It’s a question that Brazilian designer Rafael Reston asked himself, and the answer became his stunning creation: the Dodge Viper 1967 Concept.
The 1967 Dodge Viper by Rafael Reston. (Picture from: MotorAuthority)
Reston didn’t simply restyle an icon for fun; he reimagined an alternate history. His idea was to explore how Dodge might have launched a rival tothe Corvette of that era, using only the tools, materials, and aesthetics available at the time. He immersed himself in the design trends of the 1960s, an age of sculpted curves, chrome details, and unapologetic flair. The goal was authenticity—to make the car feel as if it truly could have rolled out of a Chrysler design studio in the summer of ’67.
The 1967 Dodge Viper by Rafael Reston.(Picture from: MotorAuthority)
The result was a vision that merged two worlds: the retro sensuality of 1960s styling with the aggressive identity ofthe modern Viper. Its sweeping body lines, circular headlamps, and chromed trims reflected mid-century elegance, while the massive hood, side air vents, and rear-biased stance echoed the fierce personality ofthe real Viper. It was both vintage and venomous—a time-bending fusion that felt oddly believable.
The 1967 Dodge Viper by Rafael Reston.(Picture from: MotorAuthority)
Under the hood, Reston imagined not the iconic V10, but a 440ci Magnum V8, the same powerhouse that once fueledthe Dodge Challenger R/T. He reasoned that in 1967, a ten-cylinder engine would have been far too impractical for production. The Magnum, however, captured the era’s spirit—brutal, simple, and loud enough to make its presence known from blocks away. It was the perfect match for his reimagined beast.
The 1967 Dodge Viper by Rafael Reston.(Picture from: MotorAuthority)
Inside, the Viper 1967stayed true to the craftsmanship of its imagined time. Chrome accents, leather upholstery, and a mahogany steering wheel replaced the minimalist interiors of modern sports cars. Reston described it not as a luxury machine but an emotional one—a car meant to thrill the senses, not to coddle the driver. Every material choice reinforced that balance between sophistication and sheer adrenaline.
The 1967 Dodge Viper by Rafael Reston.(Picture from: MotorAuthority)
By the time he revealed the concept, Rafael Reston, then 29, was already a rising name in automotive design. A graduate of FAAP in São Paulo and based in Milan, he had contributed to projects for Renault Design America Latina and other studios while writing his own book, Do Sketch ao Concept: o básico do design automotivo. His Viper project reflected his philosophy: that design isn’t just about aesthetics—it’s about storytelling through form and era.
The 1967 Dodge Viper by Rafael Reston.(Picture from: MotorAuthority)
What makes Reston’s idea so captivating is how it bridges nostalgia with forward-thinking imagination. It challenges the notion that innovation must always look futuristic; sometimes, it can be found by looking backward with new eyes. His Dodge Viper 1967 isn’t just a design exercise—it’s a commentary on how timeless ideas can transcend decades when filtered through creativity and respect for history. | PLtJ8irtHzM |
Hadthe Vipertruly been born in the summer of 1967, it might have joined the pantheon of American legends alongsidethe Shelby Cobra and the Corvette Sting Ray. But even as a digital concept, Reston’s vision still bites—it sparks curiosity, admiration, and a sense of “what if” that lingers long after the engine falls silent. And if perhaps some devoted car enthusiast today dares to bring this machine to life, here lies the inspiration waiting to be transformed into reality. *** [EKA | FROM VARIOUS SOURCES | THEAMAZOOEFFECT | MOTORAUTHORITY | CARBODYDESIGN | STREETMUSCLEMAG ]
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Vintage Ingenuity - Long before today’s electric silhouettes and wind-tunnel-sculpted supercars took over our roads, the idea of personalizing a vehicle was often born not in corporate design studios, but in small workshops and home garages. The early postwar years were a playground for experimentation, a moment when imagination mattered more than budgets and when new materials—especially fiberglass—felt like keys to an uncharted automotive future. Out of this restless creative energy emerged a machine that didn’t just turn heads in its time, but quietly nudged one of America’s most iconic sports cars into existence: the Lancer Roadster.
The 1951 Lancer Roadster created in 1951 by Eric Irwin of Costa Mesa, California, and stood as one of the earliest fully custom fiberglass automobiles ever built. (Picture from: QuirkyRides in X)
Created in 1951 by Eric Irwin of Costa Mesa, California, the Lancer Roadster stood as one of the earliest fully custom fiberglass automobiles ever built. Irwin was not simply dabbling in new materials; he became one of the first to articulate the entire process in print, writing a guidebook that used his own car as the cover model. He understood the potential of fiberglass at a moment when most people were still skeptical. Its promise was irresistible: light weight, affordability, structural strength, immunity to rust, and a shapelessness that waited only for a designer’s imagination to give it a form. For builders who were already accustomed to rummaging through junkyards for frames and drivetrains, fiberglass seemed to hand them the freedom to craft cars unconstrained by traditional steel stamping.
The original Lancer Roadster driven by its designer and builder, Eric Irwin. (Picture from: JalopyJournal)
The Lancer’s underlying structure reflected exactly that spirit of resourcefulness. Irwin built his prototype on a 1932 Graham chassis and powered it with a Studebaker Champion flat-six engine—an unusual pairing even for the era. Yet the result carried a sporty charm, with flowing proportions and a youthful, adventurous personality that fit perfectly into the early 1950s custom-car landscape. Its one aesthetic misfire, the quirky bumper arrangement that looked haphazardly attached, only added to its reputation as a bold experiment rather than a polished production model. What mattered most was its presence: fresh, futuristic, and unmistakably different.
The 1951 Lancer Roadster by Eric Irwin built based on a 1932 Graham chassis and powered it with a Studebaker Champion flat-six engine. (Picture from: JalopyJournal)
When the Lancer debuted at Petersen’s Motorama in November 1951, it arrived alongside four other fiberglass sports cars, all of them capturing a moment when American automotive culture was on the verge of reinvention. The reception was immediate and enthusiastic. Crowds were drawn to the Lancer’s sleek profile and the novelty of its construction, and Irwin quickly found himself recognized as a pioneer of the new material. His involvement didn’t end with that first car. Through the mid-1950s, he continued refining the Lancer for customers, showing that fiberglass customs weren’t a fleeting hobby but a growing movement.
The 1951 Lancer Roadster by Eric Irwin features a chassis modified with the X-member removed, fitted with adjustable Fiat-Balila bucket seats and a 1940 Cadillac instrument panel. (Picture from: JalopyJournal)
The most intriguing chapter of the Lancer’s legacy, however, sits quietly between its lines of history. Irwin consulted with Harley Earl—General Motors’ legendary design chief—at a time when GM was exploring ideas that would eventually crystallize intothe Chevrolet Corvette. The Corvette, unveiled in 1953, would go on to define the American sports car identity for generations.
The 1951 Lancer Roadster by Eric Irwin's aesthetic misfire, the quirky bumper arrangement that looked haphazardly attached, only added to its reputation as a bold experiment rather than a polished production model. (Picture from: JalopyJournal)
While the Lancer never reached mass production or mainstream fame, its influence threaded directly into the thinking of the industry’s most powerful design office. It demonstrated that fiberglass wasn’t merely viable—it was the future. Seen from today’s vantage point, the Lancer Roadster becomes more than just a custom car from a restless era. It represents the moment experimentation met opportunity, when independent creators shaped ideas that major manufacturers would soon adopt and refine. | hHPhz6QxR8s | TNWANgg2KJA |
Its lines may feel rooted in the optimism of the early fifties, but its impact continues to echo in every modern composite body and every unconventional build that dares to break with tradition. The Lancer stands as a reminder that innovation often begins in the hands of individuals who see possibility where others see limitations, and that some of the greatest automotive icons trace their origins to workshops where imagination was the only blueprint. *** [EKA | FROM VARIOUS SOURCES | JALOPYJOURNAL | UNDISCOVEREDCLASSICS | QUIRKYRIDES IN X | DAVE DEUEL IN FACEBOOK | THINGIES IN FACEBOOK ]
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Hybrid Foresight - Urban mobility has always reflected the rhythm of its era, shaped by shifting expectations about efficiency, space, and sustainability. Long before compact EVs and shared micro-mobility became everyday features of modern cities, Pininfarina had already been exploring what an eco-conscious urban vehicle could look like. That decades-long pursuit set the stage for one of the most intriguing concepts of the 1990s: the Pininfarina Eta Beta, a project that blended research, engineering, and imaginative design into a single forward-thinking experiment.
The Pininfarina Eta Beta was born in 1996 from a collaboration between Pininfarina and Italy’s National Research Council (CNR), representing the culmination of work that began back in 1970. (Picture from: CarStylingru)
The Eta Betawas born in 1996 from a collaboration between Pininfarina and Italy’s National Research Council (CNR), representing the culmination of work that began back in 1970. This partnership allowedPininfarinato channel years of study into a prototype tailored for the needs of congested cities—reduced emissions, adaptable space, and intelligent packaging. Their shared objective was not simply to build another concept car but to explore how small vehicles could evolve to coexist more harmoniously with growing urban environments.
The Pininfarina Eta Beta was a radical city car concept using an aluminum space
frame with aluminum doors, bonnet, and tailgate. Other body panels were
plastic, keeping weight to a minimum and unveiled at the 1996 Turin Motor Show. (Picture from: Garagex.de)
At the heart ofthe Eta Betawas its hybrid powertrain, an unusually sophisticated setup for its time. The front wheels were driven by a 1.1-liter Fiat gasoline engine, while two electric motors mounted in the rear wheels provided additional power and eliminated the need for a conventional transmission. Together they produced a combined output of 66 horsepower from the engine and 25 from the electric motors, creating an efficient dual-power system aimed at lowering emissions without compromising everyday drivability.
The Pininfarina Eta Beta combined its compact 3.12–3.32-meter mini-MPV shape with upward-opening doors and rear-pillar handles to maximize space and function within a tight urban footprint. (Picture from: Pininfarina in Instagram)
The vehicle’s compact form supported that mission. Measuring between 3.12 and 3.32 meters in length depending on configuration, it embraced a mini-MPV silhouette designed to maximize cabin space within a minimal footprint. The upward-opening doors with handles integrated into the rear pillars were more than a stylistic flourish—they allowed occupants to enter and exit easily in tight parking spaces, reinforcing the Eta Beta’s role as a purpose-built city companion.
The Pininfarina Eta Beta pairs deep blue seats with organic shapes and warm accents, while its distinctive steering wheel and sculpted gear selector create an inviting, imaginative cabin that feels remarkably forward-thinking for its time. (Picture from: Pininfarina in Instagram)
One of its most inventive features was its telescopic rear section, which could extend by up to 20 centimeters. This single mechanism enabled three distinct cabin arrangements: a short 2+2 layout for everyday urban travel, a longer four-seat configuration for family use, and a two-seat format with expanded cargo capacity for longer trips. That adaptability made the Eta Beta unusual even by modern standards, anticipating the growing interest in modular interiors that can shift with the driver’s needs.
The Pininfarina Eta Beta features a playful yet functional dashboard with an orange-lit instrument cluster, a sculpted warm-toned steering wheel, and bold, color-coded controls that reflect its experimental ergonomic design. (Picture from: Pininfarina in Instagram)
Construction choices further underscored the project’s environmentally conscious vision. The car used an aluminum space frame paired with aluminum doors, bonnet, and tailgate, while the remaining body panels were molded from lightweight plastic. Nearly every component was recyclable, reflecting an early awareness that sustainability extends beyond powertrains and into the materials that form a vehicle’s structure.
The Pininfarina Eta Beta used a telescopic rear section that extended up to 20 centimeters, enabling three adaptable cabin layouts ranging from a short 2+2 setup to a longer four-seat arrangement or a two-seat configuration with added cargo space. (Picture from: Garagex.de)
Seen from today’s perspective, the Pininfarina Eta Beta stands out not just as an experiment but as a preview of developments that would later define the automotive landscape. Hybrid propulsion, lightweight materials, and flexible interior concepts have since become central to modern design, yet the Eta Beta explored them when they were still unconventional ideas. Its existence captures the moment when vision and research converged, producing a prototype that quietly sketched the outlines of the mobility solutions we now consider essential. *** [EKA | FROM VARIOUS SOURCES | PININFARINA IN INSTAGRAM | STORY-CARS | ALLCARINDEX | CARSTYLING.RU | GARAGEX.DE ]
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Retro Brilliance - In a time when the automotive world was rapidly shifting toward computer-driven precision, the Chrysler Atlantic emerged as a reminder that some of the most captivating ideas begin with nothing more than imagination. The mid-1990s were filled with bold experiments, yet few carried the emotional pull of a car shaped not by wind tunnels, but by dreams of the grand touring machines of the 1930s. That spirit of nostalgia—filtered through modern ambition—became the foundation for one of Chrysler’s most audacious creations.
The Chrysler Atlantic stood as the decade’s most spectacular concept car, designed by Bob Hubbach and inspired by the Bugatti Type 57SC Atlantic. (Picture from: Carstyling.ru)
Its origin story is as unconventional as the car itself. Bob Lutz, then a Chrysler executive, sketched an evocative coupe on a napkin during a flight home from Europe, letting the curves flow from memory rather than measurement. He shared it with design chief Tom Gale, who relayed only the mood of the drawing to the design team to avoid confining their creativity. Inspired by pre-war French coupes, designer Bob Hubbach shaped that atmosphere into metal, channeling the romance ofthe Bugatti Type 57SC Atlanticwhile allowing the form to evolve naturally into something distinctly American.
The Chrysler Atlantic rode on a modified Dodge Viper platform and featured a rear-mounted four-speed automatic transaxle linked by a torque tube, a layout later echoed in the Plymouth Prowler. (Picture from: Carstyling.ru)
The result was a silhouette that made no attempt to hide its dramatic personality. A sharp central ridge traced the length of the car, echoing the iconic Bugatti while givingthe Atlantic a visual spine. Oversized arches wrapped around 21-inch front and 22-inch rear wheels, and the body—hand-formed in steel—flowed in long, uninterrupted lines that seemed sculpted by motion itself. The gold finish accentuated those curves, letting the light sweep across them the way the sun dances across vintage coachbuilt cars.
The Chrysler Atlantic featured a Bugatti-inspired central ridge and oversized wheels beneath flowing, hand-formed steel bodywork, with a gold finish that let light glide across its curves like sunshine on classic coachbuilt designs. (Picture from: R/Spotted in Reddit)
The interior mirrored that same devotion to period aesthetics without feeling trapped in it. A single linear accent connected the dashboard to the center console, linking the cabin’s four seats with a sense of deliberate symmetry. Mother-of-pearl gauges glowed softly against beige and deep red upholstery, creating an Art Deco atmosphere that felt luxurious but not theatrical. Unlike many concept interiors of its era, it carried restraint, allowing artistry to speak through materials instead of excessive ornament.
The 1995 Chrysler Atlantic powered by a 4.0-liter straight-eight engine—a configuration nearly extinct by the 1990s—by joining two 2.0-liter Dodge Neon blocks end-to-end. (Picture from: BelowTheRadar)
What lay beneath the long hood was even more unexpected. Chrysler engineered a 4.0-liter straight-eight engine—a configuration nearly extinct by the 1990s—by joining two 2.0-liter Dodge Neon blocks end-to-end.Producing around 360 horsepower, it paid direct homage to the smooth, elegant eights that powered pre-war luxury cars. More than a clever engineering trick, it was a declaration that the Atlantic honored its inspirations not just visually, but mechanically.
The Chrysler Atlantic showcased its period-inspired interior through a clean linear layout and glowing mother-of-pearl accents that created a refined Art Deco ambiance. (Picture from: MotorCities.org)
The car wasn’t merely a showpiece, either. Built on a modified Dodge Viper platform, it used a rear-mounted four-speed automatic transaxle connected by a torque tube, a setup echoed in the Plymouth Prowler. Even though its gearing wasn’t optimized for its massive wheels, the Atlantic could drive with poise, surprising many who expected a static sculpture. Chrysler even allowed select journalists to get behind the wheel on closed roads, further blurring the line between concept and reality.
The Chrysler Atlantic showed how far Chrysler’s designers and engineers could go when given the freedom to explore the emotional side of carmaking. (Picture from: Carstyling.ru)
Talk of production surfaced briefly, with whispers ranging from a limited run of 100 units to full-scale manufacturing, but the logistics and potential pricing made the dream unlikely. Still, the Atlantic demonstrated how far Chrysler’s designers and engineers could stretch when given freedom to explore the emotional side of carmaking. It stood as proof that creativity didn’t need to be diluted by practicality to have impact. | bW0ArGs2xJU |
Today, the Chrysler Atlanticresides within Stellantis’ heritage collection, occasionally appearing at concours events where it continues to draw crowds almost three decades after its debut. In a modern landscape dominated by electrification and efficiency, the Atlantic feels like a reminder of a different kind of daring—one rooted in artistry, nostalgia, and a belief that even in a high-tech world, there is still room for cars born from pure imagination. *** [EKA | FROM VARIOUS SOURCES | MOTOR1 | STORY-CARS | CARSTYLING.RU | BELOWTHERADAR | MOTORCITIES.ORG | WIKIPEDIA | BRIANROEMMELE IN X ]
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Reimagined Relic - There’s a special kind of energy in machines that refuse to disappear quietly, especially when their second lives come from pure creativity rather than factory-correct restoration. The 1974 Chevrolet Corvette C3 Sportwagon known as the “Glasser” belongs in that rare category. It didn’t emerge from a high-budget shop or a carefully curated museum plan—it began as a wreck on the verge of being scrapped, only to be reborn through imagination, wartime aviation influence, and the unmistakable spirit of gasser drag cars. In today’s world of digital precision, the Glasser feels like a reminder that bold ideas still matter.
The 1974 Corvette C3 “Glasser” Sportwagon crafted by Paul and Keith Ray, finished in olive green paint and accented with hand-crafted nose art and jagged front teeth, pays direct tribute to WWII fighter planes. (Picture from: LSXMag)
Its story stretches back to the 1980s, when the car belonged to Augie Giovanni. After wrecking it and getting only as far as primer during repairs, he eventually sold it to finance other builds. Decades later, in September 2016, Paul Ray stumbled across photos of the battered Corvette through a friend. What he saw was a true basket case—far too gone to restore in any traditional sense. Instead of letting it head to the crusher, he bought it, and with his son Keith, committed to building something entirely different. Beginning March 4th, 2017, and working continuously through August 8th of the same year, the father-son duo transformed the disassembled Vettein just six months, an astonishing pace considering its condition.
The 1974 Corvette C3 “Glasser” Sportwagon crafted by Paul and Keith Ray uses torpedo-style side pipes to intensify its WWII fighter-plane theme, giving the car a sense of motion even at rest.(Picture from: FrontANdRearEndSwap in Facebook)
What emerged was a sportwagon conversion that instantly signaled its intentions through its exterior. The olive green paint, the hand-crafted “nose art,” and the jagged teeth along the front pay direct tribute to WWII fighter planes. Even the roof was reimagined as a pseudo-canopy, with blacked-out panels and painted window lines that mimic aircraft glazing. Torpedo-style side pipes amplify that theme, adding a sense of motion even when the car sits still. While the design can appear ungainly or even shocking at first glance, it leans fully into its fighter-plane personality rather than trying to blend in.
The olive green color of the 1974 Corvette C3 “Glasser” Sportwagon, accented with hand-crafted nose art and jagged front teeth, draws direct inspiration from WWII fighter planes.(Picture from: LSXMag)
The rear carries the same bold approach. Instead of stock Corvette lights, the Rays installed 1961 Ford Galaxie taillights—an unconventional choice that gives the back end a jet-engine vibe, even though the wartime planes inspiring the build used propellers rather than turbines. These taillights, along with the wagon conversion, set the Glasser apart visually while anchoring it firmly in its chosen stylistic universe. Protruding side exhausts and large tires push the car toward hot-rod territory, bridging the gap between military aesthetics and mid-century American performance culture.
The 1974 Corvette C3 “Glasser” Sportwagon roof was reimagined as a pseudo-canopy, with blacked-out panels and painted window lines that mimic aircraft glazing. (Picture from: LSXMag)
Underneath, the Rays reinforced that connection by replacingthe Corvette’sindependent front suspension with a primitive beam axle, giving the car the raised stance typical of gasser drag cars. Moon disc caps on the rear wheels complete the period-correct look. The name “Glasser” itself plays on this crossover—part “gasser,” part nod tothe Corvette’sfiberglass body. The deeper influence comes from the history of nose art: unofficial, expressive, emotional, and often created with whatever materials were available. It allowed WWII crews to assert individuality in uniformed environments, and its folk-art qualities mirror the personal, handmade nature of the Rays’ build. | Ub0D61MfNcY |
In the end, the Glasser stands as a labor of passion rather than polish. It may look awkward in everyday life, but it embodies the belief that even the most hopeless cars can become something meaningful if given vision and effort. Paul and Keith Ray didn’t resurrect the Vette by restoring it—they revived it by reimagining it. Their six-month build turneda wrecked Corvettewith a fragmented past into a roadworthy expression of creativity, history, and father-son collaboration. In that way, the Glasser is more than a strange custom; it’s proof that forgotten machines can still find new purpose when someone sees potential where others see scrap. *** [EKA | FROM VARIOUS SOURCES | LSXMAG | BLACKTOP OUTLAW IN FACEBOOK | FRONT AND REAR END SWAP IN FACEBOOK | QUIRKYRIDES IN X ]
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Design Reverberation - In the shifting landscape of late-1960s automotive design—an era caught between fading curves and the rising fascination with sharp geometric forms—there emerged a concept car whose brief existence still sparks curiosity today: the Alfa Romeo P33 Roadster. It was a moment when designers were rethinking the very language of form, moving from sensual, rounded silhouettes toward crisp wedges and angular minimalism. Into this creative pivot stepped Paolo Martin of Pininfarina, tasked with imagining a new kind of roadster at a time when ideas were evolving almost faster than they could be sketched.
The 1968 Alfa Romeo Pininfarina P33 Roadster was debuted at the 1968 Turin Motor Show.(Picture from: AllCarIndex)
The P33 Roadster was developed immediately after the Ferrari Dino Berlinetta Competizione, a dramatically curvy machine that stood in stark contrast to the straight-edged attitude Martin was about to adopt. Unveiled at the 1968 Turin Motor Show, the P33 delivered an unexpected fusion of sharp lines and selective softness, acting almost as a stylistic bridge between two automotive generations.
The 1968 Alfa Romeo Pininfarina P33 Roadster was debuted at the 1968 Turin Motor Show.(Picture from: Speedholics)
Its very foundation came from one ofthe 18 Alfa Romeo 33 Stradalechassis, originally part of a plan to build 50 examples before Alfa redirected its resources towardthe Montreal project. The five unused chassis—each paired with a potent 2.0-liter, 230-horsepower V8—were sent to Italy’s top coachbuilders so they could craft dream cars destined for prestigious motor shows.
The 1968 Alfa Romeo Pininfarina P33 Roadster was debuted at the 1968 Turin Motor Show.(Picture from: Speedholics)
This initiative produced a remarkable sequence of experimental showpieces. Bertone’s 33 Carabo appeared first in Paris in October 1968, followed a month later by Martin’s P33 Roadster for Pininfarina at the Turin show. Soon after came Leonardo Fioravanti’s P33 Coupé Prototipo Stradale in Geneva in 1969, Giugiaro’s Iguana at the Turin show later that year, and ultimately the P33 Spider “Cuneo” in Brussels in 1971—a design that would directly replace the Roadster. The lineage closed in 1976 with Gandini’s futuristic 33 Navajo. Within this sequence, the P33 Roadster held a unique place as the concept that marked the dramatic stylistic shift from flowing forms to assertive angularity.
The 1968 Alfa Romeo Pininfarina P33 Roadster was debuted at the 1968 Turin Motor Show.(Picture from: Carstyling.ru)
Martin createdthe P33 Roadsterunder tight deadlines, working from dimensional drawings rather than a complete physical chassis. This constraint encouraged a simplified yet innovative approach: a wedge profile beginning at an unusual black rubber front bumper—an aesthetic and aerodynamic experiment for its time—and tapering to a K-tail at the rear. Adjustable side appendices, added at the suggestion of Renzo Carli, contributed to the visual intrigue, while Fioravanti’s preference for a single retracting headlight unit led to a distinctive lighting solution. Tiny upward-opening doors compensated for the high chassis spars that made conventional entry nearly impossible, and a low wrap-around windscreen served both style and aerodynamic purpose.
The 1968 Alfa Romeo Pininfarina P33 Roadster was debuted at the 1968 Turin Motor Show.(Picture from: Carstyling.ru)
The car’s sides were kept clean and disciplined after Martin abandoned the idea of NACA ducts, while the rear featured eight intake trumpets emerging from a rectangular opening above a vertical tail section fitted with four slim, longitudinal taillights. Beneath them sat a heat-dissipating aluminum frame surrounding the exhaust. The interior was as radical as the exterior: two anatomical seats and a transverse structural frame that doubled as both dashboard support and part of the ventilation system, paired with a futuristic steering wheel that echoed the design language of the entire project.
The 1968 Alfa Romeo Pininfarina P33 Roadster was debuted at the 1968 Turin Motor Show.(Picture from: Carstyling.ru)
One of the Roadster’s most daring innovations was its hydraulically adjustable cast-aluminum fin integrated into the roll bar. This element served as an aerodynamic stabilizer, a heat exchanger for the oil circuit, and theoretical rollover protection—an ambitious combination that ultimately proved impractical, as any malfunction risked dumping hot oil onto the occupants. Nonetheless, it showcased the kind of experimental thinking that defined concept cars of the era. Combined with the racing-derived mechanics of the 33 Stradale, the P33 Roadster was reportedly as exhilarating to drive as it was to look at. As no proper video of the prototype has surfaced, this video of its base model—the legendary Alfa Romeo 33 Stradale—serves as the closest reference. | xluAEuBDhRA |
Despite its promise, the Roadster survived less than three years. It was ultimately dismantled so its chassis could be reused for the 1971 P33 Spider “Cuneo,” a decision typical of coachbuilding practices at the time but one that Paolo Martin never fully accepted. Today, the car exists only in archived photographs, original sketches, and Martin’s own recollections. Its disappearance has only amplified its mystique, leaving behind the impression of a concept that captured a pivotal stylistic transition: the fading elegance of postwar curves giving way to the sharp-edged futurism that would define the next decade. *** [EKA | FROM VARIOUS SOURCES | STELLANTISHERITAGE | SPEEDHOLICS | ALLCARINDEX | CARSTYLING.RU ]
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Had the Viper truly been born in the summer of 1967, it might have joined the pantheon of American legends alongside the Shelby Cobra and the Corvette Sting Ray. But even as a digital concept, Reston’s vision still bites—it sparks curiosity, admiration, and a sense of “what if” that lingers long after the engine falls silent. And if perhaps some devoted car enthusiast today dares to bring this machine to life, here lies the inspiration waiting to be transformed into reality. *** [EKA | FROM VARIOUS SOURCES | THEAMAZOOEFFECT | MOTORAUTHORITY | CARBODYDESIGN | STREETMUSCLEMAG ]
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