Mechanical Excess - Progress in the supercar world usually follows a predictable rhythm: more electrification, smarter software, and increasingly complex hybrid systems. Yet every so often, a project appears that seems to ignore the rulebook entirely and instead celebrates the raw drama of internal combustion. That is precisely the spirit behind the ambitious machine being developed by Automobili Rodrigues. The young Italian manufacturer has introduced a bold hyper-grand tourer concept calledthe Berlinetta Veloce, and at the center of the conversation sits an engine so unusual that even the “standard” option already sounds outrageous: a naturally aspirated V12 producing 900 horsepower.
The Automobili Rodrigues Berlinetta Veloce is a bold hyper-grand tourer from the young Italian manufacturer, featuring a naturally aspirated 900hp V12 that already serves as its “standard” engine. (Picture from: SupercarBlondie)
For most performance cars, a 900hp V12 would be the headline feature. Here, it is merely the starting point. Buyers who want something even more unconventional can choose an experimental powerplant known as the Triangolare 18. The name hints at its unusual architecture—“triangolare” means triangular in Italian—suggesting a creative cylinder arrangement rarely seen in automotive engineering. This massive 9.0-liter engine is designed with forced induction from both turbocharging and supercharging, and it reportedly abandons traditional valvetrain components altogether. The result is an extraordinary torque figure of around 1,954 lb-ft, a number so large that it makes the engines of legendary performance cars feel comparatively modest.
The Automobili Rodrigues Berlinetta Veloce features a dramatic coach-built GT silhouette with sculpted bodywork, long proportions, and a cabin blending classic craftsmanship with modern performance ergonomics. (Picture from: HotCars)
What makes the project even more intriguing is the philosophy surrounding it. Rather than pursuing electrification or hybrid assistance, the Berlinetta Veloce doubles down on mechanical intensity. Even more surprising, the car is expected to offer a manual transmission, a rarity in the hypercar world where dual-clutch gearboxes dominate. Visually, the design reflects the same philosophy: a dramatic
coach-built grand tourer silhouette with sculpted bodywork, long
proportions, and a cabin expected to combine traditional craftsmanship
with modern performance ergonomics.
The Automobili Rodrigues Berlinetta Veloce goes far beyond its 900hp V12 base engine by offering the experimental 9.0-liter Triangolare 18—an unusual triangular-layout 18-cylinder with twin forced induction producing about 1,954 lb-ft of torque. (Picture from: SupercarBlondie)
Production is planned to be extremely limited, and depending on configuration, each car could command a price somewhere between five and ten million dollars. Still, the announcement arrives in an era where spectacular digital concepts appear almost weekly. The automotive industry has always had its share of ambitious ideas that never moved beyond renderings, but the barrier to unveiling a futuristic concept is now lower than ever.
The
Automobili Rodrigues Berlinetta Veloce features a dramatic coach-built
GT silhouette with sculpted bodywork, long proportions, and a cabin
blending classic craftsmanship with modern performance ergonomics.(Picture from: SupercarBlondie)
As of early 2026, Automobili Rodrigues has revealed the Berlinetta Veloceprimarily as a design study with astonishing specifications attached. Enthusiasts around the world are already fascinated by the possibility of an 18-cylinder hypercar with a manual gearbox—but the real moment everyone is waiting for is the first time that Triangolare 18 engine fires up and proves that this wild idea can exist beyond the screen. *** [EKA | FROM VARIOUS SOURCES | AUTOMOBILI RODRIGUES | SUPERCARBLONDIE | HOTCARS ]
Note: This blog can be accessed via your smart phone.
Heritage Fusion - Automotive history is full of moments when engineering meets imagination, creating machines that feel larger than the era that produced them. In the 1950s, when European manufacturers were experimenting with lighter materials and sportier designs, one remarkable collaboration quietly produced a car that still fascinates enthusiasts today: the AC Ace Bristol Zagato. Blending British engineering with Italian design artistry, the car emerged as a rare and distinctive evolution of the classic roadster that would eventually inspire the legendary Cobra.
The AC Ace Bristol Zagato blending British engineering with Italian design artistry, the car emerged as a rare and distinctive evolution of the classic roadster that would eventually inspire the legendary Cobra. (Picture from: Carrozzieri-Italiani)
The story begins withthe AC Cars Ace, first introduced in 1953 and built around a lightweight chassis developed by engineer John Tojeiro. Early versions carried a modest two-liter engine, but the model gained new life when a 120-horsepower Bristol engine was adopted after roughly 220 cars had been produced. That upgrade transformed the Aceinto a far livelier machine, sharpening its performance and giving the elegant barchetta-style sports car the kind of pace that made it competitive on road and track.
The AC Ace Bristol Zagato combined the Ace chassis with a lightweight Zagato aluminum body and its signature double-bubble roof, enhancing both aerodynamics and distinctive style. (Picture from: Carrozzieri-Italiani)
The unique Zagato-bodied version came to life through the vision of Swiss AC distributor Hubert Patthey. Convinced that the already capable Ace chassis could become something truly special, Patthey partnered with the Italian design house Carrozzeria Zagato. Their craftsmen reshaped the car with a lightweight aluminum body, dramatically reducing weight while adding unmistakable Italian flair. The design featured Zagato’s signature double-bubble roof, a functional detail that improved headroom and aerodynamics while giving the car an instantly recognizable silhouette.
The AC Ace Bristol Zagato proved its true capability not only through its striking design but also through its performance in competition. (Picture from: Carrozzieri-Italiani)
Beyond its striking appearance, the AC Ace Bristol Zagato proved itself where it mattered most: in competition. The car was originally delivered to Swiss driver John Gretener, who used it in hill climb events around Lake Geneva. Later, it passed into the hands of legendary racer Joe Siffert, who continued to campaign the car in various events and historic races, including the iconic Mille Miglia. Its lighter body and agile chassis made it quick and responsive, qualities that helped it stand out among sports cars of its class. We apologize that a video of the specific car discussed is unavailable, so here is a video featuring the AC Cars Ace instead. | asSt90D_3Bs |
Today, the AC Ace Bristol Zagatoremains a rare and fascinating example of cross-border automotive creativity. Born from British mechanical ingenuity, refined with Italian craftsmanship, and shaped by Swiss racing ambition, it captures the experimental spirit that defined late-1950s sports car culture. Decades later, the car still sparks curiosity and admiration, a reminder that sometimes the most memorable machines are created when bold ideas from different worlds come together on four wheels. *** [EKA | FROM VARIOUS SOURCES | CARROZZIERI-ITALIANI | STORY-CARS ]
Note: This blog can be accessed via your smart phone.
Leadcrafted Legacy - The story of American custom cars often begins with imagination rather than factory blueprints. In the 1950s, car culture in the United States became a canvas where builders reshaped ordinary production vehicles into rolling works of art. Chrome, bold paint, and dramatic bodywork transformed everyday cars into showpieces that captured the optimism of the era. Among the many creations that emerged from this golden age of customization, one machine stands apart for both its ambition and its backstory: the 1957 Chevrolet 210 Custom known as the El Capitola, a remarkable custom built by Sam Barris.
The 1957 Chevrolet 210 'El Capitola' Custom, a remarkable custom built by Sam Barris and become the last full custom project he completed before moving on to an entirely different career in public service. (Picture from: Hagerty)
Originallya standard 1957 Chevrolet 210owned by Don Fletcher, the car soon found its way into the hands of Sam Barris, one of the influential figures behind Barris Kustoms. At the time, Barris was stepping away from the busy custom scene in Los Angeles and settling into a quieter life in northern California, operating from a small home workshop in Carmichael near Sacramento. Although he was gradually leaving the industry, Fletcher’s Chevroletbecame a final opportunity for Barris to apply everything he had learned over years of shaping custom cars. The result would become the last full custom project he completed before moving on to an entirely different career in public service.
The 1957 Chevrolet 210 “El Capitola” Custom featured a dramatically reshaped roof chopped three inches in front and five in the rear, with the B-pillar, badges, emblems, and door handles removed for a sleek hardtop silhouette. (Picture from: Hagerty)
What emerged from Barris’ workshop barely resembled the original Chevrolet that rolled in. The roofline was dramatically reshaped, chopped three inches in the front and five inches in the rear, giving the car a lower, more aggressive silhouette. The B-pillar was removed to create a sleek hardtop profile, while badges, emblems, and even door handles disappeared to smooth the body’s lines. Barris blended parts from several other American cars into the design, incorporating elements from DeSoto, Lincoln, Pontiac, Oldsmobile, and Studebaker. Custom-built details such as unique taillights and sculpted fender skirts further separated the car from its origins. The raised magenta body panels contrasted against the rest of the sheet metal, and in an era before modern fillers, the shaping process relied heavily on traditional lead work—reportedly totaling around 630 pounds.
The 1957 Chevrolet 210 “El Capitola” Custom featured a futuristic interior by renowned upholsterer Eddie Martinez, combining rolled Naugahyde faux leather and gold frieze fabric for a dramatic cabin texture. (Picture from: Hagerty)
Inside, the car carried the same spirit of experimentation and flair. Renowned upholsterer Eddie Martinez crafted an interior that felt almost futuristic for its time. Rolled Naugahyde faux leather combined with gold frieze fabric created a dramatic visual texture across the cabin. The dashboard was chromed for extra sparkle, and the conventional bench seating was replaced with four individual swiveling bucket seats. Perhaps the most surprising detail was a color-matched television mounted in the rear—an almost science-fiction feature in the late 1950s that hinted at the era’s fascination with new technology and luxury.
The 1957 Chevrolet 210 “El Capitola” Custom was powered by its original 265 V8 engine, delivering period-correct performance that matched the car’s bold custom identity. (Picture from: Hagerty)
Completing the car took roughly two years, and once finished it quickly gained attention in enthusiast magazines such as Car Craft and Customs Illustrated. Don Fletcher eventually sold the car in 1961, after which it passed through several owners over the decades. In 2019, collector Tim McMann became its caretaker with a clear philosophy: restore classic customs as closely as possible to the way they were first built. Some modifications added in later years were removed during the process. For instance, the small-block 350 engine that had been installed at some point was replaced with the car’s original 265 V8, which had fortunately survived in storage. | eqRBu9S5K0E |
That careful dedication to authenticity helped return the car to the form envisioned by Sam Barris decades earlier. Today, the El Capitolais remembered not just as an extravagant show car but as a snapshot of custom culture at its most creative. It represents the moment when a skilled builder decided to pour every trick, idea, and artistic impulse into one final project—turning a humble 1957 Chevrolet into a machine that still captures the imagination of enthusiasts many decades later. *** [EKA | FROM VARIOUS SOURCES | KUSTOMRAMA | HAGERTY | CLASSICAL DEPOT IN FACEBOOK | LINA IN FACEBOOK ]
Note: This blog can be accessed via your smart phone.
Alpine Aristocrat - In the golden age of grand tourers, when Europe’s elite measured distance not in miles but in experiences, a handful of cars dared to blend speed with sophistication in ways that still feel magnetic today. Among them stands the Monteverdi High Speed 375 L—a rare Swiss creation infused with Italian artistry and American muscle. It was not merely a luxury coupe; it was a declaration that Switzerland, better known for watches and banking, could craft an automotive statement bold enough to share the stage with Europe’s most celebrated marques.
The Monteverdi High Speed 375 L—a rare Swiss creation infused with Italian artistry and American muscle. (Picture from: Silodrome)
Behind this ambitious project was Peter Monteverdi, a former racing driver turned entrepreneur who launched his automotive venture with remarkable confidence. Barely a year into producing cars under his own name, Monteverdi envisioned a grand tourer capable of rivaling the likes ofMaserati Ghibli, Ferrari 365 GT 2+2, and Aston Martin DBS. The 375 Lrepresented the long-wheelbase evolution of his High Speed series, crafted to offer both high-speed composure and genuine long-distance comfort. Its unveiling at the prestigious Geneva International Motor Show signaled Monteverdi’s serious entry into the upper echelon of the automotive world, positioning his young company alongside established luxury performance brands.
The Monteverdi Highspeed 375 L featured a cabin tailored for refined travel, with high-quality materials, thoughtfully arranged instrumentation, and generous seating that embodied the essence of a classic grand tourer. (Picture from: Silodrome)
The visual identity ofthe 375 Lcame from the celebrated Italian designer Pietro Frua. Frua’s styling was restrained yet expressive, defined by crisp proportions, clean surfaces, and an understated elegance that avoided excess. The longer wheelbase gave the car a poised and dignified stance, enhancing rear passenger space without sacrificing balance. Inside, the cabin was tailored for refined travel: high-quality materials, carefully arranged instrumentation, and generous seating space turned the car into a true grand tourer in the classical sense. Italian flair shaped the aesthetics, while Swiss precision anchored the execution, creating a harmonious duality that made the 375 L feel both artistic and exact.
The Monteverdi Highspeed 375 L featured a robust American V8 engine sourced from Chrysler, delivering the effortless power expected of a top-tier grand tourer in the late 1960s. (Picture from: Silodrome)
Beneath its sculpted bodywork lay a robust American V8 engine sourced from Chrysler, delivering the effortless power expected of a top-tier GT in the late 1960s. This cross-continental engineering choice was deliberate. By pairing dependable American performance with European craftsmanship, Monteverdi ensured the 375 L could offer strong acceleration and reliable cruising capability—qualities essential for a clientele that valued both speed and comfort. It was a car designed not only to be admired under showroom lights but to devour highways with authority and composure.
The Monteverdi High Speed 375 L stands as a rare artifact of 1960s ambition, when independent manufacturers could still challenge giants with vision and courage. (Picture from: Silodrome)
The story of the Frua-bodied 375 L, however, is as intriguing as its design. Monteverdi initially commissioned Frua to build 50 examples, later raising the target to 100 after a positive reception. Financial complications at Frua’s workshop and Monteverdi’s hesitation to fund expanded tooling ultimately meant that justa single 375 Lin this exact Frua specification was completed. A second body found its way to AC Cars, forming the basis of the AC 429. Monteverdi then shifted production to Carrozzeria Fissore in Savigliano, where a redesigned 375 L 2+2 was produced in limited numbers until 1972. Adding further drama, Monteverdi later faced a legal dispute with Frua over design rights—an issue complicated by his own promotional materials openly crediting the Turin-based stylist for the car’s shape. | FcQkKMVf22o |
Today, the Monteverdi High Speed 375 Lstands as a rare artifact of 1960s ambition, when independent manufacturers could still challenge giants with vision and courage. It embodies exclusivity not as a marketing slogan but as an unavoidable reality—born from limited production, cross-border collaboration, and a singular moment in automotive history. More than half a century later, its blend of Swiss engineering discipline, Italian design elegance, and American power continues to capture imaginations, reminding us that true luxury often comes from daring to build something the world has never quite seen before. *** [EKA | FROM VARIOUS SOURCES | CARROZZIERI-ITALIANI | CLASSICDRIVER | BELOWTHERADAR | SILODROME ]
Note: This blog can be accessed via your smart phone.
Solitary Velocity - Ambition has always been the quiet engine behind the world’s most intriguing machines. Long before digital design tools and crowdfunding platforms made experimentation easier, there were individuals who simply decided to build something extraordinary with their own hands. One such story unfolds in the Dutch city of Leeuwarden, where a young and determined Martin van der Velde set out in the mid-1960s to create what he believed could become the lowest sports car on earth. The result of that bold vision was the remarkable 1967 Van der Velde Special.
The 1967 Van der Velde Special. (Picture from: RareCarsOnly)
Van der Velde was not backed by a factory, investors, or even a small team of mechanics. He worked entirely alone, sketching his ideas by hand and turning them into reality piece by piece. As a foundation, he selected the chassis ofthe iconic Volkswagen Beetle, a logical yet clever choice known for its reliability and adaptable platform. From there, everything became deeply personal. There was no catalog ordering of performance parts or outsourcing of bodywork. Each bracket, mount, control, and interior detail was individually fabricated in his own workspace, reflecting a level of dedication rarely seen even in that experimental era of automotive history.
The 1967 Van der Velde Special. (Picture from: en.Amklassiek.nl)
Visually, the Van der Velde Specialstood apart from mainstream sports cars of the 1960s. Its body was shaped into a strikingly low coupe silhouette, emphasizing aerodynamics long before wind tunnels became standard for independent builders. Most of the steel panels were hand-formed, carefully hammered and refined to achieve smooth, flowing lines that gave the car a sense of motion even when stationary. Beneath the sculpted exterior sat a tuned Volkswagen 1500 engine, delivering power through a lightweight structure that balanced agility and mechanical simplicity. Inside, the cabin followed the same philosophy as the exterior—minimalist, functional, and purpose-built—where every component existed because Van der Velde had personally designed and installed it.
Despite reaching the stage of a fully running prototype, the car never entered production and was never publicly showcased. Like many privately built creations of its time, it quietly retreated into obscurity. Stored in a garage on Engelsestraat in Leeuwarden, the Van der Velde Specialremained hidden for nearly four decades. In 2007, Van der Velde briefly awakened his creation, starting the engine after years of silence and confirming that the mechanics still held together. The car was then parked once more, only to resurface later through an online advertisement that caught the attention of Volkswagen specialists Femme de Vries and Sander Marinus. Recognizing its historical and cultural importance, they acquired the car in 2025 and began the careful process of returning it to proper running condition while preserving its originality.
Today, the 1967 Van der Velde Special resonates far beyond its modest origins. In an age dominated by mass production and digital replication, this hand-built coupe stands as a reminder of what individual creativity can achieve. Its flat-four engine runs again, not as a relic, but as a living expression of a young builder’s daring vision from the 1960s. More than just a rare prototype, it represents a moment when passion outweighed practicality and when one person’s determination was enough to shape steel, challenge conventions, and leave behind a machine that still sparks curiosity decades later. *** [EKA | FROM VARIOUS SOURCES | RARE CARS ONLY | EN.AMKLASSIEK.NL | RARE CARS ONLY IN FACEBOOK ]
Note: This blog can be accessed via your smart phone.
Singular Thoroughbred - In the early 1950s, performance cars began to transcend their mechanical purpose, evolving into cultural symbols shaped as much by design as by speed. Ferrari stood at the center of that transformation, blending competition engineering with the artistry of Italy’s finest coachbuilders. Among the most intriguing expressions of this moment is the Ferrari 250 MM Vignale Berlinetta—a singular machine that unites racing pedigree, sculptural elegance, and an unexpected dialogue with fashion illustration.
The Ferrari 250 MM Vignale Berlinetta 0334MM is captured on the streets of Bern, where its elegant proportions are complemented by the distinctive Vignale chromework along the sills. (Picture from: PorterPress)
Developed from the 250 Sport platform, the 250 MMwas engineered for endurance competition, benefiting from a 3.0-liter Colombo V12 and meaningful chassis refinements, including Houdaille shock absorbers that improved stability and road control. Although equipped with a four-speed synchronized gearbox, the car proved notably more manageable than earlier Ferraris, making it competitive yet comparatively composed. The model earned victories on Italian soil and gained early recognition in the United States, where drivers such as Phil Hill helped strengthen Ferrari’s reputation across the Atlantic.
The Ferrari 250 MM Vignale Berlinetta 0334MM mirrors Giovanni Michelotti’s figurino sketches for Luigi Chinetti and the Lily Ann fashion house, echoing its fastback silhouette and distinctive triple side vents. (Picture from: Carrozzieri-Italiani)
Amongthe thirteen 250 MMs bodied by Carrozzeria Vignale, twelve were open barchettas. Only one emerged as a closed berlinetta—chassis 0334MM—designed by Giovanni Michelotti. Its proportions are unmistakably purposeful: a long, low bonnet stretching forward with a subtle central hood scoop, a cabin set slightly rearward, and a gently tapering fastback roofline that flows into a compact, rounded tail. The front fascia features a wide oval grille with pronounced mesh, flanked by integrated round headlamps that soften the car’s competition stance. Along the flanks runs a thin chrome strip that accentuates horizontal movement, while just behind the front wheel arches sit three precisely aligned horizontal air vents—one of the berlinetta’s most distinctive visual signatures.
The Ferrari 250 MM Vignale Berlinetta 0334MM participated in the 1954 Liège–Rome–Liège Rally, completing the demanding event without any recorded mechanical defects. (Picture from: PorterPress)
Those triple vents are not merely aesthetic flourishes. Positioned low and parallel above the rocker panel, they provide functional cooling while reinforcing the car’s balanced, technical character. Unlike many other 250 MM variants, which displayed different vent treatments or none at all, 0334MM’s configuration is specific and identifiable. The interior mirrors this clarity of purpose: focused instrumentation, minimal ornamentation, and a driver-oriented layout that favors engagement over luxury.
The Ferrari 250 MM Vignale Berlinetta 0334MM stands as one of the most significant rediscoveries among early Ferrari models from the 1950s. (Picture from: PorterPress)
Delivered in 1954 to Swiss gentleman racer Karl Lanz, the berlinetta quickly proved its capability by securing a class victory in the demanding Liège-Rome-Liège Rally without reported mechanical trouble. The car later passed to Peter Monteverdi, who campaigned it in hill climbs and rallies before becoming Switzerland’s official Ferrari importer. Over subsequent decades, the car remained within European ownership and has been carefully preserved in a German family collection since the mid-1980s, maintaining both its mechanical integrity and historical character.
The Ferrari 250 MM Vignale Berlinetta 0334MM retains a complete set of matching numbers and carries an exceptional and well-documented history. (Picture from: PorterPress)
What adds another layer of intrigue to 0334MM is its visual resonance with Michelotti’s figurino sketches created during a collaboration involving Luigi Chinetti and the American fashion house Lily Ann. In those illustrations, a fastback berlinetta appears before the Lily Ann boutique, echoing the real car’s oval grille, hood scoop, slender side trim, and—most notably—the trio of horizontal vents behind the front wheels. The drawn version heightens drama and stance for artistic effect, yet its structural cues align strikingly with the physical form of 0334MM. While no archival documentation definitively confirms a direct link between the actual berlinetta and Michelotti’s fashion illustration, the shared design language suggests a compelling visual continuity rather than coincidence.
The Ferrari 250 MM Vignale Berlinetta 0334MM was hidden for years within a factory in Rapperswil, Switzerland, before Rob de la Rive Box loaded it onto a transporter bound for its new owner, Paul F. Schouwenburg in Holland. (Picture from: PorterPress)
In that space between aluminum bodywork and pen-and-ink stylization, the Ferrari 250 MM Vignale Berlinetta emerges not only as a rare competition car, but as a design object capable of crossing boundaries—where engineering precision, coachbuilt craftsmanship, and mid-century cultural imagination briefly converged into one enduring silhouette. *** [EKA | FROM VARIOUS SOURCES | FERRARI | CARROZZIERI-ITALIANI | ULTIMATECARPAGE | POESCHLONCARS | PORTERPRESS ]
Note: This blog can be accessed via your smart phone.
Postwar Sculpture - Progress in the automotive world has often been driven by individuals who dared to think differently, especially in moments of historical transition. In the late 1940s, as Europe rebuilt itself after World War II, engineers and designers became fascinated with aerodynamics, inspired by aircraft technology and the promise of higher efficiency. Within this climate of experimentation emerged the Fiat 1100 Padovan Aerodynamica, a rare and daring interpretation of an already familiar Italian platform.
The Fiat 1100 Padovan Aerodynamica was built by coachbuilder R. Padovan of Pordenone, Northern Italy, on a pre-1953 Fiat 1100 chassis, placing it firmly in the immediate postwar era. (Picture from: WouterBregman in Flickr)
To understand the car properly, the timeline must be clear. The Fiat 1100 name did not originate in 1953. Earlier versions had already been in circulation before and during the war, derived fromthe Fiat 508 C Balilla 1100introduced in the late 1930s. These pre-1953 models used a traditional chassis layout. Only in 1953 did Fiat launcha completely new-generation 1100with a modern unibody construction, which remained in production until 1969 before being replaced bythe Fiat 128. The Padovan Aerodynamicawas built on the earlier, pre-1953 Fiat 1100 chassis, firmly anchoring it in the immediate post-war era.
The Fiat 1100 Padovan Aerodynamica features circular headlamps set within sculpted contours beside a narrow horizontal grille, while a subtle ridge along the hood adds definition and suggests motion even at rest.(Picture from: ElCluBar)
Between 1947 and 1949, coachbuilder R. Padovan of Pordenone, Northern Italy, crafted this remarkable one-off entirely from aluminum. Unlike large industrial manufacturers, Padovan worked independently, shaping the body by hand over the Fiat mechanical base. The completed car debuted in 1949 but never entered production. It remained a single experimental example, a personal vision translated into metal rather than a commercial project.
The Fiat 1100 Padovan Aerodynamica features a compact late-1940s cabin with a metallic dashboard, thin-rimmed ivory steering wheel, and simple analog gauges. (Picture from: ElCluBar)
Visually, the Padovan Aerodynamica is arresting in its purity. The body flows in a continuous teardrop-like curve from nose to tail, with rounded fenders integrated smoothly into the overall form. The front end features circular headlamps set into sculpted contours alongside a narrow horizontal grille opening. A subtle ridge running along the hood adds definition and gives the car a sense of forward motion even when stationary.
The Fiat 1100 Padovan Aerodynamica features a sweeping roofline that flows into an elongated rear with a pronounced dorsal fin, echoing the aerodynamic philosophy of the Tatra T87 and anticipating later motorsport stability concepts.(Picture from: ElCluBar)
From the side, the roofline sweeps dramatically toward an elongated rear section defined by a pronounced dorsal fin. This element recalls the aerodynamic philosophy seen inthe Tatra T87and anticipates stability concepts that would later influence motorsport engineering, including rear aerodynamic solutions used in Formula One. The wraparound rear window blends elegantly into the curved bodywork, while the compact wheels with simple hubcaps reinforce the car’s clean, purposeful stance.
The Fiat 1100 Padovan Aerodynamica features a wraparound rear window that flows into the curved bodywork, while compact wheels with simple hubcaps reinforce its clean stance. (Picture from: WouterBregman in Flickr)
Inside, the cabin reflects a purposeful and almost experimental character typical of late-1940s craftsmanship. The dashboard is compact and functional, finished in a light metallic tone that matches the car’s exterior spirit. A large, thin-rimmed ivory steering wheel dominates the driver’s area, its simple circular horn ring and minimal spokes emphasizing elegance over ornamentation. Behind it sits a cluster of classic analog gauges—clearly arranged and slightly protruding—giving the cockpit a technical, instrument-focused feel rather than a decorative one. | eoENTJKvMT0 |
The seating appears straightforward and supportive, upholstered in dark material that contrasts sharply with the lighter dashboard. The cabin layout feels narrow and intimate, reinforcing the sense that this car was shaped around aerodynamic philosophy rather than luxury. Metal structural elements and exposed simplicity hint at hand-built construction, while the generous glass area allows natural light to enter, preventing the space from feeling confined. Overall, the interior mirrors the exterior’s philosophy: clean, efficient, and driven by function with subtle futuristic undertones. | HMTToNW1TyQ |
As of early 2026, Automobili Rodrigues has revealed the Berlinetta Veloce primarily as a design study with astonishing specifications attached. Enthusiasts around the world are already fascinated by the possibility of an 18-cylinder hypercar with a manual gearbox—but the real moment everyone is waiting for is the first time that Triangolare 18 engine fires up and proves that this wild idea can exist beyond the screen. *** [EKA | FROM VARIOUS SOURCES | AUTOMOBILI RODRIGUES | SUPERCARBLONDIE | HOTCARS ]
