Alfa Romeo Pandion Concept Bertone



The Italian maker Bertone unveiled the Pandion concept car today at the Geneva Motor Show. The concept pays tribute to Alfa Romeo’s centenary and its name comes from the animal world, as Pandion Haliaetus is the scientific name for an Osprey: a sea hawk that nests and lives in coastal areas.

The Pandion’s design is based on the "Skin & Frame" design language: "Skin" refers to the snake in the logo, representing the world renowned Italian excellence in beautiful, seductive forms; and "Frame" refers to the cross in the logo, representing the mechanical excellence in high performance Italian race cars.

The concept’s front is defined by a sculpted sloping bonnet with typical Alfa quad headlights, a typical five horizontal bars radiator grille and doors that open by rotating backwards, ending up a perfect 90 degrees above the center of the rear wheel, lifting up the entire body side of the vehicle, from the front fender to the rear fender.

The Pandion: an extreme and controversial sports car in typical Bertone fashion. The size of the concept car (4620 mm in length, 1971 mm wide, 1230 mm high, 2850 mm wheelbase) offers a compact sports car external dimensions with a large sports car interior feeling, all powered by a 4.7 litre, 450 CV 8-cylinder Alfa Romeo engine.


The Pandion is the first car produced by Mike Robinson in his new role as Design and Brand Director at Bertone Bertone. A pure ‘dream car’, the Pandion takes its rightful place as a member of Bertone’s historic Alfa Romeo family: cars that have always been style icons, influencing the history of the automobile and Italian craftsmanship in their excellent design quality, proving themselves to be undisputed benchmarks for the entire world of car design.

The Pandion has the profile of a true sports car, with no room for compromise. The architectural layout is ‘cab rearward’, meaning the passenger compartment is positioned towards the rear of the car and the long bonnet pushes the car’s visual centre rearward. The body side visually connects the sensuous front end with the razor-edged rear by means of an extremely long flowing side window which stretches from front wheel arch to rear, enhancing the excellent accessibility of this low-bodied sports coupé. Since sports cars are traditionally difficult to get in and out of, this important ergonomic activity has been facilitated with an extra wide door opening to make up for the low roofline. This new graphic formula not only adds a striking new visual division between the upper and lower parts of the body, but it also offers an incredible panorama window for passengers inside. The strong diagonal dark-light division in the rear of the side view accentuates the powerful rear wheel drive layout and draws special attention to the hidden door opening mechanism.


The rear end features a striking array of crystal-like blades which are intertwined in various widths and lengths, protruding out into space. The rear of the car in fact has a disembodied or “pixilated” look, representing a tail-of-the-comet metaphor, as if the sheer speed of the vehicle is pulling the underlying, technical “Frame” rearward, away from the sensuous, flowing “Skin” above. This “dematerialization” phenomenon of the car is generated by the intrinsic motion of the form, which means the car looks like it is moving even when it is standing still.

The shapes that make the Pandion spring to life are the result of a design study aimed at creating an organic whole, without resorting to short-cuts to ensure continuity between the interior and exterior, a perfect balance between architectural rigour and the spectacular shapes of living organisms.


The design language used to create the passenger compartment has resulted in a fluid environment, due to the fittings that seem to have grown spontaneously, without ever having been either designed or constructed. We have named this expressive code, never seen before in the automotive sector until today, algorithmic design. The concept, taken from the world of mathematics, indicates an organic alternative to traditional design and is the ‘propagation of random forms’. It is as if the design were following a kind of complex development which is neither linear nor geometric, generating an ‘auto-organising’ shape, with the ‘spontaneous growth’ of algorithms such as ‘swarms’ or ‘vines’.