01-storia ENG:nuova bozza 21/07/10 18:22 Pagina 16
Hugo Racca
1.1 THE 16
“When you aim
B O Y W H O WA N T E D T O C R E AT E T H E M O S T B E A U T I F U L C A R I N T H E W O R L D
About times, inventions and oceans
the visionary bow at a star,
the latest and greatest of the sports universe
he would start crafting and modelling cars with
and swap the greatly sought-after picture cards
his petite, unskilled hands: futuristic cars, con-
with the desire of perfection
In a lazy little rural town in the Argentinean hin-
of the “Idols of Sport” collection and, some-
ceived by the vivid imagination of this little day-
and rebel to mediocrity,
terland, there once lived an exuberant ten-year-
times, make a timid approach to the young girl
dreamer.
you carry within you
old boy. At that time, back in the Sixties, there
who had stolen his heart.
The fellow peers were immersed in the chal-
the mysterious spring of an ideal”.
wasn’t much for a child to do when he came
Horacio Pagani’s childhood was permeated
lenge of laying their hands on the unfindable
home from school. There was nothing on TV
with all this and much more: after doing his
picture-card that would allow a privileged few
that could catch the interest of a little guy with
homework with great diligence, after watching
to complete the album and win football n.5.
a wild and creative imagination, animated by
Lassie on TV and playing outside with his
Horacio, instead, preferred to spend his spare
kaleidoscope images and dreams and stars. So-
friends, he would withdraw to a narrow room
time at the shop of Tito Ispani, a maker of
cial and sport activities organised by local insti-
that his mother used as a laundry room and
model ships and aeroplanes who was well-
tutions were out of the question; things were
where objects that had fallen into disuse were
known in town. The young Horacio would
rather different then from what we are used to
hoarded - the same room to which the young
spend hours trying to discover the precious se-
nowadays. Leisure activities were typical by ru-
designer had proudly given the name of “la
crets of the finishing techniques for the frag-
ral Argentinean standards of that time and al-
piecita”, that is “the tiny room”. Here in per-
ile wood models or the mystery behind his per-
ways the same all year round, like playing foot-
fect solitude, he would start drawing and carv-
fect Duco varnishes.
ball with a few friends in a field in the outskirts
ing miniature car models out of balsa wood,
The little racing car models which survived the
of the neighbourhood, a perfect training place
dreaming that one day they would become the
ravages of time, and which were overlooked by
for kids who dreamt of becoming future foot-
most beautiful cars in the world. He was fasci-
many at that time, are now on display like reli-
ball stars, like their idol Pelè; sometimes the lit-
nated by the pictures of cars produced in the
quaries in an elegant showcase in the reception
tle boy would manage to escape his mum and
Old Continent that he saw in a magazine, and
area of Pagani Automobili, San Cesario, in the
dad’s attention to go fishing or chasing frogs in
by using the only tools available to a child liv-
province of Modena. This privileged space,
the canal which ran through the lower part of
ing in the Sixties, that is: a Gillette razor, Pe-
where Pagani unveils his fondest dreams and
town; in the afternoons, he would gather with
gatodo (a type of glue containing celluloid and
confers a tangible dimension to his projects, re-
his friends to talk about the events of the day,
acetone) and a few sheets of fine sandpaper,
calls an alchemist’s laboratory, his place in the
José Ingenieros, Argentinean writer
Opposite page: Horacio Pagani in a passport photo from the 60s.
101
74
Above: several sketches of the C12.
work moulds for shaping the first carbon parts.
fied, but nonetheless, six months later, he
dusty garage shelf forever, sharing the same
Below: several models of the car ( 1993).
Despite the hardship, they worked non-stop: the
shelved the whole thing again, fully convinced of
fate of many other ingenious prototypes.
Opposite page: a sequence of photos showing various stages of project development for the C12, from the first hand-carved wooden models to the prototype intended for use in crash tests.
three thousand car components were designed
the greater potentialities of the original project.
Pagani installed a bench test for carrying out tor-
one by one and assembled later on. It took them
One day he was introduced to doctor Dieter
sion tests for the frame and the suspension sys-
years to accomplish their goal, with the in-
Zetsche with whom he discussed the Mercedes
tem. Each component was tested beyond its
evitable ups and downs of creative imagination
engine. His model met with Zetche’s approval. Pa-
breaking point.
along the way, since ideas are not immediate and
gani was more convinced than ever that he was
In 1997, when he was through about 75% of
ingenious every time. Furthermore, it was neces-
treading the right path. He did not want his Zon-
the project, he made his most important invest-
sary to solve the complex technical matters
da to be a mere product of advanced and mind-
ments amongst which was a technical office at
linked to an extreme vehicle of this kind. Anoth-
blowing technology but also a reflection of the
Modena Design for building the components
er ambitious goal was to create a car that would
great artisan workmanship that had contributed
and carrying out calculations and mathematical
be able to withstand the turning of the tide and
in making Modena famous all over the world. He
verifications and also to prove to the world that
the unavoidable changes in technologies and
wanted a car that embodied a sort of modern day
he was doing the right thing. He considered this
trends over time.
artistic Renaissance. As he says, technologic exu-
step as a confirmation of his efforts and an op-
Pagani discovered very early that if he wanted to
berance should never override the emotional and
portunity to improve even further. The car, con-
live up to his commitment, he would have to lay
human aspect, so warm and vibrant.
sidered as exotic (and perhaps even more so) as
other projects aside. He was aware of the risks he
Pagani started to put together a selected team
any other car within the rarefied supercar seg-
would be exposing himself to in case of failure;
of skilled collaborators for his new firm which
ment, had to be exclusive, to ensure the client
nonetheless he was determined to focus all his
was under construction; they may be called
that what he was buying was a unique work of
human and creative energy in one direction only.
artists rather than artisans, people with extreme-
art, something made purely for him, an object
For this reason, his methodological re-elabora-
ly high levels of craftsmanship and an unfalter-
with a “soul�, that embodied a mystery only
tion went to great lengths, starting from the 1:5
ing passion for their profession.
known to the owner. The day of delivery of a car
scale models realized between 1991 and 1992
Most of the work was dedicated to the construc-
is always an exciting time at the atelier: every em-
and derived from his first car designs. Pagani
tion of the frame; Pagani considered it the most
ployee takes a break to attend this magic mo-
took several pictures of the models and gradual-
crucial aspect of the whole project, since the suc-
ment with hearts beating a little faster in thrilling
ly began to make changes to the parts until each
cess of the whole project would depend on the
anticipation. Everyone crowds around the awe-
detail matched his taste perfectly. When the new
type-approval crash test results. After all, he
inspiring vehicle which is covered with a drape
project seemed to be complete, he shelved it for
wanted his car to be complete in every detail and
waiting for its new owner to come in. The mo-
another six months. Then he went through it all
this included type-approval, of course.
ment becomes solemn; a deep silence falls; the
over again and designed a different version to
He wanted his Zonda to run like any other
keys are handed over to the client and the drape
find out if he could make further improvements.
mass-produced car; failing this, he would not
is removed. The car register, a binder containing
The new design had taken on a more aggressive
let it run at all. If the C8 project - eagerly pur-
a detailed description of each building phase, in-
connotation and entailed further solutions that
sued for years - happened to fail the crash test,
cluding variations and procedures carried out
recalled the Lamborghini style. Pagani was satis-
it would inevitably end up languishing on a
during construction, is shown to the client.
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01-storia ENG:nuova bozza 21/07/10 18:23 Pagina 56
THE COUNTACH ANNIVERSARY While he was working at Lamborghini, Horacio had started to develop his own projectual experiments in response to the work orders that the company usually assigned to famous Italian designers. Horacio had the secret hope that one day some of his ideas would be implemented for mass-production cars. This never happened, but Horacio eventually managed to attract the attention of the executives of the House of the Raging Bull, who entrusted him with the task of the Countach restyling. Horacio tried to build the central frame cell with composite materials, a solution that was deemed unviable at that time. As a matter of fact, the feasibility of this idea was never verified, as the project for the Countach Evoluzione was brought to a standstill and the only model that was built remained a prototype. Two years later, on the occasion of the company’s 25th anniversary, the restyling project for the Countach was resumed in order to comply with the new bumper regulations, amongst other things. Since it was not considered a new project, the work was entrusted to Horacio instead of the usual designers. This represented a tremendous opportunity for him. He put himself to work and immediately came up with several solutions for the new parts. Needless to say, the car was a huge commercial success.
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1987: sketches and prototype of the Countach Anniversary (known as Countach 25th).
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and enough longitudinal suspension compliance to prevent sharp bumps crashing through to the chassis. The secondary ride is just OK - much better than the Veyron’s, but it does start to fidget uncomfortably over some of the smaller bumps; I would love to try a Zonda F on 18 inch wheels. Road and wind noise are high, which would prove tiring on a long trip, though Horacio explains that this particular car has no soundproofing material. All to soon it’s over. Apart from the driving position, the drive to Goodwood and back was a very enjoyable experience and it was a great pleasure for me to have the
car’s creator sitting by my side - it also gave me a chance to brush up on my very rusty Italian! The Zonda F is a true supercar, well engineered and well-built enough to lift itself above all the other sports cars being produced by small companies. A very good powertrain, well-resolved dynamics and excellent, progressive brakes all add up to a great drive. Minimal luggage space, the seating position and the car’s overall size detract a little from its “real world” appeal, but the Zonda is still a very viable purchase, along with the Porsche Carrera GT, in the upper price-level “handmade” category of rear-engined supercars. The
sort of cars that will deliver something approaching the F1 experience. It wouldn’t be entirely fair to labour the Zonda v McLaren F1 comparisons at this point. The McLaren was a massively focussed technical motor car with many engineering firsts in terms of materials, packaging, suspension and aerodynamics - some of which have not been surpassed even today. But the F1 is no longer being built. The Pagani Zonda doesn’t break the same sort of new ground, but stands more as a handmade work of art from a small, passionate team of engineers. It delivers
not so much by concept but by performance. Time will tell if it will become a classic car, but already it is a car of which both its creator and its owners can be very proud. Gordon Murray EVO UK - February 2006
Roberto Morelli
4.5 Z 160
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The F version did not represent a simple restyle
ZONDA F
of the Zonda S, but a whole new car. The engine, still 7.3, was completely revised. Aerodynamics were redesigned on a mathematical base. Both the CZ and the CX were improved becoming the first Pagani to exceed 350 kilometres per hour. The front end was revised and elongated, and the front air intake became larger. The main headlights incorporated the indicators, while the fog lights took the shape of aggressive torpedoes. The rear boot adopted the windows already tested on the Roadster S; the spoiler, held in place by a slender metal rods, became once again a one-piece fixed wing, with a profile stud-
Engine: Max. Power: Max. Torque: Weight-to-Power ratio: Intake manifold*: Exhaust system*: Transmission: Clutch: Gearbox: Brakes: Carbon-ceramic brakes*: Steering: Wheels: Tyres: Suspensions:
ied in the wind tunnel. The NACA were multiplied, and were now present on all the wheelhouses, while various details of the interiors were revised as well as the instrumentation, which was redesigned and enriched with new instruments. Two versions were presented, of which the most powerful, called Clubsport, became the most popular. The car appeared more slender than the Zonda S, with flowing and more aggressive
Structure: Dimensions: Weight distribution: Downforce: Safety:
Performance*:
streamline, which soon caught the interest of the press and customers.
* = Clubsport version
Mercedes-Benz AMG 12 cylinder V 60°, 48 valves; displacement 7291 cc. (kW) hp/rpm: (443) 602/6150 - (478) 650/6200*. Nm/rpm 760/4000 - 780/4000*. 2,04 kg/hp - 1,89 kg/hp*. aluminium/avional hydroformed alloy MHG-System. hydroformed steel and inconel ceramic coated manifold, titanium muffler. longitudinal mid engine; rear wheel drive with self-locking differential. twin plate clutch. mechanical 6 speed (+ reverse). 4 ventilated Brembo disks, hydraulic power brake. front 380x34 mm 6 piston caliper; rear 355x32 mm 4 piston caliper. TRW rack and pinion power assisted. Forged aluminium/magnesium alloy APP wheels; 19” front, 20” rear. Michelin Pilot Sport 2: front 255/35/19; rear 335/30/20. 4 independent wheels with double A-arm; pull rod helical springs and Öhlins adjustable shock absorbers; anti-roll bar; aluminium/magnesium alloy suspension arms. central carbon fiber chassis; front and rear Cr Mo space frames; carbon fiber “MD System” bodywork panels. length 4435 mm; width 2055 mm; height 1141 mm; wheelbase 2730 mm; dry weight 1230 kg (without Comfort Pack and with CCM brakes). 46% front; 54% rear. ~600 kg at 300km/h (Clubsport version); downforce distribution: ~270 kg front; ~330 kg rear. ABS/Traction Control Bosch; central carbon fibre safety cell with steel and carbon fibre roll bar; front and rear impact energy absorbing structure in carbon fibre and Cr Mo. acceleration 0-100 km/h 3,6 sec.; 0-200 km/h 9,8 sec.; lateral g’s: 1,4 g with SPORT setting; deceleration 200-0 km/h: 4,4 sec.; top speed: > 345km/h.
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01-storia ENG:nuova bozza 21/07/10 18:23 Pagina 63
VALENTINO BALBONI Legendary test driver, Valentino Balboni, has been working with Lamborghini for 40 years. Together with the Toro automobiles, he clocked up more kilometres than anyone else in the world and he well and truly represents a historical memory of the golden age, when the cars were constructed with the use of muscle strength and hammer. Valentino, in the 80’s Horacio Pagani was employed by Lamborghini. What do you remember about that period? V.B. - I met Horacio when he was here with us, at Lamborghini. He set up the first composite department, and it was he who proposed to construct spare parts using innovative materials, as at that time things were done in the traditional way, beating the panels to give shape to the body work. He was also one of the biggest supporter of that famous experimental car, the Countach Evoluzione. He was very young, and yet he already had experience, that was crucial to mount the first pieces in carbon fibre on the Countach series, which he himself had manufactured. But he wanted to be a designer... V.B. - Oh yes! He always had in mind his stuff, his style, his drawings (laughs) and he was unstoppable. He was always delicate, sweet, calm, yet he constantly proposed his views on things we were working on. It was impossible to stop him. At that time, restructuring works were being done here in the factory and the employee parking lot was inaccessible. We had to park far away, near the church, and every morning our cars lined up side-by-side to one another, on a first-come first-serve basis. Everyone has his own habits, and so without any agreement whatsoever, a kind of hierarchy was created: Horacio and I almost always arrived together and ended up parking side by side. Furthermore, here in the factory, our departments were opposite each other, in an area of the building just facing the car park. So we used to do a long five minute walk together. Imagine the scene: I used to arrive at work at seven o’clock in the morning, freezing cold, half-asleep... and Horacio inevitably pulled out of his pocket a few drawings, a sketch or something he had worked on the preceding night, showing me and forcing me to comment on his ideas. Once he showed me a panel which was meant for the inside of the car door, another one was a bumper or an alteration to the side. I had to express my opinion and it was not possible to avoid answering because he did not let go of me! He always had in mind to study some new solution and draw it his own way. I used to tell him: “Well, stop it Horacio, leave me alone! At night just take care of your wife, rather than spending time making drawings!” We had a great friendship based on mutual respect, that is still ongoing today. He was always so full of energy that he ended up involving everyone. His attitude was positive and enthusiastic; he was capable of transforming people. Working with him was gratifying, and we were all dominated by the feeling of doing the right things, up to standard. What chances did he have to see his ideas applied?
V.B. - Initially Horacio did not have any designing responsibility. He did these things out of personal passion. Nobody had ever asked him to design anything, there were the official designers for this. He worked with instinct, and then tried to get his ideas across to the design centre. His irrepressible attitude, by dint of insisting, allowed him to play a decisive role not only in the construction of components, but also in defining the style concepts. In fact a large part of the Anniversary’s style was made by him. In short, there were two distinct phases: in the early days he was driven by pure desire, after some years his ideas became an integral part of the projects. What happened when Pagani began to speak about a composite department? V.B. - We were interested in working with innovative materials. Everyone started to speak about these fibres that could replace sheet metal. Horacio pushed a lot in this direction, but the management were rather conservative. They wanted to maintain a reduced production, in order to remain exclusive and follow the tradition. Nobody wanted to expand the company and complicate things by inserting stunning features, or daring innovations that required investments which were not felt as a real need. This was because, the company was getting on just fine thanks to the “holy” Countach, a thoroughly tested car, which had been easily sold for years and had also repaid the wrong-doings that some leaders had done. The company used to live off the annuity and used to think that it could go on forever. Horacio, however, opposed himself to this static approach. Gradually he inserted himself in style issues and in this way ended up suggesting things that could be only done with the composite. He wanted to go ahead and also be the centre of attention. When Alfieri received a substantial government grant to develop an innovative project, he grasped the opportunity. Obviously, Alfieri wanted to utilise only a small part of that capital to develop a composite machine; a large sum was spent to improve the existing factory. However, at least a prototype had to be built. In this way Horacio could demonstrate to the whole world that he was capable of building a car from scratch. There came a day when, surprisingly, he presented in front of our incredulous eyes the Evoluzione, a Countach which had a carbon cell instead of a tubular metal cell. It was an unpretentious project which did not aim to make it a production car: it should have been a sort of “expense account” in order to justify the public economical contribution. Eventually, the car was terminated and the final result was impressive. It was very light and aerodynamic, yet rigid and having values well beyond those we were accustomed to. After testing at Nardò, we could declare a top speed of more than 330 kmph, a remarkable fact for that period. All this attracted the attention of the worldwide press. In an moment, the little Lamborghini was once again on everyone’s lips. All this was unprecedented publicity which proved to be valuable for the sales of our cars. The Evoluzione was then sent to the crash test for homologation. The only specimen was destroyed during the crash test and after this nobody ever talked about launching its construction in series.
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Pagani says that you were the first to arrive and the last to go home in the evening. V.B. - This is true. My department was in front of his, separated only by a small passage way. I used to go and see what he was doing, just for personal curiosity, but I ended up learning myself. In those years at Lamborghini there was truly a feeling of being a great team, the distance between managers and workers was minimal. It was a joy to arrive at work in the morning and a sadness to go home in the evening. We have had the unique fortune of living in a golden age, when everything was handmade and the cars were done with a passion. We lived day by day. There was a conservative mentality and luckily someone had thought to manufacture a Miura and a Countach, which made us survive failures and vicissitudes of all kinds. Obviously, nowadays, we can no longer make cars in this way: they have to be perfect straight away, right from the first specimen. By inserting a chassis number into a computer, one can now see all the details in the construction sheet. We can now repair a Lambo that has broken down in Australia, but actually driving the Countach gives a completely different thrill.
Horacio still applies the old method. I have the fortune to know almost all the important people in the supercar field, and everyone speaks positively about Horacio’s work. He won everyone’s respect thanks to his character, his technical expertise, his experience and an unwavering determination. Ferruccio Lamborghini and Enzo Ferrari’s cultures are still alive in him. For an old romantic like myself, it is good to see that there is still someone who wants to do things in this way, although I understand that the world has changed and now the results are obtained through calculations not by instinct, I still miss it. Up until fifteen years ago a talented person could succeed alone in winning a challenge like this only if he had the guts and desire to be perseverant. The talent emerged. Nowadays we work in teams: the results are more perfect, but it ultimately lacks passion.
Car 64 - Roadster F - Year 2006 - No. ZA9C820C110SF76064 Exterior: fully visible carbon fibre - Interior: red leather - Drive: left hand Car 65 - Zonda F Coupé - Year 2006 - No. ZA9C820C10SF76065 Exterior: fully visible carbon fibre - Interior: black leather and Alcantara - Drive: right hand Car 66 - Zonda F Coupé - Year 2006 - No. ZA9C820C10SF76066 Exterior: chrome grey - Interior: matt / glossy red leather - Drive: right hand Car 67 - Zonda F Coupé - Year 2006 - No. ZA9C820C10SF76067 Exterior: New York pearl white - Interior: black leather - Drive: right hand Car 68 - Roadster F - Year 2006 - No. ZA9C820C110SF76068 Exterior: metallic black gold - Interior: black leather - Drive: left hand Car 69 - Zonda “1 of 1” - Year 2006 - No. ZA9C820C10SF76069 Exterior: Geneva yellow 2 - Inside: yellow leather and ostrich - Drive: left hand Car 70 - Roadster F - Year 2006 - No. ZA9C820C110F76070 Exterior: Singapore orange - Interior: black leather - Drive: right hand Car 71 - Zonda F Coupé - Year 2006 - No. ZA9C820C10SF76071 Exterior: New York pearl white - Interior: blue leather - Drive: left hand
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Car 82 - Roadster F - Year 2007 - No. ZA9C820C110F76082 External: two-tone fully visible carbon fibre and Saint Tropez orange - Interior: black and beige leather - Drive: left hand Car 83 - Zonda F Coupé - Year 2007 - No. ZA9C820C10SF76083 Exterior: fully visible carbon fibre - Interior: black leather - Drive: left hand The first Zonda painted with an opaque transparent.
Car 84 - Zonda PT2 F - Year 2007 - No. ZA9C820C10SF76084 Exterior: Dubai red and fully visible carbon fibre - Interior: cream leather - Drive: right hand Car 85 - Zonda F Coupé - Year 2007 - No. ZA9C820C10SF76085 Exterior: Gorizia white - Interior: black bull leather - Drive: left hand Car 86 - Zonda F Coupé - Year 2007 - No. ZA9C820C10SF76086 Exterior: black and fully visible carbon fibre - Interior: black leather - Drive: right hand Car 87 - Roadster F - Year 2007 - No. ZA9C820C110F76087 Exterior: fully visible carbon fibre - Interior: black leather - Drive: right hand Car 88 - Zonda F Coupé - Year 2007 - No. ZA9C820C10SF76088 Exterior: New York pearl white and fully visible carbon fibre - Interior: red and cream leather - Drive: right hand
Car 72 - Zonda F Coupé - Year 2006 - No. ZA9C820C10SF76072 Exterior: New York pearl white - Interior: black leather - Drive: left hand
Car 89 - Roadster F - Year 2007 - No. ZA9C820C110F76089 External: two-tone blue / fully visible carbon fibre - Interior: blue and beige leather Drive: right hand
Car 73 - Zonda F Roadster - Year 2007 - No. ZA9C820C110F76073 Exterior: fully visible carbon fibre - Interior: matt red leather - Drive: left hand
Car 90 - Zonda F Coupé - Year 2008 - No. ZA9C820C10SF76090 Exterior: fully visible carbon fibre - Interior: black leather - Drive: left hand
Car 74 - Zonda F Roadster - Year 2007 - No. ZA9C820C110F76074 Exterior: fully visible carbon fibre - Interior: matt red leather - Drive: right hand
Car 91 - Zonda PT1 F - Year 2007 - No. ZA9C820C10SF76091 Exterior: St.Tropez orange / fully visible carbon fibre - Interior: black bull leather - Drive: left hand
Car 75 - Zonda F Coupé - Year 2006 - No. ZA9C820C10SF76075 Exterior: midnight blue - Interior: black bull leather - Drive: left hand
Car 92 - Zonda F Coupé - Year 2008 - No. ZA9C820C10SF76092 Exterior: New York pearl white and fully visible carbon fibre - Interior: matt red leather Drive: left hand
Car 76 - Zonda F Coupé - Year 2007 - No. ZA9C820C10SF76076 Exterior: chrome grey - Interior: matt red leather - Drive: right hand Car 77 - Roadster F - Year 2007 - No. ZA9C820C110F76077 Exterior: fully visible carbon fibre - Interior: yellow leather and ostrich - Drive: left hand
Car 93 - Zonda PT3 F - Year 2008 - No. ZA9C820C10SF76093 Exterior: chrome grey - Interior: matt / glossy red leather - Drive: left hand Car 94 - Zonda F Coupé - Year 2007 - No. ZA9C820C10SF76094 Exterior: fully visible carbon fibre - Interior: red leather - Drive: left hand
Car 78 - Roadster F - Year 2007 - No. ZA9C820C110F76078 Exterior: fully visible carbon fibre - Interior: matt red leather - Drive: left hand
Car 95 - Roadster F - Year 2009 - No. ZA9C820C110F76095 Exterior: fully visible carbon fibre - Interior: black leather - Drive: left hand
Car 79 - Zonda F Coupé - Year 2007 - No. ZA9C820C10SF76079 Exterior: Dubai red - Interior: anthracite leather - Drive: left hand
Car 96 - Roadster F - Year 2008 - No. ZA9C820C110F76096 Exterior: fully visible carbon fibre - Interior: black bull leather with red leather details Drive: left hand
Car 80 - Roadster F - Year 2006 - No. ZA9C820C110F76080 Exterior: fully visible carbon fibre - Interior: matt red leather - Drive: left hand Car 81 - Roadster F - Year 2007 - No. ZA9C820C110F76081 External: two-tone black fully visible carbon fibre - Interior: black leather and Alcantara Drive: left hand
Car 97 - Roadster F - Year 2008 - No. ZA9C820C110F76097 Exterior: fully visible carbon fibre - Interior: black leather - Drive: left hand Car 98 - Roadster F - Year 2008 - No. ZA9C820C110F76098 Exterior: fully visible carbon fibre and metallic blue - Interior: white ice leather - Drive: left hand
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