In some journalist parlance, and still is today, the 140 is referred to as “over-engineered”. It probably was, although some are prooved to be advanced, sometimes rushing to answer is also a kind of mistake. Of course, these comments are usually target sedan, in terms of engineering. Today, we’re talking about the exterior design of the coupe, which gets overlooked most of the time.
Yes, I got a coupe five weeks ago, it’ a 1994 S 500 coupe. I have been looking for such a ride in recent 3 years, there are less than 20 surviving in China. Both me and the car are about to turn 30, I guess I’m getting old, since having two kids I’ve always fantasized about having them sitting in the back seat of a coupe. Two separate rear seat branch will provide less ostentatious legroom, and with no B-pillars blocking the view, it’s almost a perfect tourer designed for a two kids family. Fortunately, I think I got one of the best examples in the country.
As you can see, my fantasies are mostly from the child’s point of view, it would be nice to sit in the back seat, and I’m sure to smile all the time if they’re happy. So it’s the coupe’s cabin rather than its exterior design that appeals to me. And I’m pretty sure the sedan’s look is a killer feature, at least for its target audience. But for the coupe, I think I belong to the public aesthetics, and I would say that I don’t feel it. Even once, I didn’t want the coupe to be companied with the sedan, because of the distinguish designing, the merits of the sedan seem to belong to itself, without sharing a lot of credit with the coupe, who seems to be a representative of another Klasse.
In the last 3 years I’ve tried to understand the coupe’s design and love her, I’ve improved a lot, but I don’t think I’ve quite done it. Compared with outright preference, what I learned more in this process is the fact that the C 140 is such a design that requires many extra aesthetic knowledge as a foreshadowing to read. She won’t make me fall in love at first sight, but after knowing the story behind it, I want to linger.
Sacco’s compliments
Bruno Sacco, who served as the head of styling at Daimler-Benz from 1975 to 1999, respected as the foremost participant in all Mercedes-Benz design of the period. Naturally, from the initial proposal to the final renderging, he was more involved than the board members, which had the final voting power. Therefore, it can be said that even though the board members may choose a proposal that Sacco appreciates less, the choice is still optimized under his leadership. In a word, all the artwork in the selection pool is approved by Sacco. We all remember that the 140 sedan, which has many fans, was actually complained by Sacco about the height of the roof and the short standard wheelbase. The design was not perfect for him. Compared to 140 sedan, he’s more inclined to other models. Interestingly, Sacco has widely praised the coupe. Therefore, Sacco’s positive review is a good motivation for me to research, and I really want to know what is missing in my aesthetics.
The sedan premiered at the Genf 1991 did not receive much praise for its styling, and even received some criticism. It seems that for this reason, Daimler threw more of its PR muscle into beautifying the coupe’s design, which debuted in Chicago a year later. Here’s a video detailing the coupe’s design story, note that this is a rare design feature film in Mercedes’ entire history.
The film is mostly technical, and subjective comments on styling are still left to the viewer. In addition to the film, the coupe also gets an exquisite art book and a thick book, which are not provided to sedan ,not lacking in the praise of Sacco. The following is Sacco’s preface to Jürgen Lewandowski’s book “Mercedes Benz 500 SEC & 600”. I presumptuously attached some press photos.
“If I close my eyes and think ofthe new “SEC Coupé”, its silhouette gradually forms in my memory, starting with the nose end similar to the “SL”, which I visualise in hematite red, and taking in the headlights that extend well up into the front fenders.
In my mind’s eye, there follows the smooth sweep of the body up to the A-posts, then along the flush-mounted windows where they blend so smoothly with the roof frame. The tension in the roof outline moves the onlooker’s gaze down the C-posts to where they flow almost imperceptibly into the rear section ofthe body. The rear lights are like jewels: two rubies in their settings. The final swage line is as if an imaginary pen had signed off the outline on reaching the tail end.
If I keep my eyes shut, I can conjure up movement. I get behind the wheel and imagine a road I know well. At the end ofa straight, the sharp right turn ahead ofthe Scrivia bridge is approaching. A gentle touch on the brake pedal, and it’s right and then left through the long S-curve. The right-hand hairpin after the bridge is upon me now, with its ridiculous 40 km/h speed limit. I touch the brakes again, hurtle past the barrier on the right and put my foot down on the accelerator: Addio, Serravalle! Not long now, and we shall be in Genoa. My eyes open again.
A few days ago the author of this book asked me whether I would like to …
“But of course!” I replied.
And now I’m sitting at my desk, the deadline for this preface is drawing nearer and all I can do is -dream about the carDream? Perhaps I’m not so far from my target after all.Dream cars …! They fascinate anyone who is on the right wavelength to receive the signals they send out. And for those who want fascination allied to perfection, the new “SEC” will surely be the first choice indeed it will captivate them from the start.
Never mind the well-intentioned commentators who declare that cars like this no longer suit the modern world.
Never mind the dreary comparisons of weights, lengths, horse- power, drag coefficients and prices! Luxury like this, safety like this, two separate subframes for the suspension and double-glazed side windows don’t come particularly cheap.
A car needs a certain amount o flength ifit is to carry two persons of average height in comfort, sitting one behind the other. And provide space for luggage too.
For a car of this character to have a powerful, smooth-running8-or 12-cylinder engine is also self-evident. Nor is the fuel con- sumption in the least high, when related to the car’s performance. Compare like with like, don’t quotefigures for typical midsize cars! The drag coefficient is acceptable too, ifthe car’s appearance and image are not to suffer.
Which brings us to the price: you can pay the same money for a rare postage stamp, a good painting or a small but comfortable apartment. But bearing in mind the reputation of Germany’s Swabians as “exceptionally cautious with money”, only the last example is likely to cut any ice: the others would be dismissed as merely trivial.
Still, Mercedes-Benz has its roots in Swabia, so why on earth should it stick its neck out and build such a magnificent car as this?
I can tell you why. Because of the know-how and the sheer length of experience which the company possesses in building truly top-class automobiles-something that the others often do not possess.
Supercars with the winner’s laurel wreath round their three- pointed star have always been an excellent choice for people who want their cars to satisfy very special standards.
So why should Mercedes-Benz suddenly stop developing and building this type ofautomobile? Should it take the advice of people who think they have a corner in commonsense, and stop building the “SEC”? Or perhaps develop an “SEC” to compete with the average Japanese coupé?
Let the reader decide for himself This book will be read by customers too, not just by automobile buffs.
In 1959, I was 25. My father presented my wife and myselfwith a Fiat 500. Mobility at last! We were immeasurably happy.
As time wore on, we learned that mobility itselfis not everything. That there are degrees o fquality in mobility too. But enough o fthis. What better fate could befall a designer than to create a coupé based on the best fourdoor passenger car in the world? With the team I have the privilege to lead, I have been granted this opportunity twice now. In 1981 we produced the “C 126”, displayed for the first time at the Frankfurt Show. This “SEC” was a much-loved model in the years that followed. In January 1992, ten years later, the Detroit Motor Show was the occasion on which we presented the“C 140”, the “new SEC”, to an admiring public. The latest “SEC” is a much more independent model than even its predecessorwas.Its formal distinction can surely leave scarcely a wish unsatisfied, even among those who know and admire the equivalent four-door car: The most dedicated fans will, I hope, appreciate why certain parts such as the instrument panel or the light-alloy wheels simply have to be the same as on the sister-model.
I drove the “SEC” before the end oflast year and enthused over it, but I am still looking forward to my first drive from Serravalle to Genoa, down one of the few highways that can still inspire a certain feeling ofdriving pleasure. I know that a beautiful car will then come into its own and demonstrate its almost unrivalled road behaviour.“
That’s quite a compliment for an underrated design. Is Sacco just praising the coupe to salvage the loss of the sedan? This explanation is reasonable, but he proved with actions that coupe is the one he would take home. In August 1996, he custom-built a 1997 CL 500, which included a number of special finishes not available to any customer, including leather-grained A/C vents. Its color is unique and although it looks like 888 Beryll Green which was once offered on the price list, this is actually a special paint PF 724 supplied by Bollig & Kemper GmbH & Co KG. Apparently, Sacco liked the car and had his own preferred color. In fact, based on an early 1/1 rendering on the studio wall, we should be able to tell he’s been wanting a coupe in this color for a long time.
Sacco seems very happy with the C 140’s design.
The Evolution
For enthusiasts who are proficient in all Mercedes classic models, in most cases, people will sigh with emotion at those disclosed elimination plans: thankfully it is not it. Aside from the influence of mass production design that has been preconceived for a long time, are there any merits in these recycled drafts?
The flow is like this, at Mercedes, designers are free to make their own 1/5 models, impose their ideas to modelers. To the contrary to Porsche where only one full-size clay model was made for a new model, Mercedes-Benz could make up to eight full-size models before a final choice. The full-size models were not using dynoc (a silver film that covers the clay model), but were painted each time before a review with the top management in the “Coupole”, a large presentation hall at the time nearby the design center. There were previews between Bruno Sacco, Prof Galitzendörfer, Peter Pfeiffer, and other Directors of different departments, especially engineering. Then there were reviews with the Mercedes-Benz Board members, top design management and design section managers, but where designers themselves rarely assisted.
In 1992 the press department released design materials, including photo of sketches and models, which were drawn by various designers, at least Hans-Harald Hanson, Michael Mauer, Olivier Boulay, John Tomford are included. Early sketches and 1/5 models were like the earlier sedan proposal, before end of 1986, there was a strong inventiveness. At this time, the engineering department has not determined the space model of the sedan, the styling designer can do everything. Once the basic structure of the sedan is determined, the coupe will also develop in the same direction. These coupe models similar to the unfrozen sedan design, tell us that the coupe was designed in tandem with the sedan, rather than waiting for the sedan design to be frozen to be revised. Therefore, when designing the sedan, room should also be left for the development of the coupe, although the sales volume of the coupe only accounts for a small part.
In 1986, the spatial structure of the sedan was determined, its design was approved by the board of directors in December, and the team can now continue with the design of the coupe. Possibilities are further compressed because the sedan is already there, and while this saves a lot of work, the coupe is progressing very well, with at least 4 mature 1/1 models already in May 1987.
The C 140-1 is a conservative proposal, similar to the modification of C 126 from W 126. It narrows the headlights, widens the grille, and moves part of the headlights to the front bumper. Overall, it is similar to series production R 129. At this time, the design department has decided that the grille of sports models is in dense horizontal line, and it has given up the single horizontal line with a long history that is currently used on the R 107. In terms of body, it looks like a winner podium due to the dropped trunk, and the crease line that runs through the entire side is added under the windows compared to the sedan. At this time, the 140 chassis under development uses 216/65 ZR 15 tires, wider body of the coupe makes the wheel base look a bit short. This was October 1986, and the coupe was still a conservative proposition.
The C 140-2 added some innovations within the conservative range. In terms of inheritance, the hood from C 140-1 is almost completely preserved, the development of the front bumper is simplified, and only the crease line is removed from the side profile. In terms of innovation, the headlights were raised, the top invaded the hood, and the turn signals were more similar to the R 129. The solution for the rear view mirror was then used by the W 202. Now, thanks to the lifted rear end, the entire bodywork looks sportier. Two-tone bodywork no longer appears to be an option in silver paint in this scheme. This should also be from 1986, although no label was placed.
The C 140-3 has subversive modifications, it only inherits the side of the C 140-1. The headlights have become three-dimensional pyramids, and their exaggerated heights suggest their double-decker structure: now the fog lights have returned from the front bumper to the lower deck of headlights. The turn signal is no longer a separate orange part but hidden to the headlight unit, its color will only be expressed when the PY15W bulb with orange is flashing, this complies with the regulations. The front bumper has a dynamic groove, the trunk lid slides to the sides. Overall design is more futuristic than any existing Mercedes-Benz.
C 140-4 is a rational return after the attempt of C 140-3, which neutralizes the radical elements and conservative traditions of the past. The triangular headlights were retained, but the height was drastically reduced, and the fog lights would theoretically now have to go back into the bumper, although on the model the bumper has a revised notch. The side creases are back. There are no rear photos of all the models, but I believe the taillights are triangular. Above, all 1/1 models have the same huge side windows as the sedan. This design was considered the most promising and further development continued.
Also seen in the previous film is the final C 140-5, which has a revised rear relative to the C 140-4, with a throwback to the sedan’s taillights. The evolution above shows how the coupe went from a shy continuator to a bold trailblazer, just repeating the way the W 126 – C 126 evolved before the sedan’s design froze. Apparently, at one point the design department suddenly had more wiggle room. do you know? As the most important product of Mercedes, S-klasse has been monitored by the board of directors for a long time. It will definitely be the car that board members want to ride the most, not necessarily the car that designers themselves want to own. Therefore, after integrating the established spatial structure and necessary design traditions, the designer has little say. However, only 5% of S-klasse will be coupe, designers can be bolder, Sacco must be very happy about this.
Why was the logical C 140-1 not further developed? Let’s flash back to the 1986. The success of C 126 is an important reason for the development of C 140 at this time, but it would be a pity if people can refer to the model of C 126 to predict C 140 when they see W 140. Compared with the W 126, the W 140 is unpredictable, and the C 140 as a top product should also be an independent surprise, not any expected accessory. The C 126 itself has no real predecessors, the last W 111 was from 1960, in this case, should the C 140 continue the previous generation or look for something else? Daimler amassed huge budgets in the booming ’80s, and sales across the range brought engineers to a podium – and then they could do whatever they thought was right because they’d been right in the past.
When the sedan design was frozen in 1986, everyone had to think about a question, how to transform an almost unchangeable outline into a completely independent design? From the front, the space for lowering the front of the body is extremely limited, because the position of the radiator cannot be changed. A new R 129-style sports grille will be put in the center, which freezes the design of the front 1/3, and then how to design the lights and bumper. As for the W 126, the C 126 is somewhat of an invention, since no similar conversion was designed before. For the C 140, it would be a disaster if it follows the converting solution of the C 126, it seemed like anyone could have predicted the C 140 design a year in advance.
The successful W111 coupe was cited as an important source of inspiration, which was not too closely related to the C 126, so developing the C 140 with the genes of the W 111 would be a surprise to the audience. Of course, even from Sacco’s praise, we can also know that the C 140-1 was not born in his mind very early. “The rear lights are like jewels: two rubies in their settings”, apparently not at first, the C 140-1 has a through-type tail light similar to the R 129. As for the cutline on the side, in addition to the W 111 tradition, I got the pointer from Harald Leschke: “For the Coupe we took the side with the cutline – not only for differentiation but for technical reasons for the sine windows as there was no b -pillar…” Yes, key designer Olivier Boulay, who left Daimler in 1989, was also curious about the cutline.
Next we will publish a conversation with Olivier Boulay.
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