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The story of Carrozzeria Pavesi

The beginning

In the first post-war period, Ernesto Pavesi (1901-1974), a young carpenter specialized in bodywork, opened a small business: a craft workshop for carriages.

He seemed to immediately understand how these would soon be replaced by the advent of cars and, at the cost of great economic sacrifices, he founded the homonymous body shop in Via Pietro Calvi in ​​Milan.

Piazza Risorgimento & via Pietro Calvi, 1920 ca.

Over the years, he specialized in the construction of commercial vans starting from production vehicles such as the three-speed Fiat Balilla. The remarkable success of vehicle customization also extended to private vehicles. The first wood dashboards were mounted on the Lancia Astura and the Lancia Artena.

The increase in orders led Pavesi, who in the meantime had been joined by his eldest son Gianpaolo, to hire several workers.

With the beginning of the Second World War, the demand for aesthetic finishing and customization dropped drastically and to avoid the bombings of those difficult years, Pavesi moved his workshop to Trecella, near Melzo. Pavesi adapted to the difficult period by dedicating themselves to the repairs of the vehicles of the Armed Forces, the installation of gas-fired systems and some very primitive ballistic protections.

The success

At the end of the conflict, Pavesi returned to Milan opening a new plant in via Mezzofanti. The other two sons, Emilio and Luciano, also joined the new team of Carrozzeria Pavesi. Luciano quickly became the architect and the inspirer of the new course of the Milanese coachbuilder.

Alfa Romeo 1750 Giardinetta Veloce Pavesi

In the 1950s, Pavesi decided to relaunch a trend that was taking hold in production cars in Great Britain: the complete transformation of the interiors of any type of car, inspired by the interiors of Rolls-Royce and Jaguars. The customization included the dashboard, steering wheel, seats and door panels in hand-stitched leather and wood. Air conditioning and a radio was also added at a cost of about 5 million Lire; amazing when you think that the cost of a Mini did not reach one million Lire. Despite this high price, Pavesi produced around 50 such custom Mini speciments.

Due to the limited spaces at the via Mezzofanti headquarters, the body shop was moved to via Luigi De Andreis, its former historic headquarters. Twenty Alfa Romeo 1750s were built here, transformed into wagons (Alfa Romeo 1750 Giardinetta Veloce), about thirty spiders starting from the Grifo coupé of the Iso Rivolta (one was bought by the tenor Mario Del Monaco): many Ferrari Dino and Maserati Indy were transformed in “targa” versions. At that time, the Pavesi body shop employed 38 people, most of them skilled workers. Despite the considerable number of employees, it was not possible to satisfy all the customers needs, as a testimony of the great success of the coachbuilder.

In the early 1970s Pavesi started to produce hard tops for the Ferrari 365 Daytona spider (50 of these for the American market) and sunroof transformations on Maserati Ghibli and Dino Ferrari. In these years there were the first agreements with Alejandro De Tomaso (who owned Maserati), which turned into an industrial collaboration on the DeTomaso-branded cars. All the DeTomaso Longchamp convertibles and the DeTomaso Panthera Targa were transformed by the Pavesi coachbuilder. One of these Longchamp Spider was used in the movie “il bisbetico domato” (1980) with Ornella Muti and Adriano Celentano.

Maserati Longchamp Spider

In the late ’70s and early’ 80s, Italy was hit by a wave of terrorism and kidnappings for the purpose of extortion, and this led Pavesi  to specialize in the construction of armored cars. Among the many we remember the four-door Maserati for the then President of the Republic Sandro Pertini. At the end of the 1980s, Pavesi built special cars for important world personalities. We remember the Range-Rover Cabrio and the Ferrari 400 cabrio made for the Libyan president Gaddafi and for the Arab prince Feisal.

The recent years

In the 90s, the work of customization and transforming exclusive cars (such as the creation of a small series of Ferrari Testarossa cabriolets), was joined by a small production of vintage-looking commercial vehicles, the “Old Pavesi” based on the mechanics and chassis of modern Ford Transits.

In the early 2000s the three Pavesi brothers were joined by some of their children who were lookin for a management that could continue the tradition of the Pavesi brand and at the same time relaunch the production.

Ferrari 550 Barchetta Pavesi

In 2008 the coachbuilder was sold to a consortium of entrepreneurs who laid the foundations for a relaunch, which however did not obtain the desired results and in 2015 it was put into liquidation. In 2017, the brand was acquired by specialists in the sector who customize cars at the specific request of international customers.

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In this exclusive interview, Andreas Scheidl sits down with Michael Robinson, former Design Director at Bertone, to discuss the fascinating story behind the creation of the Alfa Romeo Pandion. This concept car, unveiled in 2010 to celebrate Alfa Romeo’s centenary, became an iconic blend of cutting-edge technology, bold design, and artistic innovation. Robinson shares the challenges of designing a groundbreaking prototype in just four months, the inspirations behind its unique features, and how the Pandion marked a pivotal moment in his career and for Bertone. This is the untold story of how one of the most daring concept cars of the 21st century came to life.

The Alfa Romeo Centenary

In 2009, Bertone was in a very challenging position: there were no projects, no active design team, nothing. The priority was to find an opportunity to restart creativity and the company itself. So, I decided to call a friend, Sergio Cravero, who was then the CEO of Alfa Romeo. It was early October 2009.

I said, “Hey Sergio, how’s it going?” Without hesitation, he replied, “Mike, we’d love for Bertone to design a car to celebrate Alfa Romeo’s centenary.” I was thrilled and immediately responded, “Fantastic! When would you like it?” His answer, however, left me stunned: “For the Geneva Motor Show.”

Geneva was in March, just four months away. I thought it was impossible. When I was director of the Lancia design center, it took us 24 months to develop the Dialogos concept car. I replied, “We can’t do it; four months is far too short for a prototype of this significance.” But the head of the workshop calmly reassured me: “Don’t worry, we’ll make it happen.”

I accepted the challenge and returned to the office to announce the news to the team: “We have an incredible project ahead of us! But there’s one rule: no drawing cars right away. First, we must research.”

The Importance of Research

I wanted my 30 designers to understand the essence of Alfa Romeo: what made its cars iconic, what defined a sports car, and how to envision the future of the brand. Only after this in-depth study could we start designing. This approach allowed us to create something truly original, untainted by preconceived ideas.

One of the tools that inspired us was the use of algorithms. Architects use them to simulate natural growth patterns, such as how plants grow or how trees form. We applied the same concept: we would run the algorithm, analyze the results, and select the most interesting solutions. This method, which today we might call artificial intelligence, was something we were already experimenting with over 15 years ago.

The Pandion’s Aesthetic: A Design Inspired by Nature

For the Pandion’s exterior, we drew inspiration from quartz, creating sharp, razor-like growths and a futuristic, edgy design. For the interior, we turned to the roots of trees, generating organic, almost random shapes that were not dictated by human designers.

The rear of the car, with its intricate lattice of elements, was so complex that it would have been impossible to produce using traditional molding techniques. It was pure sculpture, an unrestrained expression of design.

A Visionary Illuminated Interior

Another unique innovation of the Pandion was its illuminated interior. The seats were made of three layers: a sheet of carbon fiber, an illuminable fabric layer, and a gel layer, with a total thickness of just three centimeters. When the lights were turned on, the cabin glowed in a brilliant, hypnotic pool-blue hue. Amazingly, the film Avatar; which shared a similar aesthetic; came out a year later, but the color felt like a perfect anticipation of its world.

“Transformer” Doors

One of the most spectacular features of the Pandion was its doors. To draw attention at the Geneva Motor Show, we designed a full side-opening system, with doors that extended 3.6 meters high. This meant that, even from a distance, anyone could spot Bertone’s stand simply by seeing those towering open doors.

To make this happen, a complex mechanism was needed: the rear panel had to slide backward to allow the doors to open, which then moved downward in a smooth, robotic motion, reminiscent of Transformers. The workshop engineers, who had worked on the legendary Countach doors, made this extraordinary innovation a reality.

A Special Project

The Pandion was a one-of-a-kind project, full of challenges and innovations. For me, it remains the most exciting car of my career; not only for its design but because it was my first prototype for Bertone and marked the company’s return to the Geneva Motor Show after a two-year absence.

It will always hold a special place in my professional journey and will remain an unforgettable example of the creativity and teamwork that defined that experience.