Dick Ruzzin’s Personal account of the development of the ’66 Tornado Artwork by Dick Ruzzin
I was new and experiencing my first design program of note. It was
all like magic, as sketches, words and imagination all converged on the
project and influenced what was going on in the studio.
I clearly remember my participation and that of others in the room
which follows. I was really impressed with the management as they
discussed the abstract future of the design, even though it was
incomplete. They apparently trusted that it could be developed into a
solution for a project that we designers had no knowledge of.
The Name: Toronado
The name came from Chevrolet, used on a show car. It was originated by a
designer in Chevrolet. Studio #1, Ira Gilford. He had a conversation
with his father and uncle and developed the name which was then used on a
Chevrolet show car. The roots of the made up name are, TORO (Bull), and
NADO(Tornado). Oldsmobile asked for the name and Chevrolet gave it to
them. Everyone thought it was a great name.
The E-car Program
The Toronado was one of a series of three cars that also included the
Buick Riviera and the Cadillac Eldorado. The chassis was engineered to
be capable of both front drive for the Toronado and Eldorado and rear
drive for the Riviera. There was a balance of both interchangeable parts
and specific parts for the individual cars.
The windshield, A-pillar and door side glass was shared by all three
cars.The roof panel and backlight were shared by Toronado and
Riviera. Door inners were shared by all three as well as various
underbody panels. Each car’s individual sheet metal pieces allowed the
unique appearance achieved byall three. The only piece that you could
really see as common was the windshield pillar. 1966 Tornado and Riveria in Body Development Studio.Ferrari Influence
To clearly define and communicate its vision of the future unnamed
E-Car, John Beltz, Chief Engineer of Oldsmobile bought a dark red
Ferrari. This tight four passenger close coupled coupe was seen also by
the Oldsmobile Studio as a personal car size that was appropriate for
the future product that would be called Toronado. This size would have
dictated a smaller platform for the car. The spread of size between the
needs of the three ultimately dictated a larger size.
Advanced Design #3
We were asked to send all of our primary sketches and board drawings to
Advanced #3 to start the program as we could not do it because of other
pressing work. Chuck Jordan also wanted to register the design in
comparison to the coming Riviera and Eldorado that were not as far
along. I assume he wanted to see a firm direction for all three.
We started a clay model to match the Ferrari 330 GT 2+2, maybe on the then current Camaro / Firebird platform.
Later when it came back as an incomplete full-size clay model we made
massive changes to the clay buck to match the new E car platform and
started in earnest to complete the design for production. There was a
lot of work to do. Ferrari 330 GT 2+2Evolution of the Design
The greatest design credit should be given to Don Logerquist, the
designer who originated the theme that the red rendering and the cars
design was developed from. The sketch was made during our efforts to
develop an alternate design for the 1965 Oldsmobile B car that was
underway as a full sized clay model. Chuck Jordan was excited about the
design that was being put on the alternate side of the B clay and he
brought Irv Rybicki in for an opinion as he had been Chief of Olds
before Stan Wilen. He called it a design that could be used in the near
future on a “special car” for Oldsmobile. Shortly after that the red
rendering was started, worked on by Dave North, Don Logerquist and Stan
as advisor. Dave did most of the layout and rendering and Don helped
develope the look of the surfaces. 1966 Toronado
I saw Irv use this technique later when I was Chief of Chevrolet #2,
he started watching for design solutions as soon as he knew a new
program was coming, even before anyone else knew it.
It is true that Dave North did the rendering with some of Don’s help.
Stan was the one who inspired the front end, a thin long slot like the
Firebird 3 and I eventually did the rear, a derivative of the Ferrari GT
Kamm inspired race car called the Bread Van, tailpipes and all. Stan
helped with the tailamps, coordinating them with the front grill, asking
me to keep them low, above the bumper and as wide as possible. A simple
harmonic solution It was and had to be in sharp contrast to the rear
designs on the Riviera and Eldorado. Toronado Rendering
If you look at the red rendering compared to the final car you will
see that it is very different. The major design element, the two large
wheel flares, are not seen on the red rendering. They emerged after Bill
Mitchell eliminated the top line on the rear quarter and connected the
rear corner of the Kamm inspired rear end to the outboard roof crease
that had to match the Riviera roof panel. The rear wheel lip flare was
naturally very large as it had to reach further to meet the quarter
surface, much further than the front wheel lip flare. This problem
resulted in the change of the entire body side section, upon close
examination you will see that the two flares are at a different angle,
this was done to make them look the same. Detroit Auto Show. WhooHoo! Some outfits!
The final lower bodyside was an attempt to create a “frame” look
which Bill Mitchell was enthralled with at the time (See the 1964
Pontiac Tempest / GTO). It worked very well to give the car the look of a
low center of gravity. and a line to connect the two wheel shapes. This
was a contribution by Stan who watched and balanced the design as it
went.
Bill Mitchill changed the design from the red rendering after the
clay model came back to Oldsmobile Studio from Advanced Design #3. He
connected the line on the roof to the tail end of the car to create a
side plane carrying the large wheel oriented shapes, front and rear.
This was a brilliant move that took the design to another level making
it more unique than ever. It also helped connect the quarter line on the
Toronado to the roof panel that we had to share with the Riviera,
although this made the execution of that part of the car more difficult
for us. 1966 Olds Toronado BrochureAdvanced Design #3 Studio
We were asked to send all of our primary sketches, scale models and
board drawings to Advanced #3 Studio to start the program, as we could
not do it because of other pressing facelift work on existing models.
Chuck Jordan also wanted to register the design in comparison to the
coming Riviera and Eldorado that were not as far along.
When it came back as an incomplete full-size clay model we started in
earnest to complete the design for production. There was a lot of work
to do, the front and rear were not up to the side view theme as the
design was being led by the red rendering with the fender peak going
from the baqck of the car into the sail panel. Bill Mitchell changed it
and then the rear could be done in its finalized form. —Dick Ruzzin, Junior Creative Designer in Oldsmobile Studio Chicago Auto ShowAddendum
Bill Porter sent me message when he found out that I was writing a memoir of the Toronado a couple of years ago.
It was about a project he was working on in the Advanced area in the
early 1960's. Specifically, a scale model done by Les Johnson that had a
low body line that went rearward fro m the front wheel opening, hopping
over the skirted rear wheel and then becoming horizontal again and going
on to the rear of the car. There was a large flare into the quarter at
the top of the hopping line. Les asked Bill to make a sketch of it for
him, which he did. Bill Mitchell came in and responded to it.
I think that there is no doubt that they had created a theme that was
the result of similar needs to ours in the Oldsmobile Studio years
later as the Toronado was developed. Stan was the author of the low line
that went over the wheel openings. He did this to impart a focus on the
wheels as a theme to become foundational for Oldsmobile. The Toronado
theme was a much larger statement that when conceived as shown on the
red rendering did not have large flares, they evolved during the three
dimensional surface development. I do recall that Don’s gray and yellow
pastel sketch did have them.
At the time the Toronado was designed there was a great deal of
enthusiasm, generated by Bill Mitchell for wheel oriented design
solutions. A large, volume of work was being done in the Design building
around this theme and outside there were a large number of themes that
were being used on race cars around the world. The combination of
elements that made up the Toronado design were completely originated and
assembled in Oldsmobile Studio under Stan Wilen.
The enthusiasm generated for the design was a result of its unique
individual elements and its design solution in total that was very
fresh. There is no doubt that there may have been some design elements
that through previous years were similar to the final solution in some
ways. Neither myself, Frank Munoz, Dave North or Stan Wilen ever
discussed any work that had been done elsewhere in the building in
referance to the developing Toronado design.
I did see in Chuck Jordan’s office once a small idealistic theme
model in silver that had a clean monocoque side with wheel portrusions,
but not the same theme that we developed in Oldsmobile Studio, it was
simpler.
GM Design was a design generating machine. You could say that everything had an effect on everything else.
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GMC Garage Man's Companion Generally Mediocre Cars Gotta Mechanic Coming
Mopar Most Often Passed At Races Mostly Old Parts And Rust Mostly Old Paint And Rust
Robert
Craig Hupp was born on June 2nd, 1887, in Grand Rapids, MI. In 1902,
Robert began working for Olds Motors. In 1906 he joined Ford Motor
Company where he gained knowledge in many automotive areas. In 1908 he
left Ford. With his brother Louis, he began seeking financial backing,
rented a factory at 345 Bellevue Avenue in Detroit, and began creating a
demo vehicle. By 1909, the Hupmobile was created. It was fist shown to
the public at the Detroit Auto Show. The vehicle was a two-seater
roadster with an 86-inch wheelbase. The $750 sticker price included the
17 horsepower four-cylinder engine and sliding gear transmission.
In
its introductory year, over 1500 examples were produced. In 1910,
production increased by more than 5000. Hupp understood the need to
continue to invest in machinery, technology, and factories. He began
investing heavily, to the point that his financial backers became
nervous. They did not agree that the company should be overextended.
This issue escalated to the point that in 1911, Rober Hupp sold his
stock in the Hupp Motor Car Company and began pursuing another
automobile production venture. A court order by the purchasers of the
stock prevented Robert and Louis from using the Hupp name on any new
gasoline automobile.
To get around the court order, Robert began
using his initials; much like Ransom E. Olds had done when forced from
his company. From 1912 through 1919, Robert Hupp produced RCH electric
automobiles. In 1917, Robert died.
The original Hupp Company
continued to enlarge and prosper, even after its founder had left. A new
plant was purchased in 1924. In 1925 the company purchased the rights
to produce an eight-cylinder engine. Unfortunately, the eight-cylinder
engine had flaws in its design and assembly and many of the engines
suffered from reliability issues.
In 1926 a six-cylinder engine was introduced.
By
1928, sales had reached over 65,000 units and a new plant was needed to
handle the continued success the company was experiencing. So the
Chandler-Cleveland Motors Corporation was purchased.
The onset of
the stock market crash left many manufacturers out of business and
others teetering on the brink. For Hupmobile, sales fell by almost 25%
in 1929, a few years before the stock market crash.
The Hupmobile
continued to introduce innovative designs and technology for the next
few years. Racing was a great way of advertising in the early years of
automobile production. The outcome of the race often determined how well
sales would be. In 1932 a Hupmobile, named the Hupp Comet was entered
into the Indianapolis 500 race where it emerged with a respectable fifth
place finish.
The depression of the early 1930's began taking
its toll on Hupmobile. Archie Andrews began convincing stockholders that
the Hupmobile was mismanaged, resulting in a company takeover. By 1935,
control had been regained but the damage was done. Production was
halted in the latter part of 1935 and the company was forced to sell
some of its plants and assets.
It was not until 1938 that the
Hupmobile began planning to produce automobiles. It began with bringing
in new management and automotive expertise. In May of 1940, the Skylark
was completed and ready for delivery to customers. Unfortunately, it had
taken many years to produce and most of the orders had been canceled.
Production
in 1940, lasting only a couple of months, produced only 319 Skylarks.
The company was financially strapped and most of the cars were sold to
creditors and distributors. The company was forced to close its doors
after over 500,000 vehicles were produced.
