Remember the VW Microbus? Those born before 1970 may have a different memory of VWs than we do today, as VW was once known for quirky yet practical vehicles which now fetch over $75,000 at auctions when nicely restored. The reason is not because they are adorned with massive VW logos on their noses, but because they are 'real VW's' in the hearts of Americans. 

Maybe that's why VW decided they could build a Microbus derivative based on the new Dodge Caravan/ Chrysler Voyager. But that would be viewing the automotive design world in a superficial way. The truth of the matter is that people need minivans and families generally have limited budgets, so a minivan can't be too expensive.

Keeping that in mind, VW needs to maintain a presence in this market before delving into the rebirth of the original Microbus, according to one of the project's designers: "Everybody [in the design department] wanted to do the Microbus, but we were told we had to do a Microbus derivative first. The Microbus is timeless, like the Beetle. We can do that anytime."

The result is the Routan, a project led by Klaus Bischoff's team in Wolfsburg which has influences of the Guenak era, clearly seen in elements such as the movement in the lower edge of the headlamps which mimic the Tiguan and Passat CC. Due to production measures, final production was done at Chrysler in Auburn Hills, which is surprising since the final paint and material quality of the Routan surpasses that of the Chrysler model on which it is based.

From a distance, the common T-platform of the Routan and the two Chrysler derivatives seems obvious in their somewhat boxy profile. But when quality is closely scrutinized, it's clear the refined materials are typical VW and a step up from Chrysler. 

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Chevrolet's new bowtie look should be apparent by now, with the horizontally split grille that continues into the lower part of the bumper offset. If you aren't fond of this element, get used to it anyway, because it will define all Chevy products in the coming years. The Traverse has adapted this as its main feature, similar to the Malibu, with a sporty crosshatching mesh in both levels. This helps give an upscale touch found in the latest generations of sportier Cadillac variations, such as the CTS-V.

The Traverse tries hard to differentiate itself from other models built on GM's Lamda platform, but seems to have a hard time disguising its heritage. The most notable feature is the A-line which purposely dips into the wheelarches as it follows around the car. This is not necessarily a negative feature and is something never before seen on body design, albeit contrived.

The rear ¾ view is obviously related to the Buick Enclave, but at least this model looks less like a Hyundai Santa Fe. The subtle combination of peaked fenders and continuous lines, such as the one that runs off the A-pillar into and around the bonnet and back up the other side, make up GM's latest design language. The tail lamps hoever, are inconsistent with the front lamps and appear as an afterthought rather than calculated, like on the Cadillac Provoq.

The interior is clean and well organized, but uninspired just the same. It seems that Anne Asenio's influence in improving GM's interior quality is starting to complete the rounds on most GM products. With the design of the new Traverse, GM seems to be playing it overtly safe. If the Denali XT concept is any indication of GM's future direction, they are starting to toy with newer, more challenging proportions. This might just be the missing ingredient needed in this design.

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"We had a vision of what we wanted to do...starting with risky proportions, we tested the waters," explained David Allendorf, chief designer of Navistar International Corporation in speaking about the LoneStar. Most babies start out rather small in this world, unless the baby happens to be an International truck. Allendorf is used to giving birth to large vehicles as he proudly reinvent the massive and iconic American 'highway tractors'.

International's 1937-41 D-Series pickup (pictured) inspired the LoneStar, form which Allendorph purposely stole styling cues like the six-tiered grille, generous use of sculptured chrome for graphic emphasis along the side of the hood, and a definite fender peak crease that continues into the headlamps.

"Soon the momentum started to kick in, and once the framework was set and some of the trepidation of the engineers had settled, everybody was bought in on the idea and we gave it a good college try!" Allendorf told CDN. What seemed like a major risk: to make a modern truck that had the charm and cues to leverage a very personal look, was actually quite carefully thought out.

"We started out by looking at sailboats, RVs, travel buses and yachts, and realized they all had the same problem: how to make them look appealing". ‘Bad ass' pretty much explains what impression the front end grille leaves on anything in its path as it chugs along down the highway like a massive Art Deco locomotive.

Allendorf's in-house design staff consists of just about a dozen designers, but enjoys the input from a good sized network of outside suppliers who develop trucks at the Technology Center in Fort Wayne, Indiana. Under Allendorph's direction, the group has created aero-efficient and distinctly styled International trucks, including the ProStar.