Auto-Biography: The Art Center Years – Have You Designed a Ford Lately?

Last week’s post described a fifth-semester Art Center design assignment involving a domestic automaker investigating the use of a “not invented here” powertrain for use in several of their vehicle lines, in that case General Motors and the Wankel rotary engine, for which it had secured a license.

Under the able direction of Professor Strother MacMinn, teams of two students each developed design studies for potential Wankel-powered GM vehicles, with the end result being full-size side-view airbrush concept renderings, along with smaller-scale detailed package drawings.

Dennis the Menace cartoonist Hank Ketcham supported “MacMinn Day” at Art Center with this illustration.

 

An article in the October 1973 issue of Road & Track magazine, authored by Mac himself, described the design intent for each of our final concepts, suggesting that this new generation of car designers was more than ready to meet the industry’s evolving regulatory challenges with new and exciting styling concepts.

A later Art Center project challenged our readiness to face the inevitable real-world compromises involved in bringing a design concept closer to reality. This time, GM’s cross-town rival, Ford, was the auto industry sponsor. Two Dearborn designers visited the Los Angeles campus to provide us with a design brief, along with multiple-view engineering package drawings of a transversely-mounted Honda CVCC engine and transmission.

The Honda engine that could have powered the Pinto… (globalhonda/en/heritage)

 

Yes, it’s true, as David Halberstam noted in The Reckoning, his exhaustive “master class in navigating the minefields of executive egos” (Amazon). Ford, under the leadership of its then-President, Lee Iacocca, was seriously considering the use of Honda’s clean, modern, and efficient four-cylinder CVCC powertrain in their late-1970s Fiesta subcompact, and potentially in other vehicles as well.

Ford and Nissan, the two automaker subjects of Halberstam’s book, would both endure  further reckonings after its 1986 publication.

 

(Sidebar: Iacocca saw Ford’s potential purchase of Honda powertrains as a way to reduce the cost of developing new small cars for the U. S. market. However, CEO Henry Ford II -who served as a U. S. naval officer in World War II-  rejected the idea, reportedly saying “No car with my name on the hood is going to have a Jap engine inside,” despite the fact that Ford had been importing Mazda compact pickup trucks and selling them as Ford Couriers since late 1971.)

Like our earlier GM-focused project, our design brief envisioned the use of the Honda powertrain in a practical small Ford family car, as well as in a sportier derivative, thus the project’s “Two For the Road”  overall theme. Though most of my early idea sketches have been lost to time over the past five decades, one snapshot depicts a certain future car designer standing behind his one-fifth-scale clay model of a Honda-powered subcompact station wagon. Barely visible on the wall is the requisite sporty car alternative.

A student’s handiwork, a small hatchback wagon and a sporty two-door.

 

(Sidebar II: The head of Art Center’s Industrial Design department in those days was a soft-spoken gentleman named Keith Teter. An ex-Ford stylist, he had been responsible for the exterior design development of the Ford Maverick, and drove a butterscotch-colored (“Freudian Gilt”) example to school on the days he taught Advanced Transportation classes. On one such day, he brought in what was ostensibly one of his early concept sketches for the Maverick. The rendering occupied one corner of the vellum sheet on which it was drawn. After our reverent examination of the sketch, one of our classmates asked Mr. Teter if the production Maverick would have been a bigger car if the sketch had instead been centered on its page. Barely repressing laughter, we waited nervously for Teter’s response. Luckily, he accepted the comment with good grace and a slight smile…)   

Keith Teter in his element at Art Center.

 

Of course, Ford elected to rely on its own resources for small-car development in the 1970s, using its European 1.6-liter four-cylinder as the Pinto’s base powerplant, and dusting off its ancient Falcon platform to underpin the Maverick/Comet compact-car siblings. One can only speculate on how the use of Honda powertrains might have improved the buff-book perceptions of Ford’s ‘70s small cars, to say nothing of their customers’ impressions of quality.

(Sidebar III: Detroit wasn’t hiring new designers when I graduated from Art Center in September 1974 – the Big Three were all reeling from the combined effects of the first energy crisis, a severe economic recession, and the increasingly stringent safety and emissions standards their products were now obliged to meet. I probably would never have been hired by Dearborn anyway, since during my pro forma interview with Ford designer Art Querfeld and one of his colleagues, I presented a few sketches I had done in an attempt at modernizing Ford’s long-lived C-Series cab-over trucks. Leafing through my drawings, I casually ventured my opinion that the C-Series was one of the most antiquated-looking medium-duty trucks on the road. At that point, the second designer- whose name I’ve mercifully forgotten- turned to Art Querfeld and said “Art, you designed that truck, didn’t you?”)

So much for that $725/month salary and those chances for advancement…