History of Development
At a time when the company was financed by the Swiss-based Mimram brothers, Lamborghini began development of what was codenamed Project 1232 in June 1985 as a replacement for the Countach model. The brief stated that its top speed had to be at least 315 km/h (196 mph).
The design of the car was contracted to Marcello Gandini, who had designed its two predecessors. When Chrysler bought the company in 1987, providing money to complete its development, its management was uncomfortable with Gandini’s designs and commissioned its design team in Detroit to execute a third extensive redesign, smoothing out the trademark sharp edges and corners of Gandini's original design, and leaving him famously unimpressed. In fact, Gandini was so disappointed with the "softened" shape that he would later realize his original design in the Cizeta-Moroder V16T.
The car became known as the Diablo, carrying on Lamborghini's tradition of naming its cars after breeds of fighting bull. The Diablo was named after a ferocious bull raised by the Duke of Veragua in the 19th century, famous for fighting an epic battle with 'El Chicorro' in Madrid on July 11, 1869. In the words of Top Gear presenter Jeremy Clarkson, the Diablo was designed "solely to be the biggest head-turner in the world."
The project is believed to have cost a total of 6,000,000,000 lira.
Read more about this topic: Lamborghini Diablo
Famous quotes containing the words history of, history and/or development:
“The history of all countries shows that the working class exclusively by its own effort is able to develop only trade-union consciousness.”
—Vladimir Ilyich Lenin (1870–1924)
“[Men say:] “Don’t you know that we are your natural protectors?” But what is a woman afraid of on a lonely road after dark? The bears and wolves are all gone; there is nothing to be afraid of now but our natural protectors.”
—Frances A. Griffin, U.S. suffragist. As quoted in History of Woman Suffrage, vol. 4, ch. 19, by Susan B. Anthony and Ida Husted Harper (1902)
“A defective voice will always preclude an artist from achieving the complete development of his art, however intelligent he may be.... The voice is an instrument which the artist must learn to use with suppleness and sureness, as if it were a limb.”
—Sarah Bernhardt (1845–1923)