I'm not particularly a fan of vintage or classic cars, or any cars come to that - they're a fine mode of transport, but if it's not an E-type Jag; it's just a car. The exhibition at the Portland Art Museum, however, intrigued me. It was called The Shape of Speed and it featured nineteen rare streamlined vehicles. These models are shiny and glorious with many Art Deco features and precision details but, as with anything new, they took a while to catch on with the public at a time when people wanted something that looked like everything else.
The concept of streamlining has fascinated people for generations. The years between 1930 and the outbreak of World War II saw rapid advances in the design of aircraft, trains and highways. These changes, along with global events like the 1939 World Fair in New York spurred automotive designers and engineers to create streamlined cars that were aerodynamic, fast, and increasingly fuel-efficient.
The 1934 Chrysler Imperial Model CV Airflow Coupe was miles ahead in safety and strength, and its 'dramatically different shape' was influenced by the fastest railroad locomotives of its time. Unfortunately, however, people purchasing cars wanted something more conservative, and 'its unconventional design was also miles ahead of public acceptance'. Sales figures were 'disappointing'. A less radical and simplified style was brought out the following year, which proved to be 'more marketable to the car-buying public'.
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| 1934 Chrysler Imperial Model CV Airflow Coupe |
"The seventeen cars and two motorcycles in this exhibition were designed without the myriad safety and crash-absorbing constraints that affect the look and form of the modern automobile. The operative charge was that they be sleek and streamlined. We will not see their like again."
The Spirit of Motion, more popularly known as the 'Sharknose Graham' appears to be moving while at rest. Its massive headlights are Art Deco-inspired with elaborately scribed lenses and a squarish-shape that must have encouraged considerable comment in the day. The styling was a complete flop in sales.
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| Graham Spirit of Motion |
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| 1937 Lincoln-Zephyr Coupe |
These automobile designs were organic, with many of them emulating the teardrop shape then considered to be perfect for cheating the wind. The results were brought to life in cars whose startling shapes seemed to invite them to be embraced and caressed. Even if they weren't noticeably faster than their predecessors, they looked fast.
American Paul M. Lewis planned an affordable, lightweight, aerodynamic and distinctive-looking car of the future. The museum catalogue informs me that, 'The Airmobile's independent front suspension was composed of tubular shock absorbers, coil springs and control arms. The odd car's single rear wheel, which was smaller than the two front wheel, was supported by a longitudinal, semi-elliptic leaf spring, a lone trailing arm, and a single hydraulic shock absorber.' No, I don't know what any of that means, but it looks like an inverse Reliant Robin from The Jetsons. And it's bright orange.
This shape of speed found prominence in countless other designs of the period, ranging from the architecture of Streamline Moderne to kitchen appliances, radios, and pencil sharpeners. The automobile, however, became the perfect metal canvas for streamlined design.
The Cord 812 Supercharged is an impressive machine. It was the first American front-wheel-drive car with independent front suspension. New features included hidden door hinges, petrol cap, and headlights (obviously these were visible when they were turned on), rear-hinged bonnet (rather than the side-opening one more usual at the time), and variable speed windscreen wipers.
The most famous feature was the 'coffin nose', a louvered wraparound grille, which came from designer Gordon Buehrig's desire not to have a conventional grille. The supercharged models were distinguished from the ordinarily-charged models by the brilliant chrome-plated external exhaust pipes mounted on each side of the bonnet and grille.
As we've established, when it comes to cars, I'm more interested in the design than the details, and I think this looks pretty distinctive. I'm not alone; in 1996 American Heritage magazine proclaimed it, 'The Single Most Beautiful American Car'. In 2006, the 'Classic Cord' Hot Wheels toy car of the 1960s, a convertible coupe, was one of the most valuable and commanded up to US$800 if still in an unopened package.
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| Cord 812 Supercharged |
The 1938 Mercedes-Benz 540K Streamliner was specially built as a test vehicle for the German branch of the Dunlop tyre company. It was a unique vehicle, used by a US serviceman after the war and then returned to Mercedes-Benz in the 1950s, whereupon its bodywork was removed and most of its mechanical components were taken off and lost. Following the rediscovery of the chassis, restoration technicians at Mercedes-Benz elected to build a new body using traditional methods. Car enthusiasts were suitably enthused.
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| Mercedes-Benz 540K Streamliner |
Motorbikes are often romantic pieces of engineering design - unless they are those ones where the rider sits back like they're in an armchair: those may be comfortable, but they're ugly and don't really seem to be playing the game. This one is glorious - if probably impractical. The Henderson KJ Streamline Motorcycle from 1930 is a one-off, built by craftsman Orley Ray Courtney. The catalogue notes that it had a 'power hammer-formed steel body and a rear end that looked like it belonged on a speedboat.' Probably.
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| Henderson KJ Streamline Motorcycle |
The catalogue notes, 'Chrysler confidently touted the 1941 concept car, the Thunderbolt, as 'The Car of the Future'. Sporting a smooth, aerodynamic body shell, hidden headlights, enclosed wheels, and a retractable, one-piece metal hardtop (an American first), the roadster was devoid of superfluous ornamentation, with the exception of a single, jagged lightning bolt on each door. It stood apart from everything else on the road, hinting that tomorrow's Chryslers would leave their angular, upright, and more prosaic rivals in the dust.'I think it looks like a liquorice torpedo.
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| Chrysler Thunderbolt |
This 1938 Talbot-Lago T-150-C-SS has lots of numbers and letters in its name, so it must be highly qualified. Or something. Apparently it was the first one of three built with aluminium alloy coachwork and is unique in several ways, thanks to its lightweight body, fold-out front windscreen, and competition-style exhaust headers. It's also pretty and shiny with nice curves and a gorgeous glossy shine.
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| Talbot-Lago T-150-C-SS |
The Bugatti Type 57 Aérolithe is one of my favourite models on the car-walk. Designed by Jean Bugatti, the Aérolithe (French for Meteorite) was a one-of-a-kind model that was built by Bugatti to star at the 1935 London and Paris Auto Salons. After the touring continental show circuit, the one-off Aérolithe disappeared. The one on display is an exact re-creation of the earliest known Type 57 chassis.
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| Bugatti Type 57 Aérolithe |
It may be partially that mint green colour, but it is such a dramatic example of Art Deco styling. It may be reminiscent of luggage or a sofa, but those sloping lines and rivets are glorious. According to the catalogue, 'the avante-garde couple was sensually curvaceous, with a flowing sculptural body that was in marked contrast to the era's square-rigged competitors'. This is not something I would usually say, but just look at that rear end!
Richard Adatto, resident of Seattle, author and expert on pre-World War II French aerodynamic cars wrote, "Joseph Figoni took modern streamlining to the next level by allowing the optimal aerodynamic shape to dictate the styling. Instead of two pontoon fenders that protruded from the car's body, Figoni found a way to incorporate them into the body, heightening the impression of a singular, flowing form."
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| 1938 Delahaye 135M Roadster |
"These sensuous curves are considered the quintessential expression of 1930s luxury European automobiles. Often described as 'rolling sculptures' or 'Paris gowns on wheels', Figoni and Falschi's voluptuous creations were the epitome of Art Deco automobile elegance." It is believed that only eleven of these roadsters were built.
