Most beautiful cars in the world? Car design Photoshop rendering: Alfa Romeo | Niels van Roij Design

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Alfa Romeo design discussed by car designer Niels van Roij.
The 156 is a textbook example of how good design works. The design is conceptually correct: it is the true embodiment of the DNA of the Italian brand, translated into a sculpture. And what kind of sculpture! The 156 is as innovative as the technology of the brand was, at the time. The exterior looks fresh, visually light, sporty, sophisticated and above all: modern.

Importantly, the 156 design is not a simple, retrospectively oriented exercise: while the design clearly respects and honors the brand's rich history, it projects all of these character traits into the future. The complex, but subtly sculpted body is immediately recognizable as being created by Anonima Lombarda Fabbrica Automobili. And since Alfa is a brand that states to make modern driver cars, that message must actually speak from the exterior design. Walter de'Silva understood that by simply looking back, the cuore sportivo could not be credited to the design in any way.

The European car of the year 1998 had many aesthetic original features. One of the most eye-catching ideas is the concealed rear door handles, in addition to the coupé-like roofline, their absence on the rear doors emphasized the graceful chrome handles on the front doors.

The pre-facelift models were equipped with black mirrors - so that they visually fall away against the side window. With this solution, the sculpture remains clean and simple - attention is focused on the work that has been put into the body, not on noise. I have therefore not drawn any mirrors in these sketches.

It was, however, probably the very unique face that was the reason the 156 stood out the most. It was provided with a graphic never before applied in modern car design: a deep Alfa Romeo radiator grille and an offset license plate next to it. In short, an asymmetrical down the road graphic: car design language for the combination of surfaces such as grille, headlights and intakes in the nose. This very daring, exceptional design expression was also a relevant solution in terms of content, the meaning behind it. Because it emphasized the grille and also made a connection with Alfa Romeo models from the past. The front is a delicately shaped, rich sculpture with different facets and volumes. If you see the 156 on the street, take a closer look at that front end - the combination and interplay of materials and shapes is very sophisticated.

The headlamps have an intelligent but non-aggressive focus and are connected horizontally to the central V-shaped grille through small horizontal air vents. This solution of connecting graphic elements emphasizes the width of the car - an idea that was many years ahead of its time. The simple, straight air intake at the bottom of the bumper again accentuates the width and, with its straightforward shape, does not detract from the complex structure above.

Not only is the 156 the best-designed modern Alfa Romeo in my book - current models are neither conceptually nor aesthetically coming close - this Alfa is the best holistic design the 'Silva has ever made.

On to the more recent models.
The 159 followed the 156 in 2006, an almost impossible task. The 159 was designed by design house Giorgetto Giugiaro in collaboration with Centro Stile from Alfa Romeo, and took many cues from its predecessor. In itself, preserving the essence of the 156 is an understandable strategy after the great impact the 156 had - in a positive sense. And surely the 159 is a beautiful car. But unfortunately, the iteration is not an overly original take on the Alfa Romeo DNA and the execution is not pure enough: due to the hard lines and the little rounded nose, especially when seen from above and the side, the front overhang seems extra-large. It doesn't do the car any favours. The 156's unique lightness and elegance is not reflected in the 159. It is perhaps a tougher, but less elegant Alfa Romeo.

Where the Giulia could have turned the tide for Alfa Romeo, this design disappointed much more than the 159. Proportionally, the design is strongly based on the BMW 3 series at the time. That car is beautiful and that is due to good proportions, which the manufacturer from Bavaria has consistently implemented in every model iteration since the E30. The Giulia, like the 3, has a long nose with short front overhang, a generous amount of meat between the front wheel and A-pillar and a rear-mounted cab. These theoretically good proportions seem an ideal start on paper, because it is exactly what an Alfa needs in this segment. However, even more important is the character of these proportions. Directly taking design ratios, and with that DNA, from one of the most recognizable sports sedans is a dangerous move. Designing just a beautiful car is not nearly enough to offer a brand future.

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