Lamborghini Club America - Desk Diary

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Away Spa at W Hotel

Mexico City, Mexico

Balboa Bay Club & Resort

Newport Beach, CA

Borgo la Bagnaia

Siena, Tuscany, Italy

Bunya CitiSpa

New York, NY

Deerhurst Resort

Muskoka, Ontario, Canada

Equilibrium Massage & Fitness

Center at the Ritz-Carlton

San Francisco, CA

Escape Hotel & Spa

St. James, Barbados W.I.

Feline Day Spa

New York, NY

Hawks Cay Resort Florida Keys

Hilton Hotels

Sanya & Shanghai - China

Ivy Spa Club

Minneapolis, MN

L’Auberge Del Mar Resort & Spa

Del Mar, CA

Lafayette Park Hotel & Spa

Lafayette, CA

Lausanne Palace & Spa

Lausanne, Switzerland

Le Grand Hotel Des Thermes

Saint-Malo, France

Le Merigot Hotel & Spa

Santa Monica, CA

Living Waters European Spa

Pembroke Pines, FL

Loews Fitness Center & Spa

Santa Monica, CA

Mayan Palace

Riviera Maya, Mexico

Monart Destination Spa

County Wexford, Ireland

One&Only Kanuhura

Lhaviyani Atoll, The Maldives

Palazzo Sasso

Ravello, Amalfi Coast, Italy

Palazzo Versace

Gold Coast, Queensland, Australia

Pevonia Concept Spa

Shanghai, China

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Spa Bellagio

Las Vegas, NV

Spa Equilibrium at Hotel Monaco

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Ferentino, Italy

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Ft. Lauderdale, FL

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Scottsdale, AZ

The Dome Retreat

Brisbane, Australia

The Heritage Golf & Spa Resort County Laois, Ireland

The Pier House Resort

Key West, FL

Thermae Bath Spa

Bath, England

The Renaissance Aruba Beach Resort & Casino

Oranjestad, Aruba

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LAMBORGHINI CLUB AMERICA

Desk Diary 2009

The 350 GTV 42

By Winston Goodfellow

400 GT 2+2 Production Prototype 50

By Winston Goodfellow

The Legendary Balboni 60

By Andrew Romanowski

Lamborghini at the 2008

Pebble Beach Concours d’Elegance 66

By Winston Goodfellow

Suit Yourself Italian Style 78

By Kirsten Ott

Italian Ingenuity 84

Italian designs have been at the forefront of furniture-making for more than half a century

By Tara N. Wilfong

Club America Executive Board

EDITORIAL

Editorial Director

Charles Oldham charles.oldham@faircount.com

Project Editor

Ana E. Lopez

Feature Writers

Winston Goodfellow

Pamela Hincka

Kirsten Ott

Andrew Romanowski

Eric Tegler

Trefor Thomas

Tara N. Wilfong

Editor Rhonda Carpenter

Assistant Editors

Iwalani Kahikina

Michael J. Tully

ART

Art Director/Project Designer

Robin K. McDowall

Design and Production

Rebecca Laborde

Daniel Mrgan

Lorena Noya

Kenia Y. Perez

Production Assistant

Lindsey Brooks

Contributing Photographer

Winston Goodfellow

Assistant to the Publisher

Alexis Vars Club Membership or Inquires

Phone: 925-253-9399 Or Visit: www.lamborghiniclubamerica.com

PUBLISHING AND MARKETING

PUBLISHERS

Ross W. Jobson and Peter M. Antell

Chief Operating Officer

Lawrence W. Roberts lawrence.roberts@faircount.com

Assistant General Manager Robin Jobson robin.jobson@faircount.com

Senior Account Executive James Hurst

Advertising Account Executives

Joe Gonzalez

Steve Morando

Business Development and Project Support

Edward J. Matthews ted.matthews@faircount.com

Controller

Robert John Thorne robert.thorne@faircount.com

Director of Information Services

John Madden john.madden@faircount.com

IT Assistant

Anson Alexander

Administrative Assistants

Gabrielle Rams, Aisha Shazer

HEADQUARTERS

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Tel: (813) 639-1900

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5 Ella Mews, Hampstead London NW3 2NH UK

Tel: +44 (0) 20-7428-7000

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Lvl. 21, Tower 2, 101 Grafton Street

Bondi Junction, NSW 2000, Australia

Tel: +61 (0)2 8063-4800

Fax: +61 (0)2 8580-5047

LAMBORGHINI 2008: A Year in Review

Written by Pamela Hincka

Automobili Lamborghini S.p.A., a company with a full, rich history, is making new records and still shining brightly – 45 years later. Founded in 1963 by businessman Ferruccio Lamborghini, the company has seen many changes since its inception. The House of the raging Bull in Sant’Agata Bolognese has proven it has what it takes to remain current in an ever-changing world of super cars. one of the biggest – and quite possibly one of the best – changes the company has undergone was the purchase by German auto manufacturer Audi AG (a subsidiary of the Volkswagen Group) in 1998.

Under Audi ownership, Lamborghini has reached several new sales records worldwide. Most recently, the 2008 Detroit Auto Show served as the venue when Automobili Lamborghini announced its official sales figures for 2007 – the sixth consecutive record-selling year for the brand. The company built and sold 2,406 cars in 2007, more than in any year previously; the output was a 15 percent increase from 2006 (2,087 cars built and sold). The majority of those cars were sold throughout North America: 930 cars were delivered to the United States and 71 to Canada. North America has consistently achieved the position as global market leader for the brand.

Sales records continued in Europe, where vehicles sold increased to 959 units – a growth of more than 22 percent. Specifically strong sales were reported for Great Britain, with an increase of nearly 40 percent, totaling 211 cars in 2008. Similarly, strong sales were also reported in the automaker’s home market, Italy, where 134 vehicles were sold – a growth of 38 percent. Positive sales trends have also been registered in Asia-Pacific, Japan, the Middle East, and the Far East, with growth of more than 18 percent.

Increased sales have been linked directly to the increased brand awareness and brand image – something Audi has pushed since its purchase of Automobili Lamborghini S.p.A. As a way to increase brand awareness and image, several programs were created by the company as a way to reach owners and prospective owners. Such programs include the Ad Personam Personalization Program and the increased dealer network. New model lines and cameos in Hollywood films have also added to the visibility of the super car brand.

In addition to reaching new customers through newly added programs, Automobili Lamborghini’s success in reaching the returning customer has been consistent; it has been made possible by a focus on creating cars with an incomparable blend of fascinating design, supreme driving dynamics, technological capability, sophisticated workmanship, and extremely high level of quality.

AD PErSoNAM PErSoNALIzATIoN ProGrAM

The Ad Personam Personalization Program, initiated in 2007 and officially launched at the 2008 Detroit Auto Show, is a way for owners to personalize their Lamborghinis. The program was created from the concept of “think of the impossible”: It offers Lamborghini customers the ability to create their own “original” perfectly tailor-made super sports car. The Ad Personam program includes a number of features that can be personalized: exterior paint color and interior options such as upholstery, seat color, steering wheel and center console coverings, and fabric stitching.

At the Detroit Auto Show in January 2008, Automobili Lamborghini presented three examples of vehicle personalization, drawing inspiration from some of the most glamorous trends in the world of fashion. A Gallardo Spyder in matte brown paint, Marrone Apus, was produced after the reventón (the very first Lamborghini offered with a matte finish) hit the market with hugely successful sales figures; the matte exterior paint option is now available on all standard vehicles. Also joining the Ad Personam program was a new shade of light blue, Blu Cepheus, shown on the exteriors for a Murciélago LP640 Coupé and roadster at the Detroit show.

Interior options in the Ad Personam program include the leather option; untreated Italian leather, loyal to the prestigious tanning tradition of Tuscany, Italy, is now available. Inspired by the natural leather found on horse saddles, the leather will naturally change color over time – confirming the natural state and complete absence of treatments. Such options have been widely praised as Lamborghini’s ability to remain current in a world of changing personality and style. Stephan Winkelmann, president and CEo of Automobili Lamborghini, confirms: “Many of our customers take advantage of this program as a tool for owning an even more exclusive Lamborghini.”

DEALEr AND MoDEL ADDITIoNS

reaching the ever-growing customer base has always been a factor for success for any product on the market, and Lamborghini has capitalized on that by increasing the dealer network from 65 to 116 dealers worldwide, 34 of which are in North America. With the increased number of dealerships, the brand is more recognizable and reachable to owners on a global scale. Dealers offer both new and used sales, as well as certified maintenance support. Additionally, promotional events are often organized to bring owners and prospective owners together – another strategic plan for the brand.

In 2007-2008, the Lamborghini product line was also expanded with new models.

The 2009 Gallardo LP560-4: With the world debut at the Geneva Motor Show in April 2007, it arrived at all North American

Photos courtesy of Automobili Lamborghini S.p.A.

dealerships in late summer 2008. As the next generation to Lamborghini’s most successful model of all time, the all-new 560-horsepower LP560-4 replaces the previous Gallardo model, which sold more than 7,000 units. The new Gallardo features a powerful new engine, permanent fourwheel-drive transmission, and new suspension while delivering clearly enhanced performance and driving dynamics.

Catching onto the latest trend of all car manufacturers and consumers, Lamborghini goes green with the LP560-4’s improved fuel economy. While nobody would truly consider the vehicle green in any meaningful way, Lamborghini did manage to improve the fuel economy of the machine from only 14 mpg to 17 mpg. Additionally, the carbon emissions of the vehicle improved by 18 percent, although the 325 grams of carbon dioxide that it emits now can hardly be classified as low.

reventón: Debuted in 2007, it was delivered to 20 very fortunate Lamborghini customers in 2008. With just 20 produced, the Lamborghini reventón, with a price tag of €1 million, is a symbol of extreme exclusivity, yet still offers extraordinary performance. Designed entirely in Sant’Agata Bolognese, the original birthplace of the Lamborghini, the reventón is the perfect synthesis between the exclusivity and appeal of a limited-edition design masterpiece and the dynamism and drivability of a standard sports car.

The Lamborghini Blancpain Super Trofeo: The world’s fastest one-make series. The series will debut in May 2009 and will feature Lamborghini’s Super Trofeo: a lightweight version of the Gallardo LP560-4 super sports car launched earlier this year. The Super Trofeo will come with a reworked chassis, significantly reduced weight of only 1,300 kilograms, and power output of 419 kW (570 horespower) from its V10, “Iniezione Diretta Stratificata” engine. Lamborghini has a clear objective to ensure the Super Trofeo is the fastest one-make series in the world.

Estoque at the Paris Auto Show: The Lamborghini Es toque highlights all the innovation, creativity, and design flair of the Lamborghini brand currently represented by the enormous success enjoyed by Lamborghini’s Gallardo and Murciélago super sports cars. The Lamborghini Estoque, as a concept, represents one of several possibilities for a third model series within the Lamborghini product lineup. At this point in time, no decisions have been made in respect to either a third model series or of the Estoque concept in particular. of course, as a true Lamborghini, it goes

opposite page: The Ad Personam Personalization Program allows owners to customize certain aspects of their Lamborghinis. This page, clockwise from top left: The Gallardo LP560-4; the Gallardo LP560-4 Super Trofeo Series; the Lamborghini Estoque; and the Lamborghini Gallardo LP560-4 Polizia.

without saying that the Estoque also bears a suitably powerful name with a rich heritage from the Spanish Corrida – bullfighting.

Lamborghini Police Car: replacing the previous Gallardo used by the Italian police force since 2004, the new Gallardo LP560-4 Polizia has a 560-horsepower engine that can reach speeds of up to 203 mph. The car will begin service with the Lazio Highway Police Department in order to continue accident and crime prevention to sustain security on the Italian roads. In addition to the highly effective deterrent offered by the presence and visibility of a Lamborghini on the highway, the technological equipment on board these vehicles – the automatic recognition of number plate tracking and real-time transmission of images to the control rooms – makes them extremely effective in the control of unsafe behavior on the roads (high speeds, driving in the emergency lane, dangerous over-taking).

L AMBorGHINI IN HoLLyWooD

Various models of Lamborghinis have made their mark with guest appearances in well-known Hollywood films – and the general public is rapidly warming to the idea of Lamborghini ownership. The Lamborghini Murciélago LP640 Coupé appeared as Bruce Wayne’s daily driver, co-starring with

the Batmobile, in The Dark Knight in 2008. Lamborghini’s first appearance in the Batman series was a Murciélago roadster in Batman Begins

In addition to the Batman series, Lamborghinis have also been seen in movies such as Transporter II and Mission Impossible III, and the list just continues to grow!

NEW LoGISTICS CENTEr

Automobili Lamborghini officially opened the doors of its new logistics center at the Sant’Agata Bolognese manufacturing and office facility in 2008. Situated within the business zone, it replaces the existing center located about 20 kilometers away and will house all storage and distribution for all of the company’s main markets. The center will play a highly important role in the sustained development of Automobili Lamborghini’s infrastructure.

The new facility will be used both as a warehouse for car production, components, and spare parts, as well as for Lamborghini’s merchandise range. Because of the height of the building and the innovative warehousing structures, storage capacity has doubled, ensuring the accommodation of future business growth.

In addition to the increased storage capacity, the center has served as a point that enhances logistics activities: The new warehouse’s direct link to the Lamborghini plant reduces the negative impact of heavy goods traffic between Anzola and Sant’Agata. It has been estimated that the project will reduce emissions by more than 75 kilograms per year and nitrogen oxide by more than 750 kilograms.

The decision to remain close to the town in Emilia romagna, where Lamborghini was founded in 1963, is a perfect example of Lamborghini’s commitment to develop within the region, in cooperation with the local authorities and community.

HE L AMBorGHINI DESIGN CENTEr

Complementing the manufacturing center, the design center is truly a studio for creative experts, designers, and model makers. Within the center, the culture and the spirit of the Lamborghini brand are combined with the power of innovation. Being quite possibly the best tradition of Italian vehicle design, the Centro Stile Lamborghini is leading the way with the latest techniques to bolster success of the Lamborghini brand, which is ultimately dependent upon the new styling and offerings for its vehicles.

The comfortably proportioned design studio is equipped with two full-size surface tables and their associated tooling and measuring equipment, while further areas accommodate the latest technologies; computer workstations for the creative experts and a workshop for the model makers. The Centro Stile is directly connected to the Ufficio Tecnico; the direct link to Lamborghini’s development department ensures the rapid realization of ideas. Speed is a key aspect for Lamborghini, for both its cars and its working processes; the reventón was created in the record time of less than one year!

PEBBLE BEACH CoNCoUrS D’ELEGANCE

For several years, Lamborghini has had a notable presence at the Pebble Beach Concours d’Elegance. The 2008 show, however, was one for the history books: Automobili Lamborghini S.p.A. was showcased as the featured marque, celebrating its 45th anniversary in the same year. The most exclusive Lamborghini models were on display at the prestigious event, including the newly launched Gallardo LP560-4 and the reventón.

In addition to the new models, several historic Lamborghinis were also on hand throughout the concours: the famous P140 Prototype, the second Miura ever produced (thought to be the oldest one in existence), the one-of-one Miura roadster, the first-ever produced 350 GT, the iconic LP400 Countach, and several more.

Being afforded the opportunity to spotlight so many models throughout the history of Lamborghini, as well as taking a larger part in a world-renowned event as the featured marque at the Pebble Beach Concours d’Elegance, speaks volumes for the Lamborghini brand; showcasing several models among the world’s most passionate enthusiasts is truly a compliment.

Automobili Lamborghini S.p.A. has made tremendous steps toward increasing customer relationships, brand awareness, and brand image while ensuring no sacrifices in terms of quality, and continued sales records will only highlight the brand’s overall success for years to come.

The Centro Stile Lamborghini - truly a studio for the creation of Lamborghinis.

IPBSPartakracIngStaySthecourSeatLeManS

Writtenbyerictegler

QUIttINGIsBULL QUIttING Is BULL

“We Would never ever give up,” Hans reiter says. He means it. l ast June a defective differential, a race accident, a cracked cHassis, and more tHan 30 sleepless Hours couldn’t force Him to give up. ipB spartak racing/reiter engineering is l amBorgHini’s factory gt team and in tHe eyes of its principal, quitting is Bull.

While Ferruccio Lamborghini may have had a no-racing policy, the very foundation of his company stems from his propensity to see challenges through. So it was inevitable that Lamborghini’s charging bull eventually showed its horns in racing. After a number of aborted forays in the ’70s and ’80s, the company launched a serious sports car racing effort in the mid-1990s that eventually led it to Reiter Engineering.

Reiter began his racing career behind the wheel, earning first place in the 1990 Italian Touring Car Championship and taking second in the German DTM Championship the following year. He continued racing thereafter, but increasingly put his talents to use as an engineer, working in a variety of touring car and sports car series with teams like Schnitzer Motorsport and manufacturers including Mercedes, BMW, Opel, and Spyker.

Hans formed Reiter Engineering in 1994. The company gained experience providing support for teams in DTM, FIA GT, and other sports/touring car series, as well as at Le Mans. Reiter fielded his own team starting in 2000 with backing from Lamborghini. Reiter Engineering built and developed a Diablo GT, which it campaigned in the FIA GT championship (GT2 class). At the end of 2003, the Diablo GT was replaced by the Reiterbuilt Murciélago R-GT, which Reiter developed for FIA GT1 and Le Mans competition.

All photos Team Spartak-Racing ©Philippe Montigny

WHy race a murciélago? “purely for passion,” reiter says. “ We Just love tHese cars and … it Was alWays clear to me tHat We Would Build a race car Based on a lamBo.”

ngineering went forward with the construction of a new ’08 with a 520 horsepower V12 and a revised aerodynamic package

2008, the Murciélago r -gt nearly won the FIa gt race at Spa, disappointing but promising for the car’s run at Le Mans, the jewel of sports car racing. over the last decade, gt racing has been dominated by chevrolet, Ferrari, Porsche, and aston Martin, but such dominance hasn’t fazed reiter, whose deep regard for Lamborghini is evident in his response to the question – why race a Murciélago?

“Purely for passion,” he says. “We just love these cars and as my education is race engineering, it was always clear to me that we would build a race car based on a Lambo.”

reiter’s 2008 campaign was aided immeasurably by landing russian-based Interprogress Bank and Moscow’s Spartak Ice hockey club as joint sponsors. With

In the spring, the team undertook a thorough test of the new car at the Salzburgring in austria, making long endurance runs in which it actually covered twice the estimated distance of the 24-hour race. on board for testing and for Le Mans was renowned sports car and Le Mans winner Peter kox, who has driven for reiter since the Lamborghini program began in 2000. With factory drives for Ferrari and aston Martin with the Prodrive team under his belt, the Dutchman brings speed and development experience to IPB Spartak racing. reiter describes him as “a real Lamborghini enthusiast” whose participation has helped the team progress. kox was joined for selected races prior to Le Mans by russian driver roman rusinov and by his friend, countryman, and fellow sports car veteran Mike hezemans. the trio would take on Le Mans together for IPB Spartak. the team’s

sometimes – in fact usually – le mans treats racers rougHly. it is a supreme test of man and macHine, and 20 of tHe 54 cars entered did not finisH.

Murciélago r-gt would take the grid at La Sarthe with 54 other competitors, including nine strong teams in its LM gt1 class. these included two-car factory corvette and aston Martin DBr9 teams as well as privateer corvette, aston Martin, and Saleen S7r efforts.

During their preview of the race, radio Le Mans’ John hindhaugh and graham tyler cited the Lambo’s promising performance at Spa and noted its status as a crowd favorite. In qualifying, hezemans posted a 3:52.175 lap, good enough for sixth in class and 38th overall on the starting grid. During the day between final practice and the race, IPB Spartak, like other teams, tore down the Murciélago r-gt, completely renewing the drivetrain (engine, gearbox, differential, drive shafts, suspension, etc.) for the 24 hours.

When the green flag fell at precisely 3 p.m. on Saturday, June 14, kox charged down the home straight on the outside of the no. 007 aston Martin racing DBr9 of karl Wendlinger and settled in for the first stint of the race. on lap 4 he ran a 3:55.713, about 2.5 seconds off the lap time of th gt1 leader, Jan Magnussen’s corvette, but a good pace nonetheless. Just four laps later, IPB Spartak racing suffered a major blow.

“We lost the rear differential,” reiter says flatly. the no. 55 Murciélago r-gt made it back to the pits, but its crew faced a serious challenge.

“In the Le Mans rules it is forbidden to replace the engine, gearbox, and differential once the race has s tarted,” reiter explains, “so we were forced to strip the diff and repair it.”

that the IPB Spartak team was able to do so in a little over two hours is testament to their skill and dedication. the team later found that the fresh differential they had put in for the race had passed through their supplier’s quality control without an installation error being detected. the flaw caused the diff to fail after just 32 minutes of racing. By the end of hour one, the overall-race-leading Peugeot had completed 19 laps, and the gt1 leader was on lap 16. With just eight laps under its belt, IPB’s Lamboghini languished in 54th place – next to last.

halfway through the third hour, the team’s Lamborghini retook the track 37 laps down on the race-leading audi r10 tDI and 32 laps down to the gt1-leading aston Martin DBr9. the race for the gt1 class was a classic one, with gM’s corvettes and aston Martin’s DBr9s trading the lead

le mans Had taken its toll again, as it usually does.

regularly. With its rebuilt diff, the Murciélago r-gt could post decent lap times, but was not capable of running with the leaders.

“our race speed was ok,” reiter acknowledges, “until one of our drivers crashed the car heavily during the night. the chassis on the left rear was cracked after the crash and we had to weld and reinforce the chassis in the damaged areas.”

Le Mans had taken its toll again, as it usually does. kox was at the wheel when the accident occurred shortly after 11 p.m. the Lamborghini remained in the garage for one hour and 23 minutes while the crew worked on the chassis and replaced the left rear half-shaft after the heavy shunt. When IPB Spartak’s r -gt left the pit lane again with hezemans in the driver’s seat, it was in 45th place overall, 56 laps behind the gt1 leader.

Seven cars had already retired, but IPB Spartak racing/reiter engineering soldiered on. through the darkness, kox, rusinov, and hezemans kept circulating. hezemans briefly went off into the gravel at 5:30 a.m., by which time the 8-plus-mile track had been thoroughly soaked by rain. the other drivers would have their moments with the damaged and poorly handling Murciélago too, cutting the chicane on the Mulsanne Straight later in the morning and tangling with overall leader tom kristensen in the audi near the end of the race.

By noon, the battered Lamborghini had completed 217 laps, some 101 fewer than the leading audi. But the team refused to stop, despite knowing they wouldn’t likely make the minimum distance required for classification. at about 2:25 p.m., reiter radioed rusinov to bring the car in. It sat in the garage until the white flag lap, but it saw the checkers at 3 p.m., its team exhausted but not broken.

Sometimes – in fact usually – Le Mans treats racers roughly. It is a supreme test of man and machine, and 20 of the 54 cars entered did not finish. the no. 009 aston Martin of David Brabham, Darren turner, and antonio garcia won the gt1 class, taking the victory for aston Martin for the second year running. IPB Spartak finished (unofficially) 34th.

the team left Le Mans, returning to reiter engineering’s base in kirchanschöring, germany, and setting its sights on the remainder of the 2008 FIa gt/Le Mans endurance Series season. though an official works team, IPB Spartak can’t match the funding of its top competitors. Despite this, the hard-working team notched up one pole position, two second places, and three third-place finishes over the rest of the season, and ended up third in the Le Mans endurance (1,000 km) Series.

Lamborghini’s racing heritage is just over a decade old. Still, you can draw a line between the marque’s entry into racing and its increased success in the marketplace, a link which should encourage Lamborghini to remain in international competition for years to come.

hans reiter and IPB Spartak racing plan to take on Le Mans again in 2009 with the same driver lineup and a revised Murciélago r-gt the race won’t be any less challenging, but for the Lamborghini factory team, quitting is bull.

THE FIGHTING BULL

Born on April 28, 1916, Ferruccio

l AmBorghini’s ZodiAc sign is TAurus. When iT c Ame Time For him T o Find A cres T For AuT omoBili

lAmBorghini, he chose A chArging

Bull, And he used ThAT cres T For All his o Ther Businesses – lAmBorghini BrucciAT ore, lAmBorghini oleodyn Amic A , TrATT ori lAmBorghini, And lAmBorghini Wine – As Well.

Written by Trefor Thomas

Don Eduardo Miura was a very close friend of Lamborghini, and amongst other things bred fighting bulls in Lora del Rio, near Seville in southern Spain.

Fighting bulls can trace their origins to wild bulls from the Iberian Peninsula, where their use as game cattle was noticed by the Roman Empire, which chose to use bulls for Colosseum games. The breed retained the aggressiveness of its ancestors through selective breeding, and bullfighting became popular among the people of Spain, France, and Portugal.

Today, fighting bulls come from five main breeds: Cabrera, Navarra, Vasque-a, Vistahermosa, and Gallardo. Ninety percent of the

fighting bull breeds today are derived from the Vistahermosa breed, with some exceptions. The Miura breed comes from the Navarra line, which is the only breeding stock that has maintained a pure bloodline. Another exception is the breeding stock “Partido de Resina,” formerly called “Pablo Romero,” which emanated from the Gallardo race.

The Gallardo breed was created in the 18th century. Named after Francisco Gallardo and his brothers, who were cattle breeders in Santa Maria near Cadiz, the bulls soon gained an excellent reputation in the most important “plaza de toros.” It has been established that their origins are even older and can be attributed

to the Cartujos brothers of Jerez, also near Cadiz, who bred bulls from a collection of “diezmos,” which was a tax of one calf out of every 10 born that farmers had to pay to the Catholic church. Bernardo de Quiros, a Navarro priest who also had a farm in Rota, near Cadiz, bought cows and calves from the Dominican brothers. The Gallardo brothers subsequently bought a large part of the breeding stock from de Quiros.

Francisco Gallardo bred bulls selectively and created the Gallardo characteristics of a good-looking face and a heavy build. The majority of the bulls were either black or grey. They were very courageous and maintained their strength right to the end, which bullfighting fans loved.

Following Gallardo’s death, his heirs sold the breeding stock in three lots. One of those lots eventually ended up with Juan Miura, great-grandfather of the current owner of the Miura ranch.

In the late afternoon of October 5, 1879, after a fierce fight in the arena at Córdoba, a bull named Murciélago from Joaquin del Val di Navarra’s farm, had his life spared by the famous matador Rafael Molina “El Lagartijo.” Murciélago went after the picadores 24 times, with a rare courage. For this display Murciélago was spared the usual fate of death in the arena. In Spanish it is referred to as an “indulto,” a pardon or a reprieve. This was a very rare occurrence in bullfighting, and an honor accorded only to those bulls that have shown exceptional courage and spirit in the arena. Murciélago was indeed such a bull.

Murciélago was subsequently given as a gift from El Lagartijo to Don Antonio Miura, who mated him with 70 cows. His formidable line, now called the Miura line, exists to this day, and is famous for its ferocity and courage. Murciélago is the bull whose image is on the Lamborghini shield.

The bull has always been a symbol of power, aggression, and courage: characteristics that are shared by all cars of the Lamborghini marque. In depictions of bullfights, bull and matador together form an emblematic unit, an antithetic combination of brute force and elegance.

For the 20th anniversary of Lamborghini, Ferruccio Lamborghini granted an interview to Automobiles Classiques and related in his own words the story of the golden age of the car that bears his name and his personal favorite model: THE MIuRA

“I’ve often been asked why I named the car Miura. To answer that question, I have to go back to the birth of the company. In 1962, I visited Eduardo Miura’s ranch in Seville where he raised bulls for bullfighting, and I was so impressed that by the time I got home I had already selected my future emblem. The fact also that I was born under the sign of Taurus sort of ratified my decision.”

THE TREND HAD STARTED

The Miura bulls were sometimes called “The Bulls of Death,” because they had been responsible for the deaths of many of Spain’s great matadors.

Photo by Brad Augsburger

Tourbillon

The Lamborghini Islero was named after the Miura bull that killed famed matador Manolete (real name Manuel Laureano Rodríguez Sánchez) on August 28, 1947. Islero, the second bull that Manolete fought that day, and the 1,004th of his career, was small and black and had one small defect: It had very bad eyesight and tended to chop with its right horn. Manolete’s manager begged him to finish this bull off quickly. In the final act, Manolete slowly, deliberately, pushed the sword deep up to its hilt, and Islero jerked his right horn up into the matador’s groin, cutting his femoral artery. As the banderilleros carried the dying hero to the infirmary, the stunned crowd rose to applaud. Shortly afterward, Miura bulls were banned from the arena, as they were considered too ferocious. If ever you’ve driven an early Lamborghini Miura, you’ll understand why I’ve always felt that Miura was a most appropriate name.

Espada means “sword,” the weapon of the matador. It is also used colloquially for the matadors themselves, as they are the swordsmen that can be seen on old bullfight posters. The Lamborghini Jarama name had an interesting double meaning: Jarama is an area renowned both for bullfighting and for its motor racing circuit.

The names Jalpa and Marzal are two other breeds of fighting bulls. Uracco is a breed of small fighting bulls that are usually fought by novices gaining experience. I’ve heard mention that Islero weighed only 495 kilograms, unlike most other Miura, which weighed between 600 and 800 kilograms, and Islero would probably therefore be considered a Urraco.

Bravo is the chant you’ll hear from the crowd at any bullfight.

It is not known if the Countach, a verbal equivalent in Italian to a wolf whistle, the last car to be developed under Lamborghini’s ownership, was intended to break this tradition, as the name has no basis in bullfighting.

WhAT’S In A nAME?

Other Lamborghini model names have been inspired by animals, people, places, and things other than bullfighting:

• A Raptor is a bird of prey often characterized by a hooked beak, sharp talons, and keen eyesight.

PICTURE OF SPAnISh BULLFIghTER AUREAnO ROdRígUEz SánChEz, OWn AS MAnOLETE. MAnOLETE dIEd BULLRIng AUgUST 28, 1947, FOLLOWIng n ThE RIghT UPPER LEg By

ThE MIURA .

is part of the name of a small village on the Mediterranean coast of Spain.

, a name taken from an ancient Egyptian sun god, something like “hymn to the Sun,” quite an appropriate name as the car had no top.

• Silhouette was the name of a class of Sports Racing cars in the ’70s. When BMW announced its intention of building a supercar, it asked the then-struggling Lamborghini for a proposal. The Silhouette was that proposal. BMW had stated that they were going to use a dozen or so cars for a sports racing series, so someone chose the name Silhouette, as it had a racing connotation. As it turned out, BMW designed its own M1 and Lamborghini assembled the first 12 or so that were used for the

Following on from the Cheetah, designed as a military utility vehicle, the first Lamborghini SUV was known as the LM02. The front-engined version was dubbed the LMA – Lamborghini Motore Anteriori, literally “Lamborghini engine up front.” The Mimrans claimed it was Lamborghini Mimran Anteriori, but not many people went for it, so the production version became the LM02. Incidentally, the LM03 was to have been a diesel-powed vehicle utilizing the 150 BhP turbo diesel used by BMW in the 528e, but it was never built. The LM04 used the 7-liter is a town in northern Italy best known for the Autodrome or Racetrack of the same name.

• Flying Star was used initially as the name for a body designed and built by Touring on an Isotta-Fraschini chassis, and

The Wempe Chronometerwerke

Glashuette i/SA - Tourbillon

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The world’s only officially certified Chronometer Tourbillon, handcrafted in Glashuette, the German center for fine watchmaking. Tested in accordance with the DIN standard, with twin-barrel movement, 40 hour power reserve in platinum. Limited to 25 pieces worldwide.

several others in different dimensions were used on a series of Alfa Romeos. Flying Star II was the name given to a one-off body built by Touring on a 400 GT chassis.

• Faena is a bullfighting term, referring to a series of passes at the bull immediately before the kill. It is used colloquially to refer to the matador’s skill.

• Marco Polo was a Venetian explorer and trader.

• Portofino is a fishing village and tourist resort in northwestern Italy.

• Pregunta was the name used on a one-off car built by the French industrial company Heuliez. In Spanish, pregunta means “question.”

• Canto is a form of song or a division in an epic poem.

Later owners of the company reverted to the bullfighting tradition, namely with the Diablo (a famous bull), the Murciélago, and the Gallardo.

And so, after a succession of names linked to the world of the corrida, we now have Murciélago – which coincidently also means “bat” in Spanish. An unusual name, perhaps, but nonetheless one that effectively expresses the dynamism, elegance, and power of the latest thoroughbred from the Lamborghini factory. Finally, the most recent name Reventón: The Reventón is named after a fighting bull in keeping with Lamborghini tradition. The bull, owned by the Don Heriberto Rodríguez family, was best known for killing famed bullfighter Félix Guzmán in 1943. Reventón means “explosion” or “burst” in Spanish, when used as a noun. In automotive terms, it means “blowout” or “flat tire.” When it was used as the name of a bull, however, it was intended to be interpreted as “explosive” in terms of movements. Reventón gored Guzmán twice, but Guzmán eventually killed the mighty beast. It was a shortlived victory. Having lost enormous amounts of blood, Guzmán died in a hospital shortly afterward. And that’s how legendary Lamborghini, the maker of automobiles with outstanding names like Espada and Diablo, got stuck with current models named after a succession of courageous bulls, sired by Murciélago thanks to the matador, El Lagartijo, who spared his life. Just as I was finishing this article in early October 2008, Automobili Lamborghini introduced a new 4-door at the Paris Auto Show named the Estoque, a name that continues the trend. An Estoque is a small blade that delivers the death blow to a bull at the end of a stadium fight.

vIctIms of mIura buLL s:

06/20/1862: José Rodríguez (“PEPETE”); Miura named Jocinero; Madrid.

05/23/1835: “LUSSIO” (banderillero); Madrid.

05/27/1894: Manuel Garcia (“EL ESPARTERO”); Miura named Perdigón; Madrid.

08/15/1894: Manuel Sanchez Criado (puntillero); Sevilla.

10/07/1900: Domingo del Campo (“DOMINGUíN”); Miura named Desertor; Barcelona.

08/18/1907: Faustino Posadas; Sanlucar.

08/15/1921: Emilio Moreno (“MORENO DE VALENCIA”) (banderillero); San Sebastian.

05/21/1930: Pedro Carreño (novillero); Ecija.

1943: Félix Guzmán (novillero); Novillo bull named Reventón raised by Don Heriberto Rodríguez; Mexico.

08/28/1947: Manuel Laureano Rodríguez Sánchez (“MANOLETE”); Miura named Islero; Linares.

In the documented hIstory of LamborghInI automobILes, mentIon Is made of a quote attrIbuted to the Late ferruccIo LamborghInI when taLkIng about hIs desIgn parameters for the fIrst car. he wanted a very advanced car, “not a technIcaL bomb.”

That reference has never been explained. Don Eduardo Miura was a close friend of Ferruccio Lamborghini and I recall a conversation I had with someone at the factory who told me that Wilfredo Ricart, Alfa Romeo’s chief engineer and designer was introduced to Lamborghini by Miura. Ricart had left Alfa Romeo shortly after World War II and returned to his native Spain, where he was commissioned to design the Pegaso sports car for Empresa Nationale des AutoCamiones SA (ENASA) in Barcelona. A very advanced car for its day, it was designed and built by engineers, without the involvement of accountants. For example, the drive train from the crankshaft to the camshafts was a series of gears. Also, the gearbox was situated at the rear of the car in unison with the final drive unit, a design Ricart used extensively at Alfa Romeo. Beautiful engineering but very complicated and expensive, Pegaso only built about 83 cars before closing down their car operation. I have been told that this was the “technical bomb” to which Lamborghini was referring. Miura’s introduction of Ricart to Lamborghini was done out of pure friendship, nonetheless Ferruccio was extremely grateful to his friend and it may have had a little to do with the naming of the Lamborghini Miura.

While those arresting lines may conjure comparisons With the immortal lp400, Where this l ambo represents a break from all its predecessors is that it marks a neW Way for l amborghini to create a car.

THE REVENTóN

Want to experience What it Was like

When the countach lp400 first hit the streets in the mid-1970s? find one of the 20 dealers or oWners lucky enough to get a reventón and your breath Will be taken aWay.

That’s what I felt when Automobili Lamborghini brought the prototype Reventón to the front of the factory to prep it for its first ever photo shoot and test drive by someone outside the company. The world around the car literally stopped, every head and camera swiveling toward it as if a flying saucer had landed.

Written and photographed by Winston Goodfellow

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It was forty years ago that cigar master Ernesto Perez-Carrillo first created La Gloria Havana at the famed El Credito factory in Miami’s Little Havana. Join Ernesto in celebrating this occasion with La Gloria Cubana Artesanos de Miami, a newly blended cigar of uncompromising quality, hand crafted by just ten master rollers in the factory that started it all.

A cigar that could only come from Little Havana’s original tabacalera.

TasteTheSpiritOfLittleHavana

So how did Lamborghini’S moS t expenSive modeL ever come to be?

“ we thought we S tiLL had a Space in our product portfoLio for the reventón,” Lamborghini’S manfred fitzgeraLd obServed, “Something that iS the moS t extreme and the moS t excLuSive one out there. up to the reventón we were aLL thinking we are aLready pretty extreme, with the Lp640. and i muS t confeSS aS we received the taSk to do the reventón, there waS a LittLe frown on our face, Saying, ‘more extreme than the Lp640?’

“Seeing the reventón, in hindSight you might Say

the reventón underpinningS and drivetrain are famiLiar to any murciéL ago Lp640 owner: a 6,496cc aLL-aLuminum, four-vaLve-per-cyLinder dohc v12 teamed up with a 6-Speed paddLeShift tranSmiSSion. Lamborghini quoteS 650 horSepower at 8,000 rpm for the reventón, or 10 more than the Lp640. underpinningS are aLSo murciéL ago-baSed: a rigid tubuL ar S teeL frame with carbon fiber component S, 4-wheeL independent SuSpenSion, and L arge, ventiL ated diScS with abS. it’S thuS no SurpriSe that the reventón deLiverS hard, neck-Snapping acceLeration, and makeS aLL the right moveS in the cornerS.

But it’s that eye-popping shape and ultra-trick dash you keep coming B a ck to. While those arresting lines may conjure comparisons W ith the immortal lp 400, W here this l am B o represents a B reak from all its predecessors is that it marks a ne W Way for l am B orghini to create a car. o nce the final r eventón concept Was chosen, s ant’ a gata’s c entro s tile’s team used a ne W cad (computer aided design) system to go directly from c omputer screen to actual car. t he only scale model created Was a 1:4 rendition outside f itzgerald’s office, as the first 1:1 rendition Was the car pictured here.

This new system allowed the Reventón to go from first loose concept to fully functioning prototype in just six months. Future models from Sant’Agata will likely arrive at a breakneck pace – witness the fourdoor Estoque’s unveiling at the Paris Auto Show. With the Reventón’s success, Fitzgerald says we should plan on seeing more “small number exercises” in Lamborghini’s future. And like the Reventón, count on them having Lamborghini’s three core tenets:nets:

To bE ExTREmE, uncomPRomiSing, And vERy iTALiAn.

Written and photographed by Winston Goodfellow

THE 350GTV

ian industriaList

Ferruccio Lamborghini entered the gran turismo indus try because oF a row he had with enzo Ferrari.

“ that story never happened,” said bob waLL ace, Lamborghini’s First test driver. “he thought he couLd make money whiLe gaining prestige For himseLF.”

A more powerful motive may have influenced Lamborghini – he felt he could do the job better than anyone else. ”I have bought some of the most famous gran turismo cars,” he told journalist Ethos Evangelisti in 1963, “and in each … I have found some faults … Now I want to make a GT car without faults … a perfect car.”

His first attempt at perfection was the 350 GTV.

POWER IS NOTHING WITHOUT CONTROL.

THE LONGEST, STRAIGHTEST DRIVER WE’VE EVER DEVELOPED.

Lamborghini rounded up an aLL-s tar team to create the gt V. its aVant-garde shape and handsome interior was the work of franco scagLione, the most fL amboyant of itaLy’s great designers. during the 1950s, scagLione was c arrozzeria bertone’s chief styList, where his credits incLuded the aLfa romeo bats and sportiVa; L ater he wouLd design the mid-engine ats and aLfa 33 s tradaLe.

“Scaglione was more a stylist than one who can make a body,” Lamborghini’s former chief engineer Gian Paolo Dallara said. “He was an artist. So with these people, they are always dreaming, thinking to make a good car. The shape of the GTV was nice, but he paid less attention to how a car could be built.”

whiLe daLL ara worked cLoseLy with scagLione, he was not the first engineer Lamborghini hired. that man was giotto bizzarrini, whose credits incLuded ferrari’s 250 testa rossa and 250 gto.

“in our first phone conVersation,” bizzarrini remembered, “Lamborghini made it cLear he did not want a competition engine. he said, ‘i want a car Like a ferrari. t weLVe cyLinders is fine, but it must be at Least 3.5 Liters.’”

Bizzarrini obliged, saying he modified a 1.5-liter V12 design he did while at ATS (and not Ferrari, as is often reported). The prototype Lamborghini 3.5 liter DOHC V12 easily exceeded the 350 horsepower target Ferruccio requested but the two men then had a falling out – Bizzarrini believed his job was done, Lamborghini wanted additional development and refinement work. Bizzarrini thus recommended Lamborghini hire Gian Paolo Dallara, whom he remembered from his days at Ferrari.

“Our first job was to arrive at the Turin Show with the car,” Dallara recalled about the workload that greeted him. “Lamborghini was probably anxious to have everyone know he was making a car.”

daLL ara quickLy found himseLf working day and night with Lamborghini’s crack team of ace mechanics and technicians, striVing to get the 350 gt V compLeted.

“Lamborghini wanted a Lot in a short time,” daLL ara continued. “he had mechanicaL experience, so there were not many probLems regarding mechanicaL parts.

“He liked it when you opened the bonnet and there was a nice engine. When you made some casting, he liked that it was good … On the drawing board he was ’I don’t like this … Why don’t we try it a different way.’ “[Lamborghini] was a man like this – not just a man with money. He was much, much more. The car was his daughter.”

The world meT Ferruccio’s Firs T “daughTer” on ocT ober 30, 1963, under The spo TlighT s oF The Turin auT o show. The l amborghini legend had begun.

Written and photographed by Winston Goodfellow

400GT 2+2 PRODUCTION PROTOTYPE

No sooNer had the curtaiN come

dowN oN the 350 G t V’s 1963 turiN show debut thaN Ferruccio

LamborGhiNi was taLkiNG with coachbuiLdiNG staLwart

c arrozzeria t ouriNG about makiNG a productioN VersioN oF the car.

“Lamborghini made it very clear he wanted to have a real car quickly, something that could undergo proper testing, then be produced and sold,” said Touring’s design chief Carlo Felice Bianchi Anderloni. “Because it was important not to change the look of the car too much, we decided to use the GTV as our starting point.”

The production 350 GT broke cover several months later at the 1964 Geneva Auto Show. Underneath its unique aluminum skin was a new tubular chassis, independent suspension front and rear (something street Ferraris did not have at the time), and a 280-horsepower, 3,464cc V-12 that featured double overhead cams (another item lacking on street Ferraris).

The pro T o T ype Miura M ay have been the car aT T haT

faT eful Geneva show in 1966, bu T i T was T he 400 2+2 T haT had T he G reaT er i MM ediaT e financial i M pac T. Throu G h 1966 and ’67, T he 400 was l a M borG hini’s bread and bu TT er, wi T h 10 per M on T h bein G M ade and sold, fi G ures T he T wo-seaT 350 GT could only drea M abou T.

Sporadic production commenced in 1964, with glowing road tests in automotive publications hitting the stands several months later. Henry Manney in England’s CAR concluded the 350 was “the most desirable sports/GT I have driven.” America’s Car and Driver called it “a smooth challenger to Ferrari’s title of king of the GT cars.”

In 1965 Lamborghini looked to broaden the product line. First up was the announcement and display of a 4-liter V-12 at the New York Auto Show. Then, at Geneva the following year, the company introduced its second production model, the 400 GT 2+2.

The foray into the four-seat market made sense for the fledgling firm. Though four-seat cars aren’t as sexy and do not garnish covers as frequently as two-place exotics, until the late 1980s Ferrari’s best selling 12-cylinder models were always the 2+2s. And during the 1960s Lamborghini competitors such as Aston Martin and Iso had far greater sales with their four-place GTs than their sportier two-seaters.

For his 2+2 Ferruccio wanted a more powerFul and reFined car; the model thus used the 3,929cc engine shown at new York that boasted 40 more horsepower than the 350’s 3.5-liter. o ther mechanical changes included the use oF a new 5speed gearbox (replacing a ZF 5-speed) and limited slip diFFerential, both manuFactured in house. the cosmetics also received a successFul massage. the 400’s wheelbase remained the same as the 350, so carroZZeria t ouring subtlY altered the car’s shape and rooFline to accommodate two rear seats. up Front a more traditional Four-headlight sYstem replaced the 350’s rectangular lamps.

the First 400 gt 2+2 made and the car displaYed at geneva in 1966 is the l amborghini shown here. like most show cars, this 400 has some unique Features; these include veglia gauges (rather than the Jaegers used in the production 400 2+2s) and a single wiper as used on the 350 gt. Following geneva, the car was photographed For the 400 2+2 brochure.

The 400 2+2 also received rave reviews when Tes Ted. “[our s Taff] wiThouT hesiTaTion vo Ted iT beTTer Than all The equivalenT exo Tic and homebred machinery in This glamorous corner of The fas T-car markeT,” was AutocAr ’s summaTion. “The name l amborghini is already becoming a legend.”

THE LEGENDARY BALBONI

written by andrew romanowski

Valentino Balboni, legendary Lamborghini test driver, has really lived his life to the fullest – and fastest. From being hired in 1968 to presently serving as test driver and, more notably, in a visible customer service/ambassador role for automobili Lamborghini s.p.a ., Balboni has played a consistent, significant role for the company for over 40 years. Many people believe test drivers are a direct result of extensive training that complements and nurtures natural ability. Balboni has taken that concept and amplified it tenfold: following his natural path to become a test driver to establishing himself as the perfect test driver for Lamborghini.

Luc Donkerwolke, lead designer on the Gallardo and Murciélago, has said this about Balboni: “Valentino is much more than a test driver at Lamborghini; he is the person who links the past to the future” – and no statement is any more accurate to describe the dedication to the company and car he loves.

EVoLution throuGh thE DEcaDEs: a history with LaMBorGhini

Growing up in a village less than 25 miles from the Lamborghini factory, it was only a matter of time before Balboni crossed paths with Lamborghini. in 1968, at 18 years of age, the two paths intersected when Balboni accompanied the priest from his village on a trip to sant’agata, passing the Lamborghini factory along the way.

having seen a display of Miura bodies outside of the Lamborghini factory that had just arrived from the Bertone s.p.a plant

Grugliasco, italy, Balboni insisted on making a stop while the priest continued on his way. hese Miura bodies, delivered to sant’agata for mechanical installation and final assembly, were on trolleys outside – and Balboni took the opportunity to see them close up. he soon found himself offering his help to a Lamborghini employee and pushing one of the Miura bodies into factory to enter the production line. a security guard stopped Balboni as he was exiting the factory and asked who he was and what he was doing inside the factory. after admitting that did not work for Lamborghini, the security guard offered him an application for employment which Balboni was more than happy to complete and submit.

one week later, in april 1968, an interview request was sent to Balboni – and he obliged the request. Balboni met Ferruccio Lamborghini for the first time during his interview and an instant connection was made. soon thereafter, Balboni began work at the Lamborghini factory as a mechanic apprentice. his responsibilities increased over time to include test-drives around the factory property to ensure all work on the car was complete and of high quality. Because of his love of driving, though, Balboni’s drives went from one lap around the factory to multiple laps. his interest in being behind the wheel was noticed by levels of management – and the shift from a mechanic apprentice into a test-driving position was beginning. in september 1973, Balboni’s first test-drive, under mentorship of a senior test driver, was in one of the last production

Left: Valentino Balboni, famed Lamborghini test driver, smiles as he stands between a 400 Gt 2+2 and a Miura at his 40th anniversary party. above: Balboni appeared alongside a Lamborghini urraco in this 1974 advertisement, which offered the opportunity to win a ride with the Lamborghini test driver.

Photo by Jack  r iddell

c ourtesy of Lamborghini

c lub France

In his customer service/ambassador role, Balboni often makes appearances at Lamborghini events and will sign autographs - in this case on a model - and assist with customer needs.

Miuras – a black Miura SV. Balboni’s excitement was high from the start – it was a dream come true for him.

Bob Wallace, Balboni’s mentor, gave him instructions in the beginning and a base of test-driving knowledge that Balboni would use and build upon throughout his career. As he logged more time and miles, Balboni quickly became more comfortable with test-driving on a regular basis. After learning the trade of test-driving, Balboni soon partnered with customers to understand their needs and expectations of the cars they were purchasing – and with the engineers to aid in development. Balboni stands firm in his belief that “the test driver is the link between development engineers and the product.”

Years later, during the creation of the Diablo with its all-wheel-drive system, Balboni emphasized the importance of driving quality at the engineering level – and began to play an even bigger role with the research and development team at Lamborghini. Previous models that Balboni was involved in the development of were the Urraco, Silhouette, Countach, LM, and Jalpa. “There is always a kind of conflict, which becomes cooperation,” says Balboni. “Sometimes engineers do not accept what we tell them. Two plus two equals four, but this is not the way it is when you drive a car. We test and change, and end up at the point where they really want.”

Balboni has spanned the time when cars went from machined perfection to the digitally-enhanced objects they are today. Inevitably, his job has changed: “A long time ago, the test driver was the only reference for the engineer,” said Balboni. “We test to see if it meets the engineers’ expectations. They make the calculations and the test driver must transfer to the engineer how the car really behaves.”

Until recently, Balboni could say that he had driven most of the Lamborghinis produced. Of course, with recent technical advancements and increased output volume, the process now requires an entire team of test drivers.

Having met Ferruccio Lamborghini on day one of his career at the company, Balboni remained close to the Lamborghini creator, often visiting him at his vineyard where he spent his retirement. Balboni grew up with the company and has seen the evolution through the decades; his insight into the history of the cars and the company is like that of no other.

BeCOMIng A L AMBOrgHInI ICOn In AMerICA

In 1987, 60 Minutes host Morley Safer visited the Lamborghini factory to tell Ferruccio Lamborghini’s story of super car manufacturing success on the popular evening television show. In addition to the tremendously popular attention the episode gave to the Lamborghini brand, Balboni was also featured as the test driver to highlight the abilities of the Lamborghini Countach.

Safer introduced Balboni as being licensed to drive at high speeds on Italian roads – and then experienced the reality of “high speed” in a test-drive with Balboni at a speed in excess of 180 mph

in the Countach. Balboni recalls the first helicopter contracted to film the Countach drive from the air: It could not keep up with the high speeds of the car, and a faster helicopter had to be found to keep pace for the event.

When Safer asked Balboni if he finds driving at high speed relaxing, he responded simply, “ … with this car, yes.” Instantly, Balboni became an icon in n orth America.

The Countach remains one of the most iconic models for the Lamborghini brand – and Balboni’s status in Lamborghini history was forever engraved.

THe BALBOnI HIgHWAY

Several journalists, Lamborghini test engineers, Lamborghini owners, and others have stories of white-knuckled rides they took with Balboni down the small stretch of two-lane road between Sant’Agata and the town of nonantola, where his famous test-drives took place. Along with the speedy straightaways, there is also a pair of very sharp radius curves – creating a natural testing track.

Photo by Andrew r omanowski

experiencing the ride, spent mostly in the passing lane as slower drivers invariably wave or give a ”thumbs up” to the passing Lamborghini, is an event that is never forgotten. When driven at high speeds, the straightaways give a sure-fire rush of adrenaline and those curves seem to defy physics – and are often the points where many riders have reacquainted themselves with their religion!

The road on which the factory is located has become known to the locals as the “Balboni Highway” – something Balboni modestly laughs and smiles about when asked how the name originated. Although being on a track with Balboni is an unforgettable experience, riding on the Balboni Highway in a Lamborghini carries with it something even more special – a ride on the road on which all Lamborghinis have been road-tested.

DeDICATeD TO DrIVIng

With the majority of his life spent behind the wheel of a Lamborghini, no one has the ability to drive one quite like Valentino Balboni. From his years of experience, he has come to know the cars exceptionally well, and he consistently exhibits a perfect calmness and control under pressure while driving.

Throughout Balboni’s time spent driving – days upon days, logging more hours than one can count – naturally, there have been accidents and near misses. In the late 1970s, Balboni was testing a customer’s Countach when a truck pulled out in front of him from a side road. Forced off the road and into a rollover situation, the Countach landed on its top and immediately caught on fire. Balboni used a fire extinguisher to break the passenger window and narrowly escaped the accident.

A bout 10 years later, while Balboni and a passenger engineer were testing one of the first Diablos at night (as a way to avoid spy photographers), the pop-up headlights went down – leaving them in almost complete darkness traveling at high speed. Balboni recalled vividly how the light of the moon allowed him to see the faint line in the road – saving them from a serious accident.

On yet another occasion, with a gearbox engineer as the passenger and conducting high-speed track testing at night in a Diablo, the front left tire blew out. In a matter of seconds,

the tire and rim were completely destroyed and that corner of the car was riding completely on the brake disc. Quite a show resulted, with sparks and flames flying from the metal disc on the track. needless to say, the car was difficult to control, but Balboni stayed calm and managed to slow the car and prevent an accident – all of which could have been much worse had Balboni not exhibited such excellence in driving skill. Balboni admits that test-driving Lamborghinis is a dream come true, but that it is not as easy as most would think. Several days require long hours, filled with tough work and great responsibil-

ity. Because he has lived up to that responsibility throughout his career, Balboni has been given the name of “Mr. Lamborghini” by those close to the brand – something that definitely provides a sense of pride for him.

L AMBOrgHInI AMBASSADOr

Over the course of his lengthy career with Lamborghini, Balboni has transformed his dedication to Lamborghini from mechanic apprentice to test driver to, presently, Lamborghini Customer Service

Photo by Andrew r omanowski

– essentially, a public-facing ambassador for the company. He is in a highly visible position; one where he mingles with Lamborghini owners and can offer autographs and photos as keepsakes while assisting with customer needs. Balboni is able to share stories from the company’s rich – and fast – history. He connects with owners throughout the world, especially with those from the United States, Lamborghini’s largest market.

In addition to serving in a public relations capacity, he still takes on the occasional duty of high-speed demonstrations at Lamborghini-hosted events. Track exhibits provide

a special opportunity for the company to demonstrate new products to current owners, potential owners, and the media. More so, it offers Balboni the chance to show off what he does best: pushing a Lamborghini to the edge of its limits while exhilarating any passenger who has the opportunity to ride alongside.

Balboni has confirmed himself as a real-life celebrity within the automobile world for his excellence and continued dedication to the Lamborghini brand.

AT PeBBLe BeACH In 2008

The Monterey weekend, which includes the world-famous Pebble Beach Concours, is truly a car-lover’s dream. In addition to the many rare and exotic automobiles on display, it also provides fans a special opportunity to participate and share in stories of special vehicles, travels, and company insights rarely discussed with the general population. representatives from several marques are in attendance – and Lamborghini is no exception. Moreover, Balboni’s presence at the event is nearly as important as the brand attendance itself.

In Balboni’s ambassador role, he has often been a special guest at Lamborghini events throughout the world, including the ever-popular Monterey weekend. His representation and knowledge of the Lamborghini brand, along with his helpful, caring attitude, have been so exceptional that he has truly been considered a friend to any Lamborghini owner who has had the chance to meet him.

In the years when Lamborghini has been the featured marque at the Pebble Beach Concours, 1993 and 2008, Balboni has had the special honor of being not only an honored guest, but also serving as an official judge. Thanks to his years of dedication to the brand, his judging skill is unmatched by any other – and it is quite an asset to have on hand at Lamborghini events!

In media interviews for the event, Balboni was ready to answer questions regarding the brand, its history, and his closeness to the company. With television cameras rolling and photographers snapping pictures, he remained calm and very polished while explaining why there is so much to love about the Lamborghini brand – past and present. He then offered a glimpse into Lamborghini history that most listeners had not yet heard: In the 1970s, cars were occasionally picked up from the factory personally by customers instead of being shipped to a dealer. The days preceding pickup were always hectic ones, requiring long hours and late nights so that all details for the car were met and in perfect condition for the customer.

As the customer drove away, the staff would listen closely to hear the engine tones ramp up as it sped down the quiet road exiting the factory. As they heard the car shift into fifth gear, Ferruccio Lamborghini announced the car was of quality and everyone was sent home for the day – anxiously awaited words after a long day! Unique stories, pieces of history, and a wealth of information about the Lamborghini vehicles are always expected from Balboni – and there is no better place to share than at the Pebble Beach event, referred to by Balboni as a “paradise” for anyone who has a passion for automobiles.

FOrTY YeArS OF exCeLLenCe

On April 21, 2008, Lamborghini Test Driver Valentino Balboni reached a milestone that very few will in their lifetime – he reached his 40th anniversary of dedicated service to Automobili Lamborghini S.p.A. naturally, a celebration was in order – and several friends of Balboni’s and Lamborghini owners from the United States were ready to plan the gathering. The celebration was full of laughter, stories, and well wishes for continued years of Lamborghini dedication. no words could ever do such an anniversary any justice, so simply – Bravo Valentino!

Balboni, at the wheel of a gallardo, prepares for his next track session at the 2006 Lamborghini Troy Driving School.

lamborghini at the 2008 p ebble b each concours d’elegance

Over the past decade, pOstwar cars have becOme increasingly impOrtant in the cOllect Or car universe. that’s why at the wOrld-renOwned pebble beach cOncOurs

d’elegance On califOrnia’s picturesque

mOnterey peninsula in august, there was a 50/50 class split between pre- and pOstwar cars fOr the first time.

One of the centerpieces of Pebble’s postwar push was Lamborghini. In recognizing the legendary Italian firm’s 45th anniversary, Pebble Beach assembled the greatest collection of custom coachwork and production prototype Lamborghinis ever seen. A star of the class was the just-completed Miura Roadster (opposite page), a one-off by Carrozzeria Bertone first seen at 1968’s Brussels Motor Show. Later that year the International Lead Zinc Research Organization (ILZRO) bought it and had Bertone disassemble and reassemble the showcar, zinc- and chrome-plating as many parts, surfaces, and components as possible to promote the materials’ use.

After 38 years of bouncing between numerous owners, collector Adam Gordon bought the open Miura and had it returned to the original Roadster configuration. During the strip down process, materials such as the original paint were found and meticulously reproduced. Historic photos further acted as guides on the engine and interior.

The Miura Roadster was finished just two days prior to Pebble, owner Gordon seeing it for the first time when it arrived on the Monterey peninsula. All that work paid off, as the car finished second in class. It was also used in an interview with Lamborghini legend (and Pebble Beach judge) Valentino Balboni during the awards ceremony, the beloved test driver piloting it across the awards ramp while being chased by Gordon’s two enthusiast sons.

lamborghini club america

Written and photographed by Winston Goodfellow

after 38 years of bouncing between numerous owners, collector adam gordon bought the open miura and had it returned to the original roadster configuration.

lamborghini club america

The earlies T car in The class was The second oldes T l amborghini in exis Tence, The 350 g T producTion pro T o T ype.

This historic Lamborghini was the second 350 GT made (the original 350 prototype was written off in the 1960s), and was used in the company’s first product brochures and publicity photos. Unique features include the one-piece bumper and grille, and numerous interior touches. Like many of the cars at Pebble, it had just come off a multi-year restoration. That superb craftsmanship and attention to detail saw the 350 GT win the class in very close competition.

ano Ther cus T om coachwork

creaTion on display was The 3500 g TZ, seen here in fronT of a miura producTion pro T o T ype. The 3500 g TZ was The work of c arroZZeria

ZagaT o, The firs T coachbuilder T o

creaTe a cus T om coachwork model based on The 350 g T plaTform.

Zagato was one of the major forces behind Italy’s “berlinetta” movement in the late 1950s and ‘60s – cars with rakish noses and long, flowing fastbacks. In the era prior to widespread use of wind tunnels and today’s computer aided design (CAD) systems, designers and executives worked by “feel” and experience. “We often got our inspiration from the aerodynamics of airplanes, especially the wings,” said Elio Zagato, the man in charge of the company when the 3500 GTZ was made. “We also paid attention to good visibility for the driver.”

The 3500 GTZ was first seen at 1965’s London Motor Show, where it was warmly received. But the mid-’60s was the beginning of the end of the era of small series custom coachwork cars, so just two 3500 GTZs were made.

Thirty-one years later, Zagato once again created a Lamborghini with the fabulous Raptor, which was first seen at the Geneva Auto Show in 1996. Using a Diablo platform, Zagato designed the Raptor using a sophisticated CAD system. “The idea was to do a racing version of the L147,” said company president Andrea Zagato. “We did the car in four months – from the sketch to a running car. This was done without a model, for it was all done in virtual reality.” While there was strong consideration of making it into a small series, the Raptor remained a one-off.

the pebble tour 2008

l amborghinis and valenTino balboni (picTured bo TT om lefT wiTh pebble parTicipanT s paul and melissa roesler) were seen aT The pebble beach Tour, a 50-mile jaunT for pebble beach concours parTicipanT s around The monTerey peninsula.

The Tour takes place on the Thursday prior to Pebble and gives the cars and owners a good workout (like the P400 Miura production prototype seen below). Participation in the Tour can also affect concours judging results on Sunday; in the event of a tie, a car that ran and completed the Tour will get the nod over one that did not.

the quail 2008

Held at Quail Lodge Resort in Carmel Valley on the Friday prior to Pebble, in 2008 the concours honored Lamborghini’s test driver Valentino Balboni for his 40 years with the company. The special class featured 12 Lamborghinis – from a 1966 400 GT 2+2 production prototype to a current Murciélago LP640. The class winner was a 1967 Miura, while other highlights (illustrated below the Miura, from top to bottom) included an LM 002, the 1968 Monaco Grand Prix pace car Espada, and the ex-Alberto Silvera LP400 Countach factory hot rod.

Though iT has been in exis Tence less Than 10 years, The Quail is one of The mos T pres Tigious evenT s on The global concours circuiT.

“exTreme” is a word ofTen heard in curren l amborghini execuTives’ lexicon, and The car

ThaT seemed T o s Tar

ThaT design direcTion was The g allardo concepT s of 2005.

This “barchetta” featured classic cut down windscreens, individual seating areas for driver and passenger, and a Spartan interior. The more aggressive front end paved the way for design language seen on the current Gallardo LP560-4 and the Reventón. Just two Gallardo Concept S were made.

even more rare was The p140. powered by a v10, This secreT projecT was l amborghini’s aTTempT T o make an urraco and jalpa successor in 1990; TeeThing pains and financial cons TrainT s caused iT T o remain a one-off.

iT s appearance aT pebble marked The firs T Time The p140 had ever been seen in public.

In 2008, it went to this fabulous 1938 Alfa Romeo 8C 2900 (above) with coachwork by Carrozzeria Touring, the same firm that designed and made the bodies for the 350 GT. A regular Pebble Beach participant who is likely the world’s most famous auto and Lamborghini enthusiast is Jay Leno, seen here (upper right) in his 1953 Chrysler Tank Car that was entered in the “20+ Liter Club” Class. The Reventón and Gallardo LP560-4

(right) drew many admiring glances on Pebble’s Upper Field, where the auto industry’s latest and greatest concepts and production cars were on display.

The mos T coveTed award in The collecT or car world is “bes T of show aT pebble beach.”

Written by Kirsten Ott

In Italy, a country where polizia (police) are outfitted in Armani, fashion is a national passion. It’s the birthplace of luminary design houses such as Armani, Versace, Dolce & Gabbana, Gucci, Zegna, and Canali, and it continues to churn out new talents every year. Italy’s fashionable reputation resounds around the globe; it’s known for sporting well-tailored good looks, structured nonchalance, fluid lines, creativity, and imagination. It’s no surprise then that men’s suits from Italian designers are coveted by all nationalities. But which label works best for your needs? Read on for a breakdown of some of the haute brands of suits from the passionate nation of Italy – and how to select one for yourself.

Suits have changed tremendously over the years, especially with the jacket length. Eric Jennings, vice president of men’s fashion for Saks Fifth Avenue, speaks to the new trends. “We have seen a shift to a shorter jacket, two buttons, rope shoulders, and an overall slimmer silhouette,” he says. “There is definitely the runway look and then, of course, the more classic, traditional look. Overall, both are known for the fine Italian fabric mills and tailoring.” Some of the most popular Italian designers at Saks are Giorgio Armani, Ermenegildo Zegna, and Corneliani, but Jennings also points out that “Versace is making a big coming in our men’s clothing

Men’s suits by Italian designers have a reputation for good looks and high quality.

Men’s suits and outerwear by Canali, a design house wellknown for the fine materials used in its clothing.

and suiting department.” The key differences that Jennings sees in men’s fashion coming out of Italy in contrast to other countries are in the length and shoulders. He says, “Italian suits are typically longer and have a softer shoulder than American suits, which have a stronger shoulder and are shorter.”

When shopping for suits designed by an Italian fashion house, Jennings offers a few pointers to keep in mind: “Cuts are not drastically different by continent or vendor but, as always in fashion, most vendors have a variation on sizing. I always recommend that men look out for the right fit; it’s not about the size the label says or the size you think you are. Try on different options in various cuts to find what suits your body best. And always remember that nothing off the rack will ever fit perfectly, which is why we have expert alterations teams in all of our stores. You’d be surprised what an amazing tailor can do. Made to measure is a great option for any guy who wants that tailored look.” Made to measure is an alternative that allows customers to choose the fabric, styling options, and details before allowing a tailor to take measurements and forward the order to the factory.

Italian suits run the gamut in style and cut, but the high-end clothiers always offer flawless construction. “There is a broad spectrum in Italian designs,” says Jennings. “Short, tall, boyish, muscular, etc. Houses like Gucci and Dolce & Gabbana are designing for a more advanced customer [who] is typically slimmer. But at the other end are vendors like Zegna, Armani, and Canali that design for a more classic customer.”

The key factor in finding the right suit is not the label, according to Jennings. “The most important thing about suiting is the fit.

Eye-catching designs by Valentino.

Courtesy of Valentino

Slim silhouettes are front and center in these suits by Ermenegildo

Zegna.

Courtesy of Ermenegildo Zegna

We tell our customers: ‘don’t settle, customize.’ I think it’s essential for every guy to have a couple of made-to-measure suits in his closet that fit him perfectly.”

“Italians are known as being very creative with color, fabric, and design,” says Rik Ducar, principal of Groom Studio, a groom-consulting studio. When selecting men’s suits for clients, Ducar, who’s dressed celebrities like Andrew Firestone for The Bachelor, relies on labels Zegna, Brioni, and Kiton. “These Italian brands have a heavy Brit influence and fit immaculate.”

Zegna, a family-run fashion house, produces quintessentially English suits that are both classic and elegant. The fabrics are Italian, made for lightweight softness and presoaked in the waters of the Italian Alps, whose mineral-free quality has been sought after by Italian cloth merchants since the Middle Ages. The craftsmanship is Swiss – accurate, precise, always correct – while colors change year to year.

The benchmark of Italian tailoring, Brioni is a luxury label founded in Rome and now based out of Penne, Italy. The English accents found in Brioni suit design earned it the privilege of routinely outfitting James Bond on the silver screen. But that doesn’t mean the overall allure of this design duo isn’t sizzling with Italian passion. The fit is wide in the shoulders and narrow at the waist, which attracts power players like Donald Trump. The brand’s narrow Italian cuts are famous for their clean silhouettes and pinstripes galore. The label offers ready-made tuxedos, or the option to play designer by creating your own: Choose a lapel and a cut, and it will be ready in six to eight weeks.

Kiton offers a Neapolitan promise of highly customized works of art. The suits are all handmade, and only 20,000 are made in a year, though with English thread (founding owner Ciro Paone told The New Yorker he finds Italian thread to be weak). The textiles come from mills in northern Italy and in England. A Kiton suit can run upward of $15,000, though some cost only a third of that, and they take a year to make.

The venerable house of Valentino, founded in Rome in 1960, recently returned to its roots with traditional suits, while Armani encourages subtlety through relaxed elegance in a slouchy silhouette. Corneliani and Canali are two Italian houses both renowned for their fine materials used in their suits. Gucci delivers chic, streamlined suits and tuxedos in a variety of styles, and they all share a signature look: sleek, clean, and masculine. Dolce & Gabbana offer au courant men’s garb for any mood, from tailored suits to a traditional three-button tux. The Italian sartorial cut will ensure that the suit’s lifetime (and style) surpasses your golden anniversary.

No matter which design house you choose to outfit your occasion – be it work, wedding, everyday wear, extravagant social affair – the high-end clothiers of Italy are well-suited for you.

Ital I an I ngenu I ty

GRouNDED

IN

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yLE,

GRACE, AND SupERB

CRAFTSMANShIp, ITALIAN DESIGNS hAvE BEEN AT ThE FoREFRoNT oF FuRNITuRE-MAkING FoR MoRE ThAN hALF A CENTuRy.

WRItten By taRa n. WIlfong

For centuries, the Italians have been revered for their fine craftsmanship and inexplicable attention to detail. Delicate fabrics, luxurious automobiles, and undoubtedly some of the world’s finest handcrafted furniture pieces are the cornerstones of Italian ingenuity. Although the Italians’ revolutionary role in all areas of design, especially furniture design, is easily identifiable throughout the first half of the 20th century, it is their awe-inspiring postWorld War II creations that have caused a stir and changed the fabric of design as a whole.

After the war, Italy was not only physically ravaged, her citizens emotionally drained and disheartened, but the country was artistically stifled as well. In the wake of so much upheaval, the conditions were ripe for an artistic Renaissance. In the decades that followed the war, artists the world over began experimenting with cuttingedge materials and techniques, and pushing the boundaries of artistic expression. Furniture-makers returned to their national roots, oftentimes creating or even reinventing the designs that have become synonymous with their country of origin.

“In war-torn Europe, there was all this pent-up energy that was just waiting to bust loose,” says John Sollo, partner in Sollo Rago Auctions in Lambertville, New Jersey. “There was also a general sense of optimism, as well as national bias that was translated

in the emerging and innovative designs. For example, the Scandinavians produced natural, organic pieces in wood, while the Americans created affordable, mass-produced designs. But the Italians were very Italian about it; they created exquisitely designed architectural forms in very limited quantities.”

Carlo Mollino, possibly one of the most dynamic and idiosyncratic Italian furniture designers of the decade, was known for the one-off creations he produced expressly for clients’ homes. An architect and designer who dabbled in all areas of design, including buildings, interiors, furnishings, airplanes, and automobiles, Mollino was fond of shapes and movement and easily integrated these concepts into his works of genius. Adding a sculptural quality to everyday objects, Mollino transformed what could have been an average glass-topped coffee table into a work of art. Twisting and intertwining wood and/ or plywood to form the base, his Arabesque and Reale tables are stunning yet simple translations that can be appreciated from any angle.

Although Mollino can certainly be described as a leading, and lasting, figure in Italian furniture design – in 2005, one of his oak and glass tables sold at Christie’s auction house for $3.8 million – a number of other postwar Italian designers were also creating works of highly stylized form and function. Adopting the same modernistic outflow as other designers

Above: Casablanca bookcase in colored laminates by Ettore Sottsass of the Memphis Group. opposite page: A set of 12 Cab chairs by Mario Bellini, produced by Cassina.

across the globe, the Italians tended to rely more on design, not materials, to convey their message to the end user. This sleek yet chic interpretation of everyday forms propelled them through the decades following the war to the 1960s, when furniture designs took on a much more colorful and playful persona.

Blurring the lines between sculpture and furniture, these contemporary creations ranged from the avant-garde to the

whimsical. A clash of unorthodox materials – from plastic, rubber, and fiberglass to metal, leather, and felt – paired with a strong foundation, introduced consumers to the somewhat quirky yet comfortable forms that would define the era and become the basis for modern furniture design. “With the development of new materials that could be shaped and molded into cutting-edge forms, there began a movement in modern

furniture design,” says J. Christopher hamilton, design manager of The hoffmann Co., in Atlanta, Georgia. “Furniture designers in general were playing with the new feel of ergonomics and exploring how people interacted with particular pieces of furniture. But the Italians took it one step further, looking for ways to create comfortable yet stylish works of art that breathed simplicity and fused clean lines with sleek materials.”

upholding the merit that modern design should be based on good design, Italian furniture-makers paired contemporary ingenuity with the principles of design to create some of the finest, and most celebrated, furnishings of the day. Comfortable pieces with wide, splayed seats, bubble-like cushions, and armrests reminiscent of airplane wings in an array of colors ranging from shiny metallics to brightly hued gumdrops are just some of the eye-catching creations made famous by the inventive designers. Ar tists such as harry Bertoia, Mario Bellini, vico Magistretti, Gaetano pesce, Gio ponti, and Marco Zanuso left their mark on the era with iconic creations that are still considered modern marvels even by today’s design standards.

“This period was one of complete maturity for Italian designers,” says Alberto Busnelli, art director of the Design Italiano

Left: Carlton multicolored and patterned laminate bookcase unit by Ettore Sottsass of the Memphis Group. Right: harry Bertoia’s black wire Diamond chair and chrome wire Bird chair for knoll. opposite page: Lady settee by Marco Zanuso upholstered in caramel suede with cream leather trim on flaring brass legs.

exhibit, president of the Made in Meda Consortium, interior decorator, and coordinator of a professional training center in Italy. “The production systems developed from the pioneer phase, firms began to consolidate, and manufacturers and designers worked together and exchanged experiences and knowledge. From this synergy, a creative relationship began, which enabled furniture-makers to interpret ancient handcrafted traditions in an innovative way. This furniture quickly came to the attention of the cultured and elegant consumer who discovered the delights of great design.”

Monumental pieces, such as Zanuso’s elegant “Lady” chair, Bertoia’s iconic wire Diamond chair, and ponti’s uber-celebrated Superleggera chair, provided the necessary momentum for future works with a much more thought-provoking nature. Lending a voice to inanimate objects, pesce cleverly masked his contemplative musings with color, texture, and form. his inspired up series of chairs, which included seven different manifestations of polyurethane foam covered in bright, elastic fabric, made a bold statement while fulfilling a functional need. This particular series, in which useful items take on radical forms – particularly up 5, considered the collection’s most famous and recognizable form in which a female-shaped chair is tied to a ball-shaped ottoman, representing the shackles that keep women subjugated – made statements that were political as well as emotional.

Commenting on his own work, pesce has said, “For the past 30 years, I have been trying to give architecture back its capacity to be ‘useful’ by quoting recognizable, figurative images commonly associated with street life and popular culture, and by generating new typologies. I strive to seek new materials that fit into the logic of construction while performing services appropriate to real needs. Architecture of the recent past has mostly

produced cold, anonymous, monolithic, antiseptic, standardized results that are uninspiring. I have tried to communicate feelings of surprise, discovery, optimism, stimulation, and originality.”

As this enlightened breed of furniture designers continued to experiment with new forms and foundations, and transform unlikely materials into fun and imaginative statements in art, the modern furniture movement matured and adapted to the changing times. The dawn of the ’70s witnessed a need for comfortable yet versatile furniture, and Italian designers were quick to respond. perhaps one of the most influential pieces of the decade was Magistretti’s Maralunga sofas, chairs, and ottomans. With the ability to easily transform from a formal, highbacked seat to a more relaxed, lounge-friendly adaptation – or a combination of both – Maralunga is a crafty chameleon that transcends mere style and function. Complementing the fluid dexterity of Maralunga is Nuvola Rossa, Magistretti’s take on the traditional bookshelf. Elegant and sculptural, Nuvola Rossa provides an orderly solution to space management.

If the ’70s can be dubbed the age of versatility, then the ’80s may in fact be remembered as a blight on the principles of modern furniture design. Transcending the notion that art can be classified as good or bad, high or low, the Memphis Movement broke down barriers and challenged the idea that furniture designs had to follow conventional shapes, colors, textures, and patterns. Conceived by famed Italian designer Ettore Sottsass, the Memphis Group – comprising Italian architects and designers – created bold, colorful, shocking works, many of which were purposely coated in gaudy laminates. “The Memphis Movement is undoubtedly one of the most famous furniture movements of the late 20th century,” Sollo explains. “It was a revolt against good design, particularly the sleek, high-end furniture Italian designers were creating from the 1940s to the 1970s. Although the quirky pieces Sottsass and his Memphis Group created were unique and profound in their own right, they were more akin to funky pink elephant prizes rather than slick, classical, almost James Bond-esque works of art of the ’50s and ’60s.”

Short-lived, but leaving an indelible mark on the history of furniture design, the Memphis Group disbanded in 1988, paving the way for mass-produced reproductions from yesteryear. As savvy homeowners took a renewed interest in the sleek and simple designs popularized in the ’50s and ’60s, manufacturers, such as knoll, herman Miller, and Cassina, each of which owns the exclusive rights to reproduce to exact specifications designs of notable Italian furniture designers, began churning out their most popular incarnations. “Modern” furniture – much of which can technically be classified as vintage in style and design – began gracing traditional, contemporary, and even

industrial-styled homes, easily juxtaposing furniture and media of all genres. “The furniture created at the height of the Modern Furniture Movement is beautifully timeless,” hamilton explains. “It’s complementary, not trendy, which is an important point Italian designers understood and built on. Today, the most successful designs – whether we are talking about architecture, furniture, or interiors – are those that embrace the natural rhythm and flow of their immediate surroundings. It all comes down to authenticity.”

Showing no signs of waning, this reinvention of the past’s crown jewels continues to flourish. And among the most celebrated works are the trend-setting designs by some of Italy’s most influential furniture designers. objects skillfully crafted in wood, metal, fiberglass, and a range of other unique materials gracefully complement interiors and add an air of European sophistication. “The Italian style is defined by obsessive research, exacting detail, appropriately used materials, and most importantly, the pursuit of beauty,” Busnelli says. “Thanks to an ever-present entrepreneurial ability, and to 50 years of experience, Italian style is still identifiable, and is still a leader in the global market.”

For More Information:

The hoffmann Co., 675 Seminole Ave., Suite 303, Atlanta, GA 30307. (404) 454-4137. www.thehoffmannco.com.

Sollo Rago Auctions, 333 North Main St., Lambertville, NJ 08530. (609) 397-9374. www.ragoarts.com.

A pair of La Bamba chairs in cherry red wool by Mario Bellini for B&B Italia.

2009 DESK DIARY

MONDAY 12 TUESDAY 13 WEDNESDAY 14 THURSDAY 15

FRIDAY 16 SATURDAY 17 SUNDAY 18

NOTES

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WEDNESDAY 21

THURSDAY 22

FRIDAY 23 SATURDAY 24

SUNDAY 25

NOTES

MARTIN LUTHER KING JR. DAY

MONDAY 26

JANUARY 2009 – FEBRUARY 2009

TUESDAY 27

WEDNESDAY 28

THURSDAY 29

FRIDAY 30 SATURDAY 31 SUNDAY 1

NOTES

FRIDAY 6 SATURDAY 7 SUNDAY 8

NOTES

MONDAY 9

FEBRUARY 2009

TUESDAY 10

WEDNESDAY 11

THURSDAY 12

FRIDAY 13 SATURDAY 14 SUNDAY 15

VALENTINE’S DAY

NOTES

FEBRUARY 2009

MONDAY 16 TUESDAY 17 WEDNESDAY 18 THURSDAY 19

PRESIDENTS’ DAY

FRIDAY 20 SATURDAY 21 SUNDAY 22

NOTES

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FRIDAY 27 SATURDAY 28 SUNDAY 1

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MONDAY 9 TUESDAY 10 WEDNESDAY 11 THURSDAY 12

FRIDAY 13 SATURDAY 14 SUNDAY 15

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MARCH 2009

MONDAY 16 TUESDAY 17 WEDNESDAY 18 THURSDAY 19

ST. PATRICK’S DAY

FRIDAY 20 SATURDAY 21 SUNDAY 22

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TUESDAY 24

WEDNESDAY 25

THURSDAY 26

FRIDAY 27 SATURDAY 28 SUNDAY 29

NOTES

APRIL 2009

MONDAY 6 TUESDAY 7 WEDNESDAY 8 THURSDAY 9

FRIDAY 10 SATURDAY 11 SUNDAY 12

EASTER SUNDAY

NOTES

MONDAY 13

TUESDAY 14

APRIL 2009

WEDNESDAY 15

THURSDAY 16

FRIDAY 17 SATURDAY 18

SUNDAY 19

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FRIDAY 1 SATURDAY 2 SUNDAY 3

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MONDAY 4 TUESDAY 5 WEDNESDAY 6 THURSDAY 7

FRIDAY 8 SATURDAY 9

SUNDAY 10

MOTHER’S DAY

NOTES

MONDAY 18 TUESDAY 19

WEDNESDAY 20

THURSDAY 21

FRIDAY 22 SATURDAY 23 SUNDAY 24

NOTES

NOTES

MONDAY 15 TUESDAY 16

WEDNESDAY 17

THURSDAY 18

FRIDAY 19 SATURDAY 20 SUNDAY 21

FATHER’S DAY

NOTES

MONDAY 22

TUESDAY 23

JUNE 2009

WEDNESDAY 24

THURSDAY 25

FRIDAY 26 SATURDAY 27

SUNDAY 28

NOTES

WEDNESDAY 1

THURSDAY 2

FRIDAY 3 SATURDAY 4 SUNDAY 5

INDEPENDENCE DAY

NOTES

MONDAY 6 TUESDAY 7 WEDNESDAY 8 THURSDAY 9

FRIDAY 10 SATURDAY 11 SUNDAY 12

MONDAY 13 TUESDAY 14 WEDNESDAY 15 THURSDAY 16

FRIDAY 17 SATURDAY 18 SUNDAY 19

NOTES

MONDAY 20 TUESDAY 21 WEDNESDAY 22 THURSDAY 23

FRIDAY 24 SATURDAY 25 SUNDAY 26

NOTES

MONDAY 27 TUESDAY 28 WEDNESDAY 29 THURSDAY 30

FRIDAY 31 SATURDAY 1 SUNDAY 2

NOTES

FRIDAY 14 SATURDAY 15 SUNDAY 16

MONDAY 17 TUESDAY 18

WEDNESDAY 19 THURSDAY 20

FRIDAY 21 SATURDAY 22 SUNDAY 23

NOTES

MONDAY 24

AUGUST 2009

TUESDAY 25

WEDNESDAY 26

THURSDAY 27

FRIDAY 28 SATURDAY 29 SUNDAY 30

NOTES

MONDAY 7 TUESDAY 8 WEDNESDAY 9 THURSDAY 10

FRIDAY 11 SATURDAY 12 SUNDAY 13

NOTES

MONDAY 14 TUESDAY 15 WEDNESDAY 16 THURSDAY 17

FRIDAY 18 SATURDAY 19 SUNDAY 20

NOTES

SEPTEMBER 2009

MONDAY 21 TUESDAY 22 WEDNESDAY 23 THURSDAY 24

FRIDAY 25 SATURDAY 26 SUNDAY 27

NOTES

MONDAY 5 TUESDAY 6 WEDNESDAY 7 THURSDAY 8

FRIDAY 9 SATURDAY 10 SUNDAY 11

NOTES

MONDAY 12

OCTOBER 2009

TUESDAY 13

WEDNESDAY 14

THURSDAY 15

FRIDAY 16 SATURDAY 17

SUNDAY 18

NOTES

COLUMBUS DAY

MONDAY 19 TUESDAY 20 WEDNESDAY 21 THURSDAY 22

FRIDAY 23 SATURDAY 24 SUNDAY 25

NOTES

MONDAY 26 TUESDAY 27

WEDNESDAY 28

THURSDAY 29

FRIDAY 30 SATURDAY 31 SUNDAY 1

HALLOWEEN

NOTES

MONDAY 2 TUESDAY 3

4

5

FRIDAY 6 SATURDAY 7 SUNDAY 8

MONDAY 9 TUESDAY 10

WEDNESDAY 11 THURSDAY 12

VETERANS DAY

FRIDAY 13 SATURDAY 14

SUNDAY 15

NOVEMBER 2009

MONDAY 16 TUESDAY 17 WEDNESDAY 18 THURSDAY 19

FRIDAY 20 SATURDAY 21 SUNDAY 22

NOTES

NOVEMBER 2009

MONDAY 23 TUESDAY 24

WEDNESDAY 25 THURSDAY 26

THANKSGIVING DAY

FRIDAY 27 SATURDAY 28

SUNDAY 29

NOTES

MONDAY 30 TUESDAY 1 WEDNESDAY 2 THURSDAY 3

FRIDAY 4 SATURDAY 5 SUNDAY 6

NOTES

DECEMBER 2009

MONDAY 7 TUESDAY 8 WEDNESDAY 9 THURSDAY 10

FRIDAY 11 SATURDAY 12 SUNDAY 13

NOTES

DECEMBER 2009

MONDAY 14 TUESDAY 15 WEDNESDAY 16 THURSDAY 17

FRIDAY 18 SATURDAY 19 SUNDAY 20

NOTES

MONDAY 21

DECEMBER 2009

TUESDAY 22

WEDNESDAY 23

THURSDAY 24

FRIDAY 25 SATURDAY 26

SUNDAY 27

NOTES

CHRISTMAS EVE

CHRISTMAS DAY

FRIDAY 8 SATURDAY 9 SUNDAY 10

To convert Fahrenheit to Celsius (Centigrade) subtract 32, multiply by 5, and divide by 9.

To convert Celsius to Fahrenheit multiply by 9, divide by 5, and add 32.

A Fahrenheit degree is smaller than a Celsius degree, one Fahrenheit degree being 5 /9 of a Celsius degree.

The freezing point of water is 32oF, 00C. The boiling point is 2120F, 1000C.

1 gallon (British Imperial) = 1.20 gallons (U.S.)

1 gill = 4 fluid ounces

1 quart (British) = 1.20 quarts (U.S.)

1 quart (U.S.) = 67.2 cubic inches

1 tablespoon = .5 fluid ounce

1 teaspoon = 1.33 fluid drams

1 dekaliter = 10 liters

1 pint = .5 quart

1 cubit = 18 inches

1 fathom = 6 feet

1 league = 3 miles

1 nautical mile = 1.15 miles

1 light-year = 5.88 trillion miles

1 hand = 4 inches

1 degree (geographical) = 69.05 miles

1 point (typography) = .01 inch

1 gross hundredweight = 112 pounds

1 gross ton = 2,240 pounds

1 carat = 200 milligrams

Romance. Power. Influence.

eginning with King Charles II, the yacht has held exclusive importance for those who have “arrived.” Presidents, royalty and people of influence take pleasure in experiencing life from the decks of a vessel whose origin was to hunt pirates. Light and sleek, the first yachts tracked outlaws throughout the Low Countries. In fact the word “yacht” means “hunt.” Adventure. Distinction. Comfort and Class.

It’s not hard to see the allure. Of course, over the years the yacht has been adapted to the present day, as yacht builders employ new techniques and materials to accomplish their goals. Still, even when quality is not in question, there’s something about those early classic crafts, their beauty and warmth, that many modern vessels have lost.

Legendary Yachts brings the best of the past straight into the present—an exemplary feat. When a yacht embodies the elegance of traditional designs and natural materials, the

effect is both visceral and immediate. Still, while a masterly old-world aesthetic is stunning, a well built vessel needs more. It takes today’s cutting-edge techniques to ensure durability, performance and efficiency. Legendary Yachts goes further, weaving in modern comforts and needs, each tuned to a client’s individual tastes.

Legendary Yachts has made its reputation in fashioning some of the world’s outstanding sailing yachts. Recently, the motor vessel has joined the repertoire. Passionate, hand-built craftsmanship is the seal—the result truly breathtaking vessels!

So, what is your dream?

Maybe it’s a spacious setting where you’ll entertain friends and clients. Maybe it’s your own traveling five-star resort, in which to explore exotic destinations. Or do you dream of a close, intimate space to share with another?

Dreams come true. Have a yacht handcrafted to your vision.

“For the builder, classic yachts are in fact the moving materializations of his skills and emotions: he is called upon to make them speak, inspire and sing to re-create them in accordance with his own consciousness. In this way, like the designer, he is a creator, for he must have within himself those passions that he wishes to bring so intensely to life.”

Stan Bishoprick, President and founder

An astounding reflection of you.

Cranchi Boats have become Italy’s third-largest Boatbuilder, and the largest USA importer of motorboats between 20 and 50 feet in length.

Blend together stylish European lines, innovative engineering and advanced propulsion, then add the comfort and protection of a hardtop to the mix, and you have a recipe for the exciting Cranchi HT Series

Call 1.866 CRANCHI to find out how you can become a part of the Cranchi experience.

CRANCHI

Cranchi Mediterranee 43 HT

There’s no mistaking the Italian heritage of the Cranchi Mediterranee 43 Hard Top with all those curves and sweeps and even the contemporary Wenge/Oak wood combination below decks. It’s good to see that some of those curves are at the service of practicality as well. For example, this all-weather hard top model with big side windows and windshield expanse provide an excellent view outside the boat from the raised centerline helm. At the same time, the curved glass helps to soften the height of the hardtop. That raised helm also provides a good view ahead as the boat comes up on plane, an important consideration in any single-station yacht. A power sunroof above adds a feeling of being outside rather than in a pilothouse, and when open it lets you stand at the wheel to drive.

Back aft is a large optional TNT hydraulic, teak-covered swimplatform, practical and good looking, with dual transom entrances leading to the comfortable lounge seating in the cockpit (which also converts hydraulically to a sun bed). This shapelyyet-utilitarian design philosophy continues with molded steps, wide side-decks and tall, stiff pulpit railings leading forward. The futuristic helm also works quite well ergonomically, with panels and controls angled comfortably toward the skipper. Just slide back the sunroof if you want to stand up and drive. Hull construction is solid fiberglass supported by conventional divinycell stringer system. The deep-vee hull design delivers a smooth, dry ride in mild to moderate sea conditions. Fabrics and joinery fit-and-finish are outstanding throughout.

One of the remarkable things about the Cranchi’s finely crafted accommodations is their sheer volume. This well-proportioned 45 foot length-overall vessel has a private suite-stateroom and private head-aft in the cabin below the bridge-deck, effectively making it a two-deck yacht. In the bow is a second private stateroom and head with three hanging lockers; either stateroom

could be the master. The salon has an L-shaped lounge to port and the galley, set at an angle to keep things aesthetically interesting (and to make room for the forward head) is opposite. The boat’s power - Volvo Penta IPS - is what makes all that interior room possible, and it delivers truly exceptional range and economy. Situated below the aft cockpit, a pair of 435-hp Volvo Penta IPS 600’s are standard. Cranchi partnered with Volvo Penta on the early trials of the IPS pod drive system. The hull of the Mediterranee 43 HT was specifically designed to accommodate the IPS “fly by wire” steerable pods, each of which turns counterrotating, forward-facing propellers that “pull” the boat forward through the water rather than pushing it. The joystick docking control is also a standard-equipped item, and alleviates the need for a bow thruster. All the main on-board systems are designed for ease of access and maintenance.

The Mediterranee 43 HT is proving to be a best-seller for Cranchi in the competitive and crowded US express cruiser market, bringing hereto unknown new features to market and adopting well-tested technology.

Cranchi Atlantique 43

Here is another new offering from Cranchi with the innovative Volvo Penta IPS drive system. This flybridge yacht is unmistakably Italian in design, perfectly refined during a three-year intensive product development and testing phase. The Cranchi designers concentrated on space utilization, performance and comfort.

CRANCHI USA, conveniently located on the ICW at 1500 North Federal Highway in Pompano Beach, Florida, is a factory-authorized sales and service center providing world-class support for Cranchi boat owners throughout North America.

CANTIERE NAUTICO CRANCHI is an independent, family-run company that was first established in 1870 on the shore of Italy’s Lake Como. Today, Cranchi operates four major plants and a marine testing facility, employing a workforce of more than 580 people. Its tradition of old-world craftsmanship combined with high-tech boat-building technology ensures the highest possible quality for its boats, ranging from 28 to 74 feet.

Photo by Brad Augsburger

Photos courtesy of Automobili Lamborghini S.p.A.