The original in the premium segment of small cars has reached its 60th birthday – but it is even younger than ever. It was sixty years ago, to be precise on 26 August 1959, that British Motor Corporation (BMC) proudly revealed the result of their development activities in creating a new, revolutionary compact car.

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6. From the Original to the Original. 
The MINI Design. 29

7. The Revolutionary with the Drawing Pad. 
Sir Alec Issigonis, the Father of the Classic Mini. 36

6. From the Original to the Original.
The MINI Design.

Innovativ, Innovative, unmistakable, stylish – and inspiring time and again. Just like the classic Mini, the MINI stands for unique design providing brand-new answers to the challenges of its time. Creating the classic Mini, constructor Alec Issigonis and his team had succeeded in re-defining the entire philosophy of the small and compact car in 1959. Developing the MINI, his successors, as it were, re-interpreted the concept of maximum interior space on minimum road surface in modern, up-to-date style.

The result, created almost four decades apart, was two cars of supreme character proudly presenting their unique qualities in a truly unmistakable manner. Both back then and today, thrilling driving characteristics and irresistible design create one complete unit as the sign of distinction of an entire brand. The starting point for the design of the classic Mini was a vision following clear targets: smaller than all models produced so far by British Motor Corporation, the new car was still to provide sufficient space for four occupants and their luggage. Clearly, therefore, Issigonis focused on economy of space as the fundamental consideration in the development process.

At the same time, he wished to offer an innovative answer to the small and compact cars already available on the market in Europe, following his principle that a good designer should never ever copy the competition.

A clear vision and the right concept: the foundation for the classic Mini.

To provide as much space as possible for the occupants on the car’s very small footprint, even the technical features and components of the classic Mini had to be moved together. The ideal concept making this possible from the start was of course the engine fitted at the front in conjunction with front-wheel drive. But that alone was not enough for Issigonis. For while there was enough space for a four-cylinder power unit beneath the short bonnet, this was only because Issigonis fitted the engine crosswise and placed the gearbox beneath the drive unit. Certainly, an innovative interpretation of the “form follows function” principle is still one of the decisive factors in the design of the MINI to this very day.

Issigonis set forth all these plans and configurations not in long documents and studies, but rather in a host of drawings and personal sketches. Indeed, he had already succeeded in compensating for his rather limited ambition for mathematics at school and university through his excellent drawings. And now these drawings became the characteristic trademark of this ingenious engineer and constructor.

With just a few strokes of his pencil he was able to create visions, illustrate solutions for complicated technical problems, and therefore develop greater power of conviction than even the most moving speaker in a detailed technical lecture. Issigonis’ almost contagious euphoria was also expressed by the fact that he often did his drawing on paper table-cloths or menu cards, because his notepad was already full.

One of the legends circulating around the classic Mini is the story of a design sketch done by Issigonis on the paper napkin of a hotel restaurant later used for the first “official” draft on the drawing board in Issigonis’ construction office. In the course of 1958 both the exterior and the interior of the Mini took on their final shape. Striking features later to become characteristic of the classic Mini were the body panel seams between the wings and the bodyshell facing to the outside.

The reason for this particular feature was quite simply money: welding seams facing to the outside were a lot cheaper in production. The second feature typical of cost-oriented production also clearly visible from outside was the door hinges on the outside of the doors themselves. And the driver who was not able to make do with the luggage compartment offering capacity of 195 litres or 6.8 cubic feet, was able to quite simply leave the boot lid open – since the lid was hinged at the bottom, it served conveniently as a “tray” even taking up bulky objects fastened more or less safely in position. Indeed, this was not even a secret tip, since high-gloss brochures presented this enlarged loading capacity in colourful pictures.

The interior naturally also followed the car’s minimalist philosophy: A simple cable served to open the doors and the usual dashboard in front of the driver and passenger was replaced in the classic Mini by a small shelf. Right in the middle was the centre instrument, the speedometer and mileage counter as well as the fuel gauge, with two toggle switches for the screen wipers and the lights right below.

Despite numerous detailed changes and modifications, the basic shape of the classic Mini remained unchanged for no less than 41 years. In the course of time this revolutionary small car became a classic in the history of the automobile, a timeless masterpiece chosen in 1995 by the readers of Autocar, the British car magazine, as the “Car of the Century”. Like its driving behaviour, the typical look of the classic Mini remained a perfect image of the car’s character over years and decades, ultimately providing the starting point for the design of the modern MINI.

Creating the MINI: brand-new, but with unmistakable roots.

Back in the mid-1990s, shortly after BMW had taken over Rover Group, the first plans were considered for a new version of this unique compact car. A study of the MINI Cooper was the presented at the 1997 Frankfurt Motor Show, making it quite clear from now on that this was not going to be merely a copy of the classic model, but rather a modern interpretation of the Mini concept so rich in tradition. Indeed, this concept car combined the classic values of the classic Mini with the demands made of a modern automobile on the threshold to the 21st century.

A spectacular sports car concept had already been presented at the beginning of the year on the occasion of the Monte Carlo Rally. Thirty years after the classic Mini had won the Monte Carlo Rally the last time, this two-seater, right-hand-drive mid-engined ACV 30 (Anniversary Concept Vehicle) study definitely hit the headlines not just on account of its truly powerful and muscular proportions. Rather, the study also made it quite clear how the design features so characteristic of the classic Mini – such as the hexagon radiator grille and the large round headlights – could be carried over into a modern vehicle concept.

So the question is obvious: What would the ideal small car look like when carrying forward the ideas and principles of Sir Alec Issigonis, that ingenious constructor, from the 1950s into the 21st century, with all the technical options and customer preferences of these modern times? Looking for an answer to this question was certainly a promising undertaking right from the start, particularly as neither the drive concept of the classic Mini nor its virtually unchanged look had lost any of their charm over a period of approximately four decades.

Precisely this is why the MINI Project Team run originally by Frank Stephenson and later by MINI Chief Design Gert Volker Hildebrand attached great significance to conveying not only design details, but also the fundamental idea from the early years of the classic Mini to these modern days of motoring. The MINI was also to be a unique car offering ample space for four with their luggage, featuring an economical drive concept, and boasting driving and handling qualities no other model in this segment was able to offer.

At the same time the development engineers naturally also considered the high standard of comfort now taken for granted as well as the most demanding safety requirements. The result, obviously, was once again a revolutionary new small car oriented in every respect to the needs of its times and at the same time developed and manufactured according to the quality standards of a leading premium brand.

Design features and design icons.

This harmony of the targets set by the development engineers and the fundamental values of the concept is reflected in a unique design authentically visualising the common character shared by the classic Mini and the MINI and borne out by a beautiful play on lines and joints, circles and ellipsoids.

With the car measuring 3.63 metres or 142.9" in length, the overall layout and proportions, including short overhangs front and rear expressing the agile handling of the MINI through its exterior, were all retained as a faithful rendition of the classic Mini. The classic subdivision of the car into three sections – the actual body, the window graphics surrounding the entire vehicle as a kind of band, and the roof seeming to hover in space – was taken up again in a modern rendition. The shoulder line extends from the headlights across the muscular shoulders all the way to the C-pillars, where the roof is closer to the body than upfront on the A-pillars. This creates side window graphics opening up to the front and clearly emphasising the forward-pushing motion and the sportiness of the car.

Features typical of the brand and already unmistakable on the classic Mini were also re-interpreted on the new model. As an example, a modern rendition of the hexagon radiator grille and the round headlights now no longer surrounded by the wings, but rather integrated in the engine compartment lid, help to give the MINI its typical face so characteristic of the brand.

The side direction indicator surrounds serving on the MINI to distinguish the individual model variants, are also acknowledged as genuine icons in design. In particular, the side indicators guide the eyes of the beholder to the joint on the engine compartment lid of the MINI sweeping back at an angle like the joint on the side panels of the classic Mini. The rear light clusters standing upright also serve once again as a powerful sign of distinction now featuring a sophisticated chrome frame on the MINI. Indeed, this is once again a clear reminiscence to the classic Mini which always boasted its chrome look, consistently rejecting the inundation of plastic in automobile design of the ’70 and ’80s.

Last but not least, the very concave, three-dimensional and powerful design of the rims again takes up and reflects the style of the classic Mini, even if the wheels are now larger, wider, and come on runflat tyres.

The interior of the MINI is likewise unmistakable in its design, the Centre Speedo in the middle of the dashboard bringing back a characteristic feature of the classic Mini and enhancing this look to create a truly unique design element. Up to 1968 the speedometer on the classic Mini was also a central instrument which, through its looks alone, provided decisive inspiration for designing the surrounds on the MINI’s control units and switches.

Further, unique highlights come from the round air vents and the elliptic main elements on the door linings reflecting the design language of “circular elements” so typical of the MINI and also to be admired on the exterior. More than ever before, the current fortes of the MINI come out on the design of the latest model generation introduced in the autumn of 2013. Again following the philosophy of “From the Original to the Original”, both the basic design and the unique details of the car were revised and upgraded in the second generation in a painstaking, evolutionary process.

The powerful stance of the car on its big and muscular wheels now emphasises the sporting character of the MINI even more convincingly. The Centre Speedo is even larger than before even, now framed by a lighting band, and offers space for the display of a navigation system, again providing those unmistakable highlights so typical of the brand. Like the classic Mini, the MINI, thanks to its harmonious and perfectly balanced overall concept, arouses a feeling of affection and almost love at very first sight. To a large extent this is attributable to the cleverly integrated codes of “human body archetype” design language: Through its proportions and friendly mimicry, the MINI arouses the protector’s instincts. The powerful shoulders of the car, in turn, exude a sense of safety and security, and the body itself is characterised through its softly flowing shapes.

New opportunities: the MINI Concept.

Through its design philosophy alone, the MINI allows up-to-date, ongoing development of all features so typical of the brand while retaining its own, unique character. This starting point also provides a wonderful opportunity to carry over the design language so typical of MINI to innovative vehicle concepts extending the range and wealth of the MINI model family. The idea to present MINI in a new context was demonstrated for the first time in a fascinating study in 2005, when the MINI Concept made its world debut at the Frankfurt Motor Show.

Presenting this unique study, MINI paved the way to a brand-new category of cars re-interpreting the classic shooting brake concept in modern style. The MINI Concept therefore took up traditional design philosophies already borne out in the 1960s in the guise of the Morris Mini-Traveller and the Austin Mini Countryman, applying these philosophies to modern-day requirements and therefore presenting new options in the body design and functionality of the MINI. Following the motto “Travel the World”, the MINI Concept was presented in a total of four renditions, each highlighting specific facets of the MINI brand and focusing on the place where the cars were being presented: In Frankfurt the emphasis was on elegance, at the 2005 Tokyo Motor Show the concept model highlighted the British origins of MINI. At the 2006 North American International Auto Show in Detroit the emphasis was on wintersport, and at the 2006 Geneva Motor Show the MINI Concept paid tribute to the legendary success of the brand in motorsport.

In all cases the concept car boasted a truly innovative door arrangement revolutionising the use of and access to the car’s interior: At the rear the designers introduced a Splitdoor configuration based on the classic door arrangement of the Morris Mini-Traveller and the Austin Mini Countryman. This two-piece rear door with each door element hinged far to the outside and opening outwards offered particularly generous access to the luggage compartment of the MINI Concept – a principle shortly thereafter presented for the first time in a production version of the MINI.

The MINI family grows: introduction of the MINI Clubman.

The 2007 Frankfurt Motor Show marked the world debut of the MINI Clubman which has been enriching the model family ever since. Compared directly with the MINI, the MINI Clubman offers 24 centimetres or 9.45" more body length and 8 centimetres or 3.15" longer wheelbase serving entirely to enhance legroom at the rear.

On the MINI Clubman the driver’s and front passenger’s doors are supplemented not just by the Splitdoor at the rear, but also by an additional opening on the right side of the car. This additional door on the right, the Clubdoor opening against the direction of travel like a coach door, offers passengers sitting on the rear seats of the MINI Clubman comfortable and convenient access to the rear passenger area. In its side view the MINI Clubman is characterised by a dynamic wedge shape created through the interplay of the shoulder line rising up slightly to the rear and the horizontal roofline.

Up the A-pillars, the MINI Clubman is identical to the “regular” MINI. It then gains its unique look through its longer wheelbase and longer roofline extending straight back to the steep rear end.

Yet a further special feature is the slight increase in the roof flanks extending on both sides from the A- all the way to the C-pillars along the entire length of the roof and referred to as the Dune Line. This gives the roofline a truly exciting, eye-catching “sweep” and raises the height of the car’s flank by approximately two centimetres. As a result, the proportions of the MINI Clubman are particularly smooth and well-balanced also from the side.

Like the classic Mini, the MINI is also available with contrasting colours on the roof – and indeed, this particular sign of distinction is of great significance on the MINI Clubman, where, apart from the roof, the C-pillars also come in the contrasting colour ordered by the customer to give the Splitdoor at the rear an additional optical effect. Ultimately this gives the car a very compact look at the rear and adds to its individual, unique appearance on the road.

MINI Convertible: consistently open, MINI all the way.

The open-air model of the brand is a genuine MINI but at the same time a truly unique character. The first new MINI Convertible was presented at the 2004 Geneva Motor Show three years after the closed MINI, but naturally with the same unmistakable design features. Apart from the soft roof combining the proportions typical of MINI when closed with a unique silhouette, the four-seater boasted a number of other features typical of a genuine Convertible. The waistline rising towards the end of the car, for example, was accentuated from the start by a chrome bar all round the vehicle, the steep windscreen was just as characteristic as the chrome-plated rollbar. And at the rear the boot lid opening downwards as well as the hinges at the outside offered further features reminiscent in their design of the classic Mini. The latest edition of the MINI Convertible experienced its first summer in 2016. 18 seconds suffice to combine the further enhanced driving fun in a MINI with the intense open-air feeling. This is facilitated in the new MINI by a fully-automated mechanism for opening the roof that is all-electric for the first time making it particularly low noise. There is now also a fully integrated rollbar.

Typically MINI – also in the premium compact segment.

Just as classical design features were transferred to a modern vehicle concept tailored to the requirements of the 21st century, the design so typical of the brand was also mapped onto the models of the premium compact segment. In 2010, the first MINI was presented with an exterior length of more than four metres, five doors and five seats. The MINI Countryman conquered new target groups across the world – with its unambiguous augmentation of versatility and the inimitable style of its design, making it a typical representative of the heritage British brand at first glance.

In the latest model generation, the MINI Clubman and the new edition of the MINI Countryman bring style typical of the brand into the premium compact segment. Reinterpreted and carefully enhanced, they also include typical MINI proportions, the characteristic three-way split between bodywork, window graphics and roof, the powerful stature underpinned by the wheels, and the unique details including the side scuttles, a large number of chrome elements, the hexagonal radiator grille and the large headlamps.

Dawn of a new era: The MINI Cooper SE.

As the first premium small car with all-electric drive, the new MINI Cooper SE also defines benchmarks for driving fun geared to the future in its design. It is based on the MINI 3 Door and differs from this with selective modifications and subtle differentiations from the conventionally powered models of the brand.

Powerful proportions, the horizontal vehicle structure, short overhangs and wheels positioned at the corners of the car characterise the appearance of the MINI Cooper SE. Precisely defined accents point to its future-proof drive system. The charging connection is positioned above the right-hand rear wheel and this is precisely where the tank nozzle is situated in the conventionally powered MINI 3 Door. An embossed MINI Electric Logo points to the difference in energy supply. Yellow versions of this logo also embellish the familiar side scuttles for the side indicators, the tailgate and the radiator grille. The central element of the vehicle’s front profile highlights the brand-typical hexagonal contour in the MINI Cooper SE, although it is shrouded owing to the low requirement of the electric motor for cooling air. A yellow trim bar on the grille and the wing-mirror caps finished in the same colour complete the model-specific design.

In the same way as the model-specific front grille, the essentially closed floorpan and the independent design of the rear apron contribute to the reduction of air resistance. The fact that the electrically powered MINI does not require an exhaust system, favours airflow in the floorpan and at the rear. An aerodynamically optimised surface is also highlighted by the optional 17-inch alloy wheels with an asymmetric design in the version MINI Electric Corona Spoke 2 Tone.

7. The Revolutionary with the Drawing Pad.
Sir Alex Issigonis, the father of the classic mini.

He had already been successful with his own sports cars and he had been commissioned on a number of occasions to develop large saloons. But his favourite project, as Alec Issigonis made it quite clear, was the construction of a simple, extremely functional and very affordable small car. So when Issigonis, the Deputy Technical Director of the Austin Plant in Longbridge, was requested in late 1965 by Leonard Lord, the Chairman of British Motor Corporation (BMC), to develop a brand-new and truly innovative car, he was absolutely thrilled and knew exactly what he wanted.

The new car was to be smaller than all models built by BMC so far, but nevertheless offer sufficient space for four occupants and their luggage. A four-cylinder already built by the company was to provide the necessary power, while the driving characteristics and the all-round economy of the new small car were to set new standards. Considering this brief and the demanding requirements to be fulfilled, what Issigonis needed was no more and no less than an absolutely revolutionary new design – exactly the right job for him and his team.

Back then Alec Issigonis was 51 years old, a seasoned constructor and automotive engineer with an unconventional career and an exceptional approach to his work. At the time his contemporaries described him as an almost pedantic tinkerer and a passionate technician simply bursting with enthusiasm. Issigonis did not always do his designs on the drawing board in the construction office, but rather opted for paper napkins or the little drawing pad he always kept handy to present his ideas to his colleagues and staff members during lunch. Mathematics he regarded as the “enemy of every creative human being”, and with his wealth of ideas, his enthusiasm and his distaste for compromises he pushed his team forward to top performance time and again.

AFTER JUST SEVEN MONTHS: TEST DRIVE IN THE PROTOTYPE MINI. 

Opting for front-wheel drive and the engine fitted crosswise at the front with the gearbox directly below, Issigonis right from the start created ideal conditions for excellent efficiency in the use of space. No less than 80 per cent of the space taken up by the Mini, what one might call the car’s “footprint” on the road, was exclusively for the passengers and their luggage. Overall length of the new car was 3.05 metres or 120.0", and the Mini might indeed have been even shorter. But Issigonis had exact ideas and intentions, which he presented to his team in a rather unusual manner: He had them cut through a model of the Mini right down the middle, then moving the two halves apart centimetre by centimetre. And when he finally cried out “stop!”, the Mini had reached its ideal length.

Just seven months after the official go-ahead, two prototypes of the new small car were ready to go. So Issigonis invited his boss Leonard Lord to a test drive he still recalled full of amusement years later: “We drove round the Plant, and I was really going like hell. I’m certain he was scared, but he was very impressed by the car’s roadholding. So when we stopped outside his office, he got out and simply said: ‘All right, build this car.’ ”

From this moment on the ongoing development of the Mini in becoming a genuine legend was unstoppable. And Issigonis had secured his position on the podium as one of the world’s most ingenious and influential automobile constructors. The master himself was a bit more reserved, making it quite clear that “I didn’t invent the Mini, I built it.”

ALEC ISSIGONIS: STRAIGHT FROM A FAMILY THRILLED BY TECHNOLOGY.

Alexander Arnold Constantine Issigonis was born in the Turkish town of Smyrna, today’s Izmir, as the son of a Briton of Greek origin and a mother from Bavaria, on 18 November 1906. He inherited his great interest in technology and machines from his father who, shortly after the turn of the century, ran a company for marine engine technology.

In 1922 the family was forced to flee to Malta when the Turkish state was established in very hectic turmoil. His father died on the island and his mother took him to England where, two years later, young Alec was finally able to drive his first car: a Weymann-bodied Singer in which he chauffeured his mother through Europe in 1925 in a “never-ending series of breakdowns”, as Issigonis recalled later. But it was precisely this unforgettable experience which, immediately upon returning back home, encouraged him to start a three-year course in mechanical engineering at Battersea Polytechnic in London.

Issigonis’ great talent for craftsmanship and his passion for designing and drawing new technical concepts proved barely sufficient at the time to set off his strong distaste of mathematical theory. So he just about managed his final exam, but did not qualify for ongoing studies at the college in Battersea. His obvious conclusion was to enter professional life as a technical draughtsman and salesman in a design office for automotive technology in London. Buying an Austin Seven from his first salary, he prepared the car for racing and entered his first event in March 1929. In the years to follow Issigonis developed his own monoposto in his spare time with design and construction features destined to later make him famous: the Lightweight Special was absolutely tiny, extremely light, but technically progressive – and successful. In 1934 Issigonis joined the design and construction team of Humber Ltd., the Coventry-based car maker, where he worked on the introduction of independent suspension. He proved so good at the job that Morris Motors recruited him themselves just two years later on account of his skill in suspension development.

During the war Issigonis had no choice but to work on various military vehicles, which he nevertheless used as “guinea pigs” for technical innovations.

In 1941 Morris launched the Mosquito Project, a compact four-seater for the post-war era. And indeed, despite the most challenging conditions, Issigonis, reputed to be an all-out workaholic, and his the team had the first road-going prototype ready within three years. Precisely this model introduced as the Morris Minor in 1948 became the most successful car built by the brand in the post-war years.

When Morris and Austin Motor Company merged four years later to form British Motor Corporation, Issigonis no longer saw any perspectives for his creativity in future. So he started working for Alvis, with the intention to develop a luxury saloon. But with the project ultimately failing for financial reasons, BMC took Issigonis on again in 1955 as their Deputy Technical Director at the Austin Plant in Longbridge. Here Issigonis was to develop a number of new model series for the small, medium-sized and upmarket segments to secure the future of what was then Europe’s largest car maker. Since particularly the small car project was acknowledged as very urgent due to the Suez Crisis, the new model made its debut in 1959 as the Morris Mini-Minor and the Austin Seven. Large models only came later, with the four-door Morris 1100 midrange model entering the market three years later and the very spacious Austin 1800 in 1964.

CAREER AND KNIGHTHOOD: HONOURED FOR HIS LIFETIME ACHIEVEMENT.

The success of the classic Mini also gave worldwide fame to the car’s “father”. In 1961 Alec Issgonis, in his position as Technical Director, became a Board Member of Austin Motor Company, and two years later he was appointed to the Board of BMC. In 1967 he became a member of the Royal Society, the most renowned research society in Britain, and two years later the Queen knighted the father of the Mini. Sir Alec Issigonis retired in 1971, but remained an advisor to the company until 1987. One year later he died on 2 October, shortly before his 82nd birthday.

To this day this outstanding automotive engineer and constructor lives on in countless memories. And the market launch of the second generation of the Mini was indeed held exactly on 18 November 2006, the 100th birthday of the father of the classic Mini, in the honour of this great man.

BMW PRESS