03 Jul Collection In Action: Chrysler Airflow

Mike Monk tells the story a car whose dynamic Art Deco design approach was considered too advanced for its time…  

In the mid-1930s, the Chrysler Corporation’s design path went into a streamlining phase with models boasting smooth and flowing contours rather than the more formal, boxy, upright shapes that preceded them – and which continued in production to satisfy more conservative-minded motorists. Art Deco was also in its prime at that time, and Chrysler saw fit to combine the two design influences to produce a new style of car for a population still recovering from the effects of the Great Depression. It was called the Airflow.

Inspired by the vision of one of its senior engineers Carl Breer and two of his associates, Fred Zeder and Owen Skelton, Chrysler built a wind tunnel at its Highlands Park facility and by April 1930 it was reported that at least 50 scale model concepts had been tested with the cooperation of flight pioneer Orville Wright. Results found that the then current two-box shape was aerodynamically inefficient and that it was actually more efficient turned around backwards. Lessons learned from the experimentation led to a whole new wind-cheating design utilising smooth, curved bodywork and prior to the Airflow’s début, Chrysler did a publicity stunt in which they reversed the axles and steering gear that allowed a prototype to be driven ‘backwards’ throughout Detroit. The stunt caused a near panic, but the marketing department felt that this would send a hint that Chrysler was planning something big. The car that emerged was like no other American production car to date.

So it was in 1934 that Chrysler introduced the revolutionary aerodynamic Airflow styling on its Series CY, CU, CV, CX and CW platforms, and to further promote the concept promptly set about setting 72 stock car speed and endurance records at Daytona Beach in a 4,9-litre straight-8 CU Coupé. A similar car was driven from Los Angeles to New York averaging 18,1 US mpg, equivalent to 13 litres/100 km. But it was not solely about aerodynamic efficiency. Applying what they had learned about shape, the engineers also began looking into ways that a car could be built, resulting in a unitary construction being adopted. This not only strengthened the structure but reduced weight, thus increasing the car’s power-to-weight ratio. The engine was positioned more over the front axle line and passengers were seated within the car’s wheelbase to the benefit of weight distribution and handling.

However, the new manufacturing processes required an unprecedented number and variety of welding techniques, which resulted in quality problems and as a result production peaked at 6 212 unit in May, barely enough to give each dealer one Airflow each. And while sales were respectable – 11 292 were sold in the model year – they were not meeting Chrysler’s expectations, being outsold by the company’s more traditional models at a time when the country was still suffering from the effects of the Great Depression.

Airflows continued through 1935 but with different code numbers (C1, C2, C3) – the more conventional models in the range were now called Airstream – and into 1936 with yet another change in codes (C9, C10, C11). FMM’s Airflow Coupé is an example from that period, and was acquired from the late Waldie Greyvensteyn’s collection. It is a C9, which is essentially the base model – the more upmarket C10 was tagged Imperial and the C11 Custom Imperial – and the body number suggests it was the eleventh-last unit to be built in that model year. In fact, being a coupé makes it quite rare as only 110 were manufactured during the 1936MY, the lowest in the coupé’s four-year life span during which a total of 1 379 were manufactured.

I suppose today the overall shape would be described as organic – defined as ‘being made of parts that exist together in a seemingly natural relationship that makes for organised efficiency’. From the tall waterfall grille to the tapering tail, there is fluidity to the shape that only the modestly raked split windscreen disrupts. Even the fenders are semi-integrated into the body – running boards are the only styling feature carried over from established practice of the time.

The Art Deco influence – some of which embracing bold geometric shapes and lavish ornamentation – can be seen in the design of the bumpers and overriders, the headlamp nacelle, the bonnet-side air vents, the twin chrome strips along the waistline, the rear wheel spats with their winged embellishment, and the ‘rocket-ship’ tail-light lenses. Inside the theme continues with the design and detailing of the dashboard controls and instruments, the steering wheel and even the ashtrays in the rear seat outer armrests. There is a novelty aspect in the way the markings on the speedo also show the revs relevant to the speed. Everywhere you look there is something to be admired – elegance AND function. Oh, and the ‘hooter’ was an attention-grabbing wolf whistle!

Turn the key, press the button and the flathead straight-8 eases into life with a slow, steady tickover. The now 5,3-litre motor (it had been enlarged for the 1935MY) pumps out 86 kW at 3 400 r/min and a healthy 325 N.m of torque at a low 1 200. Select first, release the pistol-grip handbrake and the Airflow calmly moves away. With such a long wand, there is a lot of movement selecting the gears of the three-speed ’box but, once the white-walled tyres are rolling, with so much torque on tap progress is entirely fuss-free. A free-wheel was standard and overdrive was an option. Steering is naturally heavy and low geared and the ride is firm, but the very nature of the car creates a feeling of well-being. Hydraulic drum brakes all round are well up to the task.

But Chrysler’s styling concept was doomed not to succeed. Poor sales from the off led to Chrysler toning down some of the bodywork’s detailing for the 1935MY when 7 751 units were sold, and for the 1936MY a small boot was added, disturbing the car’s inherent aerodynamics. It did not help: only 6 275 cars were built with only the C10 saloon exceeding 1 000 sales. The following year, flat dashboards with recessed controls, soft door handles and padding on the back of the front seats were introduced as safety features on a range reduced to the Eight two-door coupé and four-door saloon and a total of 4 600 units were produced.

But it was the last hurrah. In 1937 the Airflow was discontinued, having failed to capture the imagination – and cheque books – of the people. The design was considered too advanced, too different at a time when Americans sought stability rather than innovation. Quality issues with production of the all-steel body – a rare item at the time – was also a negative. Sadly, Chrysler’s bold move was short-lived and proved to be a step too far ahead of its time, the wind-cheating survivors serving only as a stylish reminder of what might have been.