Road & Track’s Le Mans Sports Car Design, as built by a small group of enthusiasts

By Strother MacMinn

This article was first published in Road & Track magazine, August, 1960. It is interesting to me how a styling exercise can turn into a major project with so little to really go on as to the odds of success, either as a competition car or a design that could be successful in the marketplace. There were so many unknowns and uncertainties. But that is the charm of that era, that people were caught up in their dream and willing to invest their money, time, and talent. Those days are long gone.

Illustration from Stother MacMinn’s book, Sports Cars of the Future.

A number of people wrote, expressing definite interest in attempting the project, and the series of articles actually did trigger three dedicated Southern California enthusiasts into action. Marvin Hortan, an electronics technician for a ram-jet manufacturing corporation, father of three, and a solidly qualified amateur sports car engineer, had long had dreams of an ideal sports competition car that was far from anything offered by current manufacturers. Although his chassis concept differed somewhat from Bond’s, he felt that the general body envelope suited his purpose very well, an opinion shared by friend and electronics co-worker Ed Monegan, whose long experience in high-speed boat building was to provide invaluable. Using the published body drawings as a rough basis, they completed a full-size lines loft in June of 1958 and began a wood frame for the male body plug, which was three-quarters complete in August, when they contacted the author. A clay model that had been used as a basis for the design was transferred to Horton’s Pacoima home where the work was being done. In consideration of the high-speed runs to be attempted with the car, Hortan decided to raise progressively the rear of the body, beginning amidships, in order to cancel more of the top surface negative pressure behind the cab, and add more in the underpan area. This change, accomplished in the wood frame stage, resulted in an upswept “platform line” crease on the body’s side, but provided a more efficient tail conformation.
Clay, as a mold plug medium, was prohibitively expensive, so plaster was used to fill in the frame. It took several months to refine the surfaces and general shape with a grinder, primer, putty, and endless hours of patient work.

About February of 1959, Alton Johnson, another enthusiast with real and individual ambitions and extensive fiberglass experience with the Victress Manufacturing Company, had nearly completed a chassis of his own, with dimensions coincidentally close to the original Bond idea. He contacted Horton, and it was agreed that for his help in finishing the body plug and mold he would receive the first shell.

The mold was completed by June of 1959, and a superlight basic body form, sans windows and rear wheel cutouts, was cast and transferred to Johnson’s operation area at Victress.

Horton then returned to his own chassis fabrication, which was completed and running by February of 1960, having been delayed by an Olds engine installation in a Studebaker and a compete one-off Formula Junior project. On the coupe, he elected to use wishbones and longitudinal torsion bars (machined from pre-1949 Ford driveshafts) for the front suspension, but a transverse leaf spring (as suggested in the article) provided weight support for the independent rear. A space-tube frame, tied in with a structural aluminum reinforced fiberglass driveshaft shaft tunnel provided the lowest possible seating between side members, and a firm body mounting. His program is due for completion about mid-summer of this year.

Johnson had his own chassis enclosed in the first body by August of 1959, when it was possible to run an airflow observation test at the Riverside International Raceway. White wool tufts for determining air-flow direction were easily visible against the dark grey primer, and sections that had already been cut out of the body for the two headlight tunnel openings were carefully taped back into place to provide a completely smooth form. Howard Miereanu (now a General Motors designer, but then a student at the Art Center School in Los Angeles), possessor of a Bolex 16-mm motion picture camera, was perched in the passenger seat of an accompanying car and panned past the coupe which was run at steady speeds of 60, 70, 80, 90, and 100 mph down the 5,100-ft back straight of the race course. Viewing this film at slow speed later confirmed theories that some of the top boundary layer could be diverted around the corners of the cab by use of a sharply peaked cowl and windshield, and that the general air flow was true to the developed contours with a minimum of turbulence.

One of the world’s greatest automotive aerodynamicists, upon analyzing a still picture of this test, expressed concern over the sharp edges of the fender sections as a barrier to smooth cross-flow, and the obvious desirability of a complete undertray (which Johnson’s car did not have), but satisfaction with the flow behavior around the cab.

Johnson has since built an entirely new chassis for his car, using the original Chevrolet engine, but an all-independent wishbone suspension with coil springs, and disc brakes, all of which should be covered by a revised version of the original body by mid-summer.

Since Horton’s “original” car will probably be licensed about the same time, or possibly earlier, it should make this dual culmination of Bond’s far-reaching suggestion a most exciting reality.

Photos of the LeMans Coupe from Hot Rod Magazine, June, 1960, and photos of an unrestored surviving car owned by Geoffery Hacker.

[Show as slideshow]

Thanks to Geoffery Hacker, Forgotten Fiberglass

There are many photos in the book of production and styling show cars from various manufacturers, renderings by Strother MacMinn of many of these cars plus several pages of his own designs. This rare, out-of-print book was loaned to me by Richard Nesbitt. Strother died in 1998.

A Man of Wit and Genius

From Coachbuilt.com. As a young boy growing up in Pasadena, California, Strother MacMinn spent every spare moment drawing pictures of cars or pestering salesmen at car dealers to share their brochures and knowledge of the treasures in their showrooms. It was on one such occasion that a kindly gentleman at the Pierce-Arrow agency provided a turn of fate for Strother by disclosing the whereabouts of a service entrance into the Walter M. Murphy Studio, where he met and became friendly with Franklin Hershey.

Franklin Hershey, one of the best designers in that custom body shop, was so taken with young Strother’s sketches that he invited him into a whole new world by having him come to his office Saturday mornings where he showed him the basics of professional body design. This friendship and guidance continued after Hershey moved to Detroit to work at GM, and throughout Strothers’ prep school, summer classes at the Art Center School in Los Angeles and high school years. It eventually led to Strother’s first working job in 1936 in the Buick studio at General Motors Art & Colour Section with Franklin Hershey as his boss.

With corporate approval from GM’s German division, Harley Earl set up a new studio in 1937. Strother MacMinn, John Coleman and George Jergenson, with Frank Hershey in charge and Hans Mersheimer of Opel as design liaison officer, were given the assignment to style the upcoming 1938 Opel Kapitan. It was an exciting enterprise because of its new approach to international styling and included advanced ideas such as built-in headlights, stretch fenders and a clean body form. (That basic model, with face-lifts, remained in production into the early fifties.)

It was with skill and enthusiasm that MacMinn participated in the development of design proposals for GM’s inter-city bus client, Greyhound Lines, Frank Springs styling department at Hudson Motors, Ed Anderson’s Oldsmobile studio, and many others on his long list of credits.

But, according to MacMinn, the best job offer anyone ever had was his part-time teaching job in 1945 at the Art Center College in the Industrial Design department. MacMinn feels nothing can compare with the excitement and stimulation of sharing enthusiasm and knowledge with dedicated, professionally oriented young design students. Perhaps that is why he has been teaching part-time for the past 41 years.

In addition he has worked independently as a designer of: aircraft seats, household products, and fiberglass boats. And as a consultant in 1979, he helped to found the first Southern California advanced concept satellite auto design studio for the Toyota Motor corporation.

Since 1953 MacMinn has written and illustrated articles for Road & Track, Motor Trend, Automobile Quarterly, and Car Graphic magazines in addition to historical catalogue essays for the “Automobile and Culture” and “Detroit Style: Automotive form 1925-1950″ exhibits in Los Angeles and Detroit.

Strother MacMinn’s lifelong love of the automobile has led him to own a 1937 Cord 812 phaeton and a 1929 Rolls-Royce P-1 Derby phaeton. He kept and still drives the 1951 Jaguar XK-120 roadster that he bought for $2400 in 1953.

An excerpt from the Coachbuilt.com article about chrome

Chrome, too, can be a temptation. Cadillac introduced chrome plating in 1929 and it quickly spread throughout General Motors and then the industry. Nickel, with its lovely warm hue, had had a soft richness that was appealing, but when that super-hard blue-white of chromium came along, which needed little polishing and which seemed to last forever, nickel quickly became pass. Few owners chrome inappropriately on cars that predate 1929, but on later cars, there’s a tendancy to chrome everything, including parts such as water pipes and electrical conduits that weren’t chromed originally. Chrome wire wheels appear in such abundance today that one is tempted to think that all classic cars had plated wheels. Yes, chrome wire wheels were possible as the problems of embrittlement were solved, but they were rare.

The problem is compounded when owners add whitewalls to chrome-plated wheels. Such a combination again shouts “Look at Me” too readily. Strother MacMinn, who served as Chief Honorary Judge at Pebble Beach for twenty-five years, always maintained that a car could have chrome wheels or white sidewalls, but not both; he felt the eye was so drawn to the combination of whitewall and chrome wheel that the general line of a car, its balance as a whole, was distorted.

A great Concours d’Elegance automobile is a combination of beauty, accuracy of restoration, and an indefinable melange of “star” qualities. But above all, a car must reflect its own period, especially in matters of color and decoration. Strother MacMinn, a famous judge with strong artistic gifts, comments on taste: “Either choose chrome wire wheels or white sidewall tires but not both. Too gaudy.” He adds, “All classic cars were not red or cream!” (Two favorite colors of restorers which often show to advantage on a field). The best car may quietly state its own period with a delicate refinement, even with understated elegance, that, when new, would have reflected the buyer’s taste. Good judges will see this on the field.

Gallery of artwork from Sports Cars of the Future by Strother MacMinn

[Show as slideshow]