1970 was a splendid year for Giugiaro and for the other coachbuilders in Turin.
At that city's motor show Pininfarina exhibited his Ferrari Modulo, a Paolo Martin creation. The Bertone-Gandini duo presented a prototype of the outlandish Lancia Stratos, and Giugiaro’s company showed its Tapiro, a sports car based on the mid-engined VW-Porsche 914-916.

A long, eye-catching central roof strip acted like a metallic backbone to which the doors and the two halves of the engine cover were attached. Both could be lifted up-the aptly named 'gull wing' effect. The wedge-shaped nose with its pop-up headlights and the raised, angled rear end were further stylistic components of the car which, with its low, snuffling nose, recalled the curiosity of a tapir, classy and imposing at the same time.

For Giugiaro, this highly unconventional reinterpretation of the Porsche represented the beginning of that stylistic trend based on straight lines with wedge-shaped fronts and bonnets that visually extend the windscreen, with strong transitions and sharp creases marking the change of planes.

The Turin Motor Show in 1969 saw the release of two prototypes from Giugiaro’s company: the Abarth 1600 and the Alfa Romeo Iguana.

No other single Alfa Romeo platform had ever inspired three Turin body shops to such an extent.

Off the back of the sporting success of the 33 Competizione, Alfa Romeo offered the platform of the 33 road version: Bertone and Gandini delivered the Carabo, the metamorphosis of a flamingo; Pininfarina the wedge-shaped P/33, and Giugiaro the Iguana. The name Iguana was chosen because of the similarity between the exotic animal and the appearance of the body with numerous openings and iridescent trim.

On the Iguana you can identify the steel structural elements inside the body. The aim of the designer was to make a connection between the curved sides and the plan view by means of the engine hood and the rear cover. The transparent roof with its strongly rectangular elements helps in this respect, too. The undulating waistline rises toward the rear and blends into the rear window. The front end is rendered visually lighter by the bold rectangular cutout in the center of the hood.

Made with the platform and mechanical assembly of the 1600, the idea was a 2+2 coupe for limited production. Instead it never got beyond the one-off stage. The front end was well designed, simple and lithe with a hood fender interaction that was later to be seen on the Maserati Bora. After the pastel green of the Manta, the Abarth 1600 was painted white and was the last Giugiaro’s prototype not to be metallic grey, the color the designer believes to be the most suitable for highlighting the shape of a bodywork. From the Iguana onwards, all the prototypes were painted metallic grey with the sole exception of two Maseratis, the 2+2 coupe and the Medici, both of 1974, still metallic but green, and the New York Taxi, obviously painted yellow.

In November of the same year, a van version with two opening side doors and a top-hinged rear gate was added. Giugiaro’s design was more obvious in the Carry Van iteration, very symmetrical with similar looks to the front and rear. The L40’s design was not overly utilitarian, limiting interior space and being a bit too modern for the usually very orthodox Japanese commercial customer base.