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“Pagoda-SL” (W113)

Individualists among themselves.

“Pagoda-SL” (W113)

The 230 SL, internally code named W 113, was neither an irredeemably tough roadster, nor a gentle boulevard-sports car - rather, it was a comfortable two-seated GT car with an excellent driving performance and maximum driving safety.

Mercedes-Benz Classic Parts Search Series Overview “Pagoda-SL” (W113)

The magic value.

“Pagoda-SL” (W113)

The magic value.

Apart from its wheelbase - the magic measurement of 2400 mm had been taken over unchanged - the new SL had almost nothing in common with its two predecessors. Still, the W 113 was not simply a new construction as its technical concept was mainly based on that of the 220 SE. For example, the new model took its curtailed and reinforced framework from the tailfin sedan including the front and rear axle suspension. the engine, too, had been developed from the 2.2-liter aggregate of the 220 SE. By reboring the engine to 2.3 liter, enhancing compression and use of a six-piston injection pump, power was increased to 150 hp.

Construction principles of Béla Barényi.

“Pagoda-SL” (W113)

Construction principles of Béla Barényi.

Apart from the standard 4-speed gearbox, for the first time an SL model had become available with an optional 4-speed automatic transmission. A third version came in May 1966 with a 5-speed gearbox, produced by the Zahnradfabrik Friedrichshafen (ZF). The 230 SL was the first sports car with a safety body with stiff passenger cell and deformation zones at the front and rear; this had become possible by applying the construction principles of Béla Barényi, which had been used for the first time in the "fintail" sedans.

Characteristic design feature.

“Pagoda-SL” (W113)

Characteristic design feature.

In contrast to these invisible construction elements, the body was characterised by one conspicuous design element: The 230 SL came with a removable hood, which had a concave shape, i.e. its surface curves inwards in the middle. This rather avantgardistic design was unusual for its time and met by no means only with approval. However, it was not an end in itself, but was a classical illustration for the designer maxim that "form follows function".

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