ÌÈÏ‚Ï‚ ÏÚ ÌÈÏÒÙ

ÌÈÏ‚Ï‚ ÏÚ ÌÈÏÒÙ
ÔÈÈˢËÎÈÏ È¯ Ï˘ ˙ÂÓ‡‰ ˙ÈÂÎÓ ÌÈÈχ¯˘È ÌÈÙÒÂ‡Ó ˙ÂÈÂÎÓ ¯Á·Ó
¯ÓÂÚ È΄¯Ó ‘Ù¯٠∫È˘‡¯ ¯ˆÂ‡Â Ï“ÎÓ
ÌÈÏ‚Ï‚ ÏÚ ÌÈÏÒÙ
ÌÈÈχ¯˘È ÌÈÙÒÂ‡Ó ˙ÂÈÂÎÓ ¯Á·Ó
ÔÈÈˢËÎÈÏ È¯ Ï˘ ˙ÂÓ‡‰ ˙ÈÂÎÓÂ
‰Î¯Ú˙
¯ÓÂÚ È΄¯Ó ‘Ù¯٠∫¯ˆÂ‡
¯ÈÏ ÏË ∫¯ˆÂ‡Ï ˙¯ÊÂÚ
ÂÙÙ ‰È„ „“ÂÚ ∫̇È˙
≤∞±∞ ¨¯·ÓËÙÒ· ¥ ≠ ÈÂÈ· ≥
Ú“˘˙ ¨ÏÂχ· ‰“Î ≠ ÔÂÂÈÒ· ‡“Î
ÒÈϘȯ ÌÏÂ˘Ó Ìχ
Ó“Ú· ·ÂˆÈÚÏ ÂÈ„ÂËÒ ¨Ô˜ÂË ∫‰Ó˜‰Â ·ÂˆÈÚ
ÌÂÁ ·˜ÚÈ ∫ÈÎË ÚÂÈÒ
¨·Î¯ ¯ÂÓ˜ ˙ÂÒÁ· ‚ÂÏ˘‰Â ‰Î¯Ú˙‰
‰ÓÏ˘ Ô¯Ú ∫˙ÂÈÂÎÓ‰ ÛÒ‡· ÏÂÙÈË
χ¯˘È· MINI– BMW ˙È‡Â·È
ÌÂÏ·ÈÈ ÏÈȇ ¨È‡·‚ ¯Â‡ÈÏ ¨Ô‡È‚‡ ¯Â‡ ¨Ó“Ú· ·ÂˆÈÚÏ ÂÈ„ÂËÒ ¨Ô˜ÂË ∫‰¯Â‡˙
‚ÂÏ˘
ÛÈȯ‚ ‰Ù„ ∫‰˜Ù‰Â ·ÂˆÈÚ
Ô˙„ ¯˙Ò‡ ∫˙ȯ·Ú· ËÒ˜Ë ˙ÎȯÚ
Ò˜ÂÙ ¯Ó˙ ∫˙ÈÏ‚‡ ‰ÎȯÚ ˙ÈÏ‚‡Ï Ì‚¯˙
ÈÁ ̉¯·‡ ∫ÌÂÏȈ
®¥ ßÓÚ· ÌÈÙÒÂ ÌÈ˯٩ ±π∏π ¨·È·‡ Ï˙ Ô‡ÈÊÂÓÏ ¯È˜ ¯ÂȈ ¨ÔÈÈˢËÎÈÏ È¯ ∫‰ÎȯΉ ÏÚ
ÔÈϯ· ¨BMW ÛÒ‡ ¨±π∑∑ ¨˙ÂÓ‡–˙ÈÂÎÓ ¨ÔÈÈˢËÎÈÏ È¯ ∫‰˘‰ ‰ÂÓ˙·
±μØ≤∞±∞ ‘˘ ¨˙ÂÓ‡Ï ·È·‡ Ï˙ Ô‡ÈÊÂÓ ¨≤∞±∞ ©
π∑∏≠π∂μ≠μ≥π≠∞±μ≠μ ∫·“˙ÒÓ
ÌÈÏ‚Ï‚ ÏÚ ÌÈÏÒÙ
ÔÈÈˢËÎÈÏ È¯ Ï˘ ˙ÂÓ‡‰ ˙ÈÂÎÓ ÌÈÈχ¯˘È ÌÈÙÒÂ‡Ó ˙ÂÈÂÎÓ ¯Á·Ó
‫רוי ליכטנשטיינ‪ ,‬ציור קיר למוזיאונ תל אביב‪ ,1989 ,‬אקריליק על בי שמנ על בד‪ ,‬שני לוחות‪ ,‬גובה ‪" 700‬מ‪ ,‬רוחב ‪" 840‬מ כ"א‬
‫מתנת האמנ‪ ,‬הביצוע בתרומת חברת מקרורי‪ ,‬בבעלות משפחת ריקלי‪ ,‬ניו יורק‬
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¯·„ Á˙Ù
‰‡Ó· ˙ÂÈÂÎÓ‰ Ï˘ ÈÏÈÚ‰ ·ÂˆÈÚ‰ ˙‡ ˙‚ˆÈÈÓ‰ ˙ÂÈÂÎÓ ‰¯˘Ú–˘˘ ∫ÂÈÏ˙Î ÔÈ· ‰¯Â‚˘ ‡Ï ‰Î¯Ú˙ ‚Ȉ‰Ï ÁÓ˘ ˙ÂÓ‡Ï ·È·‡ Ï˙ Ô‡ÈÊÂÓ
ÆÌÈÚ„Â‰ Ìȇ˜È¯Ó‡‰Â ÌÈÙ¯ȇ‰ ÌÈ·ˆÚÓ‰Ó Ì‰ ˙‚ˆÂÓ‰ ˙ÂÈÂÎÓ‰ È·ˆÚÓ ¨È˙ÈÈ˘Ú˙‰ ·ÂˆÈÚ‰ ˙‚ÒÙÓ ˙Á‡Ï ·˘Á ˙ÈÂÎÓ ·ÂˆÈÚ Æ≤∞–‰
ȯ ¯ÈȈ ‰ÈÏÚ˘ ¨BMW 320i ˙ÈÂÎÓ ≠ ÔÈϯ· ¨BMW ÛÒÂ‡Ó ‡È‰ ˙ÙÒÂ ˙ÈÂÎÓ ¨ÌÈÈχ¯˘È ÌÈÙÒÂ‡Ó Ô‰ ˙‚ˆÂÓ‰ ˙ÂÈÂÎÓ‰Ó ‰¯˘Ú–˘ÓÁ
Æ≤∞–‰ ‰‡Ó· ˙ÈÂÎÓ‰ ·ÂˆÈÚ Ï˘ Â˙ÂÁ˙Ù˙‰ ÏÚ È¯ÂËÒȉ Ë·Ó ˙¯˘Ù‡Ó ‰Î¯Ú˙‰ ÆÔÈÈˢËÎÈÏ
MINI– BMW ˙È‡Â·È ¨·Î¯ ¯ÂÓ˜Ï ˙„Â˙ ÆÔ‡ÈÊÂÓ‰ ÏÏÁ· ‰Ï‡ ˙·ˆÂÚÓ ˙ÂÈÂÎÓ ‚Ȉ‰Ï ˙¯˘Ù‡‰ ÏÚ ˙ÈÓÏÂÚ‰ BMW ˙ˆÂ·˜Ï ‰·¯ Â˙„Â˙
·ˆÚÓ Ï˘ ¯˜ȷ ÏÚ ÌÈ„ÂÓ Â‡ Ʒί ¯ÂÓ˜ Ï“ÎÓ ¨ÌÈÈÁ Ô· χ¯˘ÈÏ ªÒ¯ÂËÂÓ ¯ÂÓ˜ Ï“ÎÓ ¨ıÂÏÁ È„Ï ª¯ÂÓ˜ ˙ˆÂ·˜ ¯“ÂÈ ¨¯¯· È„Ï ªÏ‡¯˘È·
ƯÓÏÈȉ ¯·Èχ ≠ ÔÎÈÓÓ BMW ˙¯·Á Ï˘ È˘‡¯‰ ˙ÂÈÂÎÓ‰–ÌÈÙ
ԯ ‰Ïȉ ¨‰ÈϘ ÈÙ¯ ¨¯ÂÓȯ٠ԈÈ ¨ÒÊÂÓ È·‡ ¨È˯·ÈÏ È˘ ¨ÔÁÂÈ ÔÏȇ ¨Ô‚„ ÊÚ· ¨¯Ó¯‚ È· ¨¯Â‚Óχ ˙ÁÙ˘Ó ∫ÌÈ·È„‰ ÌÈÏȇ˘ÓÏ ‰„Â˙ ȯÈÒ‡ Â‡
Æχ¯˘È· ˙ÂÈÒϘ‰ ˙ÂÈÂÎÓ‰ Ï˘ ÌÈÙÒ‡‰ ˙È·¯Ó ˙‡ „‚‡Ó‰ Ô„ÚÂÓ‰ ≠ μ–‰ Ô„ÚÂÓ È¯·Á ̉ ÌÈÏȇ˘Ó‰ ÏΠƇ‚¯˘ „Úχ ˙È¯ ¨·‰¯
ÏÚ ¨Ô‡ÈÊÂÓ· ¯Â·Èˆ ȯ˘˜ ˙ωÓ ¨ÂÙÙ ‰È„ „“ÂÚÏ ª‰Î¯Ú˙‰ Ï˘ ÌÈÚˆ˜Â‰Ó‰ ‰Ó˜‰‰Â ·ÂˆÈÚ‰ ÏÚ Ó“Ú· ·ÂˆÈÚÏ ÂÈ„ÂËÒ Ô˜ÂË È˘‡Ï ˙„Â˙
ÛÒ‡· ÏÂÙÈˉ ÏÚ ‰Î¯Ú˙‰ Ï˘ ‰Ή‰ È·Ï˘ Ïη ‰Î¯·‰ ˙·¯ÂÚÓ‰ ÏÚ ≠ ‰ÓÏ˘ Ô¯ÚÏ ª¯ˆÂ‡Ï ˙¯ÊÂÚ‰ ¨¯ÈÏ ÏËÏ ª‰¯ÂÒÓ‰ ̇È˙‰ ˙„·Ú
Æ˙ÂÈÂÎÓ‰
È˙ÈÈ˘Ú˙ ·ÂˆÈÚÏ ‰˜ÏÁÓ‰ ˘‡¯ ¨·‚¯ ®È¯Â„© ¯Â„È·‡ ·ˆÚÓÏ ª‚ÂÏ˘‰ ˙˜Ù‰ ÏÚ ‚ÂÏ˘‰ Ï˘ È˙¯ÈˆÈ‰Â ˜È„Ӊ ·ÂˆÈÚ‰ ÏÚ ÛÈȯ‚ ‰Ù„Ï ˙„Â˙
ª˙‚ˆÂÓ‰ ˙ÂÈÂÎÓÏ ÌÈÈ‚ÂÏ˘‰ ˙‡·Ӊ ÏÚ ≠ ¯Â‚Óχ ¯ÈÓÚ „“ÂÚÏ ªÈ·È˘Ùүى ¯È‰·‰ Â¯Ó‡Ó ÏÚ ≠ ÌÈÏ˘Â¯È ¨Ï‡Ïˆ· ¨˙ÂÓ‡Ï ‰ÈÓ„˜‡·
ÏÚ ≠ ÈÁ ̉¯·‡Ï ªÂ˙·¯ÂÚÓ ÏÚ ≠ Ô‚ ˙Ó¯ ¨·ÂˆÈÚ ‰Ò„‰Ï ‰Â·‚ ¯ÙÒ ˙È· ¨¯˜˘ ¨È˙ÈÈ˘Ú˙ ·ÂˆÈÚÏ ‰˜ÏÁÓ‰ ˘‡¯ ¨‰‡Â„Ù ÒÎχ ·ˆÚÓÏ
Æ˙ÈÏ‚‡· ‰Îȯډ Ì‚¯˙‰ ÏÚ ¨Ò˜ÂÙ ¯Ó˙Ï ª˙ȯ·Ú· ËҘˉ ˙ÎÈ¯Ú ÏÚ Ô˙„ ¯˙Ò‡Ï ˙„Â˙ ªÁÂ˙Ù‰ ÛÂ· ˙ÂÈÂÎÓ‰ Ï˘ ÌÈÙȉ ÌÈÓÂψ˙‰
¨‚¯Â·ÒÏ„‡ ‡‚¯˘ ≠ ÌÂ˘È¯‰ ˙˜ÏÁÓÏ ª˙ÓÂÈÓ‰ ˙ÈÎˉ Â˙Ó¯˙ ÏÚ ÌÂÁ ·˜ÚÈÏ ∫‰Î¯Ú˙Ï ˙ÂΉ· ÂÚÈÈÒ˘ Ô‡ÈÊÂÓ‰ È˘‡ ÏÎÏ ˙„ÁÂÈÓ ‰„Â˙
¯Â‡ÈÏ ÌÂÏ·ÈÈ ÏÈȇ ¨Ô‡È‚‡ ¯Â‡ ≠ ÌÈ¯Â‡˙Ï ªÛÏ ‰Ù„Â ¯Ò¯„ ‰È‡Ó ¨‡È¯ÂÏ Ô¯„ ¯“„ ≠ ÌÈ¯Ó˘ÓÏ ªÏ˜¯Ù È˘Â˘Â ÔӄȯÙ≠Â‡·Â„Ù ‰ÊÈÏÚ
Æȇ·‚
¯ÓÂÚ È΄¯Ó ‘Ù¯Ù
5
6
BMW Ï˘ ˙ÂÓ‡‰ ˙ÂÈÂÎÓ ÛÒ‡
∫̉ÈÈ· ¨ÌÏÂÚ‰ È·Á¯Ó ÌÈÚ„Â ÌÈÓ‡ È„È ‰˘ÚÓ Ô‰ BMW Art Car ÛÒ‡ ¯Â·Ú· ÌÂȉ „Ú ±π∑μ–Ó Â¯ˆÂ˘ ¢˙ÂÏÙÂËÓ¢‰ ˙ÂÈÂÎÓ‰ ‰¯˘Ú–˘˘
¯ÂÙχ Ï˘ Â˙„Â·Ú ¨‰Î „Ú ‰¯Á‡‰ ˙ÈÂÎÓ‰ ‰ÙÒÂ ≤∞∞∑–· ƯˆÏ‰ Èß‚Â È˜Â‰ „ÈÂÂÈ„ ¨˜٠Ư Ƈ ¨Ï‰¯Â Ȅ‡ ¨ÔÈÈˢËÎÈÏ È¯ ¨‰ÏËÒ ˜¯Ù
ƉȂÂÏÂÎË·Â ·ÂˆÈÚ· ¨˙ÂÓ‡· ˙ÂÈÂÁ˙Ù˙‰Â ˙ÂÓ‚ÓÏ ÈÂËÈ· Ô˙Â ÛÒ‡‰ Æ¢BMW H2R ˘È¯٠≠ ÍÏ˘ ˙„ÈÈ‰ ˙ÂÈÙȈ‰¢ ∫ÔÂÒ‡Èχ
˙Â˘ ˙È˘‡¯· ÔÈÓʉ Ô‡ÏÂÙ Æ˙ÈÂÎÓ Ï˘ ·ÂˆÈÚ· ˙È˘ÙÂÁ „È ÔÓ‡Ï ¯˘Ù‡Ï ÔÂÈÚ¯‰ ˙‡ ‰‚‰˘ Ô¢‡¯‰ ‰È‰ ¨Ô‡ÏÂÙ ‰Â ŒÂ¯‡ È˙Ù¯ˆ‰ ÌȈ¯ÈÓ‰ ‚‰
ÌÈ˘· ÆÛÒ‡‰ Ï˘ Â˙È˘‡¯ ‰˙Èȉ ˙‡Ê ‰ÓÊÂÈ ÆÂ˙¢¯·˘ BMW Ï˘ ÌȈ¯ÈÓ‰ Ì‚„ ˙‡ Ú·ˆÏ ¨¯„Ϙ ¯„ÒÎχ ȇ˜È¯Ó‡‰ ÔÓ‡‰ ¨Â„È„È ˙‡ ∑∞–‰
ÆÔ‡Ó–‰Ï Ï˘ Ú„Â‰ ˙ÂÚ˘‰ ≤¥ ı¯ÈÓ· ˜ÏÁ ÂÏË Û‡ Ô‰Ó ‰ÓÎ ≠ ˙ÂÓ‡ ˙¯ȈÈÏ ÂÎÙ‰˘ ı¯ÈÓ ˙ÂÈÂÎÓ ¯˜ÈÚ· ‰Ï‡ Âȉ ˘È¯ى Ï˘ ˙Â¢‡¯‰
±μ ¯ÙÒÓ BMW Art Car ˙‡ ¯ˆÏ‰ È‘‚ ˙ȇ˜È¯Ó‡‰ ˙ÈÓ‡‰ ‰¯ˆÈ ±πππ ˙˘· ÆÈ˙¯„Ò ¯ÂˆÈÈ Ï˘ ˙ÂÈÂÎÓ Â· ÂÏÏÎ ÛÒ‡‰ ·Á¯Â‰ ¨ÔÓʉ ÌÚ
Æ˙¯ˆÂÈ ‡È‰˘ ÌÊȇ¯ˉ ˙Â„Â·Ú Á¯· ®Ô‡Ó–‰Ï ı¯ÈÓ· Û˙˙˘‰˘© BMW Ï˘ V12 Ì‚„‰ ˙‡ ÌÈÏÓ· ‰¯‡È˙ ‡È‰ ≠
¨È‡Á˘ Ï˘ ˙ÂÓ‡Ï Ô‡ÈÊÂÓ·Â ÌÈȉ‚‚· ¨¯·ÂÏ· ¯˙ȉ ÔÈ· ªÌÏÂÚ‰ È·Á¯· ÌÈ‡ÈÊÂÓ· ‚ˆÂ‰ ¨˙ÂÓ‡ ˙„·ÚÏ Âȉ˘ ¨ÂÏω ˙ÂÈÂÎÓ‰Ó Ï„‚ ˜ÏÁ
ƘÈÒ˜Ó ˙ȯ·‰ ˙ˆ¯‡ ¨Â„‰ ¨‰˜È¯Ù‡ ¨‰ÈÒ‡ È·Á¯· ‰‚ˆ˙Ï ˙ÂÈÂÎÓ‰ ˙„„Â ≤∞∞∂ Ê‡Ó ÆÔÎÈÓ· BMW Ô‡ÈÊÂÓ·
ÆÊ‘‚ ˙ÈÒϘ ‰˜ÈÊÂÓ ¨ÌÈÈ¯„ÂÓ ·ÂˆÈÚ ˙ÂÏÎȯ„‡ ¨˙ÂÓ‡ ∫ÌÈ¢ ˙·¯˙ ÈÓÂÁ˙· BMW ˙ÏÚÂÙ ¨ÌÈ˘È¯٠‰‡ÓÓ ‰ÏÚÓÏ·Â ¨‰˘ ÌÈÚ·¯‡ ͢ӷ
BMW 320i ¨±π∑∑ ¨ÔÈÈˢËÎÈÏ È¯ Ï˘ ˙ÂÓ‡‰ ˙ÈÂÎÓ
‰‡¯Ó ·ÂˆÈÚ‰¢ ÆBMW 320i ˙ÈÂÎÓ‰ ÏÚ Â¯ÂÈˆÏ ÂÒÁÈÈ˙‰· ÔÈÈˢËÎÈÏ È¯ ¯Ó‡ ¨¢ÚÂÒÏ Ô‡Ï ˙ÈÂÎÓÏ ‰‡¯Ó‰ ˘È·Î ¯‡˙È ÌȘ‰˘ È˙Ȉ¯¢
ÏÎ ˙‡ ˙Ù˜˘Ó ˙‡Ê‰ ˙ÈÂÎÓ‰˘ ‡Ï‡ ¨˙ÈÂÎÓÏ ‰¯Â˜˘ ¯·„ ÏÎ Ï˘ ‰ÓÈ˘¯ ÔÈÚÎ ‡È‰˘ ¯ÓÂÏ ¯˘Ù‡ Æ˙¯·ÂÚ ˙ÈÂÎÓ‰ ̉·˘ ÌÈÙÂ‰ ˙‡ Ì‚
Æ¢˘È·Î ÏÚ ‰˙ÏÚ˘ ÈÙÏ ‰Ï‡‰ Ìȯ·„‰
È‚ Ï˘ ˙‡˜ÂÈ„ ¯ÈȈ Âί„ ˙È˘‡¯· Æ˙ȯ·‰ ˙ˆ¯‡· ÙÂÙ‰ ˙ÂÓ‡ ˙‡ Ì˙¯ÈˆÈ· ¯Ȅ‚‰˘ ÌÈÓ‡‰Ó ‡Â‰ ®±ππ∑≠±π≤≥ ¨˜¯ÂÈ ÂÈ© ÔÈÈˢËÎÈÏ È¯
Ò˜ÈÓ˜‰ ªÌÊÈÂÈÒ¯ÙÒ˜‡‰Â ÌÊȷ˜‰ χ ‰Ë ˙Â¢‡¯‰ ÂÈ˙„·ڷ ÆÂȉ‡· ˙ÂÓ‡ „ÓÏ ÔÎÓ ¯Á‡Ï ¨˜¯ÂÈ ÂÈ· ‚ÈÏ ÒË„ÂÈËÒ Ë¯‡· „ÓÏ ʑ‚
Æ˯‡–ÙÂ٠ȯÂȈ ¯ÂˆÈÏ ÏÁ‰ ±π∂±–· Æμ∞–‰ ˙Â˘ ÛÂÒ· ˜¯ Â˙ÂÈÈÚ˙‰ ˙‡ ¯¯ÂÚ ÌÈÂÓ‰‰ ˙·¯˙ ÍÂ˙Ó ÌÂÒ¯Ù‰Â
7
Ô‰ Ʊπ∏π ¨·È·‡ Ï˙ Ô‡ÈÊÂÓÏ ¯È˜ ¯ÂȈ ¨ÔÈÈˢËÎÈÏ È¯ Ï˘ ÍÈËÙÈ„ ®ÒÈϘȯ ÌÏÂ˘Ó Ìχ© ‰ÒÈΉ Ìχ· Ú·˜ ‚ˆÂÓ ˙ÂÓ‡Ï ·È·‡ Ï˙ Ô‡ÈÊÂÓ·
Ìȷډ ÌȉΉ ¯‡˙ÈÓ‰ Ș· ¨®ÈÈ„·© ˙„˜‰ Ì‚„· ÔÈÈˢËÎÈÏ È¯ Ï˘ ˘ÂÓÈ˘· ÔÈÁ·‰Ï Ô˙È ˙ÈÂÎÓ‰ ÏÚ˘ ¯ÂȈ· ԉ Ô‡ÈÊÂÓ·˘ ¯È˜‰ ¯ÂȈ·
ÌÈÁË˘Ó Ï˘Â ˙ÂÈÂÓ„ Ï˘ ‰Ïψ‰ Í¯ÂˆÏ ÂÈ˙„·ڷ ¯ÊÚ ‡Â‰ ÈÈ„· ˙„˜· ÆÌÈÈ˙ÈÈ˘Ú˙ ÌÈÚ·ˆ· ¢ÂÓÈ˘ ˙‡ ÔΠ¨Ò˜ÈÓ˜‰ ˙‡ ÌÈÈÈÙ‡Ó‰
ÆÔÈÈˢËÎÈÏ Ï˘ ˙„·ڷ ÈË¯‰ȇ ·ÈÎ¯Ó ‡Â‰ È·Á¯Ó‰ ¯˘˜‰‰ Æ˙ÈÂÎÓ‰ ˙ÚÂ˙ ÏÚ ˙„˜ Ô˙‡ ˙ÂÊÓ¯Ó ˙ÈÂÎÓ‰ ÏÚ ¯ÂȈ· ÆÌÈˢÙÂÓ
ÒÁÈÈ˙Ó ‰„·ډ Ï˘ ÈÏ‡Ó˘‰ Ï‡Ù‰ Æ·˘ ˙ÂÓ‡‰ ˙„·ڷ ÂÓˆÚ Ô‡ÈÊÂÓ‰ ÏÏÁ· ˜ÒÂÚ ¨˙ÂÓ‡Ï ·È·‡ Ï˙ Ô‡ÈÊÂÓÏ „ÁÂÈÓ· ‰˘Ú˘ ¨ÍÈËÙÈ„‰
ÈÚˆÓ‡‰ ˜ÏÁ· ªÏ‡‚‡˘ ˜¯‡Ó Ï˘ ÛÁ¯Ó‰ ¯Ή ˙‡ Ï‡Ù‰ Ï˘ ÔÂÈÏÚ‰ ˜ÏÁ· ˙‡¯Ï Ô˙È ¨Ï˘ÓÏ ÍÎ ÆÔ‡ÈÊÂÓ‰ ÛÒ‡·˘ ˙¯Ȉȉ ÔÓ ‰ÓÎÏ
·˘ ¨ÈÓȉ Ï‡Ù‰ ƯÂȈ‰ Ï˘ ÔÂ˙Á˙‰ ˜ÏÁ· ‰ÚÈÙÂÓ ¢˙ÂÓ‡¢ ‰ÏÓ‰ Ì‚ ÆÂÒ‡˜ÈÙ Ï˘ ˙˜¯ÂÙÓ‰ ˙ÂÈÂÓ„‰Ó ˙Á‡ ˙‡ ˙‡¯Ï Ô˙È Ï‡Ù‰ Ï˘
Ô˙È˘ ÌÈÈÂÒÎχ ÌȘ Ì˙‡ ̉ ·ÁÂ¯Ï Ï‡Ù‰ ˙‡ ÌȈÂÁ‰ ÌÈÈÂÒÎχ‰ ÌȘ‰ ÆÔ‡ÈÊÂÓ‰ Ï˘ ‰·ÓÏ ÒÁÈÈ˙Ó ¨¯˙ÂÈ ÌÈˢÙÂÓ ÌÈÈÂÓÈ„‰
ÛÂ ¨¯ÈÂˆÓ ˙ÈÂÎÓ‰ ÈÙÎ È·‚ ÏÚ Æ˙ÈÂÎÓ‰ ÏÚ ¯ÂȈ· Ì‚ ÈÂËÈ· È„ÈÏ ‡· È·Á¯Ó‰ ¯˘˜‰‰ Æ˙Âȯς‰ χ ‰ÒÈΉ ÌÏÂ‡Ó ‰ÈÈÏÚ· ≠ ÏÂÓÓ ˙‡¯Ï
‰È·Á¯Ó ‡Â‰ ÛÂ‰ ƘÙ‡ ˜ ÌÈ˜Â¯È ˙„˘ ÌȯÈÂˆÓ ˙ÈÂÎÓ‰ Ï˘ ÔÂ˙Á˙‰ ‰„ˆ· Ʒί‰ ȘÏÁ ÏΠχ ‰È¯˜ ˙‡ ˙ÁÏ¢‰ ˘Ó˘ ÔΠ¨¢ÛÚÈ· ÛÏÂÁ¢
Æ˙ÈÂÎÓ‰ ˙ÙÏÂÁ ̉·˘ ˙ȯ·‰ ˙ˆ¯‡ Ï˘ ÌÈÁÂ˙Ù‰
≤∞∞∞ ÁÙ ªÏÂÙÎ ÈÏÈÚ ÌÈÊÈÊ Ï‚ ª¯„ÈÏÈˆÏ ÌÈÓÂ˙Ò˘ ¥ ª¯ÂË· Ìȯ„ÈÏȈ ¥ ÏÚ· ÚÂÓ ∫μ ‰ˆÂ·˜· ÌȈ¯ÈÓ ˙үȂ· BMW 320i Ì‚„ Ï˘ ÌÈÈÎË ÌÈ˯Ù
Æ˘¢Ó˜ ≤μ∑ ˙È·¯Ó ˙Â¯È‰Ó ªÒ¢Î ≥∞∞ ˜ÙÒ‰ ª˜¢ÓÒ
˙ÈÂÎÓΠ¨Êȯٷ „ÈÙÓÂÙ Êίӷ ‰‚ˆÂ‰˘ ˙ÂÓ‡ ˙„·ÚÎ ∫‰ÏÂÙÎ ‰¯ÂÎ·Ï ÔÈÈˢËÎÈÏ È¯ Ï˘ ˙ÂÓ‡‰ ˙ÈÂÎÓ ‰˙ÎÊ ‰˙ÓÏ˘‰ ¯Á‡Ï
‰ÓÈÈÒ ‡È‰Â ¨μ∞ ‰È‰ ı¯ÈÓ· ‰¯ÙÒÓ ÆÌÈ˙Ù¯ˆ‰ «ÈÈÓ ÏÒ¯Ó ԇÏÂ٠‚‰ ˙ÈÂÎÓ· Ʊπ∑∑ ÈÂÈ· Ô‡Ó–‰Ï Ï˘ ˙ÂÚ˘ ≤¥–‰ ı¯ÈÓ· ‰Ù˙˙˘‰˘
Ɖ˙ˆÂ·˜· Ô¢‡¯‰ ̘ӷ ÈÏÏΉ ‚¯Ȅ· ÈÚÈ˘˙‰ ̘ӷ
8
9
10
BMW
11
‫‪[2‬‬
‫]‪[3‬‬
‫]‪[1‬‬
‫]‪ [1‬אלברכט דירר‪ ,‬פרט מתוכ תהלוכת הניצחונ‬
‫של מקימיליאנ ה‪1526 ,I‬‬
‫]‪[5‬‬
‫]‪ [2‬אנרי טולוז לוטרק‪ ,‬הנהג‪1898 ,‬‬
‫]‪ [3‬לואיג'י רוולו‪ ,‬דינמיות של מכוניות‪1913-1912 ,‬‬
‫]‪ [4‬אנדי וורהול‪ ,‬התרקות ירוקה‪1963 ,‬‬
‫]‪ [5‬אנדי וורהול‪ ,‬מרצד ‪1954 ,300SL‬‬
‫‪12‬‬
‫]‪[4‬‬
˙ÈÂÎÓ‰ ˙ÂÓ‡ ÏÚ ∫ÌÈÏ‚Ï‚Â ‰˜Â˘˙ ‡˘ÂÓ
‫אבידור )דורי( רגב‬
Ʊμ≤∂ ¨ I–‰ Ô‡ÈÏÈÓÈÒ˜Ó Ï˘ ÔÂÁˆÈ‰ ˙ÎÂω˙© ¯¯È„ Ëί·Ï‡ Ï˘Â ®±¥∑∏© ȈÈ ‰„ „¯‡ÈÏ Ï˘ ‰ÈÊËÙ ‡˘ÂÓ ¨˙Ï‚Ï‚˙Ó‰ ‰ÂÎÓ‰
‰ÈˆÙȈÓ‡ ¨˙ÂÈ¯„ÂÓ Ï˘ ˙„ÂÒÈ ÏÚ ˙ÎÓÒ‰ ‰ÒÈÙ˙ ƉÚÂ˙‰ ˙ÏÂÎÈ ˙‡ ‰ÓÏ˘ ˙·¯˙Ï ¯˘Ù‡Ï ÔÂÈÚ¯‰ Ï˘ Â˙ÏÈÁ˙ ˙‡ ˙ÏÓÒÓ ¨®± ¯Âȇ
“˙È˘È‡” ‰¯Â·Á˙ ÌÈȘ˙˙ „ÂÚ ÏΠƉÂÎÓÏ Ì„‡ ÔÈ· ÈÓÈËȇ‰ „ÂÁȇ‰ ‡È‰ ÔÂÈÚ¯‰ ˙·Á¯‰ Æ„È˙Ú· ‰ÂӇ ˙ÂÈÓÈËÙ‡ Ï˘ ‰‚È‚Á ƉӄȘÂ
Æ≤∞–‰ ‰‡Ó‰ ÌÚ ¯˙ÂÈ· ‰‰ÂÊÓ‰ ˘Èȷ‡‰ ‡È‰ ˙ÈÂÎÓ‰ ¨˙È˘ÚÓ ‰ÈÁ·Ó Æ˙ÂÈ˘ÂÓÈ˘Ó ¯˙ÂÈ Â· ˘È˘ ıÙÁÎ ¯ˆÂ·Ó ˙ÂÈ‰Ï ˙ÈÂÎÓ‰ „ÓÚÓ ÍÈ˘ÓÈ
‰ȉ ˙ÈÂÎÓ‰ Ï˘ ˙‡¯‰ ˙ÈÈÂÂÁ Æ˙»‡¯‰
œ ÔÙ·Â ˘ÂÓÈ˘‰ ÔÙ· ∫˙·¯˙· ˙ÈÂÎÓ‰ Ï˘ ¯˙ÂÈ· ˙È·ÈÒËȇ‰ ˙ÂÁÎÂ‰ ˙ÂÎÊ· ˙ÓÈȘ˙Ó ÂÊ ˙‰Ê
‰˘ÚÓ ıÙÁ Ôȇ ÆÈ¯Âˆ‰Â ÈÏÓÒ‰ ¨ÈÈÂÓÈ„‰ ¨È¯Â·Èˆ‰ ¨ÈÓÈËȇ‰ ¨‰ÚÂ˙‰ ¨ÛÂ‰ ¨È·ȯ‰ ¨ıÂÁ‰ ¨ÌÈÙ‰ „ÓÈÓ· ˙ÈÓʖ· ˙ÒÙ˙ ˙ÈÂÎÓ‰ Æ˙ÈÏËÂË
¨˙ÈÏÓÒ ÔÂÚË ıÙÁÏ ÍÙ‰È‰Ï ‰˙„ÚÂÓ ÍÎ ¨ÂÈÈÁ· ˙ÈÂÎÓ‰ Ï˘ ‰˙ÂÁÎÂ τ‚ΠƉ·¯ ‰Î ‰ÓˆÂÚ·Â ˙ÂÓ¯ ‰·¯‰ ÍÎ Ïη ÂÈÏÚ ÏÚÂÙ˘ Ì„‡ È„È
ÆÈχى ÈÓˆÚ‰ ÈÂÓÈ„‰ Ï˘ ‰·Á¯‰ ۇ ˙ÂÈ‚˘È‰ Ï˘ ÔÓÒÓ
˙ÂÓ‡Ï ˙ÈÂÎÓ ÔÈ· ˘‚ÙÓ
¯Âȇ© ±π±≥≠±π±≤ ¨˙ÂÈÂÎÓ Ï˘ ˙ÂÈÓÈ„ ¨«Ï«Ò»¯ È‘‚ȇÂÏ ËÒȯÂËÂÙ‰ Ï˘ ÂÊ Â‡ ¨˜¯ËÂÏ ÊÂÏÂË È¯‡ Ï˘ ¨®≤ ¯Âȇ© ±∏π∏ , ‚ ‰  ‰ ˙ӂ„ ‰„·Ú
Ï˘ ‰˜ÈË˙Ò‡Ï ˙È˙˘˙ ÂÂȉ ‰Ï‡ ÌÈ·ÈίÓ ¨ÁÂΠ˘Ú¯ ¨˙Â¯È‰Ó ˙ÈÂÎÓ‰ ‰ÏÓÈÒ ÌÈËÒȯÂËÂÙÏ Æ˘Â‚È¯‰Â ÔÂÎÈÒ‰ ¨‰ÚÂ˙‰ ˙‡ ˙‚‚ÂÁ ¨®≥
Ï˘ ˙ÙÂÎÓ‰ ÔÂÁˆÈ‰ ˙χ ≠ ÈÒϘ‰ ÈÂÂȉ ÏÒÙ‰ Ï˘ ÂÈÙÂÈ ÏÚ ‰ÏÂÚ‰ ÈË˙Ò‡ Í¯Ú ÂÏω ÌÈÈÈÙ‡Ó· ‰‡¯ ÈËȯ‡Ó ÂÒ‡ÓÂ˙ ª˙Â˘„Á ˙ÂÈÓÈ„
Æ˙ÂÓ‡ ˙¯ÈˆÈ Ï˘ „ÓÚÓ ÌÈËÒȯÂËÂÙ‰ ÈÈÚ· ˙ÈÂÎÓ‰ ‰˘Î¯ Íη ÆȘ‡¯˙ÂÓÒ
ÌÈÁÂ˙ÈÙ‰ ˙È·¯Ó Ì‚ ¨‡ˆÂÈ ÏÚÂÙÎ ÆÌ˙ÎÈ˘Ó ˙‡ ÌÈ„·‡Ó ˙ÂÈÂÎÓ‰ Ȉ¯ÈÓ Âȉ ‰È„ÚÏ·˘ ÁÈ‰Ï ˘È ¨‰‚ȉ‰ ˙ÈÈÂÂÁÏ ˙ÈËÓȇ ‰ÎÒ‰ ˙˘ÂÁ˙
¨¯Â¯È˜ ¨ÌÈÏÈÚÈ ÌÈ¯È‰Ó ÌÈÊÂ‡Ó ÌÈÚÂÓ ¨ÌÂÏÈ· Ï˘ ˙ÂÈ‚ÂÏÂÎË ÆÌÏÂÚÏ Ìȇ· Âȉ ‡Ï ¨¯˙ÂÈ ÌÈÁÂË·Â ÌÈÏÈÚÈ ÌȯˆÂÓÏ ˙ÂÈÂÎÓ‰ ˙‡ ÂÎÙ‰˘
Íη ¯ÈÎ‰Ï Íȯˆ Æ˙ÂÈÂÎÓ‰ Ȉ¯ÈÓ ‡ÏÓχ ÌÂȉ ˙ÂÈÓÊ Âȉ ‡Ï „ÂÚ „ÂÚ ˙Â·ÈˆÈ ¨‰˜ÈÓȄ¯ȇ ¨ÌȯÓÂÁ ¨˘Â‡ ˙Ò„‰ ¨·Â˘ÁÓ ¨‰ËÈÏ˘Â Ú„ÈÓ
˙ÂÏÂÎÈÏ ‰„·Î ‰Ó¯˙ ÂÓ¯˙ ¨˙ÂÓÁÏÓ ÂÓÎ ÌÈ˘ÈÏÙ˜· ˙·¯ÂÚÓ ÂÏÈه ¨È˘ÓÓ Â‡ ÈÓÊÈ ¨Èχ¢ÏËȇ ÔÂÎÈÒ ˙ÏÈË ¨˙È˜˙Ù¯‰ ‰˘È‚˘
˙ÂÈÂÎÓ ˙Â‡˙ ¯‡È˙ ‡Â‰ ÂÈ˙„·ڷ Æ˙ÈÂÎÓ· ‰ÓÂÏ‚‰ ‰ÈÂÂÁ‰ ÔÈ·Ï ‰ÎÒ‰ ÔÈ· „‚È‰ ˙‡ ˙ÂÏÚ‰Ï ·ÈËȉ ω¯Â Ȅ‡ ÆÌÂÈÎ ˙ÈÂÎÓ‰ Ï˘
Ï˘ ÌÈÒÙ„‰· ¨Ï˘ÓÏ ÍÎ ¨˙¯ȉÓÏ ‰ÚÂ˙Ï ‰Ùȇ˘ ‡ËÈ·˘ ˙Â„Â·Ú Ì‚ ¯ˆÈ ‰Ú˘· ‰· ª®¥ ¯Âȇ Ʊπ∂≥ ¨‰˜Â¯È ˙˜ү˙‰ ¨‰Ó‚„ϩ ˙˜Ò¯Ó
13
[7]
[6]
¨®‰ÈÈ˘‰ ÌÏÂÚ‰ ˙ÓÁÏÓ ÈÙÏ˘ ÌÈ˘‰Ó ˙Ú„Â ı¯ÈÓ ˙ÈÂÎÓ© W±≤μ Ò„ˆ¯Ó Ï˘Â ®μ ¯Âȇ Æμ∞–‰ ˙Â˘Ó ‰·Â˘Á ı¯ÈÓ ˙ÈÂÎÓ© ≥∞∞SL Ò„ˆ¯Ó
ÆBMW Ï˘ M1 ≠ ¯È‰Ó‰Â ÈËÂʘ‡‰ Ì‚„‰ ÏÚ Ú·ˆ· ¯ÈȈ ±π∑π–· ¨ÛÒÂ·Â
‰¯ÂˆÂ ÔÂ‚Ò Ï˘ ˙ÂÈÎ¯Ú ˙ÂÒÈÙ˙
¨˙ÂÈÊËÙ ˙ÂÙȇ˘ ÏÂÚÈ˙Ï ıÂ¯Ú ‡È‰ ˙ÈÂÎÓ‰ ˙ȇ˜È¯Ó‡‰ ˙·¯˙· Ư˘˜‰ ÈÂÏ˙ Âȉ ˙È¯Âˆ ‰˜ÈË˙Ò‡ ˙ÏÚ· ‰¯ÈˆÈÎ ˙ÈÂÎÓ‰ Ï˘ ‰„ÓÚÓ
‰ÈÈ˘‰ ÌÏÂÚ‰ ˙ÓÁÏÓ ¯Á‡Ï˘ ÌÈ˘· ÈÂÈ˘ ‰¯·Ú ¨˙¯˙ÂÓ ıÙÁ ‰˙È˘‡¯˘ ¨˙ÈÂÎÓ‰ Æ˙È˙¯·Á ˙„ÈÈÏ ÈÚˆÓ‡ ÔΠ¨ÌÈÈÏÎÏÎ ÌÈÒ¯Ëȇ
¨˙ÂÈχ„ÈÂÂÈ„ȇ ˙Â‡ÓˆÚ ¨˙ÂȈÂÏÁ ¨˘ÙÂÁ ¨„ÈÁȉ ıÓ‡Ó· ‰¯Î‰ ˙ӂ„ ÌÈȇ˜È¯Ó‡ ÌÈÎ¯Ú Ì‚ Æ„ÓÚÓ Ï˘ ÔÂÈ¢ ÏÚ ÊȯÎÓ‰ ÔÓÈÒÏ ‰ÎÙ‰Â
ƯËÂÚÓ‰ ·ÂˆÈÚ‰ Ï˘ ‰ÈˆÓÈËÈ‚ÏÏ ‰ÎÈω ˙ȯ·‰ ˙ˆ¯‡· ˙ÈÂÎÓ‰ Ï˘ ˙ÈËÓ¯‰ ‰ÒÈÙ˙‰ Æ˙ÈÂÎÓ· ÌÈÈÂËÈ· ˙‡ ‡ˆÓ
Ï˘ ‰˜ÈË˙Ò‡ ‚ÏË˜Ï Ô˙È ‰È‰ ‡Ï˘ ¯Á‡Ó Æ˙ÈÂÎÓÏ ÌÈÈË˙Ò‡ ÌÈÎ¯Ú ÒÂÁÈÈ Ï˘ ˙ÂÈÓÈËȂω ÏÚ ÈÂÏ‚ ÁÂÎÈ ÌÈȘ˙Ó μ∞–‰ ˙Â˘ ˙ÏÈÁ˙Ó
ƷˆÈÚ‰ ˙Ù˘ ÍÂ˙Ó ˙ÈÂÎÓ‰ ‰¯„‰ ¨ÌÈÈË˙Ò‡‰ ÌÈ‚˘ÂÓ‰ Ï˘ ¯ÎÂÓ‰ ÌÏÂÚ‰ ÍÂ˙· ˙ÂÈÂÎÓ
˙Â¯˜ÚÏ ‰ÙÂÙÎ ‰˙Èȉ ˙ÈÏÏΉ ÌÓÏÂÚ ˙ÒÈÙ˙ ¨Ì˙¯˘Î‰· ÌÈÏÎȯ„‡ ¯˜ÈÚ· ‰Ù¯ȇ· ÌÈÈ˙ÈÈ˘Ú˙‰ ÌÈ·ˆÚÓ‰ Âȉ ≤∞–‰ ‰‡Ó‰ ˙ÏÈÁ˙Ó
˙‡ˆÂ‰ ¨Ï‡È¯Â‡ ‰È¯‡ ∫˙ÈÓ¯‚Ó ¨ÒÂÏ ÛÏ„‡ ∫‡¯© “Ú˘Ù ËÂ˘È˜” ¨±π∞∏–Ó Â¯Ó‡Ó· ÛÈˉ Ò»Ï ÛÏ„‡ ÏÎȯ„‡‰ ÆÌÊÈ¯„ÂÓ‰ Ï˘ ÌȯÈÓÁÓ‰
‰Úˉ ÆȯÒÂÓ Ï¢ÎÓ ‰Â‰Ó Ì˙Â˘ÈÈ˙‰ ˙‡ ¯¯Â‚ ¨Ì˙ÂÁ˙Ù˙‰ ˙‡ ÌÏ· ËÂ˘È˜‰˘ ‰ÚË· ÌȯˆÂÓ Ï˘ ËÂ˘È˜ „‚ ¨®≤∞± ‘ÓÚ ¨≤∞∞¥ ¨Ï··
¯ʂ˘ ¯˙ÂÈ ‰Ï„‚ ‰ÓÁÏÓÓ ˜ÏÁ ‰˙Èȉ Âʉ ‰ÒÈÙ˙‰ Æ˙ÂÈÂÎÓ ·ÂˆÈÚ· ˙ÂÈËÂ˘È˜ ÈÙÏÎ “·Âˉ ·ÂˆÈÚ“‰ Ï˘ Â˙¯Â˜È· „ÂÒÈ· ˙„ÓÂÚ Âʉ ˙ˆ¯Á‰
‰·Ó Ï˘ ÌÈÏÂ˜È˘ ‰·¯ ‰„ÈÓ· ‰ÁÙȘ ¨˙ÈËÒÈ¯„ÂÓ‰ ˙¯Â˜È·‰ Ï˘ ËÚÓÎ ˙È˙„‰ ‰˘È‚‰ Æ˙ÂÏÎȯ„‡· ÌÊÈÏÓ¯ÂÙ ˙ÂÈ˘Ϙ‡ ÏÚ ÌÈËÒÈ¯„ÂÓ‰
„ÓÈÓÓ ‰ÙÁÎ ˙È‚ÂÏÂÎË ˙ÈÚ„Ó ‰˘È‚ Ï˘ ˙ÈË˘Ù‰ ‰ÒÈÙ˙‰ Æ˙ÂÏÎȯ„‡ Ï˘ ÒÂÁÈȉ ·Á¯ÓÓ ‰ÚÈ‚‰ ‡È‰ ¨¯ÂӇ΢ ¨ÌÂ˘Ó ˙‡Ê ¨‰È‚ÂÏÂÎËÂ
‰È‰ ‰¯Â˜Ó˘ ‰ÒÈÙ˙ ‰Ù˘Á ˙ÈÂÎÓ‰ ˙˜ÈË˙Ò‡·˘ È‚¯Â‡‰ Ú·Ë‰Ó ˙ÂÓÏÚ˙‰‰ Æ˙ÈÂÎÓ· ¯Â˘˜‰ ȯˆÈȉ ÔÙ‰ „‚ ¯‰ˆÂÓ· ‰‡ˆÈ ¨ÈÏÂÒÈÙ
Æ˙ÂÈÂÎÓ ¯ÂˆÈÈ· ˙ÂÈ˯˜˜ ˙ÂÏÂÎÈ· ‰¯Î‰ ‰˙Èȉ ‡Ï ˙ÈÏÎȯ„‡‰ ‰ÒÈÙ˙· ƉȂÂÏÂÎˉ ˙ÂÏÂÎÈ ˙„‡ ÏÚ Ú„È· ‡Ï ‰ÂÓ‡·
ƉχΠÂȉ ‡Ï ¨‰Ù¯ȇ· ‰È‚ÂÏÂÎË Ï˘ ÏÓÒÎ Ô¯ˆÈ‰ È„È ÏÚ Âӄ˜ ۇ ‚ÈÂ˙˘ ˙ÂÈÂÎÓ Ì‚˘ ˙‡¯Ï Ô˙È ¨˙ÈËӂ„ ‡Ï ‰˜ÂÓÚ ‰¯Âˆ· ÌÈÁ· ̇
14
‫ מראה מבחוצ‬,1955 ,DS19 ‫[ יטרואנ‬6]
‫ מראה הפנימ‬,1955 ,DS19 ‫[ יטרואנ‬7]
‫ בקירוב‬1900 ,‫ כרזה‬,‫[ ז'יל ֶש ֶרה‬8]
1902 ,‫[ אולד קרבד דש‬9]
[9]
‰Ù˘Ó ‰˘ÚÓÏ ‰¯Ê‚ ‰¯Âˆ‰˘ Û‡ ¨ÌÈÈ˘ÂÓÈ˘ „˜Ù˙ ‡ ¯ÂˆÈÈ ÈÒÂÙ„Ï ˙ÂÓÈȘ ˙ÂÈÂÎÓ Ï˘ ˙È·È˘ÙÒ¯˯ ‰Ó‡˙‰ Ï˘ ÌÈÚÂ„È Ìȯ˜Ó Ì˘È
‡È‰ ‰˜Â˘˙‰Â ¨‰˜Â˘˙‰ “‡ËÁ“· „ÏÂ ˙ÈÒ„‰ ˙ÂÓÏ˘ Ï˘ ¯ˆÂ˙Î ˙ÈÂÎÓ‰ ˙¯Âˆ Ì„Ș Æ®∑≠∂ ÌȯÂȇ Ʊπμ∑ ¨ DS±π ԇ¯ËÈÒ Ï˘ÓÏ© ˙ÈÏÓÒ
‰‡¯Ó ˜ÈÙ‰Ï ˙¯˘Ù‡Ó ≤∞–‰ ‰‡Ó· ·Î¯‰ ¯ÂˆÈÈ Ï˘ ˙ÂÈ‚ÂÏÂÎˉ ¨˙È¯˜Ú Æ˙ÏÁÂ˙ ˙¯ÒÁ ˙ÈÒ„‰ ‰˜˙Ù¯‰Ï ¨‰Ê‰ ‰¯˜Ó· Ô¯ˆÈ‰ ˙‡ ‰ÙÁÒ˘
˙ÂÁ˙Ù˙‰ ̉·˘ ÌÈÈÈ· È·Ï˘ ÌÈÓÈȘ ‰Ï‡ ÌÈÈˆȘ ÌÈ·ˆÓ È˘ ÔÈ· ÆȯÈÊ Ș ‰‡¯Ó Ï˘ ¯ÂˆÈÈ ¯˘‡Ó ¯˙ÂÈ Ï„‚ ‡Ï ıÓ‡Ó· ÒÂÓÚ ÈËÓ¯Â‡
‰ȇ ˙ȇ¯‰ ˙ÂË˘Ù‰ ÆËÂ˘Ù È¯ËÓ‡Ȃ ‰‡¯Ó ÏÚ· ÁË˘Ó ˙˜Ù‰· ͯΉ È˙ÈÈ˘Ú˙‰ ıÓ‡Ó· ‰Ï˜˘ Áˢӷ ‰ÙȈ¯ ˙ÈÓÂÓ˜Ú Ï˘ ˙È‚¯Â‡
ÆÍÂÙ‰ ·ˆÓ‰ ÌÈ˙ÚÏ ¯ÂӇΠ¨ÈÏÂȈ˜ÂÙ Ô¯˙È Á¯Î‰·
ÌÈÈÓÂÓ˜Ú ÌÈÁË˘Ó ÆÈ˙ÂÓ‡ ˜Â„Ȉ ˙È‚¯Â‡‰ ‰¯ÂˆÏ ˜ÈÚ‰Ï ‰¯˘Ùȇ˘ ‰ÊÂÈ·ÓÈÒ ‰˙‰˙‰ ¨Â·Â–¯‡‰ Ô„ÈÚ Ï‡ ˙ÈÂÎÓ‰ Ï˘ ‰˙„ÈÏ ÌˆÚ·
ÌÈÁË˘Ó ¨Ô·ÂÓΠ¨ÌÈÈÓȄ¯ȇ ÌÈÚˆȷ ¯Ù˘Ï „ÚÂ˘ ̯ÂÊ ÚÙÂÓ ÈÏÚ· ÌÈÁË˘Ó Â‡ ¨®‰ˆÈ·‰ ˙ÙÈϘ Ï„ÂÓ ÈÙÏ© ‰Â·‚ ÈÏÂ‚Ò ˜ÊÂÁ ¯ˆÈÈÏ Â„ÚÂ˘
˙Ù˜˙· ˙ÈÂÎÓ‰ ˙„ÏÂ‰Ï ¨ÔΠ̇ Æ˙ÈÂÎÓÏ ˙ÈÏÂȈ˜ÂÙ ÌȈÂÁ ≠ ˙È¯Âˆ ˙Â·ÈˆÈ Ì‰Ï ˙Â˜‰Ï ‡ ÌȘÂÈ„ ȇ ̉· ˙ÂÂÒ‰Ï ¯˙ÂÈ Ï˜˘ ÌÈÏ„‚
‰˘È‚· „‰ ‡ˆÓ ¨‰Ê‰ ˙ÂÓ‡‰ ̯ʷ Ô‚Ù‰˘ ·¯‰ ˜ÂÈ„‰Â ¨ÌÈ„ÂÚÓ ÌÈ·ˆ˜Ó· ÌÈÓ¯ÂÊ ÌȘ ¨ÌÈ„Ù˜ÂÓ‰ ÌȯÂËÈÚ‰ ƉÓÂˆÚ ˙Â·È˘Á ˘È ·Â–¯‡‰
®˙ÂÚÓ˜© ˙¯˙ÂΠȯÂËÈÚ· ÌÈÈÂËÈ· ˙‡ ‡ˆÓ ·Â–¯‡ Ï˘ ÌÈÂÈÙȇ Æ„Á‡Î ÈË˙҇ ȂÂÏÂÎË ¯ˆÂÓÎ ˙ÈÂÎÓ‰ ÁÂ˙ÈÙ ˙‡ ‰¯˘Ùȇ˘ ˙ÈÂÎ˙‰
Â˙„Â·Ú ˙ӂ„ ¨˙ÂÓ‡‰ ÏÚ ˙ÈÂÎÓ‰ ˙ÚÙ˘‰· Ô‰ ÌȯÎÈ ˙ÂÈÂÎÓ‰ ·ÂˆÈÚ ÔÈ·Ï Â·Â–¯‡ ÔÈ· ÔÈÏÓ‚‰ ÈÒÁÈ Æ˙ÂÈÂÎÓ‰ ˙ÈÊÁ· Ìȯ¡Ȅ¯‰ ÏÚ
ÈÂËÈ· È„ÈÏ ‡·‰ È˙¯Î¯Î‰ ·ÂˆÈÚ‰ Ô„ÈÚ ‡È‰ ÍÎÏ ˙ËÏ· ‰Ó‚„ ¯˘‡ ¨˙ÈÂÎÓ‰ ÏÚ ˙ÂÓ‡‰ ˙ÚÙ˘‰· ÔΠ¨®∏ ¯Âȇ© ®Jules Chéret© ‰W÷Œ ÏÈ‘Ê Ï˘
·ˆÈÓ· ȇί‡ ËÚÓÎ ·ÂˆÈÚ‰ ÂÊ ˙ÈÂÎÓ· Æ®π ¯Âȇ© ®Olds Curved Dash© ˘„ „·¯˜ ҄χ ¨±∏π≥–Ó ®¯˙ÂÈ· ‰·Â˘Á‰ Èχ© ˙ȇ˜È¯Ó‡‰ ˙ÈÂÎÓ·
‰ˆÓȇ ¨˙ÂÈÂÎÓ‰ ¯ÂˆÈÈ ˙¯È·Î ¨Ëȯ˄ ¨Í˘Ó‰· ÆÔÏ‰Ï ‰‡¯˘ ÈÙÎ ¨ÁÂÎ˘Ï ‰Ú„È ‰˜È¯Ó‡˘ ¨˜ÂÙȇ Ô„ÈÚ ¨ÌÂÎÁ˙ · ˘È ͇ ¨È‚ÂÏÂ¯Ή
˙ÈÂÎÓ‰ ÏÚ ‰Ù¯ȇ· ˙¯Â˜È·‰ ÆÌÈ˘„Á ÌÈÓ‚„ Ï˘ ‰˘ÈÎ¯Ï ıÁÏ ˙¯ÈˆÈÏ ÌÈÓ‚„ Ï˘ ˙Â˘ÈÈ˙‰Ï ̯‚Ï È„Î ‰˘ È„Ó ÛÏÁ˙Ó‰ ·ÂˆÈÚ‰ ˙‡
ÆÈ‚ÂϘ‡‰ Ô„ÈÚ‰ ÈÙÏ ‰˘ ÌÈÚ·¯‡ ¨˙‡Ê ¨˙È˙Â‰Ó ÌȈÂÁ ‡Ï ÌÈ˘Èȷ‡ ˙¯ÈˆÈ·˘ ˙ȯÒÂÓ‰ ‰ÈÈ‚ÂÒÏ ‰ÒÁÈÈ˙‰ ˙ȇ˜È¯Ó‡‰
·˘ ¨‰Ó„Ș Ï˘ ÍÈω˙ ¨ÈÂȈÂÏ·‡ ÍÈω˙ ˙ÈÂÎÓ‰ ˙ÂÁ˙Ù˙‰· ‰‡Â¯ ·Î¯‰ ·ÂˆÈÚ· ÈËÂ˘È˜‰ ·ÈίӉ Ï˘ ˙ÂÈÓÈËȂω „‚ ˙ÚÂˉ ‰˘È‚
Æ˙ȯ·‰ ˙ˆ¯‡· ∂∞–‰Â μ∞–‰ ˙Â˘· ÌÈÏ·Â˜Ó Âȉ˘ ÌÈȯ‚ω ÌÈÈ˙ÈÈÙΉ ¯ÂËÈÚ‰ ÈÈÂÈ˘ ˙‡ Ï·˜Ï ‰˘˜˙Ó ÂÊ ‰„ÓÚ ÆÂӄ˜ ÏÚ ‰ÏÂÚ ¯ˆÂ˙
Ï˘ ‰ÈÏ˘‡ ÔÈ‚Ù‰Ï Â„ÚÂ ¯ÂËÈÚ È¯ˆÂ˙ ·˘ È˘χȄ ·ˆÓ ¯ˆÂ ÆÌȯ¯· ÌÈÈÏÎÏÎ ˙ÂÁÂÎÓ ÔÂÊÈ ‡Â‰Â ¨ÚÈÓ ÁÂÎ ‰È‰ ÈÂÈ˘ Ì˘Ï ÈÂÈ˘˘ ¯Â¯· ‰È‰
15
[8]
‫[ דרמה קישוטית במכונית אירופית בעיצובו‬10]
1949 ,175S ‫ דלהיי‬,‫של וצ‘יק‬
[10]
¨‰Ï˜ ‰ÎÙ‰ ‡Ï ˙ÈÂÎÓ‰ Æ˙ÈÂÎÓ‰ ÈÚˆȷ Ï˘ È˘ÚÓ‰ „˜Ù˙· ‡Ï ˙È‚˘ÂÓ ‡Ï ≠ ˙ÂÓ„˜˙‰ ÏÎ ‰˙ÂÂȉ ‡Ï ‰‡ˆÂ˙‰˘ Û‡ ¨˙È‚ÂÏÂÎË ˙ÏÂÎÈ
ÆÛÏÁ˙Ó‰ ·ÂˆÈÚ‰ Ï˘· ¯˙ÂÈ ‰ÏÈÚÈ Â‡ ¨‰ÁÂË·
Èȉτ ¯Â·Ú· ®Saoutchik© ˜È‘ˆÂÒ ·ˆÈÚ˘ ˙ÈÂÎÓ Û‚ ¨ÈÙ¯ȇ‰ ·ÂˆÈÚ‰ ÍÂ˙Ó ‡˜Â„ ‡Â‰ ̉· ËÏ·‰ ÆÌÈ·¯ ÔÙ„ ȇˆÂÈ Ì˘È ¨˙ÂÏÏΉ‰ ˙¯ÓÏ
˜ÊÁ ÈÂÓÈ„‰ ÆÈÒ„‰ ¯ˆÂÓÎ ˙ÈÂÎÓ‰ È·ÈίÓÓ ¯Ê‚ È˙Ï·‰Â È˙¯ȯ˘‰ ¨ÈËÂ˘È˜‰ ÔÙ‰ · ¯ÎÈ ¨‰Ê ·ÂˆÈÚ Ï˘ ÈÙ¯ȇ‰ Â¯Â˜Ó Û‡ ÏÚ Æ®±∞ ¯Âȇ©
Ô¯ˆÈ‰ È„È ÏÚ ¨‰‡È„ȇ ¨Ô¯Â·Â‡· ±π≥∂–· ¯ˆÂÈ˘ ¨∏±≤≠∏±∞ „¯Â˜ ‡Â‰ ¨‰È‚ÂÏÂÎË ˙ÂÈ˙ÈÏÎ˙ ‚‚ÂÁ‰ ¨ÌÊÈ¯„ÂÓ Ï˘ È˜ȇ ¯ˆÂÓ ¨„‚Ó Æۯ‚Â
Æ˙ÂÈËÂ˘È˜Ó ÛÁ‰ ·ÂˆÈÚ ≠ ®Buehring© ‚ȯ· Ô„¯Â‚ Ï˘ ·ˆÈÚ· ¨®Auborn© ԯ·‡
˙ÈÚˆÓ‡ È˙Ï· ‰ÈÂÂÁ ˙λ˙Ó ‰ÈÂÂÁ
Ʒί· ˙Â¢‰ ˙ÂίÚÓ‰ „˜Ù˙ ˙‡ ˘ÂÁÏ Ô˙È ‰È‰ ˙ÈÂÎÓ‰ ÏÂÚÙ˙ ̈ÚÓ Æ‰ÙÈ˜Ó ‰˙Èȉ ‰‚ȉ È„Î ÍÂ˙ ‚‰‰ ˙·¯ÂÚÓ ÌÈÈ˘ ‡ ¯Â„ ÈÙÏ „Ú
ÌÈÈ¯Ë ÌÈÚÂÊÚʉ ÈÓÏ· ̇ ¨ÔÂÂÎÓ ¯Â˯·¯˜‰ ̇ ˙Ú„Ï Ô˙È ‰È‰ Áȯ ÏÈψ ¨„Ú¯ ÈÙ ÏÚ Æ‰· ˘ÂÓÈ˘Ï ˙˜„‰ ‰¯Â˘˜ ‰˙Èȉ ˙ÈÂÎÓ‰ ˙˜ÂÊÁ˙
˙ÎÙ‰ Âʉ ‰ÈÂÂÁ‰ ¨˙Â˘È„Á ˙ÂÈÂÎÓ· Ɖ‚ȉ‰ ˙ÈÈÂÂÁ Ï˘ Èϯ‚Ëȇ ˜ÏÁÏ ‰È‰ ˙ÂÈÂÎÓ Ï˘ ÌÈÙÂÎ˙ ÌÈ˜È˙· ͯˆ‰ ÆÔÂÂÂÈÎ ÍȯˆÓ ‰‚‰‰ ̇Â
‰Ó„ ¯·„‰ Æ˙¯Ê‚ ˙ÈÚˆÓ‡ È˙Ï· ‡Ï ¨˙¯˜Â·Ó ‰ÈÂÂÁ ≠ ËÏ˘ „·ÂÚÓ ¨·˘ÁÂÓÓ ‡Â‰ ‰‚ȉ‰ ˙ÂÚÙÂ˙ Ï˘ ¯ÊÂÁ‰ ÔÂÊȉ‰ ∫˙λ˙Ó ¯˙ÂÈ ¯˙ÂÈ
‰¯ˆÂ ÆÔÂÂÎÓ· ˙Â·ÈˆÈ È˙Ï· ‰ÒÈË ˙ÂίÚÓ· ‰ËÈÏ˘ ∑∞–‰ ˙Â˘· ‰¯˘Ùȇ˘ ¨ÌÈÒÂËÓ ˙Òˉ· Fly-By Wire ‰ËÈÏ˘‰ ˙ËÈ˘ ‰ÏÏÂÁ˘ ÍÙ‰ÓÏ
Æ˙˜È˙Ú‰ ˙ÂÈÂÎÓ‰ ÈÙÒ‡ Ï˘ Ì˙ÏÁÏ ‰ÂÎÓÏ Ì„‡ ÔÈ· ‰ÊÂÈ·ÓÈ҉ ˙ÂÈÓÈËȇ‰ ¯˙Â ‰ÈËÚ·Â ¨‰ÚÈÒ‰ ˙ÈÈÂÂÁ Ï˘ ‰˜Á¯‰
˙ÂÈÂÎÓ ·ÂˆÈÚ
ÌÈ¯Â˘ÈÎÏ ¨˙ÂÈ˙¯ÈˆÈÏ ¨˙ÈÂÎÓ‰ ˙¯ÈˆÈÏ ‰¯Â˘˜‰ ˙È˙ÂÓ‡‰ ‰ÈÈ˘Ú‰ ˙ÓÈȘ ¨˙ÂÓ‡‰ Ï˘ ÈÏÓ¯ÂÙ‰ ÌÂÁ˙‰ ÍÂ˙· ˙ÈÂÎÓ‰ ˙ÂÁÎÂÏ ¯·ÚÓ
Í¯Π¯·„‰ ª˘ÓÓ Ï˘ ¯‚˙‡ Ìȉ ÌÈ˘Ó˙˘Ó Ï˘ ÔÂÂ‚Ó Ï‰˜Ï ‰ÏÈÚÈ ‰¯Â¯· ‰ÈÈÙ ÏÚ· ˘Èȷ‡Π˙ÈÂÎÓ ÏÒÙÏ ˙ÏÂÎȉ ͯˆ‰ ÆÍÈω˙ÏÂ
Ɖ˙‡ ˙„ÁÈÈÓ ·ÂˆÈÚ‰ ˙ÈÈÂÂÁ ˙‡ ‰¯È˘ÚÓ ÂÊ ‰ÈÓÂËÂÎÈ„ ÆȯˆÈÈ·Â ÈÏÂȈ¯· ¨È·ÈËϘÙÒ·Â Ú„Èaà ˜ÂÒÈÚ·
16
˘Ï ˙ˆÏ‡ ˙ÂÈÂÎÓ‰ ˙ÈÈ˘Ú˙ Ì‚ ÍÎ ¨Ô¯Ó˙Ï È„Î ÔÓÊ ‰Ï ˘¯„˘ ‰Ï„‚ ‰ÈÈÂ‡Ï ‰Ó„· Æ„Á‡Î ‰˘ÏÂÁ Ô¯˙È ˘È ÈÂÓ‰ ¯ˆÂÓÎ ˙ÈÂÎÓ·
Âȇ˘ ω˜ Ï˘ ·Á¯‰ Û˙¢Ӊ ‰ÎÓ‰ χ ‰˘„Á‰ ‰Ù˘‰ ˙‡ Ìȇ˙‰Ï ͯˆ‰Ó ˙Ú·Â ˙‡Ê ‰È‰˘‰ Æ˙ÈË˙Ò‡ ˙Â˘„Á ‚Ȉ‰Ï ‰‡Â·· ‰È‰˘‰
ƉÈÈ˘Ú˙ ‡È‰ ¯˘‡· ‰ÈÈ˘Ú˙‰ Ï˘ ‰Èˆ¯È‡Ó ˙¯Ê‚ ‰È‰˘‰‰ ¨ÛÒÂ· Æ˙ÂÈÎ„Ú ˙ÂÓ‡ ˙ÂÒÈÙ˙Ï Á¯Î‰· Ú„ÂÓ
˙·ÈÈÁ ¨È˙¯·Á ¯ÒÓ ˙‡˘ÂÎ ˙ÈÂÎÓ‰ ÆÈÂÓ‰ ¯ˆÂÓ ‰˙Âȉ ˙„·ÂÚ Ï˘ ‡ˆÂÈ ÏÚÂ٠̉ ÈË˙Ò‡ ˘Èȷ‡Π‰˙ÒÈÙ˙ ˙ÈÂÎÓ‰ ·ÂˆÈÚ· È¯Âˆ‰ ÔÙ‰
‰˘È‚ ¨Ìχ ÆÔÂ˙ Ì‚„ ÏÎ Ï˘ ˙È·¯Ó ‰¯ÈÎÓ ˙Ó¯Ï ÌÈÙ‡Â˘ ÌÈ¯ˆÈ ¨ÈÏÎÏÎ ‡Â‰ ˙ÈÂÎÓ‰ ¯ÂˆÈÈ Ï˘ ÂÓÂȘ „ÂÒÈ Æ·Á¯‰ ω˜Ï ˙·ÂÓ ˙ÂȉÏ
‰¯Ê‚ ̉·˘ Ìȯ˜Ó ‰Ùˆ¯ ·Î¯‰ ˙ÈȯÂËÒȉ ¨˙ÂÂÏ˘Î „ˆÏ Æ˙ÈËӂ„ ˙ÈË˘Ù ‰˘È‚ ‡È‰ ¨˙¯˘Ù ÂÓÚ ‡È·Ó Ï„‚ ω˜ ˙ˆ¯Ï ÔÂÈÒÈ ‰ÈÙÏ˘
‡È‰ ·Á¯ ¯Â·ÈˆÏ ˙Â˘È‚ ‰‚È˘Ó‰ ‰Î ˙ÈË˙Ò‡ ‰ÈÈ˘Ú Æ·ÂˆÈÚ‰ ˙ÂÎȇ· ·Á¯‰ ¯Â·Èˆ‰ Ï˘ ‰¯Î‰· ¨¯ÓÂÏÎ ≠ ˙ȯÁÒÓ ‰Áψ‰ Ì‚ ·ÂˆÈÚ‰Ó
Ʒί ·ÂˆÈÚ· ˜ÂÒÈÚ‰ ˙Â‰Ó ˜ÂÈ„· ÂÊ ¨˘ÓÓ Ï˘ ¯‚˙‡
ÈÚˆ˜Ó ‡Ï ω˜ ÏÂÓ „·ÚÏ ¯‚˙‡‰ ÆÈ˙ίÚÓ‰ ÔÈ·Ï È˘È‡‰ ÔÈ· ¯Â·ÈÁ‰Ó Ìȇ· ¨˙Â˘„Á ¯„˘Ï Ì‚ ͇ Ï·˜˙‰Ï ˘„Á ·ÂˆÈÚÏ Ìȯ˘Ù‡Ó‰ ÌÈÏΉ
¨˜Â˘Ï ÔÎÂ˙Ó‰ ¯ˆÂÓ‰ ˙‡ˆ ÌÚ ¨ÌÈ˘ ˘ÂÏ˘ „ÂÚ· ‰ÂÎ‰ ‰ÙÂ‡Ï ·˘ÁÈÈ˘ ¯·„‰ Â‰Ó Ï˘ ÈÂÊÈÁ‰ „˜ ÁˆÈÙ ÍÂ˙ ¨ÈËÈÓ„ ÈÂÓ‰ ¯ˆÂÓ ¯ˆÈÈÏÂ
‚ˆÈÈÓ˘ ÛÒÂÓ Í¯Ú Â˙‡ ‡Â‰ È˘È‡‰ Æ˙ÂÈÂÎÓ‰ ·ÂˆÈÚ· ıÓ‡Ó‰ Û¯ ˙‡ „ÁÈÈÓ˘ ‡Â‰ ≠ ‰˜Â˘˙ ˙Â˘„Á Ï˘ ÌÈ·ÈÎ¯Ó ˙ÚÓˉ ÍÂ˙ Ì‚ ˙‡Ê ÏÎÂ
Ì˙‡· ¨¯Á‡ ·ˆÚÓ Ï˘ Â˙„·ÚÓ ˙È˙Â‰Ó ‰¢ ‰È‰˙ ‰˘ÏÎ ÂÈ„ÂËÒ· „Á‡ ·ˆÚÓ Ï˘ Â˙„·ڢ ÁÈË·Ó ¨·ˆÚÓ‰ Ï˘ Èχ„ÈÂÂÈ„ȇ‰ ÔÙ‰ ˙‡
ÆÌȇ˙
¨‰¯Âˆ Ï˘ ˙ÂȈÏÂÙÈÓ ˙ÂÚˆÓ‡· ÌÈÂÂÎÓ ÌÈÈ˙˘ÂÁ˙ ÌȯÒÓ ˙¯·Ú‰ ÁÈË·‰Ï „ÚÂ˘ ¨ÌÈÈÏÓ¯ÂÙ ·ÂˆÈÚ ÈÏη ˘ÂÓÈ˘ ‡Â‰ È˙ίÚÓ‰ ¯Â˘ÈÓ‰
˙ÂÈ¯Âˆ‰ ˙‡ Ú·˜Ï ¨ÌÈ˘ ÌȯÊÂÁ ˙ÂÂÈÒ ÍÂ˙ ˙ÂÓÏ˘Â Ô„ÈÚ È„ÈÏ ‰¯Âˆ˙ ‡È·‰Ï ˙ˆ Ï˘ Â˙ÏÂÎÈ· Ì‚ ‡Ë·˙Ó È˙ίÚÓ‰ Ưӂ ڷˆ ¨¯ÓÂÁ
˙‡ Ô·ÂÓΠ¨Ô¯ˆÈ Ï˘ ÈÂÓÈ„Â ‚Â˙ÈÓ ¨·ÂˆÈÚ ÔÈ· ̇Â˙‰ ˙‡ Ì‚ ÏÏÂÎ È˙ίÚÓ‰ ¯Â˘ÈÓ‰ ÆÔÂ˙ ¨ËÙÒ˜ ¨ÔÂÈÚ¯ ˙¯‚ÒÓ· ¯ÂˆÈÏ Ô˙È˘ ¯˙ÂÈ· ˙˜È„Ӊ
„Â‡Ó Ô˘ ˜ÏÁ ‰ÂÂ‰Ó ¨‰Ù˘Â ÔÂÈÚ¯ Ï˘ ˙Èχ„ÈÂÂÈ„ȇ‰ ‰ÚÈ·˜‰˘ ¯ÓÂÏ ¯˘Ù‡ ˙È˙ÂÓΠƯˆÈȉ ‰Ò„‰‰ ÈÏÂ˜È˘ ÏÎ ÔÈ·Ï ·ÂˆÈÚ‰ ÔÈ· ̇Â˙‰
̈ڷ ‡È‰ ¨¯ÂˆÈȉ ‰È‚ÂÏÂÎˉ È·ÈÎ¯Ó Ïη ˙·˘Á˙‰ ÍÂ˙ ¨˙ÈÂÎÓ Ï˘ ¯ÂˆÈÈ· ËÙÒ˜ Ï˘ ÌÂȘ ¯˘Ù‡Ï ˙ÏÂÎȉ Æ˙ȷˆÈÚ‰ ‰ÈÈ˘Ú‰ ÏÏÎÓ
ƷˆÈÚ‰ Ï˘ Â˙ÂÎÈ‡Ï ˙„Ú
17
[12]
[11]
ÍÂ˙ ˙ÈÂÎÓ‰ ÈÁË˘Ó ˙‡ ÌȯȄ‚Ó ·Î¯ È·ˆÚÓ ÆıÂÁ‰ Ï˘ ‰¯Â‡˙‰ ȇ˙Ï ‰ÙÂÙÎ ¨ıÂÁ‰ ˙·È·Ò· ˙ÁÎÂ ‰˙Âȉ ̈ÚÓ ‰˙„ÈÈ ̈ÚÓ ˙ÈÂÎÓ‰
˜Ù‡‰ ˜ ‰·Â‚ Ì‚ ¨˙ÈÏÎ˙· ˙Â¢ Ìȯ‰ˆ ˙Ú˘ ˙¯Â‡˙ ‡ ÌÈÈ·¯Ú ˙Ú˘ ˙¯Â‡˙ Æ‰Ï˘ ÌÈÈ„ÂÁÈȉ Ìȇ˙‰ ψÈ ÍÂ˙ ‰·È·Ò‰ ˙¯Â‡˙· ˙·˘Á˙‰
¯·„‰ Ɖ·È·Ò‰ ÈÙÏÎ ‰Èˉ‰ ÈÂÂÈΠ¨Ì‰Ï˘ ˙ÂÈÓÂÓ˜Ú‰ ˙„ÈÓ ¨˙ÈÂÎÓ‰ ÈÁË˘Ó Ï˘ ˙˜È„Ӊ ‰¯Âˆ‰ Ï˘ ¯ˆÂ˙ ‡Â‰ ˙ÈÂÎÓ‰ ÔÓ Û˜˙˘Ó‰
·ˆÚÓ‰ Ï˘ ÂÈ„È· ·Â˘Á ÈÏÎ ‡Â‰ ‰·È·Ò‰ ˙ÂÙ˜˙˘‰ Ï˘ ˙ÂÂÈÚ‰ ÆÌÈÚ¢ڢ ˜¯‡Ù· ˙Â˙ÂÂÚÓ ˙‡¯ÓÓ ˙Ù˜˘‰ ‰‡Â·· ˙‚‰˙‰Ï ËÚÓ ‰Ó„
ÆÏÚÂÙ· ˙ÈÂÎÓ‰ Ï˘ ‰È¯ËÓ‡Ȃ‰Ó ÌÈ„ÓÓ‰Ó ˙ÈÏÎ˙· ‰¢‰ ÈÂÓÈ„ ‰·˘ ÌÏÂÚ Æ˙ÈÂÎÓ‰ ÈÁË˘Ó ÈÙ ÏÚ ÈχÂ˯È ÌÏÂÚ ¯ÂˆÈÏ È„Î
‰Èˆ¯Âٯ٠‰Ò‡Ó È„È ÏÚ ÚÂÓ‰ ¯Âʇ ÔÂÓÈÒ Æ˙Â·ÈˆÈ Ï˘ ‡ ‰ÚÂ˙ Ï˘ ÌÈ˘ه ¯ÂˆÈÏ ‰ÏÂÎÈ ˙ÂÈÁË˘Ó ˙ÂȈÏÂÙÈÓ È„È ÏÚ ˙ÈÂÎÓ‰ ˙Ò‡Ó ˙˜ÂÏÁ
ȯÂʇ· ÔÂÎ ÏÂÙÈË ∫ȯ˜ ¨˘È·ÎÏ ·Î¯‰Ó ‰ÚÂ˙‰ ˙‡ ÌȯȷÚÓ‰ ÌȯÂʇ‰ Ï˘ ÈÁÙœ ÔÂÓÈÒ È„È ÏÚ ÈÂËÈ· È„ÈÏ ‰‡· ˙ÂÈÓÈ„ ÆÁÂÎ ÏÓÒÏ „ÚÂ
ÏÎÓ ˙ÂÈÂÎÓ‰ ·ÂˆÈÚ ˙‡ ¯˙ÂÈ· „ÁÈÈÓ‰ Èχ ‡Â‰ ÌÈÏ‚Ï‚‰ ȯÂʇ· ÌÈ·ˆÚÓ Ï˘ ÏÂÙÈË ¨ÏÏÎÎ ÆÌ·È·Ò ‰ÙÈϘ‰ ÈÁË˘Ó Ï˘ ÔÂÎ ÏÂÒÈÙ ÌÈÏ‚Ï‚‰
‡ ˙ÂÈÓÏ‚ Æ·ˆÚÓ‰ ˙ÂÁ˙Ù˙‰· ˙ÈÂȈÂÏ·‡ ËÚÓÎ ˙ÏÂÎÈ Ï˘ ‡ˆÂÈ ÏÚÂÙ ‡Â‰ ÌÈÏ‚Ï‚‰ ·È·Ò ÔÂÎ ÏÂÙÈˢ ¯ÓÂÏ Ô˙È ƯÁ‡ È˙ÈÈ˘Ú˙ ·ÂˆÈÚ
ȇ˜È¯Ó‡‰ ·ÂˆÈÚ‰ Æ˙ÂÓÂÈÓ ·ÈÈÁÓ ÌÈÏ‚Ï‚‰ ¯Âʇ· ÌÏ˘ ÏÂÙÈË ¨ÔÈÙÂÏÁÏ ÆÌÈÏ‚Ï‚‰ ·È·Ò˘ ÌȯÂʇ· ÏÂΠ̄˜ ˙¯ÎÈ ·Î¯ ·ÂˆÈÚ Ï˘ ˙ÂȯÒ·
˙ÈÏÂÒÈÙ‰ ‰ÒÈÙ˙‰Â ¨¯˙ÂÈ ÌÈ·È„ ÌÈÏ„‚ ˙ÂÏÚ· Âȉ ˙Âȇ˜È¯Ó‡‰ ˙ÂÈÂÎÓ‰ Æ®±± ¯Âȇ© ÌÈÏ‚Ï‚‰ ·È·Ò Û‚‰ ÏÂÒÈÙ ·ÂˆÈÚ· ‰Ï„‚ ˙ÂÈÁÓÂÓ ‚ˆÈÈÓ
‰Ó‚„ ¨ÌÂÁ˙· ˙ÂÈ˙ÂÎȇ ˙Â„Â·Ú Â˘Ú ‰Ù¯ȇ· Ì‚ ÆԷˆÈÚ· ÈÏÂÒÈÙ ÏÂÙÈËÏ ¯˙ÂÈ ·¯ ˘ÙÂÁ ¯˘Ù‡˙‰ ÔÎÏ ¨˙È‚¯Â‡Â ˙ÈËÓ¯ ‰˙Èȉ Ô‰Ï˘
Æ®±≤ ¯Âȇ© ÌȯÁ‡Ӊ ‰È˙¯„· ¯˜ÈÚ· ¨π±± ‰˘¯ÂÙ· ÌÈȯÂÁ‡‰ ÌÈÏ‚Ï‚‰ ·È·Ò ÌÈÁˢӉ Ï˘ ÈÏÂÒÈÙ‰ ÁÂ˙ÈÙ‰ ‡È‰ ÍÎÏ
¨‰˜È˙Ú ¨˙È„ÂÁÈÈ ˙ÈÂÎÓ ÔÂÁ·Ï ‡·· Ô·˙Ó‰ Ï˘ ˙ÂÓÚÙ˙‰ ‡Â‰ ‰ÏÂÚ˘ Ô¢‡¯‰ ¯·„‰ ¨˙ÈÂÎÓ Ï˘ ÁψÂÓ ·ÂˆÈÚ ˙Î¯Ú‰Ï ÌÈ„„Ó ÌÈÁ· ̇
¨“˙Èχ·” ˙ÈÂÎÓ ·ˆÚÏ ¯‚˙‡‰ ¨È¯ȇ ÔÙ‡· ƯˆÂÓ‰ Ï˘ ˙ÂÈ„ÂÁÈȉ Á¯ÂÎÓ ‰Áψ‰ Ï˘ ‰˜Ù˘Â‚ ˜ÈÚ‰Ï ‡È‰ ‰ÈÈË‰ Ɖ¯È„ ˙ÈËÂʘ‡
‰Îȯˆ ÂÊÎ ˙ÈÂÎÓ Æ˙ÈËÂʘ‡ ˙ÈÂÎÓ Ï˘ ·ÂˆÈÚ ¯˘‡Ó Ï„‚ ¯˙ÂÈ ‰·¯‰ ‡Â‰ ≠ ‰Ï„‚ ‰ˆÂÙ˙·Â ÈÓÂÈÓÂÈ ˘ÂÓÈ˘Ï ¨ÏÈ‚¯ ÈÎË Ë¯ÙÓ ÌÚ ˙ÈÂÎÓ
‰Ó‚„ Æ˙ȯÏ‚ÈÒ ‡È‰ ‰Ï‡Î ˙ÂÈÂÎÓ Ï˘ ‰ÈÈ˘Ú· ‰Áψ‰ ÆÌÈ˙ÂÁ‰ ‰ÏÁ˙‰‰ ȇ˙ Û‡ ÏÚ ˘Ó˙˘Ó‰ ˙‡ ‰Èχ ‡È·Ó˘ ˘Â‚ȯ‰ ˙‡ ·È‰Ï
Æ˙ȯ˜Ӊ μ∞∞ ˇÈ٠‡ ±πμπ–Ó ÔÈËÒ‡ ÈÈÓ ‡È‰ ÍÎÏ ˙ȯÂËÒȉ
18
2002 ,‫[ קדילאק יאנ קונפט‬11]
2009 ,911 ‫[ פורשה‬12]
‫[ ברתה בנצ‬13]
[13]
ÁÂ˙ÈÙ ÈʯÊÎ ÌÈ˘È·Î
È·‡· ˙ÂÙˆÂ¯Ó ÌÈί„ ÂÓ„˜ ÌÈÏÂÏÒ‰ ÌÈ˘È·ÎÏ Æʇ ÌÈÓÈȘ Âȉ˘ ÌÈ˘È·ÎÏ ˙ÂÓ‡˙ÂÓ Âȉ ≤∞–‰ ‰‡Ó‰ ˙ÏÈÁ˙ ±π–‰ ‰‡Ó‰ ÛÂÒ Ï˘ ˙ÂÈÂÎÓ‰
Âȉ ˙ÂÈÂÎÓ‰ ÈÏ˙Ó Æ‰Ï‡ ÌÈί„Ï ˙ÂÓ‡˙ÂÓ Âȉ Âʉ ‰Ù˜˙· ˙ÂÈÂÎÓ‰ Æ˙Â¯È‰Ó ˙˙ÁÙ‰ Í¯ÂˆÏ ÌÈ·ÏÂ˘Ó ˙·ÂÁ¯· ÌÂȉ „Ú ÌÈȘ˘ ÈÙÎ ¨Í¯„Óœ
˙¯ȉÓÏ ‰Ó‡˙‰ ȇ ∫ÌÈÈ¢ÎÚ‰ Ìȇ˙· ‰ÚÈÒÏ ‰Ó‡˙‰ ȇ ‡Â‰ ¯ÈÁӉ ¯ÈÁÓ ˘È ÂÊ ‰ÂÎ˙Ï Æ˙Â˘È„Á ˙ÂÈÂÎÓ· ¯˘‡Ó ¯˙ÂÈ ÌÈ‚ÙÂÒ ÌÈί ʇ
˙ÈÂÎÓ‰ ˙ÏÂÎÈ ÌˆÚ Ï˘ ψÈ ÔΠ¨¯˙ÂÈ ˙¯ȉӉ ˙ÂÈÂÎÓ‰ ÁÂ˙ÈÙ ˙‡ ¯˘Ù‡È˘ ˙¢„Á ÌÈί„· ͯˆ ‰È‰ ¨ÍÎÈÙÏ ÆÌÈÙȯÁ ÌÈ¯Ó˙Ï ‰‰Â·‚
Ưˆ˜ ÔÓÊ·Â ¨ıÓ‡Ó ‡ÏÏ ÌÈÈ¯ÈÚ–ÔÈ· ÌȘÁ¯Ó ¯Â·ÚÏ
Ï˘ Â˙˘‡ ¨‰˙¯· Æ˙È¯ÈÚ–ÔÈ· ‰ÚÈÒ· ¯˜ÈÚ· ¨˙ÈÂÎÓ· ‰¯Â·Á˙‰ ÌÂ„È˜Ï ‰‡È·‰˘ ¨®±≥ ¯Âȇ© ıŸ aŒ ‰˙¯· Ï˘ ‰ÓÈ˘¯Ó‰ ‰˙Ó¯˙ ˙‡ ÔÈÈˆÏ ˘È
¨±∏∏∂–·˘ ÂÊ ‡È‰ ƉȂÂÏÂÎˉ ˙‡ ‰¯ÈΉ ‰ÏÚ· ˙„·ڷ ˙·¯ÂÚÓ ‰˙Èȉ ¨˙ÈÂÎÓ Ï˘ ÌÈÓ‚„ ±π–‰ ‰‡Ó‰ Ï˘ ∏∞–‰ ˙Â˘· Á˙ÈÙ˘ ı· ϯ˜
‰·˘ÂÓ ÌÂ˜Ó ¨ÌÈȉÓÓ ≠ ‰ÚÈÒ‰ ƯˆÈ ı· ϯ˜˘ ˙ȈÂÏÁ‰ ˙ÈÂÎÓ· ‰¢‡¯Ï ‰‚‰ ȇ˘Á· ‰ÚÈÒ ‰ÓÊÈ ¨ÌÂÈÓÂȉ ÈÈÁ Ï˘ ˙·ÈÒ ÍÂ˙Ó
˙Âȯ˘Ù‡ Âȉ ‡Ï ¨‰È‡¯ ‰ÏÂÏÒ ˙È˙˘˙ ‰˙Èȉ ‡Ï ¨˙ÂÓÂÒÓ ÌÈί„ Âȉ ‡Ï ∫Ú„Â ‡Ï‰ χ ÚÒÓÎ ‰˙Èȉ ¨ÌÈȉˆ¯ÂÙÏ ¨ı· ˙ÁÙ˘Ó Ï˘
‰˙¯·Â ¨‰‰Â·‚ ˙ÈÒ„‰ ˙ÂÓÂÈÓ Ì‚ ‰·ÈÈÁ ‰‚ȉ‰ °È˜È ¯ÓÂÁΠͯ„‰ Í¯Â‡Ï ÌÈÓ„ÊÓ ˙Á˜¯Ó È˙·· ʇ ¯ÎÓ ÔÈÊ·‰ Ô΢ ¨˙¯„ÂÒÓ ˜ÂÏ„˙
˙ÈÈÏÂÒ ˘„ÁÏ È„Î ¯Ï„Ò· ¯ÊÚÈ‰Ï ¨‰ÚÈÒ Ï˘ Íωӷ ˜Ï„ ˙ÂÓÈ˙Ò ˙ÂÙÏ Ì‚Â ¨ÏÓ˘Á ÈÏ·Î „„Â·Ï È„Î ˘Â·Ï ÈËȯٷ ¯ÊÚÈ‰Ï ‰Ú„È Ô· ı·
ÛÈÒÂ‰Ï ‰ÏÚ· ˙‡ ‰‡È·‰˘ ÂÊ ‡È‰ ı· ‰˙¯· ÌÈÓÈÏ˘ ÔÈÈˆÏ ˘È ƉÈÈÏÚ· ˙ÈÂÎÓ‰ ˙‡ ÛÂÁ„Ï È„Î Á¯Â‡ ȯ·ÂÚ· ¯ÊÚÈ‰Ï ‰Ú„È ÔΠ¨·Î¯· ‰ÓÈÏ·
∫‰È¯ÂËÒȉ ‰·˙Î Âʉ ˙ȈÂÏÁ‰ ‰ÚÈÒ· Æ˙ÈÂÎÓ· ‰¢‡¯‰ ÌÈÎÂÏȉ‰–˙¯·Ú‰ ˙¯ÂÒÓ˙ ˙‡ ‰Ï ÒÁÈÈÏ ¯˘Ù‡ ËÏÁ‰· Æ˙ÂÈÏÚ· ‰ÚÈÒÏ ÍÂÏȉ
Ɖ˙‡ ÂÏÈ‚ ÌÈ·Á¯Ó‰Â ¨ÌÈ·Á¯Ó‰ ˙‡ ‰˙ÏÈ‚ ˙ÈÂÎÓ‰
‡ÏÏ Í¯„Ï Â˙‡ ÍÙ‰ ÔÓʉ ÌÚ Â˙‡ ˘Î¯ ®Stinnes© ÒÈˢ ‚‰ ÔÈÈ˘Ú˙‰ ÆAvus ‡¯˜‰ ÔÈϯ·· ¯Â‚Ò ÌȈ¯ÈÓ ÏÂÏÒÓ Ì˜Â‰ ±π≤±≠±π±≤ ÌÈ˘·
‰¢‡¯‰ ‰„¯ËÒ¡‰ ˙·˜Ú· ÆA±±μ Ô‡·ÂËÂ‡Ó ˜ÏÁ ‡È‰ ÌÂȉ ÆÌÏÂÚ· ‰¢‡¯‰ ‰¯È‰Ó‰ ͯ„‰ ‰‡¯Î ÂÊ ÆÓ“˜ Ìȯ˘Ú Ï˘ ͯ‡· ÌÈ˙Óˆ
±π≤π–· ÔÂ·Ï ÔÏ˜Ó ÌÈÓ¯‚‰ ÂÎÁ˘ ÂÊ ˙·˜Ú·Â ¨±π≤∂≠±π≤± ÌÈ˘· ‰ÏÏÒ ¯˘‡Â ¨®Puricelli© ÈÏ‘ˆÈ¯Â٠¯ÈÈÙ ÌÊÈ˘ ¨‰Ê¯ÂÂÏ ÂÏÈÓÓ ‰ÈÏËȇ·
19
,‫[ הדרכ המהירה הראשונה בארצות הברית‬14]
,‫בינ לו אנג'ל לבינ פאדינה‬
1.1.1900 :‫נחנכה‬
‫ המכונית‬,‫[ זיגפריד מואל מרכו‬15]
1870 ,‫הראשונה‬
[15]
[14]
ÌÈί„‰ ˙ÈÈ· ˙‡ ¨ËÏÂÂʯ Â‡Ï„ ÔÈϘ¯Ù Ï˘ Â˙Â‡È˘ ˙Ù˜˙· ¨≥∞–‰ ˙Â˘ ÚˆÓ‡· Ìȇ˜È¯Ó‡‰ ÂÓÊÈ ¨®ÔÂËÏ˘Ï ¯ÏËȉ ˙ÂÏÚ ÈÙÏ „ÂÚ ‰˙·©
Æ˙ȇ˜È¯Ó‡‰ ‰ÏÎÏΉ ÁÂ˙ÈÙÏ ÈڈӇΠ˙¯ȉӉ
¯˘˜ ¯ÂˆÈÏ „ÚÂ˘ ÌÊÈÓÓ ˜ÏÁÎ ÏÈ·˘‰ ‰· ±π–‰ ‰‡Ó‰ Ï˘ Ô¯Á‡‰ ¯Â˘Ú· ƉÈ„‡ÒÙÏ ÒÏ‘‚‡ ÒÂÏ ÔÈ· Ïȷ‰˘ ÌÈÈÙ‡‰ ÏÈ·˘ ÏÚ ÚÂ„È ËÚÓ
‰ÎÁ ‡È‰ Æ®±¥ ¯Âȇ© ıÚÓ ‰ÏÂÎ ‰È¢Ú ‰˜ÏÁ· ˙‰·‚ÂÓ ‰˙Èȉ ͯ„‰ ÆÛ„ÚÂÓ È‡ÂÂ˙ ψÈ ÍÂ˙ ¨‰Ú¯Ù‰ ˙ÏÂË ͯ„· Ìȯډ È˙˘ ÔÈ· ¯È‰Ó
ÔÂÚ‚˘ ÛÏÁ ¨˙¯ÂÙÒ ÌÈ˘ ı˜Ó ÆÂÓÊ ˙‡ ÌÈ„˜‰˘ ÌÂˆÚ ÈÂÈÚ¯ χȈËÂÙ ÏÚ· ‰È‰ ˘È¯ى ÈÎ ÔÈÈˆÏ ˘È Æ·¯ ÔÓÊ ‰„¯˘ ‡Ï Ï·‡ ¨±Æ±Æ±π∞∞–·
ÌÈί„‰ Ô¯˜Ú Ï˘ ÂÁÂ˙ÈÙÏ ‰‡¯˘‰ ˜ÈÚ‰˘ ‡Â‰ ‰Ê ÏÈ·˘ ÆÔÈÈ·Ï ¯ÎÓ ıÚ‰ ˙¯˜ ¨Í¯„‰ ‰ÎÚ„ Â˙ȇ ±π–‰ ‰‡Ó‰ È‰Ï˘ Ï˘ ÌÈÈÙ‡‰
˙È¯ȇ ‰ÓÎ „Ú Æ‰Ù¯ȇ· ˙Â¢‡¯‰ ˙„¯ËÒÂËÂ‡Ï Ì‚ ‰‡¯˘‰‰ ‰˘ÚÓÏ ‰È‰ Ìȇ˜È¯Ó‡ ÌÈÂȯÂËÒȉ ˙ÚËÏ ¨˙ȯ·‰ ˙ˆ¯‡· ˙¯ȉӉ
¨‰·È·Ò‰ ÏÚ ‰˙ÂËÏ˙˘‰Â ˙ÈÂÎÓ‰ ˙ÂÈËÈÓ„ ˙‡ ÏÂÎÓ ¯˙ÂÈ Ìȇ˷Ӊ ¨ÌȯȉӉ ÌÈ˘È·Î‰Â ÌÈ‡·Âˇ‰ ¨˙„¯ËÒ¡‰˘ ‰„·ÂÚ‰ ‡È‰
Ɖ·È·ÒÏ ˙È˙Â„È„È ‰¯Â·Á˙Ï ˙ËÏÁÂÓ‰ ‰‡¯˘‰‰ ˙ÂÈ‰Ï ÏÂÎÈ ‰È‰˘ ÌÊÈÓÓ Ì˙‡¯˘‰ ˙‡ ÂϷȘ
˙ȇ˜È¯Ó‡‰ ‰¯Â·Á˙‰ ˙È·˙ ÏÚ ÂËÏ˙˘‰ ÌȯȉӉ ÌÈ˘È·Î‰ ƉÈ„‡ÒÙ· ‡È‰ Û‡ ¨±π¥∞–· ‰ÎÁ ˙ȯ·‰ ˙ˆ¯‡· ‰¢‡¯‰ ‰¯È‰Ó‰ ͯ„‰
„¯˜ Æ˙ȇ˜È¯Ó‡‰ ˙ÈÂÎÓ‰ Ï˘ ‰˙ÂÁ˙Ù˙‰ ˙È·˙ ˙‡ ·È˙Ή Ì‚ ÌÓÂȘ·Â ¨˙ȇ˜È¯Ó‡–ÔÂÙˆ‰ ˙˘·È‰ È·Á¯Ó· ¯ÂÈ˙‰ ÌˆÚ ˙‡ ¯˘ÙȇÂ
ÔÙ‡· Æ„È˙Ú‰ ˙¯Â·Á˙ ˙‡ ˙ÏÓÒÓ Âʉ ͯ„‰˘ ¨‰ÈÓ¯‚· Ô¢‡¯‰ Ô‡·Âˇ‰ ˙‡ ±π≥≤–· ÍÁ˘ ˙Ú· ˘È‚„‰ ¨ÔϘ ¯ÈÚ‰ ˘‡¯ ʇ ¨¯‡Â‡„‡
‰¯Â·Á˙‰ ˙ÎÈÚ„Ï ‰È„Ó· ‰Ïȷ‰ ˙ȯ·‰ ˙ˆ¯‡· ÌȯȉӉ ÌÈ˘È·Î‰ ˙ÂÁ˙Ù˙‰˘ ÚÂ„È ¯·Î ÌÂȉ ¨ÌÈÈÓÈ„ ̉ ‰Ó„Ș‰ È‚˘ÂÓ ¨È¯ȇ
Ï˘ ÁÂ˙ÈÙ‰ ˙ÎÈÚ„Ï Ì‚ ‰Ïȷ‰ ÌȯȉӉ ÌÈ˘È·Î‰ ˙ÂÁ˙Ù˙‰ ¨ÂÓÊÏ Èχ¢‡Â ¨ÔÎ ÏÚ ¯˙È ªÌÂÈÎ ÌÈÎ·Ó Ìȇ˜È¯Ó‡‰ Â˙‡˘ ·ˆÓ ¨˙ȯ·Ȉ‰
¨®ÌÂȉ ÂÏ ˙¯ÎÂÓ˘ ÈÙÎ ˙ÂÈÂÎÓ© ˙ÈÓÈÙ ‰Ùȯ˘ Ï˘ ÚÂÓ ˙ÂÏÚ· ˙ÂÈÂÎÓ „ˆÏ ¨˙ȯ·‰ ˙ˆ¯‡· ≤∞–‰ ‰‡Ó‰ ˙ÏÈÁ˙· Æ˙ÈÏÓ˘Á‰ ˙ÈÂÎÓ‰
¨„Ú¯ ˙ÂÏÂË Ô‰˘ ‰Ï‡ÎÎ ¨ÌÈ˘Ï ˙ÂÈÂÎÓÎ ‰ÏÈÁ˙ ¯ÎÓ Ô‰ Æ˙ÂÈÏÓ˘Á‰ ˙ÂÈÂÎÓ‰ Âȉ ¯˙ÂÈ· ˙ˆÂÙ‰ Ï·‡ ¨¯ÂËȘ‰ ˙ÂÈÂÎÓ ˙ÂȯÏÂÙÂÙ Âȉ
ÁÂÂË ÏÏ‚· ˙ÈÏÓ˘Á‰ ˙ÈÂÎÓ‰ ‰Ò·Â‰ ԇΠ¨˙È¯ÈÚ–ÔÈ·Ï ˙ÈÂÎÓ· ‰ÚÈÒ‰ ‰ÎÙ‰ ¨ÌȯȉӉ ÌÈ˘È·Î‰ ˙ÂÁ˙Ù˙‰ ÌÚ ¨¯ÂӇΠÆÔ˘Ú ˘Ú¯
˙ÈÏÓ˘Á‰ ˙ÈÂÎÓ‰ ‰Ó˜ӷ ‰‡Ù˜ ·Ï˘ Â˙‡· Æ˙ÈÓÈÙ ‰Ùȯ˘ Ï˘ ÌÈÚÂÓÏ ÒÁÈ· ʇ ¯·Î ˙ÂÁ ‰È‰ ¯˘‡ ¨‰·˘ Ìȯ·ˆÓ‰ Ï˘ ¯ˆ˜‰ ‰ÚÈÒ‰
¨˙ȯ˘χ¯„ȉ© ˙ÈÏÓ˘Á ‰È‚¯‡Ï ‰È‚¯‡ Ï˘ ‚ÂÒ ÏÎ ¯ÈÓ‰Ï ˙ÏÂÎȉ ÏÏ‚· ‰ÈÈÁ˙Ï ‰ÎÂÊ ‡È‰ Ô¯Á‡‰ ¯Â˘Ú· ˜¯ ÆÌÈ˘ ‰‡Ó ËÚÓÎÏ
‰Ó„ ¯ˆÂ˙Ï ÌÈÏÈ·ÂÓ ÌÈ¢ Ìȇ˙ ·˘ ¨˙ÒÎ˙Ó ‰ÈˆÂÏ·‡ Ï˘ È„ÂÁÈÈ ÍÈω ÔÈÚÓ Â‰Ê Æ‰ÈȘ ‰¯Â·Á˙ ¯˘Ù‡Ï ®‰Ï‡· ‡ˆÂÈΠ¨Á¯ ¨˙ȯ‡ÏÂÒ
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Ì˙ÚÙ˘‰ ÁÂÎÓ ‰Ó„ ÈÓÂÂÒ˜Ë ÚÙÂÓÏ ÌÈ¢ ÌÈ¯ÂˆÈ ÌÈÏÈ·ÂÓ ÌÈÓ„ Ìȇ˙ ‰·˘ ¨Ú·Ë· ˙ÒÎ˙Ó ‰ÈˆÂÏ·‡ ˙ÓÂÚÏ ¨®˙ÈÏÓ˘Á‰ ˙ÈÂÎÓ‰ ¨È¯˜©
Æ„·Ï· Ìȇ˙‰ Ï˘
˙ȇ˜È¯Ó‡‰ ˙ÈÂÎÓ‰ ·ÂˆÈÚ· ͯ„ È·‡
Ì˙¢ڷ ÆÒËÒ‘ˆÒÓ ¨„ÏÈÙ‚ȯÙÒ· ±∏π≥–· ‰˙‡ ÂÚÈ҉ ‰¢‡¯‰ ˙ȇ˜È¯Ó‡‰ ˙ÈÂÎÓ‰ ˙‡ ÂÁ˙ÈÙ ®Duryea© ‰Èȯ„ Òϯ‡‘ˆÂ ˜¯Ù ÌÈÁ‡‰
‰Ù¯ȇ· ÚÒ ¨ı· ϯ˜ Ï˘ ÂÁÂ˙ÈÙ· ¨‰Ó„ ·Î¯˘ ‰„·ÂÚÏ ÏÏÎ ÌÈÚ„ÂÓ Âȉ ‡Ï ̉ Ɖ¢‡¯‰ ˙ÈÂÎÓ‰ ȈÂÏÁ ̉˘ ÌÈÚÎÂ˘Ó Âȉ ̉ ÔÎ
¨®±μ ¯Âȇ© ÒÂÎ¯Ó Ï‡ÂÓÒ „ȯقÈÊ ‰È¯ËÒ‡· ÌÈ„˜‰ Ô‰È˙˘ ˙‡˘ ȇ„ÂÂÏ ·Â¯˜ Ɖ¢‡¯‰ ˙ÈÂÎÓÏ ˙ÂÚË· ÌÂÈÎ ·˘Á‰ ·Î¯ ¨±∏∏∂–· ¯·Î
„¯˘Ó È„È ÏÚ ‰Ê „ÂÚÈ˙ ¯˙Ò‰ ¨˙Ȉ‡‰ ‰Ù˜˙· ¨ÌÈÓÈÏ Æ±∏∑∞–· „ÂÚ ˙ÈÓÈÙ ‰Ùȯ˘ Ï˘ ÚÂÓ ˙ÏÚ· ˙ÈÂÎÓ ÚÈ҉ Á˙ÈÙ˘ ¨‰ÈÓ¯‚ „ÈÏÈ È„Â‰È
–¯ÏÓÈÈ„ ˙ÈÂÎÓ‰ Ì‚ ‰‚ˆÂ‰ ‰·˘ ‰˘‰ ¨±∏π≥–· ˙ȇ˜È¯Ó‡‰ ˙ÈÂÎÓ‰ ˙„ω Æ®Daimler© ¯ÏÓÈÈ„Â ı· Ï˘ Ì˙ÂÏÈÚÙ ˙·ÂËÏ ÈÓ¯‚‰ ‰ÏÂÓÚ˙‰
Æ·Â–¯‡‰ Ì¯Ê Ï˘ Â˙„ÈÏ ˙˘Ï ˙·˘Á˘ ‰˘‰ Ì‚ ‡È‰ ¨‰¢‡¯‰ ˙ÈÙ‡–Ú·¯‡‰ ı·
˙ÂÂÁˆ ÂÙ˜ ¨ÍÏȇ ԇÎÓ ÆÆÆ˘“Ó˜ ±≤ Ï˘ ˙ÚˆÂÓÓ ˙¯ȉӷ ‰· ÂÁˆÈ ‰Èȯ„ ÌÈÁ‡‰Â ¨˙ȯ·‰ ˙ˆ¯‡· ˙ÂÈÂÎÓ ˙¯Á˙ ‰Ê¯Î‰ ±∏πμ–·
¨˙ÂȈÂÏÁ ˙ÂÈÂÎÓ Ï˘ ÌÈÙÒÂ ÌÈÁ˙ÙÓ ‰Ú·¯‡ ÂÏÚÙ ±π–‰ ‰‡Ó‰ Ï˘ π∞–‰ ˙Â˘· ƘÊÁ˙‰ ˙ȇ˜È¯Ó‡‰ ˙ÈÂÎÓ‰ Ï˘ ‰„ÓÚÓ ÌÈÈÓ‡ÏÈ·
≠ ÌÈÂÎÓ ÌÈÈ˘È‡ ÌÈ¯Â˘ÈΠƱπ≠±∑ ˙‡ӷ ˙ÈÓ¯‚‰ ‰˜ÈÊÂÓ‰ ÂÓÎ ¨Ì˜Ó ÔÓÊ Ï˘ ˙ÂȯÏ‚ÈÒ Æ‰گ ˙„Â·Ú ÏÚ ˘È‡ ˙Ú„Ï ÈÏ·Â ÏÈ·˜Ó· ÂÏÚÙ˘
‰Ï˘·‰· ·Ïˈ‰ ˜Â˘‰ „ˆÓ ͯˆ ·Ú¯ ƉÈÈ˘Ú˙‰ Ï˘ ‰Ï˘·‰‰ ÈÚ‚¯· ·Ï¢ ¨‰·¯ ‰·˙ ˙ÈÓÊÈ ‰˘È‚ ¨Ô¯˘ÈÎ ¨‰ÂÓ‡ ¨˙¢ÈÁ ¨˙ˆȯÁ
˙Ù¯ˆ· ¨‰È¯ËÒ‡· ¨‰ÈÓ¯‚·˘ ‰¯˜ ÍÎ ÆÈÂȈÂÏ·‡ ıÁÏ Â·È‰ ͯˆ ˙ÏÂÎÈ ÆÌȯˆÂÈ ˙ÂÈÂÎÊ ÏÚ ‰¯ÈÓ˘·Â ˙Â˘„Á· ˙ÎÓÂ˙‰ ˙ίÚÓ Ï˘
Æ˙ÈÂÎÓ‰ ‰„ÏÂ ¨¯·„‰ ˘Á¯˙‰ ¨ÈÂÏ˙ È˙Ï· ËÚÓÎ ÔÙ‡· ¨˙ȯ·‰ ˙ˆ¯‡·Â
Û‡ ÔÈÈÚÓ ¨ÌÈÈÙ‡ ˙¯ίΠ¯ÂˆÈÈ· ˜ÒÚ ˙¯Á‡ ‡ ÍΠ¨‰Ò„‰· ˙ÈÏÓ¯ÂÙ ‰¯˘Î‰ ‡ÏÏ ÌÏÂÎΠ̷¯ Âȉ ˙ÈÂÎÓ‰ Ï˘ ÁÂ˙ÈÙ‰ ȈÂÏÁ
ÌÈÏ˘Î Âȉ ÔÎ ‡ÏÓχ˘ ÌÈÈÒ„‰ ˙ÂÂÈÚ¯ ÏÚÂÙ‰ χ ÁÂÎ‰Ó ‡ÈˆÂ‰Ï Ì‰Ï ¯˘Ùȇ ‰Ê‰ ˜ÂÒÈÚ‰ Æ˙˜È„Ó ‰È„Ú ‰˜ÈÎÓ· ˜ÒÚ ÌÏÂÎ ≠ ¯˙ÂÈ
ÂÏ„‚˘ ¨ÌȈÂÏÁ‰ ÔÈ· ÆÏÏη ‰˜ÈÊÈÙ‰ ÈÓÂÁ˙· ˙ȇ˜È¯Ó‡‰ ‰ÈÈ˘Ú‰ ˙‡ ±π–‰ ‰‡Ó· ‰„ÁÈÈ˘ ˙ȯÈÙÓ‡‰ ˙¯ÂÒÓÏ Í˘Ó‰ Íη ˘È ÆÚˆȷ‰ ÔÁ·Ó·
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¨‰È„Ú ‰˜ÈÎÓ· ˜ÒÚ ±π–‰ ‰‡Ó‰ Ï˘ ∏∞–‰ ˙Â˘· ¯˘‡ ¨‘‚„„ Ò‡¯Â‰Â Ô‘‚ ÌÈÁ‡‰ ˙‡ ˙ÂÓÏ Ô˙È ¯ÂˆÈÈ ˙ÂÈ‚ÂÏÂÎË ˙˜ÈÂ„Ó ‰Ò„‰ ÈÎ¯Ú ÏÚ
È˙ÂÚÓ˘Ó ÔÙ‡· ̄Ș˘ „‡ÏÈÏ ÔÈË¯Ó È¯‰ Ì‚Â ¨Ô‚È˘ÈÓ ¨‚ÈÒÏ· ÂÈ·‡ Ï˘ ÌÈÚÂÓ ¯ÂˆÈÈÏ ‰„Ò· ¯˘Î‰˘ ¨®Eli Olds© ҄χ Èχ Ì‚ ̉ÂÓÎÂ
∫ȯ˜ ¨È˙ÈÈ˘Ú˙‰ ¯ÂˆÈȉ ˙Â¯˜Ú ˙‡ ÈËÈ Èχ ̄Ș ±π–‰ ‰‡Ó‰ ˙ÏÈÁ˙·Â ±∏–‰ ‰‡Ó‰ ÛÂÒ· ÆÈËÈ Èχ Ï˘ Â˙‡¯˘‰· ¯ÂˆÈÈ Ï˘ ˙È˙˘˙ ˜ÂÈ„
Æ˙ÈÙȈÙÒ ˙ÂÁÓ˙‰ ÈÙÏ Ì„‡ ÁÂΠωÈ ‰‰Â·‚ ˙ÂÎȇ ˙¯˜· È„È ÏÚ ‰ÙÏÁ‰ ȯ· ÌȘÏÁ ¯ÂˆÈÈ
ÒÂÒ ‡ÏÏ ‰¯Î¯Î
ƉÙ˜˙‰ Ï˘ ˙¯ίÎÓ ˙È¯Âˆ‰ Ì˙‡¯˘‰ ˙‡ ·‡˘ ¯˘‡ ·Î¯ ÈÏÎ ¨˙„ÁÂÈÓ‰ Âί„· „Á‡ ÏÎ ¨Â¯ˆÈÈ ˙ȯ·‰ ˙ˆ¯‡· ·Î¯‰ ˙ÈÈ˘Ú˙ ȈÂÏÁ
ÌȈÂÏÈ‡Ó ¯Ê‚˘ ‰Ê ¨ÒÂÒ ‡ÏÏ ‰¯Î¯Î‰ Ï˘ È·È˘Èȷ‡‰ ÔÈÈÙ‡Ó‰ ÆÌ‰Ï˘ ‰·Ó‰Â ·ÂˆÈÚ‰ ˙Ù˘ ¯Â‡È˙Ï ˘¯˙˘‰ “ÒÂÒ ‡ÏÏ ‰¯Î¯Î” ÈÂÈΉ
‰ÈÈÏÚ‰ Ɖ‰Â·‚ ‰˙Èȉ ‰·È˘È‰ Ʒί‰ ˙ÈÊÁÏ ÌÈÚÒÂ‰ ÔÈ· ıÈÁ ‡ÏÏ ÏÏÁ ¨‰Â·‚ ‰·Ó ¨ÌȘ„ ¯Ë˜ ÈÏ„‚ ıÚ ÈÏ‚Ï‚ ∫‡Â‰ ¨‰Ù˜˙‰ Ï˘ ÌÈÈ˘ÚÓ
ƉÁÂˢ ‡Ï ˙ϘÂÚÓ ‰˙Èȉ ·Î¯‰ ˙ÈÚ˜¯˜ ÆÌÈί ÌÈί‡ ¨ÌȘ„ ≠ ÌÈÏÚ ÈˆÈÙ˜ Ï˘ Âȉ ÌÈÏ˙Ó‰Â
œ
ÈˆÈÁ Ï‚¯ ͯ„Óœ ÂÎȯˆ‰ ·Î¯‰Ó ‰„ȯȉÂ
˙È·ÈËÂÓ¡‰ ˙‰ʉ ˙ÈÈ· ¨˙Â¢‡¯‰ ˙ÂÈÂÎÓ· ¯ÎÈ˘ ÈÙÎ ‰¯Î¯Î‰ ˙·˜Ú ƉÈÏÂ˙ÈÁ· ‰„ÂÚ˘ ‰ÈÈ˘Ú˙· ÈÙÂÈ ‰È‰ ¨˘ÂÚÈ˙‰ ˙ÈÁ·Ó
ÂÓ¯˙ ¨˙·Á¯ ‰È„Ó ÈÙ ÏÚ ÈÙ¯‚‡Ȃ‰ ¯ÂÊÈÙ‰ ¯˜ÈÚ·Â ¨˙ÂÈÒ„‰‰ ˙ÂËÏÁ‰‰Â ¯ÂˆÈȉ ˙ÂËÈ˘ ˙»ÈÏÂ˙· ¨ÌÈ˘ ÌÈ„Úˆ· ˙ÈÂÎÓ‰ Ï˘ ˙È„ÂÁÈȉ
‰Ó Ï˘ ˙ÂÈÏÓ¯ÂÙ ˙ÂÈ¯Âˆ ˙Â˜ȇ ‡ ËÏÁÂÓ ÔÙ‡· ÌÈÏÈÚÈ ÌÈÂÎ˙ ÂÚ·˜˙‰ ‡Ï ÔÈÈ„Ú Æ˙ÂÈÂÎÓ‰ ÈÓ‚„ ÔÈ· ‰Ï„‚ ˙»¢ ˙¯ÈˆÈÏ Ì˜ÏÁ ˙‡
ÌȯÂÊÙ‰ ¨˙ÂÈÂÎÓ Ï˘ ÌÈ¢ ÌÈ¯ˆÈ ∂± ˙ȯ·‰ ˙ˆ¯‡· Âȉ ¨Ï˘ÓÏ ¨±π∞¥ ˙˘·˘ ‰„·ÂÚ· ˙‡Ê ÌÈ·Ï˘Ó Ì‡ Æ˙ÈÂÎÓ‰ ‰‡¯Ó· ‡Ï ‰Ó ÔÂÎ
ÆÌÂȉ ÌÈÈ˜Ï ˙ÈÒÁÈ ˙ÂÈÂÎÓ‰ ¯ÂˆÈÈ Ï˘ ‰¯Èʉ ˙˜˙¯Ó ʇ ‰˙Èȉ ‰ÓÎ „Ú ÔÈ·‰Ï ¯˘Ù‡ ¨ÒËÒ‘ˆÒÓ Èʯ‘‚ ÂÈ „Ú ÒÏ‘‚‡ ÒÂÏ Í¯„ ¨‰‡È„ȇÓ
˙Â˘È‚Ï ·Á¯ ÌÂ˜Ó ‰È‰Â ¨˙„ÈÁ‡ ‰˙Èȉ ‡Ï ÔÈÈ„Ú Æ‰ÈÂÏ˙ È˙Ï·Â ˙˘·Â‚Ó ˙ÈÓˆÚ ˙Â‰Ê ˙ÏÚ·Ï ˙ÈÂÎÓ‰ ‰Ï˘· ‰¯·Ú˘ ‰‡Ó‰ Ï˘ ≤∞–‰ ˙Â˘·
‰„ÏÈ˘ ÌȯˆÈÈÓ Âȉ ÌÈ¯ˆÈ ÆÛÂ‚Ï ‰„ÏÈ˘ ÔÈ· ‰„¯Ù‰‰ ÏÚ ‰ÈÈ˘Ú˙‰ ‰ÎÓ˙Ò‰ ÔÈÈ„Ú ¨„»Á‡‰
À Û‚‰ ˙ÚÙ‰ Û‡ ÏÚ Æ‰¯Âˆ Ô˙Ó Ï˘ ˙ÂÈ˘È‡
‰ÁÈË·‰ Âʉ ‰ËÈ˘‰ ÆÁ˜ω ˙Â˘È¯„ ÈÙ ÏÚ ˜˘Á‰ Û‚‰ ˙‡ Â·È˘ È„Î ¨ÌÈÙ‚ È¯ˆÈÏ ‰˙‡ ÌȯȷÚÓ ¨ÌÈÈ·ÈËÂÓ¡‰ ÌÈ·Èί‰ ÏÎ ÌÚ
‰È‰ ÍÎ Æ„Á‡ ÏÂÏÎÓÎ Û‚ ‰„ÏÈ˘ ˜ÙÈÒ ˙‡Ê Ïη˘ ÌÈ¯ˆÈ Âȉ ¨¯ÂÓ‡Ï „‚È· Æ˙ȷˆÈÚ ‰Ù˘ Ï˘ ÁÂ˙ÈÙ ÈÂÒÈÏ ·Á¯ ¯Î ÔÂÂÈ‚ ¨˙ÂÈ·ÈÒÂϘҘ‡
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(‫ )הנרי פורד עומד‬1902 ,999 ‫[ פורד‬16]
[16]
„¯ÂÙ Ì˘· ı¯ÈÓ ˙ÈÂÎÓ ÆÔÈ‚Ù‰˘ ˙ÈÒ„‰‰ ˙ÏÂÎȉ ˙·˜Ú· ‰¯Î‰Ï ‰˙ÎÊ „¯Â٠ȯ‰ Ï˘ Â˙Â˘„Á ÆT „¯ÂÙ ˙ӂ„Π¯˙ÂÈ ÌÈÈÓÓÚ‰ ÌÈÓ‚„·
Æ®Ford Motor Company© „¯ÂÙ ˙¯·Á ˙Ó˜‰Ï ¨ÔÂÓÈÓÏ ‰‡È·‰ ¨®±∂ ¯Âȇ© ±π∞≤–· ‰·˘ ¨πππ
‰Ïȷ‰˘ ¨‰Ï„‚‰ ‰˙ˆÂÙ˙ ‰Á˷‰ ÂÈ„·ÂÚÏ ÌÈÈÏÎÏÎ ÌȈȯÓ˙ ˙ÂÚˆÓ‡·˘ ¨˙ÈÓÓÚ ˙ÈÂÎÓ ¨±π∞π–Ó T „¯ÂÙ ˙ÂÎÊ· ¯˙ÂÈ ÚÂ„È „¯Â٠ȯ‰
ÁÈË·‰ ÂÓÓ ¯ÂÁ·Ï Ô˙È˘ ÌÈÓ‚„ ÔÂÂ‚Ó Ìχ ¨ÌÈÈ„ÈÁÈ ÌȷˆÈÚÏ ·Â¯ ÈÙ ÏÚ ‰˙ÎÊ ‡Ï ˙ÈÂÎÓ‰ Æ˘Ù ÏÎÏ ‰Â¢ ¯ˆÂÓÏ ˙ÈÂÎÓ‰ ˙ÎÈÙ‰Ï
Æ˙ȯ·‰ ˙ˆ¯‡· ÈÙ¯‚ÂÓ„ ÈÂÈ˘Ï ‰‡È·‰ T „¯ÂÙ Ï˘ ‰˙ˆÂÙ˙ Æ˙‚ÂÒÓ ˙È·˘ÂӖ„ ˙ÈÂÎÓ „Ú ˙ȇϘÁ ˙ȇ˘ÓÓ ¨Í¯Âˆ ÏÎÏ ‰Ó‡˙‰
ÏÁ‰ ‡Â‰ Æ„¯ÂÙ Ï˘ ‰ÊÓ ÏÙÂ Âȇ ˙ȇ˜È¯Ó‡‰ ·Î¯‰ ˙ÈÈ˘Ú˙· ÂÓ˙ÂÁ Ï·‡ ¨¯ˆÂÓ ÌÚ ˙ÂÁÙ ˙È‚¯È‡ ˙ÂÓ„Î ‰‰ÂÊÓ ®Durant© Ë‡¯Â„ ̇ÈÏÈÂ
˙Á‡ ‰ÈȯËÓ ˙Á˙ ÌȯÁ· ÌÈ¯ˆÈ „‚‡Ï ÏÚÙ ‡Â‰ ƉÏ„‚‰ ‰ÈÈ˘Ú˙‰ ÔÂÊÁ ÍÂ˙Ó ÏÚÙ ‡Â‰ ¯ˆÂÓÏ Â˙·ÈÈÂÁÓÏ ¯·ÚÓ Æ˙¯ίΠԯˆÈÎ Âί„
‡Â‰ ±π∞π–·Â ¨ÏÈ·ÂÓ҄χ ®„Ϙ‡© ˜‡ÈËÂÙ ¨˜È‡ÂÈ· ÏÚ Ë‡¯Â„ ËÏ˙˘‰ ±π∞∏–· ÆËȯ˄ χ ‰ÈÈ˘Ú‰ ÊÎ¯Ó ˙‡ ‰Ëȉ ‡Â‰ ‰Ê ÂÏÚÂÙ· ƉÏ„‚
Æ®GM© Ò¯ÂËÂÓ Ï¯‘‚ ≠ ˙ȇ˜È¯Ó‡‰ ·Î¯‰ ˙ÈÈ˘Ú˙ ˙‡ ÏÓÒÓÏ ¨¯ÏÊÈȯ˜Ó ‡ „¯ÂÙÓ ¯˙ÂÈ ÍÙ‰˘ Ô¯ˆÈ‰ ¯ˆÂ ÍΠƘ‡ÏÈ„˜ ˙‡ ˘Î¯
˙ÂÁ˙Ù˙‰ Æ˙ÈÂÎÓ‰ Ï˘ ˙ÈÒϘ‰ ‰¯Âˆ˙‰ ˘·‚˙‰Ï ‰ÏÁ‰ ¨ÚÂÓ‰ ȯÂÁ‡Ó ÌÈÚÒÂ‰ ÏÏÁ ̘ÈÓ ˙ÈÊÁÏ ˙ÂÈÂÎÓ‰ Ï˘ ÌÈÚÂÓ‰ ¯·ÚÓ ÌÚ
˙È˙Á˙ ·ÈÈÁ ¨˙ÈÂÎÓ‰ ˙„ÏÈ˘Ï ‰¯Î¯Î‰ ˙وȯ ˙‡ Ìȇ˙‰Ï ͯˆ‰ ƉÎÈ˘Ó‰ ˙ȯ·‰ ˙ˆ¯‡· ‰ÈÈ˘Ú˙‰ ˙ÂÁ˙Ù˙‰Ï ÏÈ·˜Ó· ˙ÈÂÎÓ‰ ˙¯Âˆ˙
Æ˙È˙ÂÚÓ˘Ó ‰˙Èȉ ·Î¯‰ ˙ÈÏψ ÏÚ Â˙ÚÙ˘‰ ͇ ¨˙È˙˘˜‰ ‰¯Î¯Î‰ ˙ÙˆÈ¯Ó ¨Ô˘ ÈDÓÓ ÈÂÈ˘ Â‰Ê ª˙ÈÂÎÓ‰ Ï˘ ÛÒÂ ˙Â‰Ê ÔÈÈÙ‡Ó ¨‰¯˘È
˙ÈÂÎÓ‰ Û‚ Ï˘ ·ÂˆÈÚ‰ ÏÁ‰ ≤∞–‰ ˙Â˘· Æͯ„‰ ˙ÏÈÁ˙· ȘÂÂÈ˘‰ ÚÈÓ‰ Âȉ ¨˘Ó˙˘ÓÏ ·Î¯‰ ‚ÂÒ ˙Ó‡˙‰Â ˙ÂÈÓ‡ ¨ÏÂÊ ¯ÈÁÓ ˙ӂ„ ÌÈίÚ
˙ÂËÈ˘ ÁÂ˙ÈÙ· ÂÏÁ‰ ¨Budd ¨Fisher Bodies Briggs ¨Wilson Body ˙ӂ„ ˙ÂÈÂÎÓ ÈÙ‚ Ï˘ ÌÈ¯ˆÈ Æ˙¯ÈÎÓ· ÈÊÎ¯Ó ÛÂÓ ¯˙ÂÈ ¯˙ÂÈ ˘Ó˘Ï
˙¯·Á Ï˘Ó ¯˙ÂÈ ‰‰Â·‚ ‰Ó¯· Âȉ ‰È¯ˆÂÓ˘ ¨˜¯ÂÈ ÂÈÓ ®Brewster© ¯ËÒ¯· ˙¯·Á ˙ËÏ· ÂÏω ÌÈÙ‚‰ È· ÔÈ· Æ˙ÂÈÂÎÓ‰ ÈÙ‚ ÏÂÒÈÙÏ ˙ÂÈ·˜Ú
Æ˙ȯ·‰ ˙ˆ¯‡· Òȯ Òϯ Ï˘ ˙È¯ˆÈ‰ ˙ÂÈ‰Ï ‰¯Á· ¯˘‡Î ‰¯Î‰Ï ‰˙ÎÊ ¨˙ÂÈËÂʘ‡ ˙ÂÈÙ¯ȇ ˙ÂÈÂÎÓÏ Ì‚ ÌÈÙ‚ ‰¯ˆÈÈ ‡È‰ Æ˙¯Á‡
Ï˘ ˙˜ÈÎË ÂÁ˙ÂÙ Æ®ÏÚ ˙ÈÊÁ ¨„ˆ ÈË·Ó© ÌÈÈÏ‚Â˙¯Â‡ ÌÈË·Ó ËÂ˯˘· ®Ê‡ ÌÈÈÂÈÎÎ “ÌÈË˯˘”© ÌÈ·ˆÚÓ‰ „˜Ó˙‰ ÂÏω ÌÈ˘· ¨ÏÏÎÎ
˙ÂÈÙÒ È· Ï˘ ‰‡¯˘‰· ±π–‰ ‰‡Ó‰ ÛÂÒ· Êȯٷ ®Du Pont© Ô«t »„ ‘Ó Á˙ÈÙ˘ ˙ÂËÈ˘· Ô¯Â˜Ó˘ ÌÈÈ‚¯Â‡ ÌÈÁË˘Ó Ï˘ ˙ÂÈËÂ˯˘ ˙¯„‚‰
‰¯Â‡˙ ¨ÈÏÓ˘Á Ú˙ÓÓ ¨˙ÂÈÂÎÓ· ÌÈÈ‚ÂÏÂÎË ÌÈ˘Â„ÈÁ ·Ï¢ ‰‚¯„‰· Æ≤∞–‰ ‰‡Ó‰ Ï˘ π∞–‰ ˙Â˘ „Ú ˙‚‰ Âȉ ‰Ï‡ ˙ÂËÈ˘ Æ„¯Â··
23
1935 ,810 ‫ קורד‬,‫[ גורדונ ברינג‬17]
1949 ,‫קוּפה‬
ֶ 62 ‫[ קדילאק דרה‬18]
[18]
[17]
‰È¯Á‡ ‰˘ ‰„ÒÂ˘ ¯ÏÊÈȯ˜ ˙¯·Á ˙‡ ‰ÓÈ„˜‰ ®±π≤¥© ‰¢‡¯‰ ¯ÏÊÈȯ˜ ˙ÈÂÎÓ Æ‰Ï‡· ‡ˆÂÈΠ˙˜ÈÏÁÓ ÌÈÎÂÏȉ ˙¯ÒÓÓ ¨˙ÈÏÓ˘Á
˙Â˘ ˙ÏÈÁ˙· ƉȯˆÂÓ ˙‡ ‰ÂÂÈÏ˘ ÈÂÓÈ„‰ ‰È‰ ‰Ê ÌÈ˘ ͯ‡Ï ¨˙È˙ÂÎȇ ‰Ò„‰ ÍÂ˙Ó ‰„ÏÂ ¯ÏÊÈȯ˜ ˙¯·Á Æ˙È‚ÂÏÂÎË Í¯„ ˙ˆÈÙ˜ ‰˙ÂÂȉÂ
˙‡ ÏÁ‰˘ ‰Ê ‡Â‰ ϯ‡ Èϯ‡‰ ƉÈ¯ÂÙÈϘ· È˘Ó ·Î¯ Ô¯ˆÈ Ï˘ Â· ¨Ï¯‡ Èϯ‡‰ ·ˆÚÓ‰ ¨Ò¯ÂËÂÓ Ï¯‘‚ ¯Â·Ú· ¨Ëȯ˄· ÏÂÚÙÏ ÏÁ‰ ≤∞–‰
Ï˘ ‰ÚÙ˘‰Ï ˘È‚¯ ‰È‰ ϯ‡ Æ˙ȇ˜È¯Ó‡‰ ˙ÈÂÎÓ‰ ˙‡ Ìȇ·‰ ˙¯„· ‰˙ÂÂÈÏ˘ ‰Ù˘‰ ˙‡ ¯È„‚‰ ‰˘ÚÓÏ ¨È‡˜È¯Ó‡‰ ·Î¯· ·ÂˆÈÚ‰ ˙ÎÈÙ‰Ó
‰¯·Ú ¨ÌȯÁ‡ ÌÈ·Â˘Á ÌÈ·ˆÚÓ „ˆÏ ¨˙ÈËÈÓ„‰Â ˙ÈÊÂÎȯ‰ Â˙‚‰‰· Ɖ· ‰ÚÂ˙‰ ˙ÈÈÏ˘‡ ˙¯ÈˆÈÏ ˙ÈÂÎÓ‰ ‰‡¯Ó ÍÂÎȯ ÏÚ ÌÈÓ¯ÂÊ ÌȘ
˙ÂÎÂÓ ˙Âί‡ ˙ÂÈ‰Ï ˙ÂÈÂÎÓ‰ ˙ÂȈ¯ÂÙ¯٠ÂË ≥∞–‰ ˙Â˘· ÆÌÈ„Ù˜ÂÓ ÌÈ„ÂÚÓ ÌȯˆÂÓÏ ÌÈÈÏÂȈ˜ÂÙ ÌȯˆÂÓÓ ˙ȇ˜È¯Ó‡‰ ‰ÈÈ˘Ú˙‰
ÈÂËÈ· ‰Ï·È˜˘ ¨‰ÓÏ˘ ˙È‚˘ÂÓ ‰ÒÈÙ˙ ‰‚‰ ‡Â‰ ƉÎÈÙ‰Ó ÏÏÂÁ ‰˘ÚÓÏ ¨®±∑ ¯Âȇ© ∏±∞ „¯Â˜ Ì‚„Ï ·ÂˆÈÚ‰ ˙‡ ‚ȯ· Ô„¯Â‚ ¯ˆÈ ±π≥μ–· Ư˙ÂÈ
ÂÏÙ˜˙‰ ˙ÈÊÁ‰ ÈÒÙ ¨¯˙ÂÈ ÌÈȘ ÌÈÙȈ¯ ¨ÌȘÏÁ ‰ÈÁË˘Ó ¨˙ÈÓ„˜‰ ‰Ú‰‰ Ï˘· ¯˙ÂÈ ‰ÎÂÓ ‰˙Èȉ ˙ÈÂÎÓ‰ ÆÌÈÓÈÏ˘Ó Í‡ ÌÈ¢ ÌÈ·Èίӷ
ÆÈËÓ¯„ ‰È‰ ÚÙÂÓ‰ ÏΠ¨¯È‡ Ï˘ ‰‡ÈˆÈ ‰ÒÈÎ ˙ÈÓʖ· ¯˘Ùȇ˘ ˙ÂȘÙ‡ ˙˜ÂÏÁ· ¯ËÂÚÓ ‰È‰ ÚÂÓ‰ ‰ÒÎÓ ¨ÌÈÈ˙ÙÈÎ ÌÈÏ‚Ï‚ ÈÈÂÙÈÁ ÍÂ˙Ï
ƯˆÂÓ‰ ˙‡ ¯ÂÎÓÏ ·ÂˆÈÚ‰ Ï˘ Â˙ÏÂÎÈÏ ‰ÁΉ ‰˜ÙÂÒ ·Â˘ Æ˙ÂÓʉ‰ ·ˆ˜· „ÂÓÚÏ ÁÈψ‰ ‡Ï Ô¯ˆÈ‰Â ̇˙‰· ·È‚‰ ¯Â·Èˆ‰
ƯÒ˜‡ ÏÈ‘‚¯È» ÔÓ‘‚„‰ ¯ÈÈϘ ˙ӂ„ ÌÈÙÒÂ Ìȯ˘ÎÂÓ ÌÈ·ˆÚÓ ®Loewy© ÈÂÏ „ÂÓÈȯ ·ˆÚÓ‰ ÒÈÎ ‰ÈÈ˘‰ ÌÏÂÚ‰ ˙ÓÁÏÓ ÈÙÏ˘ ÌÈ˘·
ȷˆÈÚ‰ ÔÂȘÈ· Ìȇ¯ ÌÈ·ˆÚÓ‰˘ ¯ÎÈ ‰È‰ ‰¢‡¯Ï ¨‰Ù˘ Ï˘ ˙„ÈÁ‡Â ÏÂÏ΢ ¨˜ÂÈ„· ÂÈÈÙ‡˙‰˘ ÌÈÓ‚„ ¯˜ÈÈ·È„ÂËÒÏ Â¯ˆÈ ‰Ï‡ ÌÈ·ˆÚÓ
ÌÈ·Â˘Á‰ ÌÈÓ‚„‰ Ú˜¯ ÏÚ Æχ¯˘È· ÌÈÓÈÏ ‰¯ˆÂÈ˘ ˜¯‡Ï‰ ˙‡ Ì‚ ÂÁ˙ÈÙ ¯˜ÈÈ·È„ÂËÒ ˙¯·Á· Æ˙ÈÂÎÓ‰ ÈÙ ÏÚ ‰Ó¯„‰ ˙¯ÈˆÈÓ ˜ÏÁ ̈ӈ·Â
ÌȯËÂÚÓ ÌȯˆÂÓ ˙¯ÈˆÈ· Í¯Ú ‰‡¯ ϯ‡ Èϯ‡‰ Ư·„ ÏÎÏ ‰ÈÈ˘Ú˙ ‰˜È¯Ó‡· ·Î¯‰ Ï˘ ·ÂˆÈÚ‰ ˙ÈÈ˘Ú˙ ‰˙Èȉ ÌÈ˘ Ô˙‡·˘ ÛÈÒÂ‰Ï ˘È ¨ÂÏω
‰·Â¯Ó ·ÂˆÈÚ ˙¯ÈˆÈÏ ÌÈÏÂ˜È˘‰ Æ˙ÈÏÂȈ˜ÂÙ ˙È˙·¯˙ ¨˙ÈË˙Ò‡ ¨˙Ú„ÂÓ ‰˙Èȉ ÌÈÈËÂ˘È˜ ·ÂˆÈÚ È·ÈÎ¯Ó ÌÚ ˙ÈÂÎÓ ˙¯ÈˆÈÏ Â˙˘È‚ ÌÈÏ„‚Â
ÌÈÏη ˘ÂÓÈ˘ ÍÂ˙ ˙Â˘„Á ˙¯ÈˆÈ ˙ÈÂÎÓ‰ ÈÂÓÈ„· ȯÂÈÊËÙ‰ „ˆ‰ ÁÂ˙ÈÙ ¨¯ÂˆÈÈ Ï˘ ˙ÂÏ·‚Ó ˙¯˙Ò‰ ¨ÌÈȘÈÁ ¯ÂˆÈÈ ÏÚ ‰„·Î‰ ∫Âȉ ÌȯÂËÈÚ
Æ®±∏ ¯Âȇ© ˙ÈÒ„‰ ‰ÈÁ·Ó ÌÈÈ˙Â‰Ó ‡Ï
ÌÈÈËÂÂÏ¯Ï ‰Ù˜˙‰ Ï˘ ·ÂˆÈÚ‰ ÈÏÓÒ ˙‡ ˙ÂÎÙ‰˘ ˙ÂÓÊ‚‰ Æ˙ÂÓÊ‚‰Ï ·ÂˆÈÚ‰ ˘Ï‚ ¨¯Á‡ ‡ È‚ÂϘ‡ ¨È˙·¯˙ ¨ÈÏÎÏÎ ≠ ÌÒÁ Ì¢ ‰È‰ ‡Ï ¯˘‡Î
Û˙¢ӷ „·ÚÏ ÏÁ‰ ¨±π¥π–· ¯ÏÊÈȯ˜Ï ¯˜ÈÈ·È„ÂËÒÓ ¯·Ú˘ ¯Ò˜‡ ÏÈ‘‚¯È ÆȯÂËÒȉ ˙ÂÙÒ‡ ¯ˆÂÓÎ ¯˙ÂÈ ÌȘ˘Á Ìχ ¨È¢ÎÚ ¯ˆÂÓÎ ˙ÂÁÙ
24
¨˙ÈÓ„˙ ˙ÂÏÈ·ÂÓ Í‡ ˙¯˜È ˙ÂÈÂÎÓ ¯ˆÈ ‡Â‰ ƯÏÊÈȯ˜ ‰¯ˆÈÈ˘ ˙ÂÈÂÎÓÏ ˘„Á ÈÂÓÈ„ ˙¯ÈˆÈ Í¯ÂˆÏ ¨‰ÈÏËȇ· ®Ghia© ‰‰È‚ ·ÂˆÈÚ‰ ˙„Ò ÌÚ
Æȇ˜È¯Ó‡‰ ·Î¯‰ ·ÂˆÈÚÏ ÌÂÎÁ˙‰Â Ô„ÈÚ‰ ˙·˘‰Ï ÏÚÙ ‡Â‰ ȇ¯ ÌÈÚÂÓ ÁÂ˙ÈÙÏ ÏÈ·˜Ó·Â
‡È‰ ‰È¯ȇ‰ Æ„¯Â٠ȯ‰ Ï˘ „ÈÁȉ Â· Ì˘ ÏÚ ‰È¯˜‰ ¨±πμ∏–Ó ®Edsel© ÏÒ„‡ „¯ÂÙ ˙‡ ÔÈÈˆÏ ¯˘Ù‡ ‰Ó‚„ΠÆÌÈ„‰„‰Ó ˙ÂÂÏ˘Î Ì‚ Âȉ
˙ÈÈ˘Ú˙· ¯˙ÂÈ· Ú„ȉ ÔÂÏ˘ÈΉ ‡˜Â„ ÆÌÈÈÈÚÓ ÌÈÈ˙ÂÎȇ ˙ÂÈÂÎÓ ÈÓ‚„ ¯ÂˆÈÏ Ú„È Û‡Â ÌÈÏÂÏ΢ ̄Ș˘ ¨˙ÈÂÂÈÒ¯‚¯٠˙ÂÓ„ ‰È‰ „¯ÂÙ ÏÒ„‡˘
‰‡ˆÂ˙Ï Ïȷ‰ ÏÂη ÌÏÂÎ ˙‡ ˙ˆ¯Ï ÔÂÈÒÈ‰ Ï·‡ ¨ÌÈίˆ χ˘˙ ˜Â˘ ȯ˜Ò ÍÂ˙Ó ˜„˜Â„Ó ÔÙ‡· ‰¯„‚‰ ˙ÈÂÎÓ‰ ÆÂÓ˘ ˙‡ ‡˘Â ·Î¯‰
Æ˘„Á ¯ˆÂÓ ÔÂÈÙȇ· ˙ÂËÏÁ‰ ˙Ï·˜ Ï˘ ÌÈÚËÂÓ ÌÈÎÈω˙Ï ÏÓÒ ‰ÎÙ‰ ˙ÈÂÎÓ‰ Æ˙ȘÒ˯‚
ÌÂÁ˙· ÍÒÁ· ÔÂ˙ ‰È‰˘ ȇ˜È¯Ó‡‰ ¯Â·Èˆ‰Â ¨ÌÏÂÚ· ˙ȯ·‰ ˙ˆ¯‡ Ï˘ ÈËÈÓ„‰ ‰„ÓÚÓ ÒÒ·˙‰ ¯·Î ¨‰ÈÈ˘‰ ÌÏÂÚ‰ ˙ÓÁÏÓ È¯Á‡˘ ÌÈ˘·
˙ÂÈ‰Ï ˙ȯËˆÒ˜‡‰ ‰Î¯„· ¨‰¯Á·Â ¨·ˆÓ· ‰¯ÈΉ ·Î¯‰ ˙ÈÈ˘Ú˙ Æ‚Â˘‚˘Â ˙ÂÈÓÈËÙ‡ Ï˘ ÌÈ˘Ï ¯ÊÁ ¨ÍÎ ¯Á‡ „ÈÓ ‰ÓÁÏÓ‰ ˙Â˘ Ïη ·Î¯‰
˙˙ÓÓ‰ Â˙ÚÙ˘‰ ˙‡ ÏÈÚÙ‰Ï ÏÁ‰Â ¨±πμ∏–· Ò¯ÂËÂÓ Ï¯‘‚ Ï˘ ·ÂˆÈÚ‰ ωÓΠ„ȘÙ˙· ϯ‡ Èϯ‡‰ ˙‡ ÛÈÏÁ‰ Ï˘ËÈÓ ÈÏÈ· Æ˙ÈÓÏÂÚ ‰ÏÈ·ÂÓ
Ï˘ËÈÓ Ô„ÈÚ ¨ÏÂÎÈ ‰È‰˘ ÌÂ˜Ó Ïη Æ®ÏÈ·ÂÓ҄χ Ëϯ·˘ ¨˜‡ÏÈ„˜ ¨˜È‡ÂÈ· ¨˜‡ÈËÂÙ© GM ȯˆÂÓ· ͯ„‰ ˙ÚÈ·˜ ̈ڷ ȇ˜È¯Ó‡‰ ·ÂˆÈÚ‰ ÏÚ
Ư˙ÂÈ ˜„‰Ó ÈÏÂÒÈÙ ÏÂÙÈË Í¯„ ‰Ó¯„ ˙¯ÈˆÈ ˙·ÂËÏ Ì¯Ή ÈËÂ˘È˜ Ï˘ ˙ÒÂ¯Ó È˙Ï·‰Â ˙ȯ‚ω ˙ÂÁÎÂ‰ ˙‡ ¨Ò¯ÂËÂÓ Ï¯‘‚ ȯˆÂÓ ˙‡
Û˙Â˘Ó ‰ÎÓÏ Û‡˘Ï ‰Ï„Á ˙ȇ˜È¯Ó‡‰ ˙ÈÂÎÓ‰ ÆË·¯Â˜ Ëϯ·˘·Â ˜È‡ÂÈ·· „ÁÂÈÓ· ¨‰Ù˜˙‰ Ï˘ Ò¯ÂËÂÓ Ï¯‘‚ ȯˆÂÓ Ïη ˙¯ÎÈ Â˙ÚÙ˘‰
ÆÌÏÂÚ‰ Ïη ‰ÈÈ˘Ú˙Ï ‰‡¯˘‰ ÂÂȉ˘ ÌÈÈË˙Ò‡ ÌÈÎ¯Ú ÔÈ‚Ù‰Ï ‰ÏÁ‰Â ¨ÍÂÓ
˙‡Â ˙ÈÂÎÓ‰ τ‚ Ï˘ ÔÈÚ‰ ˙ȇ¯Ó ÏÚ ‰ËÈÏ˘‰ ˙‡ ¨˙ÂÈ٘ȉ‰ ˙¢Ӣ‰ ˙‡ ˙ÂÓÏ Ô˙È ‰Ù˜˙‰ ‰˙‡· Ò¯ÂËÂÓ Ï¯‘‚ Ï˘ ˙ÂÁψ‰‰ ÔÈ·
˙ÈÏÈÚ· ˙È˙ÂÊÁ ˙¯Á˙‰Ï ‰„ÚÂ˘ Ë·¯Â˜ Ëϯ·˘‰ ˙ÈÈ·· ‰¯ÎÈ ÔÂÁËÈ· ˙‚Ù‰ ÆÒÈË ÈÏÎÓ ‰‡¯˘‰ ˙¯˜ӷ ˘ÂÓÈ˘ ÍÂ˙ ‰ÈÊËÙ‰ ÁÂÙÈË
Èȯ–‚ÈËÒ Ì‚„· ÂȯÁ‡Â ¨±πμ∏ ˙˘ Ï˘ Ì‚„· ¯˙ÂÈ· ˙È˜ȇ‰Â ˙˘·Â‚Ó‰ ‰˙¯ÂˆÏ ‰ÚÈ‚‰ Ë·¯Â˜‰ Æ®±πμ≥–Ó Ô¢‡¯‰ ¯Â„‰© ‰Ù¯ȇ ˙¯ˆÂ˙·˘
˙ίÚ˙· ‰Óȉ„‰˘ ¨¯˙ÂÈ· ‰ÓÈ˘¯Ó‰ ÙÈÈË–È
à ‡œ ¯‡Â‚È Ï˘ ‰˙‡¯˘‰· ‰˙˘Ú ¨®±π ¯Âȇ© ®Shinoda© ‰„ÂÈ˘ ȯ‡Ï Ï˘ ·ˆÈÚ· ¨±π∂≥ ¨®Stingray©
ÆÏ˘ËÈÓ ÏÈ· Ï˘ ˙È˘È‡‰ Â˙ÈÂÎÓÏ ‰˙Èȉ ±π∂±–· ‰ÂÂ‘Ê
‚Ȉ‰Ï È„Î ·Î¯ ˙ÂίÚ˙· ˘ÂÓÈ˘ ‰˙˘Ú Ò¯ÂËÂÓ Ï¯‘‚ ¯˜ÈÚ· Æω˜ ˙Ú„ Ï˘ ˙ÂÏÈ·ÂÓ ˙ÂÁ·Π‰ÊÈÁ‡ Ô‰Ï ˙Â˜Ï ÂÏÁ‰ ‰‚ˆ˙ ˙ÂÈÂÎÓ
25
‫קדילאק ‪333‬‬
‫]‪ [19‬לארי שינודה‪ ,‬קורבט טינגריי‪1963 ,‬‬
‫]‪ [20‬מכונית קונפט של ג'נרל מוטור‪,‬‬
‫פיירברד ‪1958 ,3‬‬
‫]‪ [21‬אולדמוביל אירוטק קונפט‪1988 ,‬‬
‫]‪ [22‬פורד פרוב ‪1986 ,5‬‬
‫]‪[20‬‬
‫]‪[21‬‬
‫]‪[19‬‬
‫]‪[22‬‬
‫‪26‬‬
ÆÌÈÓ‚„‰ ÈÈÂÈ˘ ˙ÂÙÈÎ˙Ï ‰Â‡¯ ÔÂÏÁ Âȉ ԉ ¨·ÂˆÈÚ· ˙ÈÓÏÂÚ ‰ÏÈ·ÂÓÎ Ëȯ˄ Ï˘ ‰„ÓÚÓ ˙‡ ¯ˆ·Ï „ÚÂ ˙ÂίÚ˙‰ Æ˙ÂÈÊËÙ ˙ÂÓÂÏÁ
˙Â˜ÒӉ ¨ÈϘÈÊÈ٠ȯ˜ÁÓ ‡˘ÂÓ ‰È‰ Â˙È˘‡¯· Æ≤∞–‰ ‰‡Ó‰ Ï˘ ≤∞–‰ ˙Â˘· ‰Ù¯ȇ Á¯ÊÓ Êίӷ Âί„ ÏÁ‰ ÈÓȄ¯ȇ‰ ·ÂˆÈÚ‰ ¯˜ÁÓ
¨ÌȈ¯ÈÓ‰ ˙ÂÁ˙Ù˙‰ ÌÚ ¨‰ÈÈ˘‰ ÌÏÂÚ‰ ˙ÓÁÏÓÏ ÂÓ„˜˘ ÌÈ˘· ¨ÌÈÓÈÏ ÆÌÈÏ·‚ÂÓ Âȉ Ô‰Ï˘ ÌÈÓ¢Èȉ ¨˙ÂȘÏÁ Âȉ ¨˙ÂÏÈÚÈ Ì‡ Ì‚ ¨ÂÓÓ
ÈÈÂÓÈ„ ‰È‰ ˘ÂÓÈ˘‰ Æ˙ÂÈÂÎÓ· ˘ÂÓÈ˘ ̉· ‰˘Ú ÌÈÈ˙ÙÂÚ˙ ÌÈ·ÈËÂÓ ÏË˘ Ï˘ËÈÓ ÏÈ· ‰Ê ‰È‰ ƉÙ¯ȇ Êίӷ ÈÓȄ¯ȇ‰ ¯˜Á‰ ÏÏ΢
˙ȷˆÈÚ ‰ÚÂ˙ ¨®Streamline© ÔÈÈÏÓȯËÒÏ È‡¯ ͢Ӊ ÌÂ˘Ó Íη ‰È‰ Æ˙ÂÈÂÎÓ‰ Ï˘ ˙ÂÈ˙ÈÓ‡‰ ˙ÂÈÓȄ¯ȇ‰ ˙ÂÂÎ˙Ï ¯˘˜ ÏÎ ÂÏ ‰È‰ ‡ÏÂ
Í„È‡Ó ÌÈÙÒ‡Ï ˜˙¯Ó ͇ ¨‡ÒÈ‚ „ÁÓ È¯‚ÏÂÂÎ ÌÂȉ ÒÙ˙ È„ÈӉ ¯È˘È‰ Ì¢Èȉ Æ≥∞–‰Â ≤∞–‰ ˙Â˘ Ï˘ ˙ÂÏÎȯ„‡·Â ·ÂˆÈÚ· ¯ÎÈ ‰È‰ ‰Â‚Ò˘
ƇÒÈ‚
‰¯ÓÂȉ ÍÂ˙Ó ¨‰‚¯„‰· Â˙Ó˙‰ ¨˙ÂÈÚ· ˙ÂÙÂÁ ÌÈÈÙÎ ¨ÔÂÏÈÒ ÈÚÂÓ ˙ӂ„ ÌÈ·ÈËÂÓ ÂˆÓȇ˘ ¨®≤∞ ¯Âȇ© ÌÈÏ‚Ï‚ ÏÚ “ÒÈË ÈÏΔ Ï˘ ˙ÂË· ˙‚ˆ˙
‰‡¯˘‰ ¯Â˜ÓÏ Í˘Ó‰· ‰ÎÙ‰ ¨ÈÂÓÈ„Î ‰ÏÈÁ˙ ‰˘ÓÈ˘˘ ‰ÙÂÚ˙‰ Æ˙ÈÒ„‰ ‰ÈÁ·Ó ¯˙ÂÈ ÌÈÈÈÚÓ Ì‚ ÔÎ ÏÚ ¨¯˙ÂÈ ÌÈÈ˘ÚÓÏ ˙Â¯˙Ù‰ ÂÎÙ‰
‡Ï‡ ¨˙Â¯È‰Ó Í¯ÂˆÏ ¯¯‚ ˙˙ÁÙ‰ ˜¯ ¢ÙÈÁ ‡Ï ∫¯˙ÂÈ ¯‚Â·Ï ‰È‰ ÈÓȄ¯ȇ‰ ·ÂˆÈÚ‰ ¯Á‡ ˘ÂÙÈÁ‰ ÆÈÓȄ¯ȇ‰ ·ÂˆÈÚ‰ ˙‡ Ïȷ‰ ¯˘‡ ¨¯„ÂÒÓ
˙¯ÈˆÈ ÍÂÏÎÏ ˙¯·Ëˆ‰ ¨¯Â¯È˜–¯È‡ Ï˘ ÈÂÈÙ ‰ÒΉ ¨˙Â·ÈˆÈ ¨˘Ú¯ ÏÚ ‰˙ÚÙ˘‰ ≠ ¯È‡‰ ˙ÓÈ¯Ê Ï˘ ‰È˙ÂÎÏ˘‰ ˙‡ ¯˙ÂÈ ·ÂË ÔÈ·‰Ï „ÓÏ
È„È ÏÚ ‰·˙Ή˘ ¨˙ÈÒ„‰ ˙ÂÏÈÚÈ Ï˘ ÌÈÏÂ˜È˘Ó ¯˙ÂÈ ¯˙ÂÈ ÚÙ˘ÂÓ ˙ÂÈ‰Ï ÏÁ‰ ÈÓȄ¯ȇ‰ ¯˜ÁÓ‰ Ɖχ‰ ÌÈ·ÈίӉ ÏÎ ÔÈ· ˙ÂÂÎ ˙¯˘Ù
¨˙ÂÈÂÎÓ‰ ·ˆÚÓ Ï˘ ¢ÂÓÈ˘Ï ÌÈÏÎ Ï˘ ‰¯Â˘ ‰·È‰ ˙ÁÎÂÙÓ ˙ÈÚ„Ó ‰˘È‚ „ˆÈÎ ˙‡¯Ï Ô˙È ‰È‰ ¨‰‚¯„‰· Æ∑∞–‰ ˙Â˘ Ï˘ ‰È‚¯‡‰ ¯·˘Ó
˙Âȇ˜È¯Ó‡ ˙ÂÈÂÎÓ ÈÓ‚„· ÂȈÈÓÏ ÚÈ‚‰ ¨“È˙ÈÓ‡“‰ ÈÓȄ¯ȇ‰ ·ÂˆÈÚ‰ Æ˙Âȯ˜Ó ˙Â˘„Á ¨˙ÂÈ„ÂÁÈÈ Â¯˘Ùȇ Ï΢ÂÓ Ì¢ÈÈ·˘ ¨ËÒÈÏÈÈËÒ‰
Æ®≤≤ ¯Âȇ© „¯ÂÙ Ï˘ ®Probe© ·Â¯Ù ˙ÂÈÂÎÓ‰ ˙¯„Ò Â‡ ®≤± ¯Âȇ© ®Aerotech© ˜Ë¯ȇ ÏÈ·ÂÓ҄χ ˙ӂ„ ∏∞–‰ ˙Â˘·
‰‚ˆÂ‰˘ ¨˙ÈÂÎÓ‰ Ɖ¯Á˙Ó ˙ÈÂÎÓ Ï˘ ¯È‰Ó ¯ÂˆÈÈ· ÏÈÁ˙‰Ï „¯ÂÙ È˘‡· ıȇ‰ ¨±πμ≥–· ˙ÈÎىӉ ‰˘„Á‰ Ë·¯Â˜‰ Ï˘ ·¯˜‰ ‰‡Â·
˙„ÂÚÓ‰ ‰˙¯ÂˆÂ ¨È‚ÏËÒÂ‰ χ ‰˙Ù „¯·¯„‡˙‰ ¨È˘„Á‰Â È΄ډ χ ‰˙Ù˘ ¨Ë·¯Â˜Ï „‚È· Æ®Thunderbird© „¯·¯„‡˙ ‡È‰ ¨±πμ∂–·
„¯ ˉ‰ Ô„ÈÚ ˙ÚÙ˘‰· ‰„ÏÂ˘ ¨˙È˘ÙÓ˜ ˙ÈÂÎÓ Æ‚ËÒÂÓ „¯ÂÙ ‡È‰ ¨„¯·¯„‡˙ Ï˘ ‰˙ÎÈ˘ÓÓ ÆÌÂȉ „Ú ˘ÓÓ Ï˘ ˙ÈÙÒ‡ ‰¯Î‰Ï ‰ÎÂÊ
¨È˙ÂÊÁ‰ ÚÙÂÓ· ÍÙ‰Ó‰ ÌÚ ®≤≥ ¯Âȇ ≠ ˙‰·‚ ˙¯ȉÓ ‰ˆÂ‡˙ Ï˘ ˙ÂÏÂÎÈÏ Ô˙Ó‡˙‰·Â ˙Â˘ÂÈÓ ˙ÂÈÂÎÓ· ˘ÂÓÈ˘ ‰˘ÂÚ˘ ˙ȷˆÈÚ ‰Ó‚Ó©
27
‰˙Èȉ ¨˙ÈÓÈ„Â ‰Ï˜ ‰˙‡¯ ˙ÈÂÎÓ‰ ÆÌÈ˯ى Ï˘ ˙ÈÏÏΉ ˙ÂË˘Ù·Â ®˙ÂÈÓÈ„ ¯ˆÈ ÌÈ·È„‰ ÂÈ„ÓÓ·˘© ÚÂÓ‰ ‰ÒÎÓ Ï˘ ˙ÂȈ¯ÂÙ¯ٷ
¨È‡¯ ÔÙ‡· ˙˘ÈÈ˙Ó ÔÎ Ì‚ ÂÊ ˙ÈÂÎÓ Æ‰‚ȉÏ ‰‰Ó ‰˙Âȉ ÏÂʉ ‰¯ÈÁÓ Ï˘· ÌȯÈÚˆ ·¯˜· ±π∂¥≠±Ø≤ Ì‚„Î ‰˙˜˘‰ ÌÚ ˙¯¯ÁÒÓ ‰Áψ‰
ÆÌÈÙÒ‡ ·¯˜· ¯˙ÂÈ· ÌȘ˘Á‰ ̉ ‰Ï˘ ÌÈ¢‡¯‰ ÌÈÓ‚„‰ ¨˙ÂÈÒϘ‰ ˙ÂÈÂÎÓ‰ ˙È·¯ÓÏ ‰Ó„·Â
ÈÂÈ˘· ˙˜ÒÂÚ‰ ÌÈÈÏ¢ ˙ÂÓ‡ ¨È‡‰ ˙‡ ‡Ë·Ó‰ ıÙÁÎ ˙ÈÂÎÓ‰ ˙‡ ÌÈ˘„˜Ó‰ ‰ÈÈ˘Ú ÈÂÂÈΠ¯ˆÂ ¨˙ÂÈÂÎÓ Ï˘ È˙¯„Ò‰ ¯ÂˆÈÈÏ ÏÈ·˜Ó·
˙Â¢ ˙·¯ ÌÈί„ ÍÂ˙Ó ˙Á‡ ͯ„ ‡Â‰ “˙È˘È‡ ‰Ó‡˙‰” Ï˘ ‰ÊÎ ÍÈω Æ®customizing© È˘È‡ Ì˙ÂÁ ÏÚ· ıÙÁ È„ÎÏ ˙Ϸ˜Ӊ ˙ÈÂÎÓ‰
¨‰ÈÈ˘‰ ÌÏÂÚ‰ ˙ÓÁÏÓ ÈÙÏ „ÂÚ ˙ȯ·‰ ˙ˆ¯‡· ÏÁ‰ ‰Ê‰ ÌÂÁ˙‰ ÆÌ˙ÈÂÎÓ ÏÚ È‰˘ÏÎ ‰ÚÙ˘‰ ‡ ‰¯ÈˆÈ Ï˘ ‰ÏÂÚÙ ÌÈ„ÈÁÈÏ Â¯˘Ùȇ˘
ÈÂËÈ· Ï˘ ‰Ê ıÂ¯Ú ÆÈ˘ÙÂÁ‰ ˜Â˘· ÌÈÈÓÊ ÔÈÈ„Ú Âȉ ‡Ï ˙ÂÈÂÎÓ Ï˘ ÌȷȉÏÓ ÌÈÓ‚„ ¯˘‡Î ¨‰ÓÁÏÓ‰ ¯Á‡Ï˘ ˙È„ÈÓ‰ ‰Ù˜˙· ‰ÙÂ˙ ¯·ˆÂ
Ï˘ ÌÈίÚÏ „‰ ≠ ˜‰·ÂÓ È‡˜È¯Ó‡ Âȉ ¨ÈÎÓ‰ Ë·È‰Ï ‰ËÂ˘Ù ‰·‰‡Â ÌÈ˯ÙÏ ·Ï ˙Ó¢˙ ¨‰˘˜ ‰„Â·Ú ¨˙ÈÎË ˙ÏÂÎÈ ˙‚Ù‰· ͯΉ ¨È˘È‡
Æ˙ÈÂÎÓ‰ ˙ÂÁ˙Ù˙‰ ̈ÚÏ Â‡È·‰˘ ˙ÂȈÂÏÁ‰
ÌÚ ®Ballamy© ÈӇχ· ˙„ÏÈ˘‰ Ô¯ˆÈ ÌÚ ˙¯˘˜˙‰ ·È‰ ¨®±π∂∞© ‰ÈÏ‚‡· ȘÒÈ·ÂÏ Èχ¯˘È‰ Ô¯ˆÈ‰ Ï˘ ¯Â˜È· Æ˙ÂÈÂÎÓ Â¯ˆÂÈ Ï‡¯˘È· Ì‚
‰¯·Ò ≠ ˙ÈÈÚÓ ‰‡ ˙ÈÂÎÓ „Èω ¨„¯ÂÙ ÔÈËÒ‡ ÈÏÏÎÓœ ÌÚ ÍÂ„È˘‰ ƯˆÈÈ˘ ˯ÂÙÒ ˙ÈÂÎÓ Ï˘ Û‚ ˜ÙÈÒ Ô¯Á‡‰ ª®Ashley© ÈÏ˘‡ ÌÈÙ‚‰ Ô¯ˆÈ
Æ˙Ú¯Ó ˙¯˜ÒÓ ‰˙Èȉ Úˆ‰ ˙È„Ó· ‰˙ÚÙ‰ ̈Ú ˙ÂÓÂÚÊ Âȉ ¯ÂˆÈȉ ˙ÂÈÂÓÎ Æ˙ÈÓ„˙ ˙Ó„˜Ó ˙ÂÈ‰Ï ‰„ÚÂ ˙ÈÂÎÓ‰ Æ®≤¥ ¯Âȇ Ʊπ∂±©
Ɖ¯·Ò Ï˘ ÈȈ¯ ÌÈÙÒ‡ Ô„ÚÂÓ ‰È‚Ï·· ÌÈȘ ÌÂȉ „Ú ¨Âʉ ˙ÈÂÎÓ‰ ˙‡ ˘ÂÎ¯Ï ˙ÂÂÎ ˙ÂÁÈ˙Ù ‰˙Èȉ ÌÏÂÚ·˘ ‡Â‰ ÔÈÈÚÓ‰
„È˙Ú·˘ ÁÈ‰Ï ¯˘Ù‡ ÆÔÎ ÈÙÏ ÌÈ˘ ˙Â‡Ó „ÂÚ ˙·¯˙· ˙ÂÁÎÂ Â˙¯ˆÂÂÈ‰Ï ˙ÂÈ˙˘˙‰ Ìχ ¨≤∞–‰ ‰‡Ó· ˘Á¯˙Ó ˙ÈÂÎÓ‰ ¯ÂÙÈÒ ¨ÌÂÎÈÒÏ
‰„ÓÚÓ ˙‡ ˜ÊÁ˙ ‰È‚ÂÏÂÎˉ˘ ÔÎ˙ÈÈ ¨Ê‡ „Ú ¨Ìχ ¨˙ÂȈϘÙÒÏ ÔÂ˙ ÍÚ„˙ ·˘ ˜È„Ӊ ÔÙ‡‰ ÆÌÈȘ˙‰Ï ˙ÈÂÎÓ‰ Ï„Á˙ ¨¯˙ÂÈ ˜ÂÁ¯ ‡ ˜ÂÁ¯
Ú¯ȇΠÏÓÒÎ ˙ÈÂÎÓ‰ ÆÈ˙·¯˙‰ ÁÈ˘‰ ÈÏ¢· ˙‡ˆÓ ¨ÂÏω ˙ÂÈÏÂȈ˜ÂÙ‰ ˙Âχ˘‰ ÏΠƉ‚¯„‰· ‰˙‡ ¯˙ÈÈ˙ ≠ „‚Ó Â‡ ¨˙ÈÂÎÓ‰ Ï˘
ÆÂÏω ˙·¯˙‰ ÈÏÓÒ ˙‡ ÌÈ¯Ó˘Ó‰ ÌÈÙÒ‡Ï ˙„‰ ¯‡˘‰ ÔÈ·Â ¨Â¯ÎÊ· ¯‡˘È˙ ÔÂÎÓ È˙·¯˙
28
‫]‪ [23‬ריצ‘ארד מית‪ ,‬הוט רוד קלית‬
‫על בי פורד ‪2006 ,1934‬‬
‫]‪ [24‬מכונית הפורט הישראלית‬
‫היחידה‪ ,‬ברה‪1961 ,‬‬
‫]‪[23‬‬
‫]‪[24‬‬
‫‪29‬‬
30
ÌÈÈχ¯˘È ÌÈÙÒÂ‡Ó ˙ÂÈÂÎÓ ¯Á·Ó
31
‫‪Cadillac 320‬‬
‫·‪±π≤∑ ¨ÔÈÏÙ‡Ï˜Ó ˜È‡ÂÈ‬‬
‫יצרן‪ :‬ביואיק‪ ,‬ארצות הברית וקנדה‬
‫עיצוב‪" :‬קולונל" סאם מקלאפלין‬
‫אוסף בועז דגן‬
‫מספר שילדה‪127753 :‬‬
‫מנוע‪ 6 :‬צילינדרים בטור‪ 63 ,‬כוחות סוס לבלימה‪,‬‬
‫נפח ‪ 4486‬סמ"ק‪ ,‬שסתומים עיליים‬
‫ממסרת‪ :‬גיר ידני‪ 3 ,‬הילוכים‪ ,‬מוט הילוכים בריצפת הרכב‬
‫אפשרויות‪ :‬פגושים ותא מטען‬
‫חברת ביואיק הוקמה רשמית במאי ‪ ,1903‬ועד סוף ‪ 1904‬ייצרה ‪ 37‬מכוניות‪ .‬ב–‪ 1908‬הייתה החברה‬
‫ליצרנית המכוניות המובילה בארצות הברית‪ ,‬והקימה את חברת האם ג'נרל מוטורס‪ .‬ב–‪ 1918‬רכשה ג'נרל‬
‫מוטורס בקנדה את "מקלאפלין‪ ,‬חברת הובלה"‪ .‬עד שנות ה–‪ 20‬הייתה ביואיק המכונית המועדפת על‬
‫שליטים ומנהיגים‪ ,‬וכן זכתה בתחרויות שונות בדרום אמריקה‪ ,‬אוסטרליה וברית המועצות‪ .‬עד ‪ 1942‬כל‬
‫מכוניות הביואיק אשר יוצרו במפעל מקלאפלין בקנדה כונו "ביואיק מקלאפלין"‪ .‬ב–‪ 1927‬יוצרו ‪250,116‬‬
‫מכוניות ביואיק‪.‬‬
‫‪32‬‬
‫‪The 1927 Buick McLaughlin‬‬
‫‪The 1927 Buick McLaughlin‬‬
‫‪The 1927 Buick McLaughlin‬‬
‫‪aughlin‬‬
The 1927 Buick
McLaughlin
33
The 1927 Buick McLaughlin
The 1927 Buick McLaughlin
The 1927 Buick McLaug
927 Buick McLaughlin
The 1927 Buick McLaughlin
The 1927 Buick McLaughlin
The 1927 Buick34McLaughlin
The 1927 Buick McLaughlin
Manufacturer: Buick Motor Company, USA and Canada
Designed by "Colonel" Sam McLaughlin
Collection of Boaz Dagan
Chassis no. 127753
Engine: inline 6 cylinders, 63 bhp, 4,486 cc OHV
Transmission: 3-speed manual sliding gear, floor shift
Brakes: mechanical on all wheels
Options: bumpers and trunk
The Buick Manufacturing Company was officially launched in May 1903, and by the end of
1904 built 37 cars. In 1908 Buick was leading US automobile production, and created a holding
company called General Motors. In 1918 General Motors acquired the McLaughlin Carriage
Company and by the 1920s, Buick was becoming the car of choice for kings, sultans and political
leaders and winning competitions in South America, Australia and the Soviet Union. Until 1942,
all Buicks manufactured at the McLaughlin site in Canada were called Buick McLaughlins.
In 1927, 250,116 Buicks were produced.
35
The 1927 Buick McLaughlin
The 1927 Buick McLaughlin
The 1927 Buick McLaughlin The 1927
‫‪Cadillac 320‬‬
‫˜¯‪±π≥∞ ¨∂∂ ‰¯„Ò ¨¯ÏÊÈÈ‬‬
‫יצרן‪ :‬קרייזלר‪ ,‬ארצות הברית‬
‫עיצוב‪ :‬קרייזלר‬
‫אוסף בועז דגן‬
‫מנוע‪ 6 :‬צילינדרים בטור‪ 65 ,‬כוחות סוס לבלימה‪ ,‬נפח ‪ 3200‬סמ"ק‬
‫ממסרת‪ :‬גיר ‪ 3‬הילוכים‪ ,‬מוט הילוכים בריצפת הרכב‪ ,‬מצמד רגיל‪ ,‬גל הינע‬
‫בלמים הידראוליים‬
‫חישורי עץ לגלגלים‬
‫ויליאם קרייזלר ייסד את חברת קרייזלר ב–‪ ,1925‬ושילב אותה בחברת מקסוול מוטור שהייתה נתונה‬
‫בקשיים‪ .‬עם היווסדה השיקה החברה גם את המותגים פלימות ודה–סוטו‪ ,‬וב–‪ 1928‬רכשה את חברת‬
‫דודג'‪ .‬קרייזלר סדרה ‪ 66‬הושקה ב–‪ ,1930‬ובאותה שנה ייצרו ‪ 22,606‬מכוניות מסוג זה‪.‬‬
‫‪36‬‬
‫‪The 1930 Chrysler Series 66‬‬
‫‪The 1930 Chrysler Series 66‬‬
‫‪The 1930 Chrysler Series 66‬‬
‫‪Series 66‬‬
The 1930 37Chrysler Series 66
The 1930 Chrysler Series 66
The 1930 Chrysler Series 66
The 1930 Chrysler Seri
930 Chrysler Series 66
The 1930 Chrysler Series 66
The 1930 Chrysler Series 66
38 Series 66
The 1930 Chrysler
The 1930 Chrysler Series 66
Manufacturer : Chrysler Corporation, USA
Designed by Chrysler Corporation
Collection of Boaz Dagan
Engine: inline 6 cylinders, 3,200 cc, 65 bhp
Transmission: 3-speed manual, floor shifter, conventional clutch, shaft drive
Brakes: hydraulic
Wood spoke wheels
William Chrysler founded the Chrysler Corporation in 1925, incorporating
into it the ailing Maxwell Motor Company; the company also launched
the Plymouth and DeSoto marques, and in 1928 purchased the Dodge
Company. The Chrysler Series 66 was launched in 1930; in that year,
22,606 Chryslers 66 units were produced.
39
The 1930 Chrysler Series 66
The 1930 Chrysler Series 66
The 1930 Chrysler Series 66
The 1930
‫˜¯‪±π¥∏ ¨¯ÂÊ„È ¯ÏÊÈÈ‬‬
‫‪Cadillac 320‬‬
‫יצרן‪ :‬קרייזלר‪ ,‬ארצות הברית‬
‫עיצוב‪ :‬קרייזלר‬
‫אוסף רני רהב‬
‫מס' שילדה‪70694754 :‬‬
‫מנוע‪ 6 :‬צילינדרים בטור‪ ,‬נפח ‪ 3937‬סמ"ק‪ 108 ,‬כוחות סוס לבלימה‬
‫ממסרת‪ :‬גיר ‪ 3‬הילוכים ידניים עם אפשרות להחלפת הילוכים ללא הפעלת המצמד‬
‫בשנות ה–‪ 40‬של המאה שעברה ייצר תאגיד קרייזלר כמה מותגים מסחריים‪ ,‬ביניהם דודג'‪ ,‬פלימות‪ ,‬דה–‬
‫סוטו‪ ,‬קרייזלר‪ .‬קרייזלר וינדזור‪ ,‬המיועדת לשישה נוסעים‪ ,‬הוצגה לראשונה בשנות ה–‪ 40‬וייצורה נמשך‬
‫עד סוף שנות ה–‪ .60‬מכוניות קרייזלר וינדזור מ–‪ 1948‬הן חלק מהסדרה ‪ (19481946) C38W‬העיצוב‬
‫הראשון שלאחר מלחמת העולם השנייה‪ ,‬אם כי הוא דומה לזה שלפני המלחמה‪ .‬הסבכה הקדמית )גריל(‬
‫של מכוניות אלה מאופיינת במוטות אופקיים ואנכיים‪ ,‬ומכאן הכנוי למכונית‪" :‬סבכת הרמוניקה"‪ .‬ב–‪1948‬‬
‫יוצרו ‪ 161,139‬מכוניות קרייזלר וינדזור בעלות ‪ 4‬דלתות‪.‬‬
‫‪40‬‬
‫‪The 1948 Chrysler Windsor‬‬
‫‪The 1948 Chrysler Windsor‬‬
‫‪The 1948 Chrysler Windsor‬‬
‫‪Windsor‬‬
r
The 194841Chrysler Windsor
The 1948 Chrysler Windsor
The 1948 Chrysler Windsor
The 1948 Chrysler Win
8 Chrysler Windsor
The 1948 Chrysler Windsor
The 1948 Chrysler Windsor
42
The 1948 Chrysler Windsor
The 19
The 1948 Chrysler Windsor
Manufacturer: Chrysler Corporation, USA
Designed by Chrysler Corporation
Collection of Rani Rahav
Chassis no. 70694754
Engine: inline 6 cylinders, 3,937 cc,108 bhp
Transmission: 3-speed manual fluid drive
During the 1940, the Chrysler Company produced vehicles under several nameplates (marques)
such as Dodge, Plymouth, Desoto, Chrysler, etc. The full-size Chrysler Windsor was introduced
in the 1940s and sold through the 1960s. Chrysler Windsors produced in 1948 "belong" to the
C38W Series (1946–1948), the first post-World War II design. The model's grille was filled with a
grid of horizontal and vertical bars, giving it the nickname "Harmonica Grille".
In 1948, 161,139 Chrysler Windsor 4-door sedans were produced.
43
The 1948 Chrysler Windsor
The 1948 Chrysler Windsor
The 1948 Chrysler Windsor
The 1948 C
‫˜‡„‪±πμ≥ ¨Â„¯Â„χ ˜ÏÈ‬‬
‫‪Cadillac 320‬‬
‫יצרן‪ :‬ג'נרל מוטורס‪ ,‬מחלקת קאדילק‪ ,‬ארצות הברית‬
‫עיצוב‪ :‬אד גלאואק בפיקוחו של הארלי ארל‬
‫אוסף משפחת אלמגור‬
‫מס' שילדה‪ ,536265868 :‬דגם ‪6267SX‬‬
‫מנוע‪ :‬נפח ‪ 5420‬סמ"ק‪ 8 ,‬צילינדרים בתצורת ‪ ,V‬מאייד יחיד בעל ‪ 4‬לועות‪ 210 ,‬כוחות סוס לבלימה‬
‫ממסרת‪ :‬גיר אוטומטי‪ 4 ,‬הילוכים הידראמטיק‬
‫בלמים‪ :‬מערכת בלמים הידראולית לכל ארבעת הגלגלים‪ ,‬מתלים קדמיים עצמאיים עם קפיצים‬
‫סליליים‬
‫ב–‪ 1953‬חגגו שלוש מחלקות של ג'נרל מוטורס את שנת ה–‪ 50‬להיווסדן בייצור מהדורות מוגבלות‪,‬‬
‫יוקרתיות והדורות‪ ,‬כולן מכוניות גדולות בעלות גג פתוח‪ .‬ביואיק ייצרה את הדגם סקיילארק‪,‬‬
‫אולדסמוביל את הדגם פיאסטה ‪ ,98‬וקאדילק השיקה את הדגם המשובח מכולם אלדורדו‪" ,‬המכונית‬
‫המוזהבת"‪ .‬בין איפיוניה הייחודים של קאדילק אלדורדו‪ :‬עיצוב פנימי מפואר‪ ,‬שימשה קדמית פנורמית‬
‫)אשר לא הייתה נהוגה בתעשיית הרכב עד לאותה עת(‪ ,‬פסים צדדיים מחורצים‪ ,‬כיסוי מתכת לגג‬
‫המתקפל )בניגוד לכיסוי הבד המקובל אז(‪ .‬ב–‪ 1953‬ייצרו רק ‪ 532‬מכוניות מסוג קאדילק אלדורדו‪.‬‬
‫‪44‬‬
‫‪The 1953‬‬
‫‪The 1953 Cadillac Eldorado‬‬
‫‪The 1953 Cadillac Eldorado‬‬
‫‪The 1953 Cadillac Eldorado‬‬
‫‪o‬‬
he 1953 Cadillac
Eldorado
45
The 1953 Cadillac Eldorado
The 1953 Cadillac Eldorado
The 1953 Cadillac Eldorado
3 Cadillac Eldorado
The 1953 Cadillac Eldorado
The 1953 Cadillac Eldorado
46
The 1953 Cadillac Eldorado
The 19
The 1953 Cadillac Eldorado
Manufacturer: General Motors Corporation, Cadillac Motor Division, USA
Designed by Ed Glowacke under Harley Earl's supervision
Collection of Almagor family
Chassis no. 536265868, body style : 6256SX
Engine: 5,423 cc, OHV V-8 single 4-barrel carburetor, 210 bhp
Transmission: 4-speed hydramatic (automatic)
Brakes: 4-wheel power-assisted hydraulic drum, independent coilspring front suspension
Three General Motors (GM) divisions celebrated 50th anniversaries in
1953 by issuing expensive, flashy limited editions, all big convertibles.
Buick offered the Skylark, Oldsmobile the 98 Fiesta, and Cadillac
launched the top-of-the-line Eldorado—"the gilded one." Among
its attractions: custom interior, special cut-down "Panoramic"
wraparound windshield, sporty "notched" beltline and a metal lid
instead of a canvas boot to cover the lowered top.
Only 532 Cadillac Eldorados were produced in 1953.
47
The 1953 Cadillac Eldorado
The 1953 Cadillac Eldorado
The 1953 Cadillac Eldorado
The 1953 C
‫‪±πμμ ¨®‰ÁÂ˙Ù ¨ÌÈ·˘ÂÓ È˘© XK±¥∞ OTS ¨¯‡Â‚È‬‬
‫יצרן‪ :‬יגואר‪ ,‬בריטניה‬
‫עיצוב‪ :‬יגואר‪ ,‬בריטניה‬
‫אוסף אילן יוחנן‬
‫מס' שילדה‪S811084 :‬‬
‫מנוע‪ :‬נפח ‪ 3400‬סמ"ק‪ 6 ,‬צילינדרים בטור‪ 210 ,‬כוחות סוס לבלימה‪ ,‬שסתומים עיליים‬
‫ממסרת‪ :‬גיר ידני‪ 4 ,‬הילוכים‬
‫בלמים‪ :‬בלמי תוף‬
‫ב–‪ 1954‬השיקה יגואר את הסדרה ‪ XK140‬באולמי התצוגה ארל קורט בלונדון‪ ,‬כתחליף לסדרה המוצלחת‬
‫מ–‪ 1948‬יגואר ‪ .XK120‬הסדרה השנייה עוצבה בעיקר לשוק האמריקאי; הדגש הושם על ייצור של‬
‫מכונית נוחה לנהיגה ועל כן הוגדל משקלה‪ ,‬ובכך היא איבדה מעט מאופיה הספורטיבי‪ .‬הסדרה ‪XK140‬‬
‫יוצרה בשלושה דגמים‪ :‬דגם פתוח לשני נוסעים‪ ,‬מכונית קוּפה בעלת גג מתקפל ומכונית קוּפה בעלת גג‬
‫קשיח‪ .‬בשנים ‪ 19571955‬ייצרה יגואר ‪ 2789‬מכוניות מסדרה זו‪.‬‬
‫‪48‬‬
‫‪The 1955 Jaguar XK140 OTS‬‬
‫‪The 1955 Jaguar XK140 OTS‬‬
‫‪The 1955 Jaguar XK140 OTS‬‬
‫‪TS‬‬
Jaguar XK140
49 OTS
The 1955 Jaguar XK140 OTS
The 1955 Jaguar XK140 OTS
The 1955 Jaguar XK140 OTS
The 1955 Jaguar XK140 OTS
The 1955 Jaguar XK140 OTS
The 1955 Jaguar XK140 OTS
50 Jaguar XK
The 1955
The 1955 Jaguar XK140 OTS (Open Two Seater)
Manufacturer: Jaguar, UK
Designed by Jaguar, UK
Collection of Ilan Yochanan
Chassis no. S811084
Engine: 3,400 cc straight-6, dual overhead-cam, 210 bhp
Brakes: drum
Transmission: 4-speed manual
In 1954 Jaguar launched the XK140 in Earls Court, London, as a
replacement for the highly successful Jaguar XK120 first introduced in
1948. It was designed with the American export market in mind, and
Jaguar had worked to make the car easier and more comfortable to
drive, losing some of the sporting edge due to increased weight. The
XK140 was produced in three body styles: Roadster, Drop Head Coupe
(DHC) and Fixed Head Coupe (FHC).
Jaguar produced 2,789 XK140 cars between 1955 and 1957.
51
The 1955 Jaguar XK140 OTS
The 1955 Jaguar XK140 OTS
The 1955 Jaguar XK140 OTS
The
‫‪Cadillac 320‬‬
‫‪±πμ∑ ¨Âˇ‚‡Ê ∑μ∞GT Ì‚„ ¨˙¯‡·‡ ˇÈÙ‬‬
‫יצרן‪ :‬אבארת‪ ,‬איטליה‬
‫עיצוב‪ :‬הוגו זאגאטו‬
‫אוסף רונית ואלעד שרגא‬
‫מס' שילדה‪) 588278 :‬סדרה ‪(3‬‬
‫מנוע‪ 4 :‬צילינדרים בטור‪ ,‬שסתומים עיליים‪ 2 ,‬שסתומים לצילינדר‪ ,‬נפח ‪ 747‬סמ"ק‪,‬‬
‫‪ 43‬כוחות סוס לבלימה‬
‫ממסרת‪ :‬גיר ידני‪ 4 ,‬הילוכים‬
‫בלמים )קדמיים ואחוריים(‪ :‬בלמי תוף‬
‫אלפי מכוניות נשאו את תג העקרב המזוהה של אבארת‪ ,‬אך הסמל המייצג ביותר את מוניטין החברה‬
‫הוא המרכב הקטן‪ ,‬היפה והתנופתי שעוצב לפיאט אבארת‪ ,1957 ,‬דגם ‪ 750GT‬זאגאטו‪ ,‬דגם הידוע בכינויו‪:‬‬
‫‪ .Double Bubble‬העיצוב הוא פרי שיתוף פעולה בין המכונאי ונהג המירוצים‪ ,‬קארלו אבארת‪ ,‬לבין‬
‫המעצב הידוע הוגו זאגאטו‪ .‬המכונית מבוססת על הדגם הפופולרי פיאט ‪ ,600‬שהותאם למכונית מירוץ‬
‫זו‪ .‬ב–‪ 1957‬ייצרו ‪ 600‬פיאט אבארת דגם ‪ 750GT‬זאגאטו‪ ,‬סדרה ‪.3‬‬
‫‪52‬‬
‫‪The 1957 Fiat Abarth 750GT‬‬
‫‪The 1957 Fiat Abarth 750GT Zagato‬‬
‫‪7 Fiat Abarth 750GT Zagato‬‬
at Abarth 750GT
Zagato
53
The 1957 Fiat Abarth 750GT Zagato
The 1957 Fiat Abarth 750GT Zagato
The 1957 F
arth 750GT Zagato
The 1957 Fiat Abarth 750GT Zagato
The 1957 Fiat Abarth 750GT Zagato
The541957 Fiat
The 1957 Fiat Abarth 750GT Zagato
Manufacturer: Abarth, Italy
Designed by Ugo Zagato
Collection of Ronit and Elad Shraga
Chassis no. 588278
Engine: inline 4 cylinders, OHV, 2 valves per cylinder, 747 cc,
43 bhp
Transmission: 4-speed manual
Brakes (front and rear): drums
Weight: 535 kg
Thousands of cars have worn Abarth’s distinctive scorpion badge,
but the 1957 Fiat Abarth Zagato 750 GT, the design icon popularly
known as "double bubble"—tiny, stark, beautiful and very fast—
best represents the enduring image of the company and its guiding
force. The design was produced through cooperation between the
racing mechanic and racer Carlo Abarth and the famous designer
Ugo Zagato. The car is based on the popular Fiat 600.
In 1957, 600 Fiat Abarth 750GT Zagato Series 3 were produced.
55
The 1957 Fiat Abarth 750GT Zagato
The 1957 Fiat Abarth 750GT Zagato
The 1957 Fiat Abarth
‫‪Cadillac 320‬‬
‫¯‪±πμ∏ ¨®ÛÒÎ ÔÚ© „‡Ϙ ¯ÂÂÏÈÒ Ì‚„ ¨Òȯ ÒÏÂ‬‬
‫יצרן‪ :‬רולס רויס‪ ,‬בריטניה‬
‫עיצוב‪ :‬ג'יי‪ .‬פי‪ .‬בלאצ'לי‬
‫אוסף רני רהב‬
‫מס' שילדה‪) B40LDB :‬סדרה ‪(1‬‬
‫מנוע‪ 6 :‬צילינדרים בטור‪ ,‬נפח ‪ 4887‬סמ"ק‪ 155 ,‬כוחות סוס לבלימה‬
‫ממסרת‪ :‬גיר אוטומטי‪ 4 ,‬מהירויות‬
‫רולס רויס בע"מ נוסדה על ידי צ'ארלס סטיוארט רולס והנרי רויס ב–‪ .1906‬ב–‪ 1931‬רכשה רולס רויס‬
‫את מתחרתה העיקרית באותה עת בנטלי‪ .‬בשנים ‪ 19661955‬היה סילוור קלאוד הדגם העיקרי של‬
‫החברה‪ ,‬ובתקופה זו ייצרו ‪ 7372‬מכוניות רולס רויס מדגם זה‪.‬‬
‫‪56‬‬
‫‪The 1958 Rolls Royce Silver Cloud The 1958 Rolls Royce‬‬
‫‪Cloud The 1958 Rolls Royce Silver Cloud‬‬
Silver Cloud
The 1958 Rolls Royce Silver Cloud
57
The 1958 Rolls Royce Silver Cloud
The 1958 Rolls Royce Silver Clo
ver Cloud
The 1958 Rolls Royce Silver Cloud The 1958 Rolls Royce Silver Cloud
The 1958 Rolls Royce58 Silver Cloud
The 1958 Rolls Royce Silver Cloud
Manufacturer: Rolls Royce Motor Cars, UK
Designed by J.P Blachley
Collection of Rani Rahav
Chassis no. B40LDB
Series 1, Body by Hooper
Engine: inline 6 cylinders, 4,887 cc, 155 bhp
Transmission: 4-speed automatic
Rolls Royce Ltd. was formed by Charles Stewart Rolls and Henry Royce in
1906, and in 1931 purchased its rival car producer Bentley. The Silver Cloud
was the company's core model from 1955 to 1966.
Between 1955 and 1966, the company produced 7,372 Rolls Royce Silver
Clouds.
59
The 1958 Rolls Royce Silver Cloud
The 1958 Rolls Royce Silver Cloud
The 1958 Rolls Royce Silver C
‫˘·¯‪±πμ∏ ¨Ë·¯Â˜ ËÏÂ‬‬
‫‪Cadillac 320‬‬
‫יצרן‪ :‬ג'נרל מוטורס‪ ,‬ארצות הברית‬
‫עיצוב‪ :‬הארלי ארל‬
‫אוסף משפחת אלמגור‬
‫מס' שילדה‪J58S105520 :‬‬
‫מנוע‪ 8 :‬צילינדרים בטור בתצורת ‪ ,V‬נפח ‪ 4634‬סמ"ק‪ ,‬שסתומים עיליים‪ 270 ,‬כוחות סוס לבלימה‬
‫ממסרת‪ :‬גיר ידני‪ 4 ,‬מהירויות‬
‫בלמים‪ :‬תוף מכני בארבעת הגלגלים‬
‫קורבט‪ ,‬סמל אמריקאי‪ ,‬הוצגה לראשונה ב–‪ ,1953‬במהדורה מוגבלת של ‪ 300‬יחידות‪ .‬ב–‪ ,1958‬בהנהלתו‬
‫של המעצב הנודע הארלי ארל‪ ,‬נעשה העיצוב המשמעותי הראשון של הדגם המקורי‪ .‬קורבט החדשה‬
‫הביאה עימה מראה שרירי ואגרסיבי‪ ,‬המאפיין את מכוניות הספורט האמריקאיות‪ .‬העיצוב הפנימי‬
‫מ–‪ 1958‬היה מודרני ועדכני יותר מהדגם הקודם‪ .‬בעקבות חוקי הבטיחות האמריקאיים נשאה המכונית‬
‫ארבעה פנסים קדמיים‪ .‬קורבט היא מכונית הספורט היחידה בעולם שיוצרה בלמעלה ממיליון יחידות‬
‫)מאז ‪ .(1953‬המרכב שלה מיוצר מסיבי זכוכית פיבר גלס‪ .‬ב–‪ 1958‬ייצרו בג'נרל מוטורס ‪ 9168‬מכוניות‬
‫מדגם זה‪.‬‬
‫‪60‬‬
‫‪The 1958 Chevrolet Corvette‬‬
‫‪The 1958 Chevrolet Corvette‬‬
‫‪The 1958 Chevrolet Corvette‬‬
‫‪Corvette‬‬
The 195861Chevrolet Corvette
The 1958 Chevrolet Corvette
The 1958 Chevrolet Corvette
The 1958 Chevrolet Cor
8 Chevrolet Corvette
The 1958 Chevrolet Corvette
The 1958 Chevrolet Corvette
62
The 1958 Chevrolet Corvette
The 1
The 1958 Chevrolet Corvette
Manufacturer: General Motors, USA
Designed by Harley Earl
Collection of Almagor family
Chassis no. J58S105520
OHV V-8 engine, 4,634 cc, 270 bhp
Transmission: 4-speed manual
Brakes: 4-wheel mechanical drum
The Corvette, an American icon, was introduced in 1953, when production was limited to 300
units. Under the leadership of Harley Earl, the first major redesign of the Corvette took place in
1958: the new Corvette brought a new intimidating look to America's sports car, the interior was
also thoroughly modernized, and, following new US safety regulations, it carried four headlights.
Corvette is the only sports car produced in more than one-million units (since 1953).
In 1958 General Motors produced 9,168 Corvettes.
63
The 1958 Chevrolet Corvette
The 1958 Chevrolet Corvette
The 1958 Chevrolet Corvette
The 1958 C
‫‪±πμ𠨉ËÊȇ Ì‚„ ¨BMW‬‬
‫‪Cadillac 320‬‬
‫יצרן‪ ,BMW :‬גרמניה‬
‫עיצוב‪ :‬רנזו ריבולטה ומעצבי ‪BMW‬‬
‫אוסף רפי קלינה‬
‫מספר שילדה‪315526 :‬‬
‫מנוע‪ :‬צילינדר אחד בעל ‪ 4‬פעימות‪ ,‬נפח ‪ 247‬סמ"ק‪ 13 ,‬כוחות סוס לבלימה‬
‫ממסרת‪ :‬גיר ידני‪ 3 ,‬מהירויות‬
‫בשנים ‪ 19641953‬יוצרה מכונית המיקרו איזטה על ידי כמה חברות‪ ,‬כולל ‪ ,BMW‬כמענה לדרישות השוק‬
‫שלאחר מלחמת העולם השנייה לכלי רכב זולים לנסיעות קצרות‪ .‬משום צורתה האליפטית‪ ,‬החלונות‬
‫הדומים לבועות ומידותיה הקטנות‪ ,‬היא נודעה כ"מכונית הבועה"‪ .‬בשנים ‪ 19641953‬ייצרה ‪ BMW‬לבדה‬
‫‪ 136,367‬מכוניות מדגם זה‪.‬‬
‫‪64‬‬
‫‪The 1959 BMW Isetta‬‬
‫‪The 1959 BMW Isetta‬‬
‫‪The 1959 BMW Isetta‬‬
‫‪The 1959 BMW Isetta‬‬
‫‪a‬‬
59 BMW Isetta
65
The 1959 BMW Isetta
The 1959 BMW Isetta
The 1959 BMW Isetta
The 1959 BMW Isetta
The 1959 BMW Isetta
The 1959 BMW Isetta
The 1959 BMW Isetta
The 1959 BMW Isetta
66
The
1959 BMW
The 1959 BMW Isetta
Manufacturer BMW (Bavarian Motor Works), Germany
Designed by Renzo Rivolta followed by BMW designers
Collection of Rafi Kalina
Chassis no. 315526
Engine: 1 cylinder 4 strokes, 247 cc, 13 bhp
Transmission: 3-speed manual
The Isetta microcar was manufactured by several companies,
including BMW, between 1953 and 1964, responding to
the post-World War II demand for cheap, short-distance
transportation. Due to its egg shape and bubble-like windows,
it became known as a "bubble car." Between 1953 and 1964,
BMW alone produced 136,367 Isettas.
67
The 1959 BMW Isetta
The 1959 BMW Isetta
The 1959 BMW Isetta
The 1959 BMW Isetta
T
‫‪±π∂± ¨Ë¯ÂÙÒ ‰¯·Ò‬‬
‫‪Cadillac 320‬‬
‫יצרן‪ :‬אוטוקאר בע"מ‪ ,‬ישראל‬
‫עיצוב‪ :‬לסלי באלאמי‬
‫אוסף ניצן פרימור‬
‫מנוע‪ 4 :‬צילינדרים בטור‪ ,‬נפח ‪ 1703‬סמ"ק‪ 71 ,‬כוחות סוס לבלימה‬
‫ממסרת‪ :‬גיר ידני‪ 4 ,‬מהירויות‬
‫הסברה היא מכונית הספורט היחידה שאי פעם יוצרה בישראל‪ .‬אוטוקאר‪ ,‬חברה ישראלית‪ ,‬הזמינה‬
‫מחברת המכוניות הבריטית רליאנט בנייה של מכונית ספורט שייעודה היה שוק מכוניות הספורט‬
‫בארצות הברית‪ ,‬אשר התרחב והלך בשנות ה–‪ 60‬של המאה שעברה‪.‬‬
‫המרכב של הסברה יוצר מסיבי זכוכית פיבר גלס‪ .‬ייצור הסברה הופסק ב–‪ 1967‬בעקבות מלחמת ששת‬
‫הימים‪ .‬סך הכול ייצרו ‪ 379‬מכוניות סברה כמחציתן בחיפה ומחציתן באנגליה‪.‬‬
‫‪68‬‬
‫‪The 1961 Sabra Sport‬‬
‫‪The 1961 Sabra Sport‬‬
‫‪The 1961 Sabra Sport‬‬
‫‪The 1961 Sabra Sport‬‬
‫‪Sport‬‬
The 1961 Sabra
Sport
69
The 1961 Sabra Sport
The 1961 Sabra Sport
The 1961 Sabra Sport
The 1961 Sabra Spo
The 1961 Sabra Sport
The 1961 Sabra Sport
The 1961 Sabra Sport
The 1961 Sabra Sport
The 196170Sabra Sport
The 1961 Sabra Sport
Manufacturer: Autocars Company Ltd., Israel
Designed by Leslie Ballamy
Collection of Nitzan Primor
Engine: inline 4 cylinders, 1,703 cc, 71 bhp
Transmission: 4-speed manual
The Sabra is the only sports car ever built in Israel: Autocars, an Israeli firm,
commissioned Reliant, a British car company, to build a sports car to be sold
in the growing US sports car market in the early 1960s.
Production stopped in 1967 following the Six Day War. Altogether 379 Sabras
were produced in plants in Haifa and the UK.
71
The 1961 Sabra Sport
The 1961 Sabra Sport
The 1961 Sabra Sport
The 1961 Sabra Sport
The 1
‫‪±π∂≥ ¨μ∞≤ Ì‚„ ¨BMW‬‬
‫‪Cadillac 320‬‬
‫יצרן‪ ,BMW :‬גרמניה‬
‫אוסף רפי קלינה‬
‫מספר שילדה‪3661 :‬‬
‫מנוע‪ :‬נפח ‪ 3168‬סמ"ק‪ 8 ,‬צילינדרים בתצורת ‪ 160 ,V‬כוחות סוס לבלימה‬
‫ממסרת‪ :‬גיר ידני‪ 4 ,‬מהירויות‬
‫הדגם ‪ BMW 502‬נגזר מהדגם ‪ BMW 501‬מכונית בעלת ‪ 6‬צילינדרים ותא נוסעים סגור‪ ,‬אשר הוצגה‬
‫לראשונה בתערוכת המכוניות בפרנקפורט ב–‪ .1951‬הדגם ‪ BMW 502‬הושק ב–‪ ,1954‬והושם בו דגש‬
‫מיוחד לבטיחות הנוסעים‪ .‬הדגם יוצר במערב גרמניה והיה לרכב הראשון שעוצב ונבנה על ידי ‪ BMW‬לאחר‬
‫מלחמת העולם השנייה‪ .‬בשנים ‪ 19631954‬ייצרה החברה ‪ 12,851‬מכוניות מדגם זה‪.‬‬
‫‪72‬‬
‫‪The 1963‬‬
‫‪The 1963 BMW 502‬‬
‫‪The 1963 BMW 502‬‬
‫‪The 1963 BMW 502‬‬
‫‪1963 BMW 502‬‬
963 BMW 502
73
The 1963 BMW 502
The 1963 BMW 502
The 1963 BMW 502
The 1963 BMW 502
The 196
963 BMW 502
The 1963 BMW 502
The 1963 BMW 502
The 1963 BMW 502
The 1963 BMW 74502
The 19
The 1963 BMW 502
Manufacturer: BMW (Bavarian Motor Works), Germany
Collection of Rafi Kalina
Chassis no. 3661
Engine: 3,168 cc, V8 configuration, 160 bhp
Transmission: 4-speed manual
The BMW 502 was the derivative of the BMW 501, a
large six-cylinder passenger saloon first shown at the
Frankfurt Motor Show in 1951. It was followed in 1954
by the BMW 502, a V8 version of the the first BMW
automobile be built in West Germany after World War
II. Special attention was paid to passive safety in the
502 model.
Between 1954 and 1963, the company produced
12,851 BMWs.
75
The 1963 BMW 502
The 1963 BMW 502
The 1963 BMW 502
The 1963 BMW 502
The 1963
‫‪Cadillac 320‬‬
‫‪±π∂∂ ¨‚ËÒÂÓ „¯ÂÙ‬‬
‫יצרן‪ :‬פורד מוטור‬
‫עיצוב‪ :‬ג'ו אורוס ודיוויד אש‪ ,‬בפיקוח לי אייקוקה‬
‫אוסף שי ליברטי‪ ,‬ישראל‬
‫מספר שילדה‪6F8C206534 :‬‬
‫מנוע‪ 8 :‬צילינדרים בטור בתצורת ‪ ,V‬נפח ‪ 4732‬סמ"ק‪ 210 ,‬כוחות סוס לבלימה‬
‫ממסרת‪ :‬גיר אוטומטי‪ 3 ,‬מהירויות‬
‫פורד מוסטנג הוצגה לציבור ביריד העולמי של ניו יורק ב–‪ ,1964‬והייתה ההשראה לייצור מכוניות לא‬
‫יקרות‪ ,‬קומפקטיות‪ ,‬בעלות עיצוב יוקרתי ודימוי ספורטיבי )לימים הן כונו "מכוניות פוני"(‪ .‬המעצב שאף‬
‫למכונית אשר "תמשוך נשים" אך שתתקבל גם על ידי גברים‪ .‬אפשר לראות את הדגם בסרט מסדרת‬
‫ג'יימס בונד‪ ,‬גולדפינגר‪ .1964 ,‬מכונית זו היא מותג הנוסעים היחיד של פורד שייצורו נמשך ללא הפסקה‬
‫מ–‪ 1964‬ועד עצם היום הזה‪ .‬במשך השנתיים וחצי הראשונות של ייצור הדור הראשון של מוסטנג‪ ,‬מכרה‬
‫פורד כמות שיא של ‪ 1,288,557‬מכוניות‪.‬‬
‫‪76‬‬
‫‪The 1966 Ford Mustang‬‬
‫‪The 1966 Ford Mustang‬‬
‫‪The 1966 Ford Mustang‬‬
‫‪1966 Ford Mustang‬‬
The 1966 Ford
Mustang
77
The 1966 Ford Mustang
The 1966 Ford Mustang
The 1966 Ford Mustang
The 196
Mustang
The 1966 Ford Mustang
The 1966 Ford Mustang
The 1966 Ford Mustang
78
The 1966 Ford
Mustang
The 1966 Ford Mustang
Manufacturer: Ford Motor Company
Designed by Joe Oros and David Ash, supervised by Lee Iaccoca
Collection of Shai Liberty
Chassis no. 6F8C206534
Engine: 4,735 cc in V8 configuration, 4,732 cc, 210 bhp
Transmission: 3-speed automatic
The Ford Mustang was introduced to the public at the 1964 New
York World Fair, inspiring the production of affordable, compact,
highly styled cars with a sporty image (later termed "pony cars").
The designer wanted a car that would "appeal to women" but
also be "desired by men." The Mustang appeared in the 1964
James Bond film Goldfinger.
During the first 2.5 years of production of the first-generation
Mustang, Ford sold a record 1,288,557 Mustangs.
79
The 1966 Ford Mustang
The 1966 Ford Mustang
The 1966 Ford Mustang
The 1966 Ford Must
‫‪Cadillac 320‬‬
‫‪±π∂∑ ¨Á˙Ù ‚‚ ,≥∞∞SE Ì‚„ ¨ı· Ò„ˆ¯Ó‬‬
‫יצרן‪ :‬מרצדס בנץ‪ ,‬גרמניה‬
‫עיצוב‪ :‬פול בראק‬
‫אוסף משפחת אלמגור‬
‫מספר שילדה‪11202310009431 :‬‬
‫מנוע‪ 6 :‬צילינדרים בטור‪ ,‬נפח ‪ 2996‬סמ"ק )אותו גוף מנוע כמו לדגם הנודע ‪,(300SL‬‬
‫‪ 170‬כוחות סוס לבלימה‬
‫ממסרת‪ :‬גיר ידני‪ 4 ,‬הילוכים‪ ,‬מוט הילוכים בריצפת הרכב‪ ,‬הגה כוח‬
‫בלמים‪ :‬בלמי כוח‪ ,‬רפידות בילום‬
‫מכונית זו נחשבת למכונית האחרונה שיוצרה בעבודה ידנית על ידי מרצדס בנץ‪ .‬הדגם ‪ 300SE‬יוצר בשנים‬
‫‪ ,19671962‬ושילב נוחות‪ ,‬פנים מפואר ובטיחות‪ .‬רק ‪ 54‬מכוניות מרצדס בנץ מדגם ‪ 300SE‬יוצרו ב–‪;1967‬‬
‫בשנים ‪ 19671962‬יוצרו ‪ 3127‬מכוניות קוּפה )‪ 2‬דלתות( גג נפתח‪.‬‬
‫‪80‬‬
‫‪The 1967 Mercedes Benz 300SE Convertible‬‬
‫‪The 1967 Mercedes Benz 300SE Convertible‬‬
‫‪ertible‬‬
s Benz 300SE
81 Convertible
The 1967 Mercedes Benz 300SE Convertible
The 1967 Mercedes Benz 300SE Convertib
967 Mercedes Benz 300SE Convertible
μ≥≥≤
ÌÈ Â˜ ¯˘ÈÈÏ
˘Â‚Ù· ˙ÂÙ˜˙˘‰Â ËÏÙÒ‡· ÌÈÎÂÏÎÏ ˘Ë¯Ï
The 1967 Mercedes Benz 300SE Convertible
82 Benz 300SE
The 1967 Mercedes
The 1967 Mercedes Benz 300SE
Convertible
Manufacturer: Mercedes Benz, Germany
Designed by Paul Bracq
Collection of Almagor family
Chassis no. 11202310009431
Engine: inline 6 cylinders, 2,996 cc (same engine block as
the legendary 300SL), 170 bhp
Transmission: 4-speed manual floor shifter, power steering
Brakes: power assisted, disc
Considered the "last hand-built car" produced by Mercedes
Benz, the 300SE was produced from 1962 to 1967, combining
comfort, luxurious interior and passive safety.
Only 54 Mercedes Benz 300SE convertibles were produced
in 1967; between 1962 and 1967, a total of 3,127 coupes and
convertibles were produced.
83
The 1967 Mercedes Benz 300SE Convertible
The 1967 Mercedes Benz 300SE Convertible
The 1967
‫‪Cadillac 320‬‬
‫‪±π∂π ¨E-Type (XKE) Ì‚„ ¨¯‡Â‚È‬‬
‫יצרן‪ :‬יגואר‪ ,‬בריטניה‬
‫עיצוב‪ :‬מלקולם סאייר‬
‫אוסף בני גרומר‬
‫מספר שילדה‪1R9080 :‬‬
‫מנוע‪ 6 :‬צילינדרים בטור‪ ,‬נפח ‪ 4235‬סמ"ק‪ 265 ,‬כוחות סוס לבלימה‬
‫ממסרת‪ :‬גיר ידני‪ 4 ,‬הילוכים‬
‫יגואר ‪) XK-E‬המכונה ‪ E-Type‬בארצות הברית( יוצרה בשנים ‪ .19741961‬בזכות עיצובה היפה‪ ,‬יכולותיה‬
‫הגבוהות והמחיר התחרותי‪ ,‬היא הפכה במהרה לאייקון‪ .‬כאשר היא הושקה ב–‪ ,1961‬רבים זיכו אותה‬
‫בתואר‪" :‬המכונית היפה ביותר שיוצרה אי פעם"‪ ,‬ועדיין היא נחשבת כזו על ידי אספנים ומומחים ברחבי‬
‫העולם‪ .‬בשנים ‪ 19711969‬יוצרו ‪ 18,809‬מכוניות יגואר מדגם ‪ E-Type‬סדרה ‪) 2‬קוּפה‪ ,‬גג נפתח ו–‪.(2+2‬‬
‫‪84‬‬
‫)‪The 1969 Jaguar E-Type (XKE‬‬
‫)‪The 1969 Jaguar E-Type (XKE‬‬
‫)‪1969 Jaguar E-Type (XKE‬‬
The 1969 Jaguar
E-Type (XKE)
85
The 1969 Jaguar E-Type (XKE)
The 1969 Jaguar E-Type (XKE)
The 196
(XKE)
The 1969 Jaguar E-Type (XKE)
The 1969 Jaguar E-Type (XKE)
86
The 1969 Jaguar E-Type
(XKE)
The 1969 Jaguar E-Type (XKE)
Manufacturer : Jaguar Cars, UK
Designed by Malcolm Sayer
Collection of Beni Grumer
Chassis no. 1R9080
Engine: inline 6 cylinders, 4,235 cc, 265 bhp
Transmission : 4-speed manual
The Jaguar E-Type (called XK-E in the USA) was manufactured between 1961 and 1974 and,
with its good looks, high performance and competitive pricing soon became an icon of 1960s
motoring. When it was launched in 1961, many called it "the most beautiful car ever made," and
it is still considered so by collectors and experts worldwide.
A total of 18,809 E-Types series 2 (coupes, convertibles and 2+2) were produced by Jaguar
between 1969 and 1971.
87
The 1969 Jaguar E-Type (XKE)
The 1969 Jaguar E-Type (XKE)
The 1969 Jaguar E-Type (XK
‫‪Cadillac 320‬‬
‫‪±π∑± ¨È˘ ¯Â„ ¨¯ÂÈÈÓ ÈÈÓ‬‬
‫יצרן‪ :‬מוריס מיני מיינור‪ ,‬תאגיד המכוניות הבריטי‪ ,‬בריטניה‬
‫עיצוב‪ :‬סר אלק איסיגוניס‬
‫אוסף אבי מוזס‬
‫מספר שילדה‪220104 :‬‬
‫מנוע‪ 4 :‬צילינדרים בטור‪ ,‬נפח ‪ 998‬סמ"ק‪ 38 ,‬כוחות סוס לבלימה‬
‫ממסרת‪ :‬גיר ידני‪ 4 ,‬הילוכים‬
‫מיני מיינור יוצרה על ידי תאגיד המכוניות הבריטי )‪(BMC‬‬
‫וחליפיו מ–‪ ,1959‬בהפסקה קצרה בתחילת המאה הנוכחית‪.‬‬
‫המיני המקורית‪ ,‬מותג סמלי של שנות ה–‪ ,60‬נחשבת‬
‫על ידי מומחים רבים כמכונית השנייה בהשפעתה במאה‬
‫ה–‪ ,20‬אחרי פורד דגם ‪ .T‬עיצובה חדשני ומחוכם‪ .‬המכונית‬
‫קטנה‪ ,‬אך החלל הפנימי שלה גדול מאוד יחסית לממדיה‬
‫והיא מצליחה לאכלס חמישה נוסעים ולאחסן את מטענם‬
‫בתא המטען‪.‬‬
‫ב–‪ 1971‬יוצרו סך של ‪ 237,727‬מכוניות מיני מיינור; בשנים‬
‫‪ 20001959‬יוצרו סך של ‪ 5,378,776‬מכוניות מסוג זה‪.‬‬
‫‪88‬‬
‫‪The 1971 Mini Minor Mark 2‬‬
‫‪The 1971 Mini Minor Mark 2‬‬
‫‪The 1971 Mini Minor Mark 2‬‬
‫‪2‬‬
ni Minor Mark
89 2
The 1971 Mini Minor Mark 2
The 1971 Mini Minor Mark 2
The 1971 Mini Minor Mark 2
The 1971 Mini Minor Mark 2
The 1971 Mini Minor Mark 2
The 1971 Mini Minor Mark 2
90
The 1971
Mini Mi
The 1971 Mini Minor Mark 2
Manufacturer: Morris Mini Minor, British Motor Corporation, UK
Designed by Sir Alec Issigonis
Collection of Abie Moses
Chassis no. 220104
Engine: inline 4 cylinders, 998 cc, 38 bhp
Transmission: 4-speed manual
The Mini has been produced by the British Motor Corporation (BMC) and its successors from
1959, with a short gap in the early 21st century. The original, a 1960s icon, is considered by many
experts the second most influential car of the 20th century, after the Ford Model T.
With its novel and ingenious design, it is a car with minimal overall dimensions yet maximum
passenger and luggage space.
In 1971, a total of 237,727 Minis were produced; from 1959 to 2000, a total of 5,378,776 Minis
were produced.
91
The 1971 Mini Minor Mark 2
The 1971 Mini Minor Mark 2
The 1971 Mini Minor Mark 2
Th
Selected Cars from Israeli Collections
92
[ 24 ] The only Israeli sports car, Sabra, 1961
[ 24 ]
but, until then, technology may strengthen the status of the car or, conversely, make it redundant. All these functional questions
are at the margins of cultural discourse. The car as a constitutive cultural symbol and event will remain in our memories thanks,
among others, to the collectors who retain these symbols.
93
[ 20 ] General Motors concept car,
Firebird III, 1958
[ 21 ] Oldsmobile Aerotech Concept, 1988
[ 22 ] Ford Probe V, 1986
[ 23 ] Richard Smith, Classic Hot Rod
based on 1934 Ford, 2006
[ 22 ]
[ 23 ]
the Thunderbird turned to the nostalgic, and its refined form is still acknowledged by collectors. The Thunderbird’s successor,
the Ford Mustang, is a compact car, born under the influence of the Hot Rod Era (customizing old cars for high acceleration and
racing) (Figure 23) and the change in the visual appearance, the hood proportions (whose generous size created dynamism) and
the general simplicity of detail. The car seemed light and dynamic, and upon its launch as the 1964-1/2 model became a huge
success among youngsters, due to its cheap price and being fun to drive. This car, too, ages well and like many classic cars its earlier
models are among the most sought-after by collectors.
In parallel to the serial production of cars, trends arose that sanctified the car as a self-expressing object, fringe art (customizing)
that dealt with changing the original ("Stock") car into an object with a personal seal. Such a process of "personal customizing" is
one of many, various ways that enabled individuals to create or somehow influence their cars. This began in the USA before World
War II and moved into full swing immediately following the war, when no exciting new models were yet available in the free market.
This channel of personal expression bound with demonstrating technical abilities, hard work, attention for detail and simple love
for the mechanic aspect, is typically American—echoing the pioneering values that had brought about the development of cars.
Cars were produced in Israel, too. Israeli manufacturer Lubinsky's visit to England in 1960 brought about a deal with chassis
manufacturer Ballamy and body manufacturer Ashley; the latter supplied the bodyshell of a manufactured sports car. The match
with Austin and Ford brought about an interesting handsome car—the Sabra (1961. Figure 24). The car was meant to be an imagepromoter. Production quantities were low, and its very appearance in the austerity-era country was interesting and refreshing.
Interestingly, there was a keen market for the car worldwide, and a serious Sabra-collectors club still runs in Belgium.
The story of the car takes place in the 20th century, but the foundations for its creation were present in civilization centuries before
that. It can be assumed that in the far or farther future the car will cease to exist. The way this will happen is open to speculation
94
[ 20 ]
[ 21 ]
Researching aerodynamic design began in central and eastern Europe in the 1920s. It began as the object of physics research and
its conclusions, though efficient, were partial, with limited applications. Eventually, in the years running up to World War II,
and as racing progressed, aerodynamic research was improved in central Europe. It was Bill Mitchell who took flight motifs and
used them in cars—using the image rather than cars' true aerodynamic characteristics. It seemed an appropriate continuation
of the Streamline design movement, whose style was evident in the design and architecture of the 1920s and 1930s. The direct,
immediate application is perceived today as vulgar on the one hand, but fascinating for collectors on the other hand.
Demonstrations of outright "flying machines on wheels" (Figure 20), which adopted motifs such as jet engines, wings and bubble
canopies, became gradually moderated, and pretension turned to more practical solutions, and thus more interesting from an
engineering point of view. Aviation, which at first served as an image, eventually became an established source of inspiration,
leading aerodynamic design.
Seeking out aerodynamic design matured: no longer was there a search for aerodynamic drag reduction to enhance speed, but the
ramifications of airflow were better understood—its effect on noise, stability, entry and evacuation of cooling air, accumulation
of grime and creating the right compromises between all these components. Aerodynamic research became more influenced by
considerations of engineering efficiency, dictated by the 1970s oil crisis. Eventually, a sober scientific approach could be seen to
produce a series of tools for the car stylist, which, with logical application, enabled uniqueness, novelty and originality. The "real"
aerodynamic design peaked in 1980s American models such as the Oldsmobile Aerotech (Figure 21) or Ford's Probe series
(Figure 22).
The imminent arrival of the new, revolutionary Corvette in 1953 urged Ford's people to launch the speedy production of a
competitor. The car, exhibited in 1956, is the Thunderbird. Unlike the Corvette, which turned to the contemporary and novel,
95
[ 18 ] Cadillac 62 Series Coupe, 1949
[ 19 ] Larry Shinoda, Corvette Stingray, 1963
[ 18 ]
[ 19 ]
but the attempt to please everyone brought about a grotesque result. The car became a symbol of mistaken decision-making in
characterizing new products.
In the post-World War II years, the dominant status of the USA had already been established, and the American public, having felt
car deprivation throughout the war, moved on to years of optimism and prosperity. The car industry recognized the situation and
chose, in its eccentric way, to be a world leader. In 1958 Billy Mitchell replaced Harley Earl as Design Manager at GM, and began
asserting his moderating influence on American design by setting the way in GM products (Pontiack, Buick, Cadillac, Chevrolet
and Oldsmobile). Wherever he could, Mitchell refined GM products, the unrestrained vulgarity of the chrome ornaments in
favor of creating drama through more sculptural, tight treatment. His influence is evident in all GM products of that period,
especially the Buick and the Chevrolet Corvette. The American car no longer aimed at the lowest common denominator, and
began exhibiting esthetic values that inspired the industry worldwide.
Among GM's successes in those years are the wraparound windscreens, control of the illusion of the car's size, and nurturing the
fantasy through inspiration from aircraft manufacture. Confidence was evident in the building of the Chevrolet Corvette, aimed
at competing visually with top European design (the 1953 first generation). The Corvette reached its formulated most iconic form
in the 1958 model, and later with the 1963 Stingray, designed by Larry Shinoda (Figure 19), inspired by the impressive E-Type
Jaguar, which stunned the 1961 Geneva Exhibition and became Bill Mitchell’s personal car.
Show cars became testers and leaders of public opinion. General Motors, in particular, made use of car shows to exhibit fantasies
and dreams. The shows sought to establish Detroit's position as a world leader in design, and became a showcase for the frequency
of model changes.
96
whole look was dramatic. The public responded accordingly, and the manufacturer could not meet demand. Yet again, the power
of design to sell the product was shown.
In pre-World War II years, designer Raymond Loewy assembled talented designers, such as Claire Hodgman and Virgil Exner.
These designers created for Studebaker models characterized by precision, sophistication and unified language; for the first time,
it was evident that designers viewed clean design and reduction as part of creating the drama of the car. The Studebaker Company
also developed the Lark, which was eventually to be produced in Israel. Against the background of these important models, it
should be noted that in those years in the US, the car styling industry was an industry in itself. Harley Earl valued producing
big, decorated products, and his approach to creating cars with ornamental design components was conscious, esthetic, cultural
and functional. The considerations for creating a heavily ornamental design were: impeding the production of copies, hiding
production limitations, developing the fantasy-inspired aspect of the car’s image, and innovating through the use of inessential
engineering tools (Figure 18).
When there were no obstructions—economic, cultural, ecologic or other, the design slid into exaggeration. These exaggerations
made the period’s design symbols less relevant as a contemporary product, but more desirable as historical collector items. Virgil
Exner, who moved from Studebaker to Chrysler in 1949, began working in cooperation with the Ghia design workshop in Italy
in order to create a new image for Chrysler’s cars. He produced expensive, image-leading cars; while Chrysler was developing
appropriate engines, he strove to return sophistication and refinement to American car design.
There were resounding failures, too. For example, the 1958 Ford Edsel, named after Henry Ford’s only son. Ironically, Edsel Ford
was a progressive character who promoted innovations and could produce interesting, high-quality models, but his name is borne
by the best-known failure of the car industry. The car was meticulously defined following opinion polls and market research,
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[ 16 ] 999 Ford, 1902 (Henry Ford, standing)
[ 17 ] Gordon Buehrig, 810 Cord, 1935
[ 17 ]
influence on the car’s silhouette was significant. In the early days, the marketing motivation was led by such values as cheap price,
reliability and suiting the vehicle type to the user. In the 1920s, car body design became more of a sales incentive. Manufacturers
of car bodies such as Fisher Bodies Briggs, Budd and Wilson Body began developing consistent systems for sculpting car bodies.
Notable among these is the New York-based Brewster Company, whose products were of a much higher quality. It also produced
bodies for exotic European cars, and gained recognition when it was chosen to be the US Rolls Royce manufacturer.
As a rule, in those years the designers (or "draftsmen" as they were then called) focused on designing cars from drafting orthogonal
projections. Techniques of draft definitions of organic surfaces were developed, based on techniques developed by M. Du Pont in
late 19th century Paris and inspired by Bordeaux ship builders. These techniques were used until the 1990s. Gradually, technological
innovations were integrated into cars: electric starters, electric lights, sliding transmission gears, etc. The first Chrysler car (1924)
preceded the Chrysler Company established a year later, and was a technological advance. The Chrysler Company came about
from high-standard engineering, and for years this was the image that followed its products. In the early 1920s the designer Harley
Earl, the son of a minor California car manufacturer, began working for GM in Detroit. Earl was the initiator of the American car
design revolution, and in fact defined the language that was to accompany American cars in the following generations. Earl was
sensitive to the effect of streamlined lines on softening the car’s look and creating an illusion of motion. Under his charismatic,
centralized leadership, together with other notable designers, the American industry moved from functional to refined, meticulous
produces. In the 1930s, car proportions tended to be low and elongated. In 1935, Gordon Buehrig designed the Cord 810 (Figure
17), thereby initiating a revolution. He conceived a total conceptual perception, expressed in different but complementary
components. The car was lower, due to its front-wheel drive, with smoother, continuous, cleaner surfaces; the headlights folded
into dome-shaped fenders, the hood was decorated with horizontal divisions allowing simultaneous entry and exit of air, and the
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[ 16 ]
body manufacturers to create the desired body according to the client’s specifications. This system ensured exclusivity, variation
and a wide field for experimentation in developing a design language. In contrast, there were manufacturers who nevertheless
provided body and chassis as one entity; this was the case for the more popular models, such as the Ford T Model. Henry Ford's
innovativeness was acknowledged for his engineering capability. His 1902 racing car named Ford 999 (Figure 16) brought about
the funding and establishment of the Ford Motor Company.
Henry Ford is better known for the 1909 T Model, a popular car whose mass distribution was ensured through economic incentives
promised to Ford workers; the car became a reasonably priced product. Although it did not usually come with individual design
options, the variety of available models ensured widespread suitability, from an agricultural car to a stylized two-seater. The Ford
T Model's distribution brought about a demographic change in the USA.
William Durant is identified more for his organizational role than as a brand-creator, but his stamp on the American car industry
is no less important. He began as a carriage manufacturer. Beyond his obligation to the product, he was motivated by a vision of a
great industry. He worked to unite selected manufacturers under one umbrella. In doing this he directed the center of the industry
to Detroit. In 1908 Durant took over Buick, Pontiac (Auckland) and Oldsmobile, and in 1909 he acquired Cadillac. Thus the
General Motors (GM) company was born, the manufacturer that was to become the symbol of the American car industry’s world
supremacy more than Ford or Chrysler.
With the move of engines to the front of cars and positioning the passenger space behind the engine, the car’s classic shape began
to form. This development continued alongside the development of the industry in the US. The need to suit the carriage floor to
the car chassis necessitated a flat floor, another car characteristic; a small dimensional change, from the curved carriage floor, but its
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19th century, Eli Whitney promoted the principles of industrial production, i.e. the production of interchangeable parts by highquality inspection and management of human resources by specialization.
Horseless Carriage
The US car industry pioneers each produced their own version of a car whose influence came from the form of that period’s
carriages. The term "horseless carriage" came to describe their language of design and structure. The objective characteristic of the
horseless carriage, derived from that period’s practical limitations, is typified by thin, large-radius wooden wheels, high structure
and a barrier-free space between passengers and the front of the vehicle. Seating was high; alighting and descending required an
external step, the “running board,” and the suspension used leaf springs—thin, elongated and soft. The floor was curved, rather
than flat.
In terms of industrialization, the nascent industry had a beauty of its own. The traces of carriages, evident in the first cars, the small
steps of building the cars’ unique automotive identity, the virginal production methods and engineering decisions, and mostly the
geographic dispersing over a large continent all contributed to create a great variance between car models. At the time, there were
no evolved formulas for efficient engineering nor formal icons of right and wrong in the appearance of cars. Considering the fact
that in 1904, for example, there were 61 different car manufacturers all over the USA, from Indiana through Los Angeles to New
Jersey and Massachusetts, it is easy to see how fascinating the arena of car production was then, compared with now.
In the 1920s, the car matured into its own independent, formulated identity. There was no uniformity yet, and there was plenty
of room for individual approaches to form. Despite the appearance of the unitary body, the industry still relied on the separation
between chassis and body. Manufacturers would produce a chassis with all the automotive components and send it on to the
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considered today the first car), developed by Karl Benz, had been driven in Europe already in 1886. Both these cars were most
probably preceded in Austria by Siegfried Samuel Marcus (Figure 15), a German-born Jew who developed and drove an internalcombustion engine car already in 1870. Eventually, during the Nazi era, documentation of Marcus' work was removed by the
German Ministry for Propaganda which instead promoted the work of Daimler and Benz. The year 1893, in which the American
car was born and the Daimler–Benz first four-wheeled car was presented, is also considered the year of Art Nouveau’s birth.
In 1895, a car race was announced in the USA, and the Duryea brothers won, driving at an average 12 kph… From then on,
international prized clocked and the status of American cars grew stronger. In the 1890s, four other developers of pioneering cars
worked in parallel without knowing about each other. Singularity of time and space, like German music of the 17–19th centuries.
Constitutive personal qualifications—diligence, determinism, faith, talent, entrepreneurial approach and sagacity intertwined
into the maturation moments of the industry. The market’s hunger and need crossed with the maturation of a system supportive
of innovation and copyright preservation. Ability and necessity yielded evolutionary pressure. Thus it happened that, almost
independently, the car was born in Germany, Austria, France and the USA.
The pioneers of car development were almost all without formal training in engineering and worked, one way or another, in
production of carriages and bicycles; interestingly, they all trained in precision machining. This expertise allowed them to execute
engineering ideas that would have otherwise failed the test. It was a continuation of the 19th century empirical tradition unique
to American industry in all fields of physics. Among the pioneers who had been educated in values of precise engineering and
production technologies were the brothers John and Horace Dodge whose occupation in the 1890s was fine mechanics, as well
as Ransom Eli Olds, who was trained in his father’s small engine plant in Lansing, Michigan, and Henry Martin Leland, who
significantly promoted precision and infrastructure of production, inspired by Eli Whitney. In the late 18th century and early
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[ 14 ] First USA highway, the Pasadena to
Los Angeles Cycleway, 1 January 1900
[ 15 ] Siegfried Samuel Marcus, The First Car, 1870
[ 14 ]
[ 15 ]
The first USA highway was inaugurated in 1940, also in Pasadena. The highways took over American transportation and enabled
the touring of the North American continent; their very existence also dictated the American car’s frame of development. Konrad
Adenauer, then the Mayor of Cologne, inaugurated in 1932 Germany’s first Autobahn, emphasizing in his speech that the road
symbolized the transportation of the future. Ironically, concepts of progress are dynamic, and we now know that the development
of highways in the USA brought about the decline of public transportation—a situation lamented by Americans today; moreover,
and of current relevance, the development of the highways also caused the decline of electric car development. In the early
20th century in the USA, alongside cars with internal-combustion engines (cars as we know them today), steam-engine cars
were popular too, but the most common were electric cars. They were first sold as cars for women, cars without vibration, noise
and smoke. As mentioned, with the development of highways, travelling by car became long-distance intercity travel, and this is
where the electric car was beaten, due to its batteries’ short distance span, already inferior compared with internal-combustion
engines. At that stage, the electric car froze for almost a century. In the past decade it has enjoyed a revival, thanks to its ability to
convert any energy (hydroelectric, solar, wind, etc.) into electric energy and allow for clean transportation. This is a unique kind
of process of converging evolution, in which various condition lead to a similar product (i.e., the electric car), as compared with
natural converging evolution, in which similar conditions lead various creatures to a similar taxonomic appearance by force of the
conditions’ effect alone.
Milestones in American Car Design
The brothers Frank and Charles Duryea developed the first American car and drove it in 1893 in Springfield, Massachusetts.
In doing so, they were certain they were pioneering the first car, and were unaware of the fact that a similar vehicle (erroneously
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infrastructure and no organized refueling, for petrol was then sold in pharmacies along the road as a cleaning agent! Driving also
required high engineering proficiency and Bertha Benz indeed knew to make use of clothing items in order to insulate electrical
cables, as well as how to remove petrol blockages on the way, seek the aid of a cobbler to renovate brake pads in the vehicle and get
passersby to help with pushing the car uphill. It should be noted that eventually it was Bertha Benz who got her husband to add
a gear for uphill driving. She can certainly be attributed with originating the first gearshift transmission in a car. Her pioneering
long-distance journey made history: the car discovered the open space, and the open space discovered the car.
In the years 1912–1921, the AVUS motor-racing circuit was constructed in Berlin. Industrialist Hugo Stinnes bought it, and
eventually made it into a 20-kilometer intersection-free road. It is probably the world’s first highway. Today it is part of the
Bundesautobahn 115. Following the construction of the first Italian Autostrada between Milan and Varese, initiated by Piero
Puricelli and constructed between 1921 and 1926, and the 1929 one inaugurated in Germany from Cologne to Bonn (built
before Hitler’s rise to power), in the 1930s, during Roosevelt’s presidency, the Americans initiated building highways as a means
for developing American economy.
Very little is known about the Pasadena to Los Angeles Cycleway. During the last decade of the 19th century, the road was built as
part of a project for creating speedy uninterrupted contact between the two cities, using a preferred route. The road was constructed
of wood, and partly raised. It was launched on 1 January 1900 (Figure 14), but did not last long. The project had huge conceptual
potential, and seems to have been ahead of its time. Within a few years, the late-19th century bicycle craze faded away and so
did the road, its timber sold for lumber. It is this way which inspired the development of the highway principle in the USA, and
according to American historians was also the inspiration for the first highways in Europe. How ironic, then, that the Autostradas,
Autobahns and highways that symbolize more than anything the dominance of cars and their control of the environment were
inspired by a project that could have been the total inspiration for environmentally friendly transportation.
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[ 11 ] Cadillac Cien Concept, 2002
[ 12 ] Porsche 911, 2009
[ 13 ] Portrait of Bertha Benz
[ 13 ]
and their sculptural perception was romantic and organic, enabling greater freedom for treating their design sculpturally. Work of
high quality was made in Europe, too, as evident by the sculptural development or the surfaces surrounding the back wheels in the
Porsche 911, especially its later generations (Figure 12).
In considering measures for evaluating successful car design, the first thing that comes to mind is the viewer’s sense of wonder at the
sight of a unique, vintage, exotic rare car. One tends to grant approval of success by the very uniqueness of the product. Ironically,
the challenge to design a "banal" car, with standard specifications, for everyday use and mass distribution, is far greater than that of
designing an exotic car. Such a car must impart the excitement that brings to it the user despite inferior starting points. The success
in making such cars in singular; a historical example is the 1959 Mini Austin or the original Fiat 500.
Roads as Development Catalysts
Late 19th century and early 20th century cars were made to ride existing roads. Constructed roads were preceded by paved roads,
as found nowadays in integrated streets for speed reduction. At the time, cars were suited to those roads. Car suspensions were
softer and more absorbent than in modern cars. This characteristic comes with a cost, which is unsuitability to current driving
conditions: to high speed and to sharp maneuvers. Thus, there was a need for new roads that would enable development of even
faster cars and make use of cars’ ability to move between cities quickly and effortlessly.
The impressive contribution of Bertha Benz (Figure 13), who advanced car travel, especially long-distance, should be notes. The wife
of Karl Benz, who developed car models in the 1890s, Bertha Benz was involved in her husband's work and knew its technologies.
In 1886, due to everyday circumstances, she initiated a secret trip and was the first to drive Karl Benz' pioneering car. The journey
from the Benz family home in Mannheim to Pforzheim was a journey into the unknown: there were no marked roads, no proper
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[ 11 ]
[ 12 ]
concept. The systemic level comprises also of the correlation between design and a manufacturer’s branding and image, as well as
the correlation between design and all considerations of engineering and production. Quantitatively speaking, one may say that
the individual setting of concept and language are but a small part of general design activity. The ability to allow the execution
of a concept in car design while considering all components of technology and production is in fact testimony to the quality of
design.
By the very fact of its mobility and existence in outdoors surroundings, the car is subject to external lighting conditions. When
car designers define car surfaces, they take into consideration the lighting of the surrounding, and take advantage of its unique
conditions. Twighlight or mid-day light are essentially totally different, and the position of the horizon reflecting from the car
is the product of the precise shape of car surfaces, their curvatures, and their exact positioning against the surrounding. This
is somewhat similar to reflections seen in the distorted mirrors of amusement parks. The distorted reflected surrounding is an
important tool for the designer creating a virtual world on the car’s surface. A world that creates an image wholly different from
the dimensions and geometry of cars in practice.
Dividing the mass of a car by surface manipulation can create effects of motion or stability. Marking the engine area by mass and
proportion seeks to symbolize power. Dynamism is expressed by a volumetric marking of the areas that transmit motion from
vehicle to road, i.e. dealing properly with the wheel area and a proper sculpting of the surrounding surfaces. As a rule, the design
of the wheel areas is probably what sets aside car design from all other forms of industrial design. One could say that the proper
design of the wheel area is a result of almost-evolutionary ability in a designer’s development. Rawness or immaturity of vehicle
design are evident firstly in the areas around the wheels, whose design requires proficiency. American design represents great
expertise in designing and sculpting the body around the wheels (Figure 11). American cars used to be of generous proportions,
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Cars as mass products have advantages as well as disadvantages. Like a big ship that requires time to maneuver, so the car industry
must use delay in presenting esthetic innovation. This delay stems from the need to suit the new language to the most common
denominator of a public that is not necessarily aware of up-to-date artistic perceptions. Furthermore, the delay is derived from the
very essence of industry qua industry.
The formal aspect of car design and its perception as an esthetic object are the outcome of it being a mass product. As a bearer
of a social message, the car must be comprehensible to the public at large. The foundation of car production is economical, and
manufacturers seek maximal sales for each given model. However, an approach claiming that trying to please a wide public imposes
compromises is rather dogmatic and simplistic. The history of cars is rife, along with failures, with cases of design-derived commercial
success—i.e., a public acknowledgment of the quality of design. Honest esthetic work achieving wide public accessibility is a real
challenge, which is the very essence of car design.
The tools that enable novel design to be accepted and simultaneously transmit innovativeness arrive from the union between the
personal and the systemic. The challenge of working with a non-professional public and creating a mass, dominant product, while
cracking the code of predicting what would be considered the "right" fashion three years later, when the product is launched, at
the same time assimilating components of novelty and desire—is what sets aside the standard of effort in car design. The personal
is that added value representing the designer’s individuality, and ensures the essential difference between the work of designers
working under similar conditions in different studios.
The systemic level is the use of formal tools of design, meant to ensure the transmission of deliberate sensory messages through
the manipulation of form, matter, color and finish. The systemic is also expressed by a team’s ability to bring form to refinement
and perfection through repetitive experimentation, and to determine the most precise form to be created within a given idea or
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[ 10 ] Ornamental drama in a European car:
Delahaye 175 Roadster, 1949,
designed by Sautchik
[ 10 ]
by Saoutchik for Delahaye (Figure 10). Despite this design’s European origin, the ornamental, arbitrary facet is evident, not derived
from the engineering-product components. The image is strong and sweeping. In contrast, an iconic product of modernism,
celebrating purposefulness and technology, is the 810 and 812 Cord automobile, manufactured in 1936 in Auburn, Indiana, by
the manufacturer Auborn, designed by Gordon Buehrig—a design totally devoid of ornament.
Mediated and Unmediated Experiences
Up to a generation or two ago, the driver’s involvement in driving was comprehensive. By the very act of operating a car, one could
sense the operation of its various systems. Car maintenance was closely linked with its use. From vibration, sound and smell, one
could tell whether the carburetor was attuned, the shock-absorbers fresh and whether the steering wheel needed tuning. The
frequently necessary repairs became an integral part of the driving experience. In modern cars this experience is fast becoming
mediated: the feedback for driving phenomena is computerized, processed and controlled—a supervised, mediated and derived
experience. This is similar to the revolution caused by the fly-by-wire control system in aircrafts, which in the 1970s enabled
control of deliberately unstable systems. The experience of driving was distanced, and thus the intimacy and symbiosis between
man and machine became the realm of vintage car collectors.
Car Design
Beyond the presence of cars within the formal area of art, there is the artistic work related to creation, creativity, talent and process.
The need and the ability to sculpt a car as an object with a clear and efficient appeal for various users is a real challenge. It involves
dealing with the known and the speculative, the rational and the sensual. This dichotomy enriches the experience of design and
makes it unique.
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[8]
[9]
streamlined appearance meant to improve aerodynamic performance, and, of course, larger surfaces where it is easier to camouflage
inaccuracies or provide them with formal stability—all these are functionally necessary in cars. The birth of the car during the
Art Nouveau era is of immense importance. The careful ornaments, the flowing, rhythmically gentle lines and the sharp precision
manifested in this art, all met with approval in the design approach that enabled the development of the car as a technological as
well as esthetic product. Art Nouveau characteristics were expressed in the design of mascots (also hood ornaments) placed at the
front of cars, on radiator grilles. The reciprocal relations between Art Nouveau and car design are evident both in the influence of
cars on art, as in the work of Jules Chéret (Figure 8), and in the influence of art on cars, as patently evident in the refined carriage
design expressed in the (perhaps most important) American 1893 car, the Oldsmobile Curved Dash (Figure 9). The design of
this car is somewhat chronologically archaic, but it has sophistication, refinement and restraint that America has since forgotten,
as we shall see. Detroit, the capital of car manufacture, adopted the annually changing design in order to outdate models and create
pressure to buy new ones. European criticism of American cars referred to the moral issue of manufacturing essentially unnecessary
objects—forty years before the "ecological era."
One approach that delegitimizes the ornamental component of car design views car development as an evolutionary process, a
process of progress in which every product surpasses its precursor. This approach finds it difficult to accept the vulgar, obsessive
changes of decoration that were prevalent in 1950s and 1960s USA. Obviously, change for change's sake was a motivating force,
fed by clearly economical forces. A dialectical situation occurred, in which ornaments were meant to demonstrate an illusion of
technological capability, although the result proved no advance—neither conceptual nor in the car's practical functioning. Cars
did not become lighter, safer or more efficient because of the change in design.
Despite the generalizations, there are notable exceptions. The most prominent is actually in European design, a car body designed
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[ 6 ] Citroen DS19, 1955, exterior
[ 7 ] Citroen DS19, 1955, interior
[ 8 ] Jules Chéret, Poster, ca. 1900
[ 9 ] Oldsmobile Curved Dash, 1902
[6]
[7]
Ornament and Crime: Selected Essays, translated by Michael Mitchell, Ariadne Press, Riverside, CA, 1998) advocated against
the ornamentation of objects, claiming that it blocks their development, makes them obsolete and becomes a moral barrier. This
decisive claim is at the basis of the criticism that "good design" turns against ornamentation in car design. This view was part of
a wider war waged by modernists against eclecticism and formalism in architecture. The almost-religious approach of modernist
criticism deprived, in many ways, considerations of structure and technology for it came, as mentioned, from the reference space
of architecture. The simplistic view of a technological, scientific approach devoid of sculpture, deliberately turned against the
sensual aspect of cars. Ignoring the organic nature of car esthetics revealed an outlook based on faith rather than knowledge of
technology’s capabilities. The architectural outlook did not acknowledge concrete capabilities of car production.
A thorough, non-dogmatic examination shows that even cars branded and promoted by manufacturers as symbols of technology
in Europe, were in fact not so. There are known instances of retrospectively corresponding existing cars with useful patterns of
production or function, even though the form was in fact derived from symbolic language (for example, the Citroen DS19, 1957.
Figures 6–7). Promoting the shape of the car as a product of engineering perfection was born from the "sin" of desire, and it is desire,
in this case, that swept the manufacturer into a hopeless engineering adventure. Basically, thanks to 20th century car manufacture
technologies, the production of a crowded ornamental look is achieved just as easily as that of a clean ascetic look. Between these
two extremities lie intermediate stages, in which the organic development of a surface's continuous curvature equals the industrial
effort involved in producing a surface with a simple geometric look. The visible simplicity is not necessarily a functional advantage,
rather the opposite at times.
By the very birth of the car into the Art Nouveau era, a symbiosis occurred which allowed attributing the organic form with artistic
justification. Curved surfaces meant to produce high specific strength (according to the eggshell strength model), or surfaces with a
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[ 1 ] Albrecht Dürer, The Triumph of the Emperor
Maximilian I (detail), 1526
[ 2 ] Henri Toulouse-Lautrec, The Automobilist, 1898
[ 3 ] Luigi Russolo, Dynamism of an Automobile,
1912–1913
[ 4 ] Andy Warhol, Green Car Crash, 1963
[3]
[4]
[5]
[ 5 ] Andy Warhol, Mercedes 300SL, 1954
Brake technologies, fast, efficient balanced engines, cooling, information and control, computing, human engineering, material
engineering, aerodynamics, stability etc., would not have been available today if not for car racing. It should be acknowledged that
an adventurous approach, taking intellectual, entrepreneurial or actual risk, and even involvement in conflicts such as wars, have
all contributed greatly to the capabilities of cars today. Andy Warhol aptly raised the contrast between the danger and enjoyment
inherent in cars. He depicted accidents and crashed cars (for example, Green Car Crash, 1963. Figure 4); at the same time, he
created works expressing a desire for motion and speed, for example in the prints of the 300SL Mercedes (an important 1950s
racing car. Figure 5) and the Mercedes W125 (a famous pre-World War II racing car), and, furthermore, in 1979 painted BMW's
exotic, fast M1 model, as part of the BMW Art Car project.
Values of Style and Form
The status of the car as a creation of formalized estheticism is context-dependent. In American culture, the car is a channel of
aspirations and fantasies, economic interests as well as a means for social mobility. The car, which started as a luxury, has undergone
a change in the years following World War II and become a signifier declaring status equality. Even such American values as
acknowledging individual effort, freedom, pioneering, independence and individuality, have found their way to expression in cars.
The romantic perception of cars in the USA led to legitimizing ornamental design. Since the 1950s, debate has been taking place
over the legitimacy of ascribing esthetic values to cars. Since it was impossible to label the esthetics of cars within the familiar world
of esthetic ideas, cars were excluded from the language of design.
Since the early 20th century, industrial designers in Europe have been mostly architecturally trained, and their general worldview
bowed to the strict principles of modernism. Architect Adolf Loos, in his 1908 essay "Ornament and Crime" (Adolf Loos,
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The Object of Desire and Wheels:
On the Art of the Car
Avidor (Dori) Regev
[1]
[2]
The self-propelled car, an object of fantasy for Leonardo da Vinci (1478) and Albrecht Dürer (The Triumph of the Emperor
Maximilian I, 1526. Figure 1) symbolizes the beginning of the idea of bestowing a whole civilization with the ability of movement.
This is a perception based on modernism, emancipation and progress. A celebration of optimism and faith in the future. Expanding
this idea is the intimate union between man and machine. As long as "personal" transportation exists, the status of the car remains
safe as a more-than-useful object. Practically, the car is the object most identified with the 20th century. This identity exists
thanks to the car’s most intensive presence in culture, utility- and visibility-wise. The visibility of cars is a total experience. Cars are
perceived simultaneously from aspects of interior and exterior, of multiplicity, landscape and motion, from aspects of intimacy and
public, from aspects of image, symbol and form. No other man-made object affects us in so many levels and with such intensity.
Just as the car's presence in our life is great, so is its tendency to become a symbolically charged object, a signifier of achievement
and an extension of the phallic self-image.
The Encounter of Cars and Art
Works such as Henri Toulouse-Lautrec’s The Automobilist, 1898 (Figure 2), or futurist artist Luigi Russolo's Dynamism of an
Automobile, 1912–1913 (Figure 3) celebrate movement, danger and excitement. For the futurists, the car symbolized speed,
noise and power, and these components formed the basis of an esthetics of dynamism and novelty; Tomaso Marinetti viewed these
characteristics as having more esthetic value than the beauty of the classical Greek sculpture The Winged Nike of Samothrace.
Thus, for the futurists the car acquired the status of a work of art.
The sense of danger is immanent to the experience of driving, and we can assume that without it car races would lose their
appeal. Consequently, most developments which have made cars safer and more efficient would not have come into existence.
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Upon completion, Lichtenstein's Art Car premiered twice: as a work of art at the Centre Pompidou in Paris and as a racing car in
the 24-hour race at Le Mans in June 1977. It was driven by Hervé Poulain and Marcel Mignot from France. Its racing number was
50, and it achieved 9th place in the overall rating and finished first in its class.
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enumeration of everything a car experiences, only that this car reflects all of these things before actually having been on a road."
Roy Lichtenstein (New York, 1923–1997) is one of the artists whose work defined American pop art. In his early days he painted
portraits of jazz musicians and studied at the New York Art Students League, and later studied art in Ohio. His first works tended
towards cubism and expressionism; comics and advertizing raised his interest in the late 1950s. In 1961, he began creating pop art
paintings.
A Roy Lichtenstein diptych, Tel Aviv Museum Mural, 1989 is on permanent display at the Tel Aviv Museum of Art (Meshulam
Riklis Hall). The artist's use of Ben-Day dots, of thick, dark outlines characteristic of comics, as well as his use of industrial paint,
are evident in the mural as well as in the painting on the car. Lichtenstein used the Ben-Day dots in his work for shading images
and abstract surfaces. In the car painting, these dots allude to the car's motion. The spatial context is an inherent component of
Lichtenstein's work. The diptych, created especially for the Tel Aviv Museum of Art, deals with the Museum's space and with the
works of art it holds. The left-hand panel refers to some of the works in the collection. Thus, for example, Marc Chagall's fiddler
can be seen hovering in the panel's upper part; the middle shows one of Picasso's disassembled images. The word "art" appears in the
painting's lower part. The right-hand panel, in which the images are more abstract, refers to the Museum building. The diagonal
lines cutting across the panel are the same diagonal lines that can be seen opposite, in the ramp leading up from the entrance to the
galleries. The spatial context is also expressed in the painting on the car. Its panels are painted with a "fleeting landscape," as well as
a sun extending its rays throughout the vehicle. The car's lower part is painted with green fields and a horizon line. The landscape
is the open spaces of the USA, through which the car travels.
Technical details of the BMW 320i group 5 racing version: four-cylinder inline engine; 4 valves per cylinder; twin overhead
camshafts; displacement: 2000 cm3; power output: 300 bhp; top speed: 257 km/h.
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BMW Art Car Collection
The 16 "treated" cars created since 1975 for the BMW Art Car project are the work of famous artists from around the world,
among them Frank Stella, Roy Lichtenstein, Andy Warhol, A.R. Penck, David Hockney and Jenny Holzer. In 2007, the latest
installment was added, Olafur Eliasson's "Your Mobile Expectations: BMW H2R Project." The collection expresses trends and
developments in art, design and technology.
French racing driver and auctioneer Hervé Poulain first had the idea of letting an artist design a car. In the early 1970 he
commissioned his friend, American artist Alexander Calder, to paint his BMW racing car. This initiative launched the collection.
In the project's early years, it was mostly racing cars that became works of art—some even participated in the famous 24-hour Le
Mans race. Eventually the project was extended to include series vehicles. In 1999 American artist Jenny Holzer created the 15th
BMW Art Car—she described in words the V12 BMW (that raced in the Le Mans race) in the spirit of her "Truisms" artwork.
Many of these cars, which became works of art, were exhibited in museums worldwide, among them the Louvre, the Guggenheim,
the Shanghai Art Museum and the BMW Museum in Munich. Between 2006 and 2010, the cars toured on exhibition throughout
Asia, Africa, India, the USA and Mexico.
Over 40 years, in over a hundred projects, BMW has been involved in various areas of culture: art, modern architecture and design,
classical music and jazz.
Roy Lichtenstein's Art Car, BMW 320i, 1977
"I wanted the lines I painted to be a depiction of the road showing the car where to go," said Roy Lichtenstein, commenting on
his design of the BMW 320i. "The design also shows the countryside through which the car has travelled. One could call it an
114
Special thanks to the Museum staff who assisted in preparation for the exhibition: to Yaacov Nahum for his expert technical
contribution; to the Registration Department—Shraga Edelsburg, Alisa Padovano-Friedman, Shoshana Frankel; to the
Conservation Department—Dr. Doron J. Lurie, Maya Dresner and Dafna Wolf; to the lighting people, Naor Agayan, Lior Gabai
and Eyal Weinblum.
Prof. Mordechai Omer
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Foreword
Tel Aviv Museum of Art is delighted to present an unusual exhibition: sixteen cars, representing the top design of cars in the 20th
century. Car design is considered among the peaks of industrial design, and the designers of the exhibited cars are among the
famous European and American designers. Fifteen of the exhibited cars are from Israeli collections, and one car is from the BMW
collection in Berlin—the BMW 320i painted by Roy Lichtenstein. The exhibition presents an historical view of the development
of car design in the 20th century.
We are most grateful to BMW Group International for the opportunity to exhibit these designed cars at the Museum. Our thanks
to Kamor Motors, Israeli importer of BMW and Mini; to Dan Brener, Chairman, Kamor Group; to Dan Haloutz, CEO, Kamor
Motors; to Israel Ben-Haim, CEO, Kamor Vehicles. Thanks to Mr Oliver Heilmer, Head of Interior Design, BMW Munich, for
his visit.
We are grateful to the generous lenders: Almagor family, Boaz Dagan, Beni Grumer, Rafi Kalina, Shai Liberty, Abie Moses, Nitzan
Primor, Hila and Ran Rahav, Ronit and Elad Shraga, Ilan Yochanan. All lenders are members of the Five Club, the Israeli club of
vintage car collectors.
Thanks are also due to the people at Tucan Design Studio Ltd., for the refined design and setting of the exhibition; to Adv. Dina
Papo, Director of Public Affairs at the Museum, for the devoted liaising work; to Tal Lanir, the assistant curator; to Eran Shlomo,
for his welcome involvement in all stages of preparation and for dealing with the car collection.
Thanks to Dafna Graif for the precise and creative design and production of the catalogue; to designer Avidor (Dori) Regev,
Head of Industrial Design Faculty, Bezalel Academy of Arts and Design, Jerusalem, for his clear perspective essay; to Adv. Amir
Almagor, for the catalogue forewords to the exhibited cars; to designer Alex Padwa, Head of Industrial Design Department at
Shenkar College of Engineering and Design, Ramat Gan, for his involvement; to Avraham Hay, for the beautiful photographs
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Roy Lichtenstein, Tel Aviv Museum Mural, 1989, Oil-based acrylic on canvas, 2 units, 700x840 cm each
Gift of the artist, realization sponsored by the McCrory Corporation, New York, an affiliate of Riklis Family
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Sculptures on Wheels
Selected Cars from Israeli Collections and Roy Lichtenstein’s Art Car
Director and Chief Curator: Prof. Mordechai Omer
Sculptures on Wheels
Selected Cars from Israeli Collections
and Roy Lichtenstein’s Art Car
3 June–4 September 2010
Meshulam Riklis Hall
Sponsored by Kamor Vehicles
Importer of BMW and MINI in Israel
Exhibition
Curator: Prof. Mordechai Omer
Assistant curator: Tal Lanir
Liaison: Adv. Dina Papo
Design and construction: Tucan Design Studio
Technical assistance: Yaacov Nahum
Lighting: Tucan Design Studio , Naor Agayan,
Lior Gabai, Eyal Weinblum
Catalogue
Design and production: Dafna Graif
Hebrew text editor: Esther Dotan
English editor and translator: Tamar Fox
Photography: Avraham Hay
Printing: H.S. Halfi Ltd.
Hebrew cover: Roy Lichtenstein, Tel Aviv Museum Mural, 1989
(see p. 117)
English cover: Roy Lichtenstein, Art Car, 1977, BMW
Collection, Berlin
© 2010, Tel Aviv Museum of Art, Cat. 15/2010
ISBN 978-965-539-015-5
Sculptures on Wheels
Selected Cars from Israeli Collections and Roy Lichtenstein’s Art Car