This photo, dated January...
This photo, dated January 28, 1968, is of the first Second-Gen Firebird clay model. Notice the unique grille treatment that Porter first envisioned, and how the body's side crease indexes with that of the hood. They intersect on the nose, producing a pronounced peak. Though the production model went another direction, this theme was resurrected for the Firebird when stricter federal bumper requirements were imposed for the '74 model year. A variation of this was also used with a chrome bumper on the '71-'72 Ventura.
As we learned in Don Keefe's article "A Honey of a Design" in the Mar. '02 issue of HPP, Porter developed a high-strength Honeycomb wheel to complement the Trans Am's total functionality. Although he intended for it to be constructed of cast aluminum, cost concerns forced Pontiac to find an alternative method of production by the time it was released in 1971. The cast aluminum gave way to a steel wheel with a molded urethane fascia using a process known as polycast. "I wasn't happy with the decision to go that route," Porter says of the choice, "but at least the design made it into production."
Like the Honeycomb, Porter had to accept a few compromises once the Firebird was in production, too. "I have always been against anything on a vehicle that isn't totally functional, and all '71 Firebirds besides the Trans Am received ornamental fender vents. This was actually a request from the sales department so buyers could easier identify new models from used on the dealer lots. I didn't like the look and it lasted one year. To separate '72 models from others, we changed the grille pattern to the elongated honeycomb design to better match the Honeycomb wheels. It was also a good excuse to remove the fender vents since the grille now provided model-year identity."
Ever increasing federal bumper regulations began taking their toll on the front and rear treatments. The nose's internal structure changed for 1973. Porter received the requirements for the '74 model year and knew that major changes were inevitable. "I cringed when I saw them. It required an entirely new nose," he recalls. "We got the news in 1971 and just as I started working on it, the Studio was split into two separate but smaller studios, just like Chevy had been for a couple of years. I was assigned to Pontiac 1, and the Trans Am went to Pontiac 2. Ron Hill lead Pontiac 2 for a short time and continued work on the '74 model."
A rear shot of first Second-Gen...
A rear shot of first Second-Gen clay model reveals clues of the production Firebird. But this design still features rear quarter windows. The taillamps and integrated rear spoiler are handsome, however. A rendering of this rear treatment can be seen in the background of the previous photo.
Porter's Comments
John Schinella soon replaced Ron Hill as design chief at Pontiac 2, and Porter was transferred from Pontiac 1 into an Advanced studio. "I didn't really follow the car that closely in later years, but Schinella really kept it alive," says Porter. "He did an incredible job during a disastrous performance-car market and deserves all the credit he can get. The deck couldn't have been stacked any worse against the Firebird, and he kept the looks fresh and injected it with new ideas."
He continues, "It certainly changed a lot over the years. Mitchell always wanted the wrap-around backlight, and Schinella got it into production. But I was really surprised when I saw the hood bird appear on the production Trans Am in 1973. Schinella was a better salesman than me because he sold Mitchell on the idea! Looking back, I can say although I was initially against the hoodscoop, I now know that without it there would be no hood bird, and together those two really identify the Trans Am."
When asked what model year Firebird he likes best, Porter answered like most true enthusiasts, "I like some years better than others, but if I could have any, it would be a Lucerne Blue '72. It has the elongated-honeycomb grille that matches the Honeycomb wheels." As a parting question we asked Porter how it makes him feel, as a designer, knowing that a vehicle he designed has such a loyal following nearly four decades later, and if he ever envisioned it to be so widely popular among old and young hobbyists today.
This nose is much closer to...
This nose is much closer to the countenance we know and love. According to Porter, the grille of this version contains an elliptical shape inspired by the Italian Osca and retains Mitchell's bumperettes. It has, however, lost the pronounced ironing board on the hood. Designer Vincent DiSessa can be seen in the background.
Even a snowstorm couldn't...
Even a snowstorm couldn't halt Second-Gen development. Though the grille shape is similar, the nose of this version has lost its bumperettes and appears to protrude more than the eventual production model. The rear quarter window is history and the side window has taken a shape closer to the production unit. Notice how the centerline of the rear bumper is indexed with the body's side crease.
On the patio, this version...
On the patio, this version contains many "Mitchell-isms" with its subtle bumperettes and ironing-board hood. Though the grille shape is still somewhat elliptical, the squared marker lights more closely represent the production units.