Today Touring builds low-volume bespoke motorcars and one-off commissions, each one uniquely crafted to the customer’s specification.
90 YEARS OF EXPERTISE IN RESTORATION
90 years of expertise combined with state-of-the-art technology: a complete restoration service of historic Touring cars undertaken according to the traditional techniques and using original materials.
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In 1953, Fiat redesigned the 1100 ‘Millecento’ as a compact 4-door sedan with a modern monocoque bodywork and integrated front lights. (Fiat’s British advertising of the day dubbed it ‘the magic Millecento.’) It used Fiat’s well-established 1089cc OHV engine with cast-iron block and aluminum alloy cylinder head. The front suspension had coil springs, with upper and lower wishbone arms; leaf springs at the back. Both ends have double-acting hydraulic dampers and anti-roll bars. The body features rear-hinged front doors, still common on Continental cars of the time.
Premiered at the Paris Salon in 1953, the ‘TV’ (Turismo Veloce) was the higher-performance version of the newly introduced FIAT 1100 Berlina (saloon). Introduced at the Geneva Salon earlier that same year, the 1100/103 featured unitary construction of the body/chassis and was powered by an entirely new 1,089cc overhead-valve four-cylinder engine. Saloon and station wagon models were offered. For the Turismo Veloce, power was raised from 36 to 50bhp, giving the TV a top speed of 135km/h. A single spot lamp on the centre of the radiator grille was a distinguishing feature of the TV, which featured additional exterior chrome trim and could be ordered with two-tone paintwork. A trasformabile (convertible) TV was added to the range in 1955. The TV was raced extensively by FIAT’s more sporting customers, its most prestigious victories including class wins at the Mille Miglia in 1954 and 1955.
Carrozzeria Pininfarina offered its own two-door coupé on the 1100 TV platform. The car was first displayed at the 1953 Paris Salon, and the famed Italian coachbuilder would go on to build some 780 examples over the next three years. From around 1955 Pininfarina’s graceful and well proportioned TV coupé featured a wraparound rear window (as seen on this example) similar to that found on some of the Carrozzeria’s Ferraris of the time.
Medieval technology characterizes the technological level of humanity on the eve of the great geographical discoveries.
Despite the notoriety of the Middle Ages as an epoch of stagnation and crisis, however, it was during this period that water transport was improved, which made it possible to travel around the world. To a large extent, long journeys have become possible thanks to navigation devices: astrolabe and compass. To determine the time, starting from the tenth century, mechanical clocks began to be used, which were placed on the towers of the town halls of European cities. Roger Bacon invents glasses (13th century). Information technologies are also developing: paper appears on which the signs are applied with the aid of ink and pens.
Gothic cathedrals exceeded the pyramids of ancient Egypt in height. The pyramid of Cheops was 146 meters high and was considered one of the seven wonders of the world, but Lincoln Cathedral, built in the early 14th century, was 15 meters higher than the pyramid of Cheops.
This is largely made possible by the use of a pointed arch. Both water and windmills are widely used. If the water mill was already known to Vitruvius, windmills appeared in Iran in the 7th century. If in the beginning mills were used to grind grain, the rotating shaft began to be used in various types of manufacturing production, and for the manufacture of textiles, crushing of minerals, papermaking, sawdust or drive bellows. Agricultural technology is improving: a wheeled plow and a horse collar (9th century) appear. The ancient chariots are replaced by medieval cavalry, unthinkable without the invention of the stirrup. In the Middle Ages, firearms were born. Metalworking is reaching new heights. Long steel blades (Damascus steel) are spreading. At the end of the Middle Ages the forge was replaced by a blast furnace (14th century), which allowed to reach a temperature of 1200 degrees C and to melt the cast iron, necessary for the casting of cannons and projectiles.
Russia: Volgograd Arena (2018) – company: CIMOLAI. Designed by gmp Architekten for the 2018 World Cup, the stadium stands out for its inverted cone shape and the interwoven latticework of the facades. The futuristic radial roof, says Cimolai, is made of a tensile structure with two rings stretched in the central part and an outer ring compressed above the columns.
Russia: Volgograd Arena (2018) – impresa: CIMOLAI. Progettato dallo studio gmp Architekten per la Coppa del Mondo 2018, lo stadio si distingue per la sua forma a cono rovesciato e per il reticolo intrecciato delle facciate. L’avveniristica copertura a raggiera, racconta Cimolai, è realizzata da una tensostruttura con due anelli tesi nella parte centrale ed un anello esterno compresso sopra le colonne.
The “old and brave Chaberton”, a symbol of man who, confident of science and technology, overcomes the adversities of wild nature to build a fort on one of the highest peaks in the Alps.
The military construction, which everyone proudly called “the highest fort in the world!”, Immediately evoked the challenge of science and technology against adverse nature and stepmother. Building a fort at three thousand meters above sea level, at the beginning of the twentieth century, had the flavor of an unparalleled undertaking. To do this, there were many of those problems to solve, which only the imagination and tenacity of men out of the ordinary could face
Il “vecchio e valoroso Chaberton”, simbolo dell’uomo che, fiducioso della scienza e della tecnologia, vince le avversità della natura selvaggia per costruire un forte su una delle vette più alte delle Alpi.
La batteria, che tutti definivano orgogliosamente “il forte più alto del mondo!”, aveva da subito evocato la sfida della scienza e della tecnologia contro la natura avversa e matrigna. Costruire un forte a tremila metri di altitudine, all’inizio del Novecento, aveva il sapore di un’impresa senza pari. Per farlo, c’erano da risolvere tanti di quei problemi, che soltanto l’immaginazione e la tenacia di uomini fuori dal comune potevano affrontare.
“You never get a second chance to make a good first impression.” In these words, Olivier François – President, Fiat Brand Global and FCA Chief Marketing Officer – explains how the debut of the New 500 should be considered as a milestone in the automotive industry, putting the New 500 in its rightful place. “One-Shot” is more than a “behind the scenes” is the story of the creation and presentation of the One-Offs, the three exclusive interpretations of the New Fiat 500, by Armani, Bvlgari and Kartell. The film takes the viewer through interviews with designers, testimonials from partners, and close-ups on the details and selection of sustainable materials.