mardi 31 juillet 2012

«Louis'» Designs for Packard

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«Louis'» drawing from 1960 for a new Packard

«Louis'» fascination with the Packard Motor Car Company goes back to age two. This fascination has an unusual origin. In 1949, «Louis'» father, who was a 23 year old college student and by no means earning a comfortable living, managed to buy a 23rd series Packard Deluxe Eight Touring Sedan, finished in Sylvan Green metallic. Packards, even the relatively downmarket Deluxe Eight models, were cars driven by doctors and bankers, not college students with young families. (The title "banker" meant something then...)

One day, «Louis'» parents packed him and his infant sister in their new Packard and drove from their home in Lubbock, Texas the seventy some miles north to his maternal grandparents home in Tulia. On the return trip, just north of Lubbock, they were hit head-on by a drunk driving a large truck with a drilling rig mounted on it. Packards were heavy and substantial cars, but no match for a truck fitted with a drilling rig. In those days, only a few cars were fitted with seat belts. Seat belts were optional on Packards but were not mandatory for the industry. Young «Louis» was standing in the front seat between his parents when the truck hit the Packard.

The hood of the car was sheared off in the impact. Young «Louis» was thrown through the windshield and landed on the engine. Aside from the burns he suffered from hitting the hot engine block, the windshield cut his abdomen severely. Safety glass had not been introduced to the auto industry in 1949. It took more than 300 stitches to close «Louis'» abdominal wounds.

And THAT, ladies and gentlemen, was «Louis'» introduction to Packards...

The wrecked Packard was replaced by a navy blue 1948 Plymouth.

When «Louis» was two years old, his father bought a 23rd Series Packard Deluxe Eight Touring Sedan, finished in Sylvan Green Metallic.

Somehow, young «Louis» knew the wounds he received flying through the windshield of that Packard was not the fault of the car, and never disliked Packards as a result. «Louis», even as a little boy, has always been a "car nut". By age four, he could tell you the make and often the year of any car pointed out to him. He remembers very clearly father taking him into the service department of Kiker's, the Packard dealer in Plainview, Texas, where the family was living in 1951. «Louis» remembers noticing the contrast between the dumpy styling of the 48-50 Packards in contrast with the handsome pre-war and immediate post war Packard Clippers.

1947 21st Series Packard Clipper Touring Sedan - then, as now, a more elegant design than the dumpy "upside down bathtub" Packards of the 22nd and 23rd Series produced from 1948 - 1950.

In other Packard posts, «Louis» has recounted that:
• The "pregnant elephant" Packards of 1948-1950 were replaced in 1951 by John Rinehart's fine design
• James Nance became president of Packard in 1952
• Richard Teague's arrival as head of Styling about the same time Nance came to Packard
• Packard's purchase of Studebaker in 1954 as part of becoming American Motors, the completion of which was nixed by George Romney, Mitt's father
• Nance's struggle to save Packard
• Teague's masterful restyle of the Rinehart design for the 1955-1956 Packards
• The Packard Predictor show car was a marker both for the Nance-Teague plans for 1957 and for the industry as a whole because of its innovative features
• «Louis» saw the Predictor at the Texas State Fair in 1956 - and he has never forgotten it
• The sad end of Packard when Nance couldn't get the financing to launch the new 1957s
1951 Packard Patrician 400 Touring Sedan, designed by John Rinehart

1955 Packard Patrician Touring Sedan, Richard Teague's masterful restyle of the Rinehart 1951 design with Teague's famous "cathedral" taillights.


Although nine year-old «Louis» saw the Predictor in 1956 and knew that the planned - but never built - '57 Packards were to share many of the design features of the Predictor, «Louis» never saw any images of the planned '57s until the early 1990s. This is a segue into relating to his readers «Louis'» first design for Packard when he was 13 years old in 1960.

«Louis» remembers the day in 1956 he learned that Packard would close its Detroit facilities. He was visiting his maternal grandparents in Tulia, Texas and heard the news on the radio. His grandfather had acquired a 1937 Packard three window coupe. «Louis» doesn't recall if this Packard was an eight cylinder 120 or a six cylinder 110, but he remembers that it was metallic green. Upon hearing the news that Packard was closing, he found a can of car wax in the house, gathered some rags and went out and waxed his grandfather's Packard, sobbing about Packard's closure.
«Louis'» grandfather Sarchet had a green 1937 Packard three window coupe similar to this one.


In 1960, «Louis'» family was living in Denver, Colorado. «Louis'» father had lost his job. His mother, a nurse, wasn't working and «Louis» was trying to support the family with the earnings from his Denver Post paper route. He had heard of the Art Center School of Design in Pasadena, California and knew he wanted to become a car stylist. He also knew he wanted to do something more to help his family and he also wanted to see Studebaker revive Packard.

All of these elements combined to inspire «Louis» to design a Packard and try to sell the design to Studebaker. What «Louis» didn't know at the time was how much his design would have resembled a likely facelift of the unbuilt, Predictor-inspired 1957 Packards.
Mock up of the '57 Packard Four Hundred hardtop. «Louis» didn't know until the 1990s how much his design of 1960 resembled the unbuilt '57s.


«Louis» painstakingly wrote out his proposal in a letter to Harold Churchill, president of Studebaker, and mailed it to the Studebaker headquarters at 635 South Main Street, South Bend, 27, Indiana. To his amazement and delight, he got a response from Mr. Churchill and a letter from the legal department for him to sign regarding the sale of his design to Studebaker. He excitedly filled out the form and returned his proposal to Studebaker. He was crestfallen when he got the rejection letter...

«Louis'» design would have made the grille more resemble the classic Packard grille, particularly the early (1941-1942) Packard Clipper and he would have treated the front fenders differently, housing the turn signals in the end of the fenders in a design mimicking the shape of the grille. He would have re-introduced Packard's famous Cormorant hood ornament as well as the sweep spear on the side. But the overall shape of the car, the roofline and his interpretation of the "cathedral" taillights was amazingly like the would-have-been '57s he never saw until he was an adult living in California...

Next week: «Louis» tries again...

lundi 30 juillet 2012

The Parasailer

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Note the people walking on the trails at Albany Point as well as the wake in the water from the parasailer.

dimanche 29 juillet 2012

Série du Pont de Dimanche

Sunday Bridges

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The call of the sea... «Louis» always wonders where the ships are from and where they are going when he sees them under the Golden Gate. He has never sailed on a large ship and would like to take a voyage on one of these freighters to experience the sea. The idea of sailing on a freighter rather than on a cruise ship is more appealing to him. The Lykes Lines used to offer cruises on their freighters on the South American run. «Louis» needs to "Google" that and see if this is still possible... .
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samedi 28 juillet 2012

Weekend Reflections

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A dramatic sunset sky reflects sombre tones on San Francisco Bay as the Golden Gate is robed in fog.



See all the other contributors to James' Weekend Reflections

mercredi 25 juillet 2012

mardi 24 juillet 2012

Fog City

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Ruby Tuesday - a.k.a. Red Card Day at Chez la Vache
will return next Tuesday.

dimanche 22 juillet 2012

Série du Pont de Dimanche

Sunday Bridges

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The Zeppelin Eureka flies in amber skies above the Golden Gate Bridge. Eureka is based at the old Naval Airship Station at Moffett Field in Mountain View, California near San José.
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samedi 21 juillet 2012

Weekend Reflections

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The sun reflects through a break in the fog between Alcatraz Island and the Golden Gate Bridge on San Francisco Bay.



See all the other contributors to James' Weekend Reflections

jeudi 19 juillet 2012

Le dirigeable «Eureka»

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The Zeppelin "Eureka" over the San Francisco Skyline.
Note also the airplane to the left of "Eureka".

mercredi 18 juillet 2012

Mercredi sans mots

Wordless Wednesday
Studies in Blue and Rose
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See all the other participants in Wordless Wednesday
HERE and at Tina's Wordless Wednesday.

mardi 17 juillet 2012

Mardi Rouge

Ruby Tuesday
(a.k.a. Red Car Day at Chez la Vache!)

1960: The XNR Concept Car from Chrysler

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In 1960, Chrysler's now closed Plymouth division was very much a player in the car business, a strong competitor for Ford and Chevrolet in what was then called the low-price field. Chrysler's vice-president of styling, Virgil Exner, had arrived at Chrysler about the same time that Richard Teague had arrived at Packard. Of the two, Exner was the more flamboyant, both in personality and in his design skills. When Exner arrived at Chrysler, their styling was stodgy, especially compared to the flashy cars being produced at GM under styling chief Harley Earl.

Chrysler's stylists had been hampered by Chrysler boss K.T. Keller who insisted that Chrysler's cars be tall enough that a man wearing a hat could enter and exit Chrysler cars without knocking the hat off or having to remove it. In the meantime, GMs cars were becoming lower and sleeker. When Keller was replaced as president of Chrysler by "Tex" Colbert, Exner was brought on board to make Chrysler the industry's styling leader.

During World War II, Exner had worked for Raymond Loewy and Associates, who had a contract with Studebaker. It was the Loewy team that came up the with 1947 "which way is it going" Studebaker and it was Raymond Bourke on the Loewy team who did the fabulous 1953 Studebaker Starliner.

Exner was ambitious and chaffed working under Loewy. Exploiting the fact that some Studebaker people did not like Loewy, Exner and some Studebaker engineers designed their own competing proposal for the '47 Studebaker. Loewy won that battle and Exner was out.

When he landed at Chrysler, one of Exner's first projects was the K-310 "D'elegance" show car, which later inspired Volkswagen's Karmann-Ghia.



Exner launched the craze of putting fins on cars in the 1950s, a craze which lasted into the early 1960s, somewhat timidly with at first with "The Hundred Million Dollar Look" 1955 models, and gave the idea full throat with the "Forward Look" of the 1957 models.

FINS! The "Forward Look" 1957 Chrysler - in this case, the 300 C.


In 1960, Plymouth introduced a concept car designed by Exner - the XNR, a sports car with very asymmetric styling. It was Exner's intent to introduce asymmetrical styling to the 1962 Chysler line, and the XNR was intended, in part, to introduce the idea to the public.

The XNR was built to explore the idea of a driver-centric automobile, but could carry two people. Exner – inspired in part by contemporary Indy cars – meant it to be primarily a single-person monoposto of sorts, leading to its severely asymmetric shape. The driver’s seat sat higher than the passenger’s, which could be covered with a hard tonneau when not in use, and the hoodscoop, gauge cluster, windshield, headrest and stabilizer fin all occupied the driver’s side of the car in a tip of the hat to the excesses of the jet age.


The XNR was powered with a 170-cu.in. slant-six engine from the new Plymouth Valiant compact car. The engine was built to NASCAR specifications with a Hyper-pak intake manifold, four-barrel carburetor, ported cylinder head, high-performance camshaft, and split exhaust. In addition to the engine, the Valiant supplied the chassis for the XNR. Ghia in Italy crafted the steel body. Ghia had built the Predictor for Packard.

Exner wanted the XNR to capable of 150 MPH. In its initial tests, it reached 146 MPH, so a fiberglass nose cone was added that enabled it to hit 152 MPH (perhaps laying the foundation for the Daytona and Superbird a decade later).

Even more remarkable than the XNR itself is what happened to it after it completed the show circuit: Though Exner wanted it for himself, Chrysler sent it back to Ghia to avoid U.S. regulations that would have forced the company to destroy it if it remained in the States. Ghia then sold it to a Swiss businessman, who in turn sold it to Mohammad Reza Pahlavi, the Shah of Iran. By 1969, it made its way to Kuwait, and then in the mid-1970s to Beirut, just in time for Lebanon’s devastating 15-year civil war. Beirut resident Karim Edde, who bought the XNR in the 1980s, said he had to go to great lengths to keep it from being destroyed during the war. As he related the story to RM Auctions:

I hid the XNR in an underground warehouse that seemed safe at the time, but when the conflict became more global, I had to move it to a different location. In fact, the last two years of the war were so bad, I had to move the car many times, to save it from destruction. We had no flatbed trucks, so we used long arm tow trucks to lift the car and put it on a truck and move it around. It was a delicate operation, but we had no choice, we had to move the car to safer locations.

The XNR led to Exner's downfall at Chrysler. As related above, the XNR was intended in part to introduce the idea of asymmetrical styling to the public and the 1962 model lineup from Chrysler was slated to get the asymmetrical look, Exner's next big thing after the fins of "The Forward Look". Almost at the last moment, Chrysler management ordered a hasty restyle of the 1962 models, removing the asymmetrical styling. The influence of the XNR is best seen in the production 1962 Plymouths. The 1962 models bombed in the marketplace and Exner was forced out.

The influence of the XNR is clearly seen in this 1962 Plymouth Sport Fury


The XNR will be auctioned by RM Auctions in mid-August at Monterey, California during the famous Pebble Beach Concours. «Louis» plans to drive the Vachemobile to Monterey, camera with him, to see this car...

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See more Ruby Tuesday entries HERE.

lundi 16 juillet 2012

Études dans bleu et rose

Studies in Blue and Rose
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Early morning light. The Bank of America tower and the Transamerica pyramid frame the left side of this view of San Francisco. The TV transmission tower atop Mount Sutro is at the center. Coit tower is visible in the lower center right.

samedi 14 juillet 2012

jeudi 12 juillet 2012

Les lanternes de Stanford University Hospital

The Lanterns of Stanford University Hospital

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These elegant lanterns are a fine feature of the design of Stanford University Hospital at Palo Alto, California. The pattern in the stonework is derived from an ancient American Indian symbol for good health. The main hospital building was designed by Edward Durrell Stone and opened in 1955.

mercredi 11 juillet 2012

mardi 10 juillet 2012

The Myth Revisited

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In this post in 2010, «Louis» asked you to guess what this car is. As you learned at the time, it is a modern interpretation of a 1934 Packard Twelve that Packard never built, a LeBaron boat tail fastback, built by noted Packard restorer, Fran Roxas.

Roxas, appropriately enough, called his creation the Myth. «Louis» learned that this hand-built car was to be auctioned at Monterey, California on the weekend of the famous Pebble Beach Concours in 2010. So, «Louis» et Mme la Vache drove the Vachemobile to Monterey and were able to see the Myth for real!

The car is stunning. The craftsmanship is simply amazing. The car looks low in the photographs - and it is! It is only 54" high. Anyone over 6' tall would not only have trouble getting in to the car, they would feel rather cramped once inside. Nonetheless, the interior is elegant in its simplicity. It is fitted with a genunie Packard Twelve steering wheel and instrument panel. Custom made fitted leather luggage resides behind the seats.
A genuine steering wheel and instrument cluster from a 1934 Packard Twelve were fitted to the interior of the Myth.

«Louis» was in hopes he would be able hear the engine, but that was not to be. The Packard V-12 displaced 445 cubic inches, but Roxas punched this engine out to 500 cubic inches. Enzo Ferrari admired the Packard V-12 and patterned his own V-12 to a degree after the Packard engine. (The difference being the Packard is a long-stroke engine, designed to produce a lot of torque and silky-smooth operation. Ferrari's design opted for horsepower and high-revs over torque and smoothness.) As a tip of the hat to Ferrrari, Roxas fitted the twelve in the Myth with three two-barrel Weber carburetors as Ferrari used on many of his engines. Roxas also gave the Myth a Ferrari-like exhaust note.
Just as Enzo Ferrari "tipped his hat" to Packard when designing his v-12, Roxas" tipped his hat" to Ferrari by fitting his Packard Twelve with 3 two-barrel Weber carburetors like Ferrari used on his engines and by giving his Myth a Ferrari-like exhaust note.

«Louis'» was quite taken with this car, but he does have some reservations about its execution. As noted in the original post, Roxas had asked the late Strother McMinn, a famed car stylist, to sketch what the LeBaron-bodied car Packard didn't build might look like. (Packard offered a LeBaron bodied Twelve four door dual-cowl Phaeton, a LeBaron boat tail convertible, and a LeBaron fast back coupe - but there was no fast back boat tail body. McMinn's design was true to the Packard concept of sporty elegance in these LeBaron bodied cars. And there's the rub «Louis» has with Roxas' undeniably amazing creation. The Myth was not built true to McMinn's design. Rather McMinn's design was a starting point. As built, the Myth could have been done by a Southern California chop shop, and as such, has more of a hot rod influence, the polar opposite of the sporty elegance Packard's LeBaron-bodied cars achieved. Packards weren't about hot rods. They were about making a quite, bespoke statement that the owner "had arrived"; sporty Packards were Harris Tweed sport coats woven of fine Scottish wool, not Southern California t-shirts and duck tail hair cuts, slicked back with Brylcreem...
A 1934 Packard Twelve LeBaron "boattail" Speedster. In «Louis'» opinion, Roxas erred by not using these proportions on the Myth. These are the proportions designer McMinn sketched out for Roxas.