Concept Mirage - There’s something about concept cars from the past that feels like looking into an alternate timeline—one where imagination drove faster than practicality, and designers weren’t afraid to dream wildly in glass and steel. The 1970s, in particular, was a decade where automotive creativity teetered between genius and madness. Wedge shapes, bold colors, and futuristic ideas collided in design studios across Italy, as carmakers raced to define what “tomorrow” might look like. Amid this golden age of experimental design came a machine that looked less like a car and more like something parked on the set of a sci-fi epic: the Alfa Romeo Caimano.
The Alfa Romeo Caimano Concept designed by Giorgetto Giugiaro of Italdesign, and unveiled at the Turin Motor Show 1971. (Picture from: ItalDesign.it)
Unveiled in 1971 at the Turin Motor Show, the Caimano was the product of Giorgetto Giugiaro—then already a name synonymous with innovation—working under his newly established Italdesign banner. At first glance, the car didn’t whisper “Alfa Romeo” in the usual sense; it declared itself something else entirely. With its vast, transparent canopy that lifted forward to reveal the cockpit, and its razor-edged silhouette that seemed carved more by wind than hand, the Caimano looked like a design study for a world yet to come. It was a car that didn’t just hint at the future—it practically invented one.
The Alfa Romeo Caimano Concept, with its forward-lifting glass canopy and wind-shaped silhouette, appeared not just to forecast the future but to invent it.(Picture from: TopGear)
Beneath the striking bodywork, however, sat a rather humble soul: the chassis and mechanics ofthe Alfa Romeo Alfasud. Giugiaro took the front-wheel-drive platform—already advanced for its time with a 1.3-liter flat-four engine, four-wheel disc brakes, and a five-speed manual gearbox—and shortened its wheelbase to create a lower, tighter, more radical form. That mechanical modesty didn’t stop him from building a spectacle around it. The car’s access came through a one-piece, dome-shaped glass canopy that incorporated both the roof and the doors, hinged at the base of the windshield so it could tilt forward like the visor of a helmet. There were no conventional side doors at all, only two small windows positioned at chest height for ventilation—or for the mundane act of paying a toll, should anyone ever drive it beyond a show floor.
The Alfa Romeo Caimano Concept used the humble yet advanced Alfasud platform, which Giugiaro tightened with a shortened wheelbase to create a lower and more radical form.(Picture from: Wikipedia)
The rear ofthe Caimano was just as unconventional. A trapezoidal roll bar doubled as an adjustable spoiler, which could be repositioned in four different ways from inside the cockpit. Inside, Giugiaro abandoned the typical dashboard layout in favor of a cylindrical instrument cluster—two rotating tubes that displayed speed and other information not with a moving needle, but by shifting the scale itself. The bucket-like seats, low-slung and minimalist, emphasized the feeling of sitting inside a capsule rather than a car. Every line, every element, seemed to communicate motion and experimentation, as if the entire vehicle were a design language in mid-sentence.
The Alfa Romeo Caimano Concept housed a cylindrical instrument cluster of rotating tubes that showed information by shifting the scale instead of moving a needle.(Picture from: Wikipedia)
Yet for all its daring aesthetic and avant-garde thinking, the Caimano was never meant to leave the concept stage. Alfa Romeo had commissioned it not as a production preview but as a creative exploration—a way to show that even a modest, mass-market car like the Alfasud could inspire art. The company’s only constraint to Giugiaro was that the car must usethe Alfasudplatform; beyond that, he was free to imagine whatever he pleased. And imagine he did. The result was a car that captured the spirit of boundless experimentation that defined 1970s Italian automotive design.
The Alfa Romeo Caimano Concept reworked the advanced front-wheel-drive Alfasud platform—complete with its 1.3-liter flat-four engine.(Picture from: TopGear)
Today, the Caimanoresides in the Museo Storico Alfa Romeo in Arese, resting among the brand’s most legendary creations. It stands not as a relic, but as a reminder of an era when form could triumph over function, and when designers dared to ask “what if?” instead of “why not?”. In an age of increasingly uniform electric crossovers and aerodynamic restraint, the Caimano’s unapologetic eccentricity feels refreshing—a bold artifact from a time when cars could still dream of being something entirely different. | S7QtzQnnhmA |
More than fifty years later, its bubble canopy and sharp geometry still look alien, almost new. It remains a perfect symbol of the moment when car design flirted openly with fantasy, when the imagination of a man like Giugiaro could transform a simple sedan platform into a vision of the future. The Alfa Romeo Caimano didn’t just push boundaries—it dissolved them, leaving behind one of the most captivating what-ifs in automotive history. *** [EKA | FROM VARIOUS SOURCES | MUSEOALFAROMEO | ITALDESIGN.IT | TOPGEAR | STORY-CARS | CLASSICBLOG.CZ | WIKIPEDIA ]
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Cultural Fusion - The 1980s were a decade that refused to blend in. It was a time when cars became louder in shape, color, and personality — when every curve and crease tried to outdo the next. From this landscape of wild imagination emerged one of the rarest and most striking reinterpretations of a French sports car: the 1984 Plenk & Ringswandl Renault A310 Breitbau. Born from a German tuning house with an eye for excess, it transformedthe sleek Alpine A310 into something more aggressive, more theatrical, and unmistakably more daring. The base A310, built by Alpine under Renault’s wing, was already admired
for its lightweight fiberglass body and mid-engined balance.
The 1984 Renault A310 'Breitbau' by Plenk & Ringswandl. (Picture from: ObscureSupercar in X)
But in the hands of Plenk & Ringswandl, the modest French coupe evolved into a machine that looked ready to storm a racetrack or at least steal every glance on the autobahn. Introduced in 1984, their “Breitbau” — or wide-body — conversion was defined by radical new bodywork: massive flared arches, deep air channels sculpted into the sides, and a dramatic rear wing that gave the car an unmistakable silhouette. Some details, like the side slats along its widened haunches, subtly echoed the era’s exotic design trends — the same spirit that made cars like the Ferrari Testarossa iconic — though here they carried a distinctly German sense of precision rather than Italian flamboyance.
Underneath the flamboyant skin, the mechanical heart remained familiar. The 2.7-liter PRV V6 engine, shared with other Renault and Peugeot models of the time, produced about 150 horsepower — not overwhelming by today’s standards, but plenty for a car that prioritized weight balance and engagement over brute force. The engine’s placement at the rear gave it a lively, tail-happy character, while the widened track of the Breitbau added stability and visual drama in equal measure.
The 1984 Renault A310 'Breitbau' by Plenk & Ringswandl. (Picture from: ObscureSupercar in X)
Documentation from the A310 owners’ registry confirms that the Plenk & Ringswandl version was exceptionally rare — only four cars are believed to have been converted. One of them, finished in a vivid metallic blue, resurfaced in Germany in 2022 and appeared on eBay the following year with a price hovering around €32,000 to €37,000.
Registry records even identify it by chassis number (VAE0001597), marking it as one of the few verified “PR2” conversions in existence. Beyond those entries, however, the trail of Plenk & Ringswandl as a company fades quickly. Little is known about the duo or their workshop — no brochures, no production figures, only a few surviving cars and a handful of photographs that capture their vision in fiberglass and steel.
That sense of mystery adds to the car’s charm. The A310 Breitbau stands today as more than a modified Renault; it’s a snapshot of a fearless design era when small workshops could take creative liberties unimaginable in modern times. Its exaggerated curves, slotted sides, and monumental rear wing reflect a philosophy of design driven by emotion, not data — a spirit of experimentation that’s nearly extinct in the automotive world today.
The 1984 Renault A310 'Breitbau' by Plenk & Ringswandl. (Picture from: ObscureSupercar in X)
Decades later, the Plenk & Ringswandl A310 Breitbau still commands attention not because it was perfect, but because it was bold. It bridged nations and ideas — a French chassis infused with German engineering confidence, shaped by the aesthetics of a generation obsessed with performance and flair. It’s the kind of car that reminds us how the best machines don’t just move; they make us feel something. And in that sense, this rare, wide-bodied Alpine remains a beautifully eccentric echo of an age when cars were allowed — even expected — to go a little too far. *** [EKA | FROM VARIOUS SOURCES | AUTOPUZZLES | CLASSICTRADER | EBAY.DE | OBSCURESUPERCAR IN X | REALUNICARNS IN X | REALUNICARNS IN INSTAGRAM | TAFFY_C_S_145 IN INSTAGRAM ]
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Clarity Born - When people think of Ferrari today, they often picture sleek, high-tech machines tearing through racetracks or gleaming under the lights of luxury showrooms. But long before the brand became a symbol of modern performance and prestige, it was an ambitious dream built on the roar of a small V12 engine and the artistry of Italian craftsmanship. One of the earliest expressions of that dream came in 1949, wrapped in aluminum and plexiglass: the Ferrari 166 MM Panoramica.
The Ferrari 166 MM Panoramica emerged in 1949 as one of the earliest realizations of that dream, shaped in lightweight aluminum and bold expanses of plexiglass. (Picture from: AutomotiveMasterpieces)
Emerging just after World War II, the 166 series marked Ferrari’s first true stride into competitive racing. The 1948 season had already shown that Enzo Ferrari’s fledgling company was capable of challenging established giants. The new “Tipo 166” models carried the spirit of innovation that would define Ferrari for decades. Beneath the hand-built bodywork was a 2.0-liter V12 engine designed by Gioacchino Colombo, a mechanical masterpiece that managed to balance raw power and reliability. With around 140 horsepower, it was agile, responsive, and surprisingly versatile—qualities that made it a favorite among gentleman drivers who sought both elegance and performance.
The Ferrari 166 MM Panoramica was a car that felt airy and open, with enhanced visibility for the driver, a rarity among coupes of its era. It was as if the road itself became part of the cabin’s panorama, hence the name.(Picture from: Classic-Trader)
By 1953, the 166s were refined even further, with upgrades such as a higher compression ratio, improved carburetion through triple Weber intakes, and synchronized gears. These enhancements pushed its output to 160 horsepower, allowing it to stay competitive against stronger rivals like Maserati. Yet, beyond mechanical numbers, what truly set the 166 MM Panoramica apart was its design philosophy—a story of collaboration between the minds of Ferrari and Zagato.
The Ferrari 166 MM Panoramica was a story of collaboration between the minds of Ferrari and Zagato.(Picture from: Classic-Trader)
Ugo Zagato, an aeronautical engineer turned automotive designer, was fascinated by the relationship between lightness, visibility, and aerodynamics. His “Panoramica” body concept, developed in the late 1940s, reimagined what a sports coupe could be. Drawing inspiration from aircraft cockpits, Zagato experimented with plexiglass—an innovative material at the time—to replace traditional glass, creating sweeping transparent surfaces that extended into the roof. The result was a car that felt airy and open, with enhanced visibility for the driver, a rarity among coupes of its era. It was as if the road itself became part of the cabin’s panorama, hence the name.
The Ferrari 166 MM Panoramica came to life when Elio Zagato and gentleman racer Antonio Stagnoli proposed to Enzo Ferrari a bold pairing of the proven 2.0-liter chassis with Zagato’s avant-garde body for the Mille Miglia.(Picture from: Classic-Trader)
The Ferrari 166 MM Panoramica came to life when Elio Zagato, Ugo’s son and a skilled driver himself, envisioned the design as not just beautiful but inherently competitive. Partnering with Antonio Stagnoli, a respected gentleman racer, he approached Enzo Ferrari with a bold proposal: to merge Ferrari’s proven 2.0-liter chassis with Zagato’s avant-garde body for the upcoming Mille Miglia. Enzo, who affectionately called Elio “Zagatino,” agreed. The chassis numbered 0018M was sent from Maranello to Milan, where Zagato’s craftsmen hand-shaped thin aluminum panels into a lightweight, curvaceous form that seemed to anticipate the aerodynamic designs of the decades to come.
The Ferrari 166 MM Panoramica drew inspiration from aircraft cockpits as Zagato used then-innovative plexiglass in place of traditional glass to create sweeping transparent surfaces that extended into the roof.(Picture from: Classic-Trader)
It’s believed that Gioacchino Colombo himself played a quiet but pivotal role in the project, advising on technical integration and ensuring the collaboration between Ferrari and Zagato ran seamlessly. The completed coupe debuted in the summer of 1949 and soon took to the track at Senigallia, signaling a new era of artistry in racing. Its true breakout came the following year, in 1950, when it claimed victories at the Coppa Intereuropa, Parma–Poggio di Berceto, and Aosta–Gran San Bernardo. The Mille Miglia, however, proved less forgiving—the Panoramicafinished 36th overall, fourth in its class. Still, even in defeat, it displayed a spark of brilliance that hinted at what Italian design and engineering could achieve together.
The Ferrari 166 MM Panoramica made its debut in the summer of 1949 and quickly hit the Senigallia track, signaling a new era of artistry in racing.(Picture from: Classic-Trader)
After the Mille Miglia, Zagato reimagined the coupe into a barchetta “siluro” configuration—a streamlined, open-bodied racer better suited for endurance and hillclimb events. It was an evolution that mirrored Ferrari’s own journey: constantly refining, experimenting, and redefining what performance meant.
The Ferrari 166 MM Panoramica stands today as more than a vintage race car, embodying a bridge between eras by capturing the moment when art, technology, and ambition blended into one seamless form.(Picture from: Classic-Trader)
Today, the 1949 Ferrari 166 MM Panoramica stands as more than a vintage race car; it is a bridge between eras. It captures a moment when the lines between art, technology, and ambition blurred into one seamless form. Its plexiglass canopy and featherweight body might seem quaint in a world of carbon fiber and hybrid drivetrains, yet its spirit remains strikingly modern—the pursuit of beauty through performance, and performance through imagination. | Q7Ia52STmSo |
Every Ferrari that thunders down a track or graces a boulevard owes something to this early vision of balance and boldness. The 166 MM Panoramica wasn’t just built to win races; it was built to show that driving could be an experience of clarity, elegance, and emotion all at once. In that sense, its panoramic view of the road ahead still feels remarkably clear. *** [EKA | FROM VARIOUS SOURCES | AUTOMOTIVEMASTERPIECES | CLASSIC-TRADER ]
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Rare Rage - There was a time in the 1960s when European sports cars were locked in a battle for both speed and style. The Porsche 911 had just arrived, instantly redefining what a performance road car could be. But while the German icon took the spotlight, a man named Carlo Abarth—famous for transforming small Fiats into fire-breathing machines—was not about to sit quietly in the shadows. His response came in the form of one of the most fascinating yet little-known creations in automotive history: the Fiat Abarth 2000 OT America coupe.
The Fiat Abarth 2000 OT America Coupe was created to be a rival to the Porsche 911, one that was lighter, wilder, and brimming with Italian character which was originally aimed at the American market. (Picture from: VintageLife in Facebook)
Carlo Abarth’s idea was simple but bold—create a rival tothe Porsche 911, one that was lighter, wilder, and brimming with Italian character. The addition of the word “America” to its name was no accident. At that time, the United States was the biggest and most lucrative sports car market, and Porsche had already gained a foothold there. Abarth wanted his car to be seen as a direct competitor, not just in Europe but also overseas, and giving it the name *America* was a deliberate move to capture attention in that vital market. It also helped set the car apart from other OT or 'Omologato Turismo' models in Abarth’s lineup, giving it an international identity and emphasizing its ambition.
The Fiat Abarth 2000 OT America Coupe helped set the car apart from other OT or 'Omologato Turismo' models in Abarth’s lineup, giving it an international identity and emphasizing its ambition. (Picture from: Jalopnik)
What makes this story even more incredible is the rarity of the car. In 1966, only three examples were originally built, and all of them were quickly spoken for: one went to a young Niki Lauda, another to a Japanese collector, and the third to a buyer in Switzerland. Despite the immediate demand, the project stalled almost as quickly as it began. Each car cost about $3,000 more to produce than a 911T sold for in the United States at the time, which made the program financially unsustainable. So Abarth, known for his pragmatism as much as his passion, shut it down.
The Fiat Abarth 2000 OT America Coupe ultimately totaled just four units after the 1967 continuation, ending production entirely and becoming one of the rarest cars ever to wear the scorpion badge. (Picture from: MyCarQuest)
But the story didn’t end there. Two years later, Belgian enthusiast Guy Moerenhout decided to keep the flame alive. With Abarth’s blessing and access to leftover parts and original blueprints, he constructed a continuation model in 1967 for collector Leo Aumüller. This was not a copy but rather an authentic extension of the original vision, carrying all the DNA of Abarth’s daring concept. With that car, the total number of Fiat Abarth 2000 OT America coupes built came to just four. Production stopped completely after this continuation, making the model one of the rarest creations to ever wear the scorpion badge.
The Fiat Abarth 2000 OT America Coupe evolved from a modest Fiat 850 shell into an aggressive little rocket with flared arches, extra hood intakes, and a stance ready to attack the road. (Picture from: MyCarQuest)
The car itself was a masterclass in transformation. Underneath, it began life as a humble Fiat 850 Coupe body shell. By the time Abarth was done, though, it looked like something entirely different—an aggressive little rocket with flared wheel arches, extra air intakes carved into the hood, and the kind of stance that made it seem permanently ready to attack the road. Imagine seeing such a car in the mid-1960s, when many coupes still looked tame; this machine was nothing short of radical.
The Fiat Abarth 2000 OT America Coupe powered by a 2.0-liter, twin-cam, four-cylinder engine producing around 175 to 185 horsepower. (Picture from: MyCarQuest)
Beneath the sculpted bodywork sat the real magic: a 2.0-liter, twin-cam, four-cylinder engine producing around 175 to 185 horsepower. That may not sound like much in today’s world of turbocharged supercars, but paired with a featherweight chassis—just 710 kg—it was explosive. Reports from the time claimed a top speed of 248 km/h (155 mph), numbers that placed it right in line with, and in some cases ahead of, its German rival. It was a car that could embarrass a Porsche 911 on a back road and even take on a Corvette for good measure. The phrase “911s for breakfast, Corvettes for lunch” wasn’t just marketing bravado—it was a reality for this tiny Italian missile.
The Fiat Abarth 2000 OT America Coupe evolved from a modest Fiat 850 shell into an aggressive little rocket with flared arches, extra hood intakes, and a stance ready to attack the road. (Picture from: ConceptCarz)
What makes the Fiat Abarth 2000 OT America coupe so captivating today is not just its speed, but its rarity. With only four examples ever produced between 1966 and 1967, it is a unicorn in the automotive world. It represents a moment when passion pushed boundaries, even if practicality pulled them back. Carlo Abarth wasn’t afraid to dream big, even if the market wasn’t ready to reward him for it. The car stands as proof that innovation often comes from risk-takers who refuse to settle for the ordinary. | BqdcMZQFWYA |
More than fifty years later, the OT 2000 America continues to turn heads, not just as a rare collector’s gem but as a reminder of what happens when creativity and determination meet. It may not have outsold the Porsche 911, but it carved its own place in history as one of the boldest and rarest little coupes ever built. And for anyone lucky enough to see one in person today, it still carries that same mischievous grin—a car built not for balance sheets, but for pure, unfiltered joy. *** [EKA | FROM VARIOUS SOURCES | MOTORTREND | MYCARQUEST | JALOPNIK | VINTAGELIFE IN FACEBOOK | CONCEPTCARZ ]
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Racing Masterpiece - There’s something magical about cars that came out of the golden era of motorsport. They weren’t just machines built for speed; they carried the spirit of craftsmanship, ambition, and a relentless desire to push the boundaries of engineering. Among the legends born in that era, few can rival the mystique of the 1964 Ferrari 275 GTB/C Speciale by Scaglietti—a car that was created not just to race, but to write its own chapter in Ferrari’s history.
The 1964 Ferrari 275 GTB/C Speciale by Scaglietti—a car that was created not just to race, but to write its own chapter in Ferrari’s history. (Picture from: Motortrend)
In the early 1960s, Ferrari was facing a turning point. The 250 GTO, already an icon in endurance racing, had reached the limits of its dominance. Ferrari looked ahead with the radical mid-engined 250 LM, but rules and homologation challenges meant the car couldn’t be approved for GT racing in 1964. The solution was twofold: update the 250 GTO for one more season and develop something new based on the 275 GTB road car. Out of that challenge emerged the 275 GTB/C Speciale, a car built in incredibly small numbers yet carrying the soul of Ferrari’s racing heritage.
The 1964 Ferrari 275 GTB/C Speciale by Scaglietti was the very first of only three ever built, debuting as chassis number 6701 in a striking silver-and-gray finish that highlighted Scaglietti’s masterful aluminum craftsmanship. (Picture from: RobbReport)
Only three of these Berlinetta Competizione machines were ever created between late 1964 and early 1965. Each one was unique, carefully designed to be lighter, faster, and more agile than the road-going 275 GTB. The first car to roll out was chassis number 6701, a dazzling silver-and-gray beauty that showed off the clean lines and timeless elegance of Scaglietti’s hand-formed aluminum work.
The 1964 Ferrari 275 GTB/C Speciale by Scaglietti was built in just three examples, each uniquely engineered to be lighter, faster, and far more agile than the standard road-going 275 GTB.(Picture from: RobbReport)
Another example, chassis number 6885, achieved fame at the 1965 24 Hours of Le Mans by finishing first in the GT class and third overall—an extraordinary result for a front-engined car during an era when mid-engined racers were rising to dominance. This same car was later acquired in 1970 by collector Preston Henn, who meticulously restored it and displayed it as part of his celebrated supercar collection in Fort Lauderdale, where it remains admired as a true work of automotive art.
The 1964 Ferrari 275 GTB/C Speciale by Scaglietti features an interior trimmed in genuine leather and offers a more spacious cabin than the standard 275 GTB.(Picture from: RobbReport)
What made the 275 GTB/C Speciale so extraordinary wasn’t just its rarity, but the way every detail was engineered with performance in mind. The aluminum bodywork was crafted to be thinner than the panels of the standard road cars—so thin, in fact, that they were prone to denting at the slightest touch. The chassis itself was reimagined with lighter tubing, reducing weight by nearly 300 pounds compared tothe standard 275 GTB.
The 1964 Ferrari 275 GTB/C Speciale by Scaglietti powered by a reworked 3.3-liter V12 engine, armed with six Weber carburetors and capable of producing 315 horsepower—nearly 70 more than the road car. (Picture from: RobbReport)
Beneath the long hood sat a reworked 3.3-liter V12 engine, armed with six Weber carburetors and capable of producing 315 horsepower—nearly 70 more than the road car. It wasn’t just about power, though. The car featured double-wishbone independent suspension at all four corners and four-wheel disc brakes, giving it the agility and stopping power to match its raw speed.
The 1964 Ferrari 275 GTB/C Speciale by Scaglietti bridges two eras of Ferrari racing, carrying the spirit of the 250 GTO while pointing toward the innovations that would define the mid-engined era.(Picture from: RobbReport)
There’s a certain poetry in how this car bridges two eras of Ferrari racing. On one side, it carries the spirit ofthe 250 GTO—a front-engined warrior built for endurance and beauty. On the other, it points toward the future of Ferrari engineering, hinting at the innovations that would define racing in the mid-engined era. Yet the 275 GTB/C Speciale stands apart, not overshadowed by its predecessors or successors, but celebrated as a singular creation that dared to exist against the odds. | k4KEs6KV_cA |
Today, almost six decades later, the 1964 Ferrari 275 GTB/C Speciale is more than just a collectible—it’s a reminder of how ambition can shape legends. With only three ever built, and one carrying a race result that remains unmatched, it’s a masterpiece that reflects both artistry and engineering genius. For car lovers, it represents the perfect intersection of beauty, rarity, and performance. And for Ferrari, it remains one of the brightest jewels in a crown already filled with icons. *** [EKA | FROM VARIOUS SOURCES | MOTORAUTORITY | MOTORTREND | ROBBREPORT ]
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Aero Brilliance - There’s something magical about the way early racing prototypes captured the imagination of an era—when every curve, every bolt, and every drop of fuel carried the dreams of innovation. Among the many brilliant ideas that roared through the 1960s, few represented French ingenuity quite like the Panhard CD. It wasn’t just another sports car—it was a daring statement by engineer Charles Deutsch, who set out to prove that aerodynamic design and clever engineering could outshine raw horsepower.
The Panhard CD was a daring statement by engineer Charles Deutsch, who set out to prove that aerodynamic design and clever engineering could outshine raw horsepower.. (Picture from: Les Belles Mécaniques d'hier et d'aujourd'hui In Facebook)
After parting ways with his long-time collaborator René Bonnet in 1961, Deutsch joined forces with Panhard, a brand already known for its quirky yet technically advanced vehicles. What emerged from this partnership was the Panhard CD, a sleek, lightweight coupe designed not just for speed, but for efficiency. Beneath its futuristic curves lay a humble 1,100cc air-cooled twin-cylinder engine—tiny by racing standards—but what the CD lacked in displacement, it made up for in brains. The body was shaped like a drop of water, its long, tapering tail minimizing drag to levels that even modern designers would admire.
One of the most captivating representations of this engineering achievement is the 1962 Panhard CD built as chassis number 108. (Picture from: BringATrailer)
The results were astonishing. In 1962, a similar model stunned the racing world at Le Mans by winning its class, finishing 17th overall, and taking home the coveted “Index of Performance” award. That recognition wasn’t about brute speed—it was about balance, endurance, and efficiency. Averaging more than 143 km/h with such a small engine, the CD proved that intelligence could indeed triumph over sheer muscle.
The Panhard CD brochure outlines the car’s technical specifications in detail, capturing the innovative engineering and purpose-built character behind its creation. (Picture from: BringATrailer)
One of the most fascinating examples of this engineering marvel isthe 1962 Panhard CDwith chassis number 108. This very car was the first of its kind, created as a showpiece for the Paris Auto Salon. There, it drew remarkable attention—reportedly gathering around 800 purchase requests from visitors captivated by its futuristic allure. But its story didn’t end under bright exhibition lights. It later served as one of the cars presented to the FIA for homologation, solidifying its link to the legendary Le Mans racing program.
The Panhard CD carries the same blend of simplicity and precision that defined 1960s race cars, presenting it all with a purposeful clarity that reflects its lightweight racing spirit. (Picture from: BringATrailer)
Its owner, André Guilhaudin, had a deep personal connection to the car’s legacy. Guilhaudin was one of the brave drivers who piloted a similar CD to victory at Le Mans in 1962. When he acquired this chassis in 1995, much of the restoration work had already begun, including repairs to the delicate plastic body. He later had the car refinished—its French Racing Blue coat shining brilliantly, whether or not it matched the original hue. What mattered most was that the spirit of the CD had been preserved.
The Panhard CD powered by the advanced Panhard M10S engine, featuring aluminum timing gears, balanced pistons, and upgraded valves. (Picture from: BringATrailer)
Inside, the car carries the same blend of simplicity and precision that defined 1960s race cars. Guilhaudin had custom bucket seats made to fit his driving position, allowing him to handle the lightweight machine with comfort and control. The original seats were carefully stored for restoration, along with a rare CD dual carburetor setup and a gearbox with longer ratios—details that highlight just how much thought went into this small but mighty racer.
The Panhard CD, finished in a brilliantly shining French Racing Blue that may or may not mirror its original hue, ultimately stands out because its true spirit has been faithfully preserved. (Picture from: BringATrailer)
Mechanically, the car is powered by the advanced Panhard M10S engine, featuring aluminum timing gears, balanced pistons, and upgraded valves. Even the exhaust and front axle have been meticulously renewed. These twin-cylinder engines, despite their modest size, were technological gems—featuring roller bearings and torsion valve springs, innovations that gave them a character all their own.
The Panhard CD is shown from a rear three-quarter view while on display at the Festival Automobile International 2011, highlighting the elegance of its long-tail aerodynamic shape. (Picture from: Wikipedia)
With its aerodynamic body boasting an incredible drag coefficient as low as 0.12 in race form—a figure that still amazes engineers today—the Panhard CD remains a marvel of efficiency and design. Weighing only about 1,200 pounds, it embodied the purest philosophy of motorsport: to do more with less. | gSd7DCIzkl4 |
Today, this prototype stands not only as a piece of racing history but also as a reminder of what creativity can achieve when guided by purpose and passion. Whether seen gliding around a vintage circuit or admired in a museum, the Panhard CD continues to whisper the same message that Charles Deutsch believed in over sixty years ago: that great ideas, no matter how small the engine behind them, can travel farther than anyone dares to imagine. *** [EKA | FROM VARIOUS SOURCES | CLASSICDRIVER | CARJAGER | BRINGTRAILER | ARTCURIAL | WIKIPEDIA | LES BELLES MECANIQUES D'HIER ET D'AUJOURD'HUI IN FACEBOOK ]
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More than fifty years later, its bubble canopy and sharp geometry still look alien, almost new. It remains a perfect symbol of the moment when car design flirted openly with fantasy, when the imagination of a man like Giugiaro could transform a simple sedan platform into a vision of the future. The Alfa Romeo Caimano didn’t just push boundaries—it dissolved them, leaving behind one of the most captivating what-ifs in automotive history. *** [EKA | FROM VARIOUS SOURCES | MUSEOALFAROMEO | ITALDESIGN.IT | TOPGEAR | STORY-CARS | CLASSICBLOG.CZ | WIKIPEDIA ]
