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The Vistotal System by Carrozzeria Castagna

The beginning

At the end of 1937, at the Milan Motor Show, Carrozzeria Castagna exhibited a cabriolet which featured a windshield which was erected from the dashboard without any side posts. This revolutionary system born beyond the Alps was called “Vutotal”.

The Vutotal was patented by the French engineer Joseph Vigroux and tested by the Parisian coachbuilder Jean Henri-Labourdette in 1935, it was called “Vutotal” as a synchrase of vue totale (in english “total view”).

Starting in 1939, after solving some legal and commercial issues, Carrozzeria Castagna bought the exclusivity of the patent which was renamed “Vistotal” (which sounds more Italian), and officially began the delivery of cars with this new windshield system.

The system

Back in the 30’s, it was a common problem that the windshield frame obstructed the driver’s visibility. Creating such a windshield was unthinkable at the beginning of the century, but thanks to the progress made by the glass industry at the end of the 1930s, it was finally possible to adopt this kind of solution. According to Commendatore Castagna, the Vistotal system was the most elegant and convincing solution to overcome the issue of poor visibility while driving. 

Instead of the normal windscreen glass, a much thicker one was used – usually from 12 to 15 millimeters thick (depending on the size of the car). It was mounted without uprights, and was only supported by patented steel clamps housed within the dashboard where the sheet of glass penetrates about 15 cm.

Photo courtesy of Museo Nicolis

The “Vistotal” patent mainly consists of these plate support attachments which, while allowing it a certain independence from the vibrations of the car, keep it integral with the bodywork.

The conformation of this connection and the thickness of the sheet of glass offer the widest guarantee of strength and resistance to any impact.

On the cabriolet models, the attachments to secure the roof when it is raised are placed at the upper edge of the windshield, while on the closed models the roof forms a single body with the bodywork through the glass itself.

Fiat 1400 Coupé Vistotal at the 1950 Turin Auto Show

The adoption of the “Vistotal” also makes it possible to eliminate the frames of the side windows in convertible cars, allowing them to be made of a single piece and conveniently shaped so that the front line fits perfectly with the inclination of the windshield, when the window is raised. The width of the large front glass is calculated so that it protrudes a couple of centimeters beyond the lateral one. The two glass pieces do not naturally come together hermetically with one another but the gap that remains between them is minimal, if not imperceptible. In any case, the greater width of the windshield creates, with the speed of the car, an air gap in the corner between the two windows – a void which, while absolutely preventing the entry of rain even in the most adverse conditions, favors the exchange of air inside the car, so much so that even in the middle of winter, the adoption of the well-known thermal visors on this windshield was useless, even with the usual systems to avoid fogging.

Fiat 1100 E Cabriolet Vistotal
Photo courtesy of Museo Nicolis.

As you can see, there are many advantages offered by the adoption of the “Vistotal” – among these is significant weight saving of around fifty kilos. The Vistotal models of Carrozzeria Castagna usually were offered with matching interior details such as the steering wheel and handles made from plexiglass – carrying on the “glass theme”

The decline

Although this system was used by Castagna on his creations in the late 1930s, it was actually first adopted in France even on luxury buses. The first experimental application was on the body of a Delage D6-70. Subsequently, the system was used by French coachbuilder Labourdette for realizations of open cars, among which the famous Rolls-Royce Phantom III Labourdette Vutotal Cabriolet is particolary memorable.

The Chrysler Norseman by Ghia

The Vistotal system was definitively abandoned in the early 50s, due to the high costs and the complexity of the fixings, moreover it was not particularly appreciated by the public. Similar systems were used by Carrozzeria Ghia in 1956 for the creation of the Chrysler Norseman showcar, a project followed by Sergio Coggiola’s team who, a few years earlier, had also designed the windshield of Carrozzeria Fontana’s Ferrari 212 Inter “Uovo”.

The rebirth?

Inspired by the Vistotal patent, Carrozzeria Castagna has presented in 2019 a project based on the Porsche Panamera in which the traditional doors have thus left room for a single carbon fiber door with vertical opening: the sides thus adopt a single glazed surface that improves visibility and accessibility. 

To best integrate this element into the original design, a hollowed out part has been provided in correspondence with the air vent of the front fender, underlined by the iridescent paint in two colors of the entire side. The single retractable handle is activated by touch and the lock is servo-assisted, it is also possible to control the door remotely.

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Prince Skyline Sport Allemano

The end of World War II left Japan in a difficult position, having to transition its industries from military production to civilian use. This challenge was particularly tough since Japan, like Germany and Italy, was a defeated nation. However, Japan’s ability to adapt would set the stage for one of the most exciting collaborations in automotive history.

Among the companies responsible for this transformation were Tachikawa and Nakajima, two of Japan’s leading aviation companies. Tasked with shifting to civilian production, Tachikawa (later known as Tokyo Electric Cars) began building electric cars in 1947. Their first model, the Tama, was followed by a slightly larger Junior, and eventually, the Senior.

In the early 1950s, Japan’s evolving automotive landscape saw a shift from electric-powered cars to gasoline engines. By the end of 1951, the Tama Senior was fitted with a 1.5-liter petrol engine, a shift that led to the creation of the Prince Sedan in 1952. This was the beginning of Prince Motor Company, which was named in honor of the official investiture of Crown Prince Akihito.

In 1954, Fuji Precision Machinery (formerly Nakajima) acquired Prince Motor Company and embarked on producing automobiles under the Prince brand. This marked the beginning of a new chapter in Japan’s automotive history.

The Birth of the Skyline and the Search for European Inspiration

By the late 1950s, Prince Motor Company had gained recognition in Japan for its innovative vehicles, such as the Prince Sedan and the Skyline (introduced in 1957). However, the company sought to take their vehicles to a new level—focusing on luxury, performance, and innovation. To do so, they looked westward, to Europe, for inspiration.

Europe was home to some of the most prestigious automotive brands, and Fuji Precision Machinery executives wanted a vehicle that could rival the best of Europe. This aspiration led them to Italy, where they arranged a pivotal meeting at the Salone dell’Automobile (Turin Motor Show) with Carrozzeria Allemano, a respected coachbuilder with ties to Italian designer Giovanni Michelotti.

The collaboration between Japan and Italy led to the creation of the Prince Skyline Sport, a car that would redefine the trajectory of Japan’s automotive design. This groundbreaking partnership merged Japanese engineering with Italian artistry, setting a new standard for style and innovation. The success of this collaboration inspired other Japanese manufacturers to partner with Italy’s legendary design houses, creating some of the most iconic vehicles of the 1960s.

Mazda, for example, worked with Bertone, enlisting the renowned Giorgetto Giugiaro to design the Familia, a compact car that skillfully blended European elegance with Japanese practicality. In 1963, Daihatsu teamed up with Vignale to produce the Compagno, along with its sporty variants: the Sport Spider and Coupé; which reflected a uniquely Italian flair. The following year, Pininfarina collaborated with Datsun to craft a sleek new look for the Bluebird, a move that helped the car gain global recognition. By 1965, Isuzu joined forces with Ghia to design the Bellett II, a concept car that showcased bold and forward-thinking design elements.

These partnerships went beyond aesthetics; they helped establish a global identity for Japanese automakers. By working with Italy’s most respected design houses, Japanese manufacturers gained fresh perspectives on styling while enhancing their reputation for innovation and quality. These collaborations not only transformed the appearance of Japanese cars but also elevated their appeal to international markets, leaving a lasting impact on the industry.

A Handcrafted Masterpiece

Under the direction of Giovanni Michelotti, one of Italy’s most respected automotive designers, the Skyline Sport would be an example of high-end craftsmanship. Initially, the first series of prototypes were built by Carrozzeria Allemano, known for its hand-built bodies. Later, a second series of production would be completed by Carrozzeria Michelotti, adding the final touch to this luxury vehicle.

The Skyline Sport was designed as a two-door coupe with sleek, flowing lines and a sporty yet elegant appearance. Michelotti’s design incorporated canted headlights, angled downward at the inside corners—a feature seen in other high-end vehicles like the Lincoln Continental and Buick during the late 1950s and early 1960s.

At the heart of the Skyline Sport was a 1.9-liter GB-4 engine that generated 94 horsepower, giving it a top speed of 150 km/h. Despite weighing in at 1,350 kg, the car’s handling was remarkably smooth, thanks to a double-wishbone front suspension and a De Dion rear axle, technologies that were innovative for its time.

The Prince Skyline Sport: A Bold Statement

The Skyline Sport debuted at the 1960 Turin Motor Show, where it garnered international attention for its bold design and luxury features. Available in both a coupe and a convertible version, it was a striking example of Italian design combined with Japanese engineering. Its clean lines, striking front grille, and eye-catching details made it a standout at the show.

But its beauty was more than skin deep. The Skyline Sport was a car that delivered in terms of both aesthetics and performance. With its meticulously crafted body, luxurious interior, and advanced suspension, the car offered an exceptional driving experience that rivaled the finest European vehicles of the era.

The Prince Skyline Sport made its official appearance in Japan at the 1962 Tokyo Motor Show, where it was met with great enthusiasm due to its elegant lines and striking design. With its sleek coupe and convertible versions, the car showcased a perfect blend of Italian craftsmanship and Japanese engineering, captivating the crowd with its sophisticated aesthetic. However, the Skyline Sport came with a hefty price tag of 1.85 million yen, more than twice the cost of a standard sedan. This steep price limited its appeal in Japan’s domestic market, making it a rare and exclusive collector’s item. Despite its high price, the car gained significant exposure through its prominent feature in Toho films, strategically marketed to heighten its status as a luxury icon.

A Historic Collaboration and Legacy

The Prince Skyline Sport is historically significant as the first collaboration between an Italian designer and a Japanese automaker, setting a precedent for future cross-cultural partnerships in the automotive world. It was a testament to the universal appeal of Italian design and the skill of Michelotti and Carrozzeria Allemano. The Skyline Sport bridged cultural and geographical boundaries, bringing together the best of both worlds to create a truly exceptional car.

Though the Skyline Sport never achieved high sales numbers, with only 60 to 200 units produced, its impact on the automotive industry cannot be overstated. It paved the way for later models like the Skyline GT-R and helped establish the Prince Laurel, another model that would become iconic in Japan.

The Skyline Sport also marked the beginning of Prince Motor Company’s shift toward luxury vehicles. This emphasis on quality and refinement would continue after Nissan’s acquisition of Prince Motors in 1966, with the Skyline Sport serving as a precursor to future generations of luxury cars from Japan.

The Prince Skyline Sport was more than just a car—it was a statement of innovation, craftsmanship, and the power of international collaboration. The partnership between Giovanni Michelotti, Carrozzeria Allemano, and Prince Motor Company created a vehicle that showcased the best of both Italian design and Japanese engineering.

Though limited in production and availability, the Skyline Sport remains an important part of automotive history. It stands as a symbol of the potential for global partnerships to create groundbreaking designs, and its legacy continues to inspire the automotive world today.