Design and Development
The new cars for the lower and upper medium segments were to share a platform, with various trim and styling differences to distinguish the two different models. This would give the cost benefits of production automation and flexibility. This common platform was given the project name LC10, using the Leyland Cars project sequence (LC8 became the Austin Mini Metro, LC9 became the Triumph Acclaim). Preliminary design work for LC10 began in 1977.
LC10 was styled by Ian Beech under the direction of BL designer David Bache. Two main body variations were provided: a five-door hatchback and a four-door notchback. It was a departure from previous front-wheel drive cars from the company in that it dispensed with the famous Issigonis transmission-in-sump powertrain that had been pioneered in the Mini. Coupled to the A-Series and R-Series powerplants was an end-on transmission (as pioneered by FIAT with the Autobianchi Primula), purchased from Volkswagen. The sophisticated Hydragas suspension system used on previous BL models was sacrificed on cost grounds, with a conventional MacPherson strut system at the front and a Volkswagen Golf style torsion beam at the rear being used instead, despite the compromise in terms of lost load space. Prototypes were even tested with actual Golf suspension components. This may have led to the Achilles heel of the early cars, which were prone to front-wheel bearing wear/failure. The Maestro was larger and heavier than the first VW Golf.
It was decided that the five-door hatchback version would be engineered first. It was given its own project designation, LM10, with this version to be launched as the Austin Maestro. The booted notchback version was to follow and it was designated as LM11, although its development was to diverge from the original path, it was later launched as the Austin Montego.
Read more about this topic: Austin Maestro
Famous quotes containing the words design and/or development:
“To nourish children and raise them against odds is in any time, any place, more valuable than to fix bolts in cars or design nuclear weapons.”
—Marilyn French (20th century)
“The work of adult life is not easy. As in childhood, each step presents not only new tasks of development but requires a letting go of the techniques that worked before. With each passage some magic must be given up, some cherished illusion of safety and comfortably familiar sense of self must be cast off, to allow for the greater expansion of our distinctiveness.”
—Gail Sheehy (20th century)