FIAT 850 SPORT LAMPRA
A MAN AND HIS CAR
Words Remigio Camilla / Photos Alessandro Marrone
“I’m going to build my own car. I have always been attracted by the great coach builders and design artists. I have always loved aerodynamics and sporty engines and to really understand my professional limits was a great personal challenge”.
Thus begins the story of a man and his car, a highly desired car, built with great passion, genius, construction skills, great technical knowledge, tenacity, effort and humiliation as well. But let’s go in order, we are at the end of the 60s, Mr. Roberto Chiappini – owner and body shop expert in Genoa – decides to create a one-off GT exclusively for himself, equipped with all those aesthetic and technical characteristics that sports cars of great prestige of the time did not possess yet. For matters concerning the build, he focused on the FIAT 850 Spyder platform designed by Giorgetto Giugiaro and produced by Bertone, as it was financially more affordable than a Ferrari chassis he had initially thought of, and a FIAT chassis was relatively easier to get.
“I wrote to the FIAT’s Italian management, they replied very kindly, inviting me in Turin to show and discuss about my project. I presented myself with fear and met people who I can now define friends. I was excited and my shyness prevented me from being completely lucid, I was in front of a senior figure of the largest car factory in the country and I felt so small. They understood my passion and Dr. P. looked into my eyes and told me that in order to sell me the chassis he had to know what I wanted to do with it, so he asked to send the drawing and the characteristics of the model I had in mind”.
At this point Chiappini sees his dream fly away, he did not have the drawings of what he wanted to achieve and was not able to make them, but he had a point, the experience of a coachbuilder, started when he was a little boy. His hands had caressed and met so many shapes and so many cars. Like a sculptor he possesses two very important natural elements: the ability to carefully observe and fully understand the shapes ready to be modeled with his own hands and a brilliant mind that still allows him today to technically create every most difficult detail with great skill.
“Dear Chiappini, if you build the car and then it doesn’t fit the right parameters, you’re gonna throw it away, because it won’t be homologated. I understood that Dr. P. basically liked my idea. I accepted the risk and started my adventure”.
The chassis arrived at Mr. Chiappini’s workshop – it was a 1968 – and was immediately placed in an adequate area for its future transformation. It was very difficult to know where to start, the more he looked at the bare frame, the more all his ideas seemed to vanish as doubts began to crowd his mind. He strangely decided to start from an unusual and well-defined detail as far as a car body concerns, the headlights and their positioning, almost like the eyes in a portrait, these eyes had to take a certain shape, not conventionally round. The ones that best suited his idea were the rectangular ones of the Fulvia Sport Zagato. Being built-in, these created a concave and rectangular niche in the bodywork tending to create aerodynamic resistance. The idea of covering them with a Plexiglas dome was immediately abandoned as it was not allowed by the traffic law. The problem is solved brilliantly by creating a grille at the base of the headlight in such a way as to allow the air introduced straight to the brakes to flow out, cooling them through a channel. This is the first of the many ingenious little refinements that are scattered throughout the bodywork both outside and inside. He then went on to modify the original radiator so to work horizontally and in a frontal position, determining what the front profile of the car should be and how to shape the front grille. He made several attempts with iron rods until eventually obtaining what would have been the front, then the curvature of the windshield, its inclination, consequently determining the height of the roof and the overall height of the car, which turns out to be very low, around one meter as it was popular at the time. The Lamborghini Miura was the reference point for Chiappini.
The line is decidedly innovative with a sloping and aerodynamic front, characterized by a bonnet with two air intakes for the radiator. But it is the tail that concentrates the most evident stylistic innovations, presenting a large glass surface, which allows you to see the entire engine developed by Mr. Roberto, embellished almost like a jewel with elements and finishes in polished steel. The engine compartment is separated from the cabin by a glass in order to determine a valuable continuity between the passenger compartment, the engine bay and the exterior and vice versa. Even today this detail represents the most ingenious, most innovative and interesting part of the whole car, it always attracts curiosity, thus leaving incredulous looks when people are told that this is a 50 years old FIAT 850 Coupe. Chiappini has dedicated a lot of attention and a lot of time to the study and realization of the tail, without reaching – according to him – a solution that makes him fully satisfied as he still considers it too narrow. The only justification that consoles him lies in the fact that the aerodynamic profile wants the front part wider than the rear one and this principle is fully respected in the Lampra.
The problem related to the air flows to the rear engine compartment for its cooling and the outflow of the heat procured inside was another interesting issue to be addressed and solved, subject of many careful studies and technical measures. “I had decided that the engine had to be an aesthetic reason and closing the compartment was a problem for me. I did not want too intrusive hinges and like the locks, everything had to appear simple, without technical trappings to ruin everything. I had no intention of using components from other cars, if not strictly necessary. The solution came to me one night when lightning and thunders were raging over the city and I could not sleep. So the idea was born like a lightning bolt. Recently the market offered structural glues that could join metal and glass. Apparently I found the solution.”
The line of the body was slowly taking shape, it was necessary to think of the engine which, as Chiappini tells us, had to be an aesthetic motif and therefore completely imagined on sight, abandoning all the trends of the period and anticipating the times and the sports cars that will come in the following years. Being an engine enthusiast, he was thinking of a nice radial Abarth 850, so he decided to contact the company, unfairly waiting a lot of time before being able to get an appointment on a Thursday morning at eight o’clock. He left Genoa very early, at 7:45 am he already was in Corso Francia in front of the Abarth headquarters. At 8 am he entered the office, where a secretary makes him sit and wait in order to be received. The hours go by and Chiappini remains seated in that chair now fed up and disheartened, when at 11:30 the secretary finally receives permission to let him in. Entering the office he finds himself face to face with Mr. A., general manager and right-hand man of Carlo Abarth.
“He spoke abruptly, without looking at me, with a sheet of paper in his hand, as if to suggest that he had no time to waste. I understood that my chances were scarce, but with courage I talked to him about my project and handed him all the photos where he could have seen the work done so far. The photos were about fifteen, but he took no more than three, looked at them superficially, probably with contempt, a few seconds, he put them down and looking at me he said – We don’t give our engines for these things – I felt humiliated and despised and in an awkward and last minute attempt I replied that I would have paid him. I did not understand the reason for the refusal, but I had to get over it.
Luckily and as they say “Time is a gentleman and returns everything to everyone” and this will also happen for Chiappini in a very special moment. Thus, not being able to have an Abarth engine available, he goes back to the original engine and began a meticulous work of elaboration conducted personally with great skill and technical mastery, such as to obtain an increase in power that allows the car to reach an unexpected speed of 200 kph, having to foresee some aerodynamic additions to improve the front set-up. In the meantime, with the works in full progress, he kept contact with the FIAT style center for homologation. As for the paint, in his normal work at the body shop, Chiappini usually preferred Pozzi products, so like that the company got the news of the car he was preparing. One day a phone call arrives warning him that some Pozzi executives and a technician would come to the body shop to view his work. “They complimented me for what they saw, but a gentleman – the most elegant – did not open his mouth, except for the initial greeting. He stood aside, looked and stayed silent all the time, he made me uncomfortable, I did not know how to behave. Finally, before saying goodbye, he spoke.
“Chiappini my compliments for what I see here, if the finished product is going to be at this level and if you like the idea, we will exhibit it at the Turin Auto Show”. – Amazed and incredulous, I don’t remember what I stammered. Me, a humble craftsman, in Turin and under the same roof with the great coachbuilders. It was incredible “-
The color of the car was another interesting issue to address, as he did not want to use one of those commonly on the market. Also in this case Chiappini decides to act independently and to create a specific one. His brother, who helped him in the body shop, suggested to add pure gold powder to the paint he was preparing and the results were exciting with an effect able to give depth, brightness and also iridescence depending on the point of observation. But not only the body had to be a masterpiece of design and workmanship, the interior had to meet these requirements of excellence and craftsmanship as well. His brother, who was also an expert cabinet maker, took care of it and decided to only use precious woods: rosewood for the instrument holder insert on the dashboard, cedar from Lebanon with the particular natural color for the moldings and walnut root for the veneers of the door panels and other interior details, including the small mini-bar, positioned at the rear, still with a couple of bottles of Cognac and Whiskey of the era, stuff not to be have in your hands if you are stopped by the police during a night drive.
Fatigue was becoming more and more insistent, but the pressure of the Turin Motor Show did not allow any rest, also because the time available was short, plus FIAT got the news and planned a meeting at the Centro Stile for the homologation. At this point it was also necessary to have all the drawings of the bodywork as required, luckily at that time one of his cousins had just graduated in Engineering and offered to make an accurate survey of the car. The flood taking place in Genoa on 7 and 8 October 1970 was one of the many difficulties, but luckily, thanks to the quick wit of Chiappini and the upholsterer, all the work was saved.
Not being able to have the Abarth 850 radial engine as desired, the standard engine is tuned directly by Roberto through the following specifications. The crankcase was bored bringing the cylinder diameter from 65 to 67 mm and the oil circuit was modified with radiator and external filter. The crankshaft is in 8 counterweight steel, balanced and polished, the piston stroke increased from 68 to 74 mm with trimetallic bushings. The pistons are on a specific design produced by Pistal, the oil sump is modified and has a capacity of 5.5 kg. The camshaft has been re-profiled according to the specifications of the University Motor of Genoa, the rods are lightened and the arms are on bushings. The cylinder head has also been modified, made of a four-duct casting, with a specific manifold to receive two 40 Weber Dcoe double-barrel carburetors powered by a double electric fuel pump.
The exhaust manifold has a new design, recalculated in length and ceramic. The original 8-39 bevel gear was brought to 9-37 using an Abarth modification for racing and a fifth ratio was added to the original gearbox, since with the elaboration, in fourth gear the engine easily tended to over-rev. A reinforced specific clutch is also adopted. The braking system consists of 4 disc brakes with brake booster borrowed from the Alfa Romeo Giulietta. Finally the tires fitted are radial type 175/60/13 on Cromodora Bertone Racer rims.
The Turin Show would begin on October 28, it was necessary to hurry. In those days Pozzi Vernici’s manager came to check the work, she did not believe that an artisanal construction could reach such a level of beauty and perfection and she dictated the instructions to show up at the Salone. Not being released as a prototype, but as an advertisement for Pozzi paints, it had to be registered and have a name. Even this problem was solved brilliantly, as Chiappini took the encyclopedia, precisely knowing he wanted to look for the name of a small green-colored insect like his car. Lampra Rutilans or more simply Lampra, perfect and unusual for a car. He was accompanied by a friend and on the evening of the 27 they were in Turin, met Mrs. Pozzi who was waiting for them and went inside. The people present busy in the preparations turned around pointing to the Lampra, Roberto Chiappini began to savor such acclaim and when they arrived at the stand they were literally surrounded by people in admiration. And at that precise moment, the twist, the Lampra was exhibited exactly in front of the Abarth stand. Chiappini inevitably found himself face to face with Mr. A. general manager and right-hand man of Carlo Abarth, who at the time had refused him the engine and humiliated him.
Mr. A. said – Chiappini, is this the car?
He turned to Eng. C. and speaking to him it was not clear what he said. “Chiappini, if you will allow it, tonight we are gonna remove the engine and put one of our own, a nice radial, we have it ready here”. He had a beautiful smile, too beautiful, that smile irritated me. I thought of his refusal happened some time before, of the indifference and arrogance that hit me deeply. No Sir, I don’t give my car for your engines, I turned around and God knows the face he did.
With great calm and elegance Chiappini had returned the humiliation received and this had been a priceless satisfaction. The Lampra had to be placed in a scenic and lighting position, very adequate for being able to expose all the details of the bodywork, the more technical aspects and those relating to the careful aerodynamic study, such as the completely flat bottom. For this reason the direction of the show opted to place it on four cubes raised from the ground. During the days of the exhibition, the consents were considerable and Chiappini liked to listen to the opinions of the public. One day, he had just gone to the FIAT stand but someone immediately came looking for him. This was a gentleman who wanted to buy the Lampra, it was singer Tony Renis. He wanted the car for himself, he liked it a lot and made an offer of £7 million. The following morning, entering the hall and approaching his car, he sees a man with a pad intent on drawing, he approaches him peeking, but the sheet is promptly turned over. Chiappini greets him saying he built the car himself.
The gentleman introduces himself, smiles and holds out his hand to me – Nice to meet you Chiappini, I’m Giugiaro. Beautiful and innovative, I like the clean cuts idea, very balanced, a gorgeous interior. Would you like to come and work with me at Italdesign? You would be more than welcome. I offer accommodation and 300,000 lire a month. – What a surprise, if Giugiaro wants me, I’m good at what I do – But the biggest surprise was yet to come, a gentleman with an incredible elegance was walking around the Lampra. He looked closely at the car and then squeezed Chiappini’s hand vigorously. He wanted to make a contract for the construction of 100 Lampra a year, he was ready to formalize a job offer in Australia and precisely in Sydney. The paper with the job offer arrived on time as promised, but unfortunately at that time too many family problems prevented him from making such a difficult decision and as Chiappini says “Maybe in that moment the train of my life has passed”.
At the end of the show, the homologation session awaited him the following Thursday at the FIAT style center, something arousing no little concern in Chiappini, for the fear of having worked for nothing. He remembered very well what he had been told at the time. He went through the gate and stopped on the weighbridge, the receptionist greeted him with a complimenting smile, he had seen the car at the show. The first exam went well, the attendant with the weight strip in his hand gave him a sign of victory, now he had to leave the Lampra with the drawings and come back them later in the evening at around 5:00 pm. The wait was long and painful, he came back and had to sit in a small room where he waited about half an hour and then finally a door opened. A man entered waving the drawings, starting out loud: “Who has made this car? Never again a car like this, I don’t want the steering column like this. The battery is in the wrong place, fix it”. I took courage and told him – the steering column is like the original and the battery is arranged like on the 850 minibus – Now it is not the time to discuss, I give you the clearance for 10 cars, if you want to do more you have to modify things as I said”.
Chiappini was happy and satisfied, the next day he called FIAT and the persons with whom he had consolidated a relationship of esteem and friendship congratulated him, telling to come by after 10 days to collect all the documents. He went to Turin and was received with great cordiality, handshakes and even hugs, they gave him the package with the documents of the Homologation session and then the anticipated explanations came. “Chiappini, you wreaked havoc in the style center with the Lampra, Mr. S. called all the employees inviting them to take a good look at the vehicle and to reflect that everything had been done by one person in less than two years, while it usually takes them 10 times more. The gentleman who turned to you with arrogance is the head of the style center. “There was a good laugh – you served them right! –
The adventure was not over yet, registration was still missing, it seemed easy in theory but it was not the case. During the session the inspector of the DMV carefully checked the car, everything worked but raised a problem: the windshield was no longer working according to the new rules of the Code, it had to be stratified. Fortunately, the inspector was available to find a solution and they had an appointment on a Saturday morning at the office where they began to browse in the classifiers among the various cards and rules, between dust and allergy sneezing, when finally a loud exclamation “Here it is, found it! ” Art. 465 of the regulation, authorization for experimental vehicles to mount tempered glass in derogation of the law. Everything seemed solved by now, but once again, not yet. Who had to issue the authorization in derogation was another official of the DMV, who constantly denied himself, until the intervention of an important person of Ansaldo, an acquaintance of Chiappini who learned about this person’s incorrect behavior, succeeded in a short time to solve the problem and Chiappini finally received a registered letter containing the waiver and the much-needed document. The circle was finally closed and with the registration and with the paper plate as it was once used before having the definitive one, Roberto Chiappini and his wife allowed themselves a week in Valle d’Aosta. Thus ends the story, the torment, the passion, the ecstasy and the joy of a man who was able to challenge himself and create his very car with his own hands.