Foreword by Nick Mason I think it’s true to say that Ferrari has made plenty of bad
Ferrari has even managed to end up owning a
cars, but also many great ones. At the same time, it’s
colour to signify all that the marque stands for. Ferrari
arguable that Ferrari almost never made any ugly ones.
Red is as well known as Navy Blue at a global level.
Even the cars that left some great drivers shaking
Good, or great, design is being able not only to
with fear, and ones that left fuming customers stranded
clothe the chassis in an aerodynamically efficient
at the side of the road, were often so breathtakingly
shape but to sculpt in some indefinable element that
beautiful that all could be, and was, forgiven. I shall
expresses the function of the vehicle.
avoid any cheap jokes about comparisons to women
Even now in the 21st century, where the computer and wind tunnel have become the dictators of
at this point... For many years Ferrari could not be credited with being a leader in terms of technical development.
shape and form, Ferrari and its designers continue to triumph. This book looks at the well-
frequently
trodden Ferrari story from an
superb, but chassis design and
altogether different angle, by
the implementation of any new
analysing the inspiration (both
technology such as disc brakes or
cultural and technical) and the
mid-engine layouts were often well
evolution of Ferrari design over
behind the competition. In some
the last sixty-odd years. It also
ways the coachwork arrangements
encompasses
were even more retro, in that it was
that became necessary with
not done in-house but contracted
technical revolutions in material
out, in a manner more reminiscent
and aerodynamic flow dynamics,
of the vintage era, to the design
which have played an increasingly
houses of Italy.
vital role in car design over the
Their
engines
were
the
changes
Initially Touring designed the bodies, but was
last thirty years. And perhaps most interesting of all,
soon joined by Ghia, Vignale and Scaglietti, although
this book considers the future direction of Ferrari
once Pinin Farina got his foot in the door the others
design in the 21st century.
tended to fall by the wayside, despite Mr Ferrari's penchant for allowing the designers to compete against each other. And yet these engines, along with the work of the designers, created a brand that is the envy of every single other car manufacturer in the world. Not only that but these designs have, in many cases, become so iconic that they transcend obsolescence. Most auto enthusiasts take as much pleasure in the shape of a Lusso, Daytona or GTO as in the very latest supercars.
6 t FER R AR I D ESIGN – T HE DEFINI T IV E S T UDY
Ă„ Nick Mason negotiates the esses at Goodwood in his 250 GTO. (LAT)
FO R E WO R D t 7
How it all began Why Italy? Why is it that so many of the world’s most admired and beautifully designed and engineered motor cars come from Italy? Professor Dale Harrow, Head of Vehicle Design at the Royal College of Art, London, offers this explanation: ‘I think what actually drove the Italian revolution was the way they were designing things at the time. If you look at Turin itself and the surrounding area, it was basically a place of metalwork. They made suits of armour in this region during the 14th and 15th centuries, so there were a lot of very good metalwork skills in that area, and I think the way they were designing cars [in the period 1940–60] is very much associated with this craft process.’ Also, Italy had long been recognised internationally as a centre for excellence in art and sculpture. Ross Ashmore, art and design critic (and classic sports car enthusiast) explains: ‘In the 18th and 19th centuries, British gentry toured Italy to visit art galleries and museums to further their education – a travel rite that became known as the Grand Tour. Italian art was HU PTWVY[HU[ PUZWPYH[PVU HUK PUÅ\LUJL K\YPUN [OL Regency period.’
Ferrari in the 1940s Any kid between the age of 5 and 95 will tell you that Ferrari sports cars are the fastest in the world and KLÄUP[LS` [OL ILZ[ SVVRPUN ([ SLHZ[ [OH[ ^HZ [OL ]PL^ VM devoted Ferrari followers around the world throughout the second half of the last century. It is a reputation built up over many years in which the red Ferrari racing cars were dominant in most race categories, and in most countries where they raced. Enzo Ferrari, like many other self-styled entrepreneurs in the 20th century who were destined to head up their own motor manufacturing empires, started at the bottom of the ladder and, through hard work and perseverance, effectively wrote his own future. Names such as Porsche, Ford, Bugatti, Austin, Lamborghini, Rolls and More recently, the country’s recovery following the
Royce, are those of automotive visionaries who were
Enzo Ferrari, and Tazio
Second World War saw Italian manufacturers’ striving
way ahead of their time. Each of them, Ferrari included,
Nuvolari standing
for aesthetic and technical innovation. Their efforts
possessed foresight and an inner strength beyond
alongside a racing Alfa
were duly rewarded by rapid growth in demand for the
mere determination.
(1920s). (LAT)
stylish modern products from a range of mould-breaking
Common amongst the industry names mentioned
designers, not least from the automotive industry, and
HIV]L HUK THU` VM [OLPY JVU[LTWVYHYPLZ PU [OPZ ÄLSK ^HZ
subsequent international recognition put Italy at the
the ability to surround themselves with knowledgeable
leading edge of modern design.
and experienced engineers and designers capable of
à Baconino Borzacchini,
14 t FER R AR I D ESIGN – T HE DEFINI T IV E S T UDY
turning ideas into a winning formula. Another common
It had long been Ferrari’s goal to manufacture his
factor was their fascination with early motor sport, an
own racing cars, but in 1939 when he made his break he
[OL (\[V (]PV *VZ[Y\aPVUP
activity in which many of them participated personally,
had to accept a four-year ban on using his own name on
VM (LAT)
and it is possibly this that enabled many of those
his cars, as his previous employers were well aware of
budding entrepreneurs to develop an appreciation for
the considerable reputation he had built up in the motor-
engineering, and an understanding of how they thought
racing world.
they could improve the cars they were manufacturing.
-LYYHYPÂťZ Ă„YZ[ JHY [OL =L[[\YH [^V YVHKZ[LYZ ^LYL
Ferrari began his employment at 22 at the Anonima
made), was constructed under the name of Ferrari’s
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machine tool company, Auto Avio Costruzioni, in Modena
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in 1929 he set up Scuderia Ferrari S.A., which effectively
and the chassis and 1496cc in-line eight-cylinder engine
operated as Alfa’s racing department for the next ten
^LYL KLYP]LK MYVT [OL -PH[ * )HSPSSH ;OL
years. It provided cars and engineering, technical,
ZTVV[O SPULZ VM [OL ^LYL [OL ^VYR VM *HYYVaaLYPH
and design services when Alfa’s own resources were
;V\YPUN VM 4PSHU H Z[`SL ^OPJO V^LK T\JO [V [OL (SMH
stretched to the limit.
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running its own racing activities, setting up a dedicated in-
For most coachbuilders at that time, work would
house racing division known as Alfa Corse, and absorbing
begin on a bare chassis received from a manufacturer.
Scuderia Ferrari as a new division in the process. Alfa’s
Using small-diameter metal tubing, the carrozzeria’s
relationship with Enzo Ferrari continued and he became
JYHM[ZTLU ^V\SK Ă„YZ[ JVUZ[Y\J[ H MYHTL JSVZLS`
a consultant to the new organisation, with responsibility
YLZLTISPUN [OL ZOHWL VM [OL JHYÂťZ IVK` ;OPZ ^V\SK
for designing and developing new racing cars – an
then be welded to the chassis, and the aluminium
arrangement, however, which only lasted for a year.
body panels were formed over this frame by hand,
‘ NUOVO INIZI O’ – NE W BEG INNIN GS t 15
The legend begins At a certain point it became clear that one of us was looking for a lovely and renowned woman to dress, and the other was looking for a world-class couturier to clothe her, Enzo Ferrari reminisced. – ANTOINE PRUNE T Pininf arina Ar t and Indus tr y 1930 –20 0 0
 The Ferrari 195 Inter Berlinetta by Ghia showed great balance and elegance. (Neill Bruce)
Ä This rear three-quarter view of a two-door Ferrari 195 Inter Berlinetta by Ghia (1950) shows the strong family lineage of the 166 model. (Neill Bruce)
The year 1950 seemed to be a point at which one could see a clear sporting identity begin to emerge in Ferrari’s cars, as the 195 began to show a purposeful ZWVY[Z Z[`SPUN >P[O [OL ILULÄ[ VM OPUKZPNO[ [OL Z[`SPUN VM the 195 S of 1950 can be seen in the 340 America, 212 Export, 250 S and many other sports and racing models YPNO[ PU[V [OL Z -LYYHYP ^HZ HISL [V KV [OPZ I` Ä[[PUN the same engines in as many models as possible, and the long bonnet style, with the cockpit set well back in the frame, enabled him to achieve this. If two coachbuilders are to be singled out as making the greatest contribution to Ferrari’s long-term styling at this early stage, they would certainly be Touring and Vignale. By 1954, Vignale had built almost 100 bodies, with no two being the same. This type of limited production run suited the exclusive and often very individualistic requirements of many Ferrari drivers. Vignale’s styling for the Modenese cars usually incorporated a long curving body line that extended
26 t FER R AR I D ESIGN – T HE DEFINI T IV E S T UDY
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à This 1950 Ferrari
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166/195 Inter has a
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Michelotti-designed body
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by Vignale. The 195 was
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a development of the
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166 but with the engine
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enlarged to 2340cc.
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Originally purchased in
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=PNUHSL ^HZ Z[PSS KVPUN H SV[ VM [OL JVHJOI\PSKPUN
April 1950, the car was
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returned to the Ferrari
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factory in September
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the following year
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and upgraded to 195
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,_WVY[ VM ^OPJO ^HZ H]HPSHISL HZ [OL 0U[LY
ZWLJPÄJH[PVUZ (Tom Wood)
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T HE LEG END BEG INS t 27
Design in the 1950s and 1960s -LYYHYP»Z Ã&#x201E;YZ[ ZLYPV\Z MVYH` PU[V [OL WYVK\J[PVU JHY THYRL[ ^HZ ^P[O [OL ¶ ^OPJO ^HZ KL]LSVWLK HZ H YVHK JHY ZLYPLZ HUK ^HZ ^OLYL [OL PUP[PHSZ º.;» Ã&#x201E;YZ[ HWWLHYLK VU -LYYHYP JHYZ ;OPZ TV]L I` -LYYHYP YLZ\S[LK PU HU \UVMÃ&#x201E;JPHS JVU[LZ[ HTVUNZ[ [OL ^LSS RUV^U 0[HSPHU JVHJOI\PSKLYZ MYVT ^OPJO 7PUPU -HYPUH LTLYNLK HZ [OL ]PJ[VY 7PUPU -HYPUH SH[LY 7PUPUMHYPUH ^LU[ VU [V Z[`SL ]PY[\HSS` HSS WYVK\J[PVU -LYYHYPZ MYVT [OL TPK Z HUK [OL Z[\KPV»Z Ã&#x2026;HPY MVY JYLH[P]P[` HUK PUUV]H[PVU THKL HU PTTLUZL JVU[YPI\[PVU [V [OL THYX\L»Z Z\JJLZZ ;OL HSSPHUJL 7PUPU -HYPUH MVYTLK [OYV\NO KLZPNUPUN PUU\TLYHISL -LYYHYP ZWVY[Z JHYZ V]LY [OL `LHYZ HSZV IYV\NO[ LUVYTV\Z WYLZ[PNL [V [OL ;\YPU KLZPNULY 0[ PZ PU[LYLZ[PUN [V UV[L [OV\NO [OL KPMMLYLUJL PU KLZPNU HUK Z[`SPUN IL[^LLU (TLYPJH HUK ,\YVWL K\YPUN [OL Z ;OPZ KLJHKL WLYOHWZ TVYL [OHU HU` V[OLY ZH^ H UL^ KPYLJ[PVU PU (TLYPJHU JHY KLZPNU [OH[ ^V\SK X\P[L SP[LYHSS` [HRL [OH[ UH[PVU PU[V HUV[OLY ^VYSK ¶ [OL ^VYSK VM ZWHJL [YH]LS ;OPZ IYH]L UL^ Z[LW ^HZ PU JVU[YHZ[ [V [OL [YLUK PU ,\YVWL ^OLYL Z[`SPZ[Z MVSSV^LK tradition and consolidated the sophistication and LSLNHUJL MVY ^OPJO [OL` OHK ILJVTL ^LSS RUV^U ;OH[ PZ
Keeping it simple According to Emanuele Nicosia, Pininfarina designer between 1976 and 1985, many of the old street-racing Ferrari cars were created by means of a few sketches and the â&#x20AC;&#x2DC;battilastraâ&#x20AC;&#x2122; (panel beaters) in Modena, such as Scaglietti and others. â&#x20AC;&#x2DC;This was the real story of the great and beautiful 250 LM. Even if it is known that Pininfarina designed it, what Pininfarina did was just the
not to say European designers were not exploratory, but
interior design, even if that interior is very poor [basic] because of its
[OLPY WYVK\J[Z [LUKLK [V IL SLZZ Ã&#x2026;HTIV`HU[ HUK TVYL
racing task,â&#x20AC;&#x2122; Nicosia said.
HLYVK`UHTPJ HUK [LJOUPJHSS` MVYTLK
â&#x20AC;&#x2DC;The 250 LM was born by dressing up the great mid-engined chassis,
Perhaps its heritage as a nation with an extraordinary
by just covering it with metal wire sections to check any interference
talent in art established Italy as the outstanding exception
between body surfaces and mechanics. Then aluminium sheets were
[V [OL [YV\ISLZ ^P[OPU [OL JVHJOI\PSKPUN PUK\Z[Y` HM[LY
beaten and checked regularly on top of the â&#x20AC;&#x2DC;wire surfacesâ&#x20AC;&#x2122; under the
[OL :LJVUK >VYSK >HY -YVT [OL Z VU^HYKZ [OL
direction of the young Mauro Forghieri; it was a piece of art. After that,
JVHJOI\PSKLYZ WV\YLK V\[ H Z\JJLZZPVU VM TVKLYU
the body was checked and scanned (by hand of course) to produce real
H[[YHJ[P]L KLZPNUZ IHZLK VU WVW\SHY TVKLSZ Z\JO HZ (SMH
drawings,â&#x20AC;&#x2122; he added.
9VTLV -PH[ 3HUJPH HUK V[OLYZ Italyâ&#x20AC;&#x2122;s growing reputation in design in general, coupled ^P[O [OL WYVSPMLYH[PVU VM PTHNPUH[P]L JHY KLZPNUZ JVTPUN
4 8 t FER R AR I D ESIGN â&#x20AC;&#x201C; T HE DEFINI T IV E S T UDY
from that country, impressed even Detroit. American
closely associated with the craft process, where they
à The 1959 Ferrari 250
car manufacturers began to incorporate some of the
were making wooden models and controlling line three-
GT (SWB) is arguably
features of the new Italian designs in their new models,
dimensionally. They were making prototypes in metal of
one of the most perfectly
and also started to recruit Italian talent into their design
a very high quality,’ explained Professor Dale Harrow,
designed sports racers of
studios. Ghia worked for Chrysler and Pinin Farina for
Head of Vehicle Design at the Royal College of Art in
all time. The balance of
Nash, for example. Italian stylists also reacted against
London. ‘They were bringing very good artisan skills
aggression and elegance
the excesses of the more extreme American creations
to a modern design process, but what they didn’t do
is just right. (Author)
in the late 1950s and shifted to clean lines. It resulted in
was to adopt wholeheartedly the kind of American clay
the so-called ‘gran luce’ (full light) style, with deep, wide
model techniques, and I think that gave a certain quality
windscreens and windows. This style was later picked
[V [OL ÄUPZOLK ^VYR ;OL X\HSP[` VM SPUL HUK [OL [LUZPVU
up by other designers in the US and Europe.
of surface is something that can only really be created
‘I think the way the Italians were designing cars is
through that way of working,’ he said.
T HE LEG END BEG INS t 49
The significance of the Dino 206 GT Revisiting some of our earlier observations, we
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can see how the Italian automotive industry was a
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powerhouse of design innovation. In the late 1960s
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and early 1970s, several design studios created
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some strikingly futuristic examples in automotive
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design, such as Bertone’s Lancia Stratos 0 prototype (1970), and during this period many other
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aesthetically innovative vehicles were produced.
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Dale Harrow shares his thoughts on this design period: ‘I really
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KL[HPSPUN HYV\UK [OL KVVY OHUKSLZ (CAR magazine, South Africa)
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10 0 t FER R AR I DESIGN – T HE DEFINI T IV E S T UDY
Dale Harrow explains, â&#x20AC;&#x2DC;Itâ&#x20AC;&#x2122;s very complicated. I
As already mentioned, the evolution of the Dinoâ&#x20AC;&#x2122;s
mean, even though it is a simple design, when you
development from the long wheelbase (2,340mm) to the
look at the kind of surfacing and the way this is
Ă&#x201E;UHS ZOVY[ ^OLLSIHZL TVKLS TT ^HZ UV[ ^P[OV\[
controlled, it is very clever, and it is so easy to get that
its problems. Turning the engine from its early longitudinal
wrong. They were doing some pretty sophisticated
WVZP[PVU [V P[Z Ă&#x201E;UHS [YHUZ]LYZL SH`V\[ LUHISLK [OL LUNPULLYZ
stuff at Pininfarina.â&#x20AC;&#x2122;
to incorporate a more than useful rear trunk. The earlier
Harrow is fairly critical of todayâ&#x20AC;&#x2122;s designers, many
prototypeâ&#x20AC;&#x2122;s engine cover would lift as one large, very
of whom have abandoned the older technology, having
cumbersome panel exposing the whole rear workings of
moved away from the artisans working with designers to
the car, rather like a race car. But, by turning the engine
create shapes and control lines very carefully, to todayâ&#x20AC;&#x2122;s
sideways, it would not be necessary to open the whole
reliance on 3D Alias computer programs. He continues,
back end of the car to access just the engine, and likewise
Âş0U KVPUN ZV [OL` OH]L SVZ[ ZVTL VM [OH[ Ă&#x201E;UP[L JVU[YVS
one would not want to be exposed to a hot engine when
where [today] surfaces are created by lines in space
retrieving personal items from the boot (rear trunk). The
which are then joined up, rather than it being a kind of
answer was to create two separate covers that could be
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lifted individually, giving easy access to the boot (trunk) or
that you can over-detail.â&#x20AC;&#x2122;
(not so easy) access to the engine bay.
BE AU T Y AND T HE BE A S T â&#x20AC;&#x201C; PAR T 2 t 101
Tail-end A study of the rear lights from various Ferrari models in the 1960s makes for an interesting analysis and just shows how far styles moved during this decade. From Ä Twin-stacked – 1959/60
small twin-stacked roundels, triples, horizontal simple to
Ferrari 250 GT SWB.
horizontal complex, this decade probably witnessed the
(Author)
widest variety of Ferrari lighting styles.
à Triple stacked – 1960 Ferrari 250 GTE 2+2. (Author)
Á The single round rear lights on the 275 GTB (1964) would become a hallmark of Ferrari design, this being the most used light cluster style in the company’s history. It is still used today on the new 458 Italia. (Author)
116 t FER R AR I DESIGN – T HE DEFINI T IV E S T UDY
Ă Triple horizontal â&#x20AC;&#x201C; the 500 Superfast of 1964 had one of the most uncharacteristic of Ferrari lighting styles in the â&#x20AC;&#x2122;60s. (Author)
Ă&#x201E; Twin horizontal â&#x20AC;&#x201C; the Ferrari 365 GTB/4 Daytona was introduced in 1968. (Author)
Ă&#x192; Twin horizontal (small) â&#x20AC;&#x201C; Ă&#x201E;YZ[ ZLLU VU [OL +PUV GT of 1967, this model is [OL TVKLS +PUV GTS. (Author)
Ă&#x201A; Horizontal â&#x20AC;&#x201C; introduced in 1969, the 365 GTC. (Author)
BE AU T Y AND T HE BE A S T â&#x20AC;&#x201C; PAR T 2 t 117
Following in the footsteps of the immensely successful 308 series, the 328 had big ZOVLZ [V ÄSS ;OPZ PZ H TVKLS -LYYHYP .;) (Neill Bruce)
Ferraris as far as the L`L JHU ZLL ;OPZ SPUL ^HZ Q\Z[ MVY Z [OL ÄYZ[ ILPUN H .;: TVKLS (Author)
Ferrari 328 (1985) Introduced at the 1985 Frankfurt Motor Show, the 328 was really a refreshed 308. Available in both GTB and GTS guises from the outset, the 328 featured some revised styling changes, such as the grille and front bumper, which was now colour-coded to the body. 7LYOHWZ [OL ^HZ UV[ Z\MÄJPLU[S` KPMMLYLU[ MYVT P[Z predecessor to really be called a new model, but it did boast a larger 3.2-litre V8 engine mounted transversely, just as in the 308. The overall styling was more rounded, and the new model was credited with a better ride and improved performance and handling, thanks to a host of upgrades under the skin. As a tribute to the brilliance of the initial design, the 308/328 was on sale from 1975 through to 1989, during which time a total of almost 20,000 cars from both model variants were produced.
156 t FER R AR I DESIGN – T HE DEFINI T IV E S T UDY
Ferrari F40 (1987)
intended as the platform for showcasing the company’s
It had been 40 years since the founding of the company,
technology, and it was a great disappointment to racing
Evoluzione photographed
and for a manufacturer like Ferrari it was too good an
fans that this contest did not materialise, as the motor
at Silverstone. This model
opportunity to miss. Something special would have to
sport authorities canned the Group before a wheel had
gave birth to the F40
be produced, and by golly it was. The F40 was a no-
been turned in anger.
concept. (Author)
frills, street-legal supercar that might have put some race cars to shame, given the opportunity.
Ferrari’s 288 GTO
To place the F40’s development in context, the mid1980s was a turbulent time in the automotive world, with
Aged 90, and knowing that he did not have long to
the sports car market being one of the most risky areas
live, Enzo Ferrari summoned his design team and gave
of the market. In 1986, General Motors bought Lotus,
them the brief to create the ‘ultimate Ferrari’. Styled under
while Ford acquired 75% of Aston Martin the following
the watchful eye of Pininfarina’s Leonardo Fioravanti and
year. A year later Ford purchased outright the Jaguar
honed in a windtunnel, the F40 was a development of
company, which serves to highlight the precarious nature
the 288 GTO Evoluzione.
of the upper end of the market at the time. It could be
Destined to occupy the front row of the forthcoming
argued, however, that manufacturers such as Porsche
Group B grids, the 288 GTO Evoluzione was seen as a
and Ferrari were not quite as vulnerable as the rest of the
potent race car which would have competed against the
market, since their niche products were aimed at a very
likes of Porsche’s 959. In turn, the Group B class was
small sector of the specialised sports car market.
T HE R EDHE AD t 157
Ferrari Superamerica (2005)
Á The name
Today the concept of a coupé convertible has become
‘Superamerica’ invokes
a marketing niche in its own right, but the Pininfarina-
memories of Ferrari’s
KLZPNULK :\WLYHTLYPJH ^HZ JLY[HPUS` VUL VM [OL ÄYZ[
1950s super-styled
to combine the characteristics of a Berlinetta with the
sports cars. This styling
concept of a convertible. But, this was no conventional
is almost ‘boxy’ by
folding roof. Rather, it was a state-of-the-art glass top
comparison, but today’s
[OH[ YV[H[LK ^P[OPU [OL JVUÄULZ VM [OL YLHY \WYPNO[Z VY
sports cars have to carry
B-pillars.
so much more by way of
Announced on 24 November 2004, the Ferrari
technology. (LAT)
Superamerica was a limited edition model, which premiered at the Los Angeles and Detroit Motor Shows in January the following year. The name Superamerica, traditionally only associated with Ferrari’s prestigious and limited production cars, was derived from the 575M Maranello. While the front-end styling is familiar, the cabin and rear section of the car are unique. One of the drawbacks of having a folding solid roof is that it has to be stored somewhere, and today this is usually cleverly retracted into the conventional rear boot, leaving little or no space for luggage. However, the Superamerica’s innovative roof remains rigid, rotating
Ä The Ferrari
upwards and rearwards about swivel points mounted
Superamerica drew huge
on the inside of the rear buttresses, leaving the boot
crowds at the Goodwood
capacity unchanged irrespective of whether the roof is
Festival of Speed in 2006.
open or closed. When in the open position, the solid
This close-up shows the
rear window is simply inverted, providing a convenient
swivel mechanism for the
windshield for the occupants.
innovative roof. (Author)
FRO N T- EN G INE D OMINANCE t 227
 Intended as the performance model in the family, this imposing view of the Ferrari 599 GTB Fiorano shows its UV[ PUZPNUPÄJHU[ YLHY diffuser, which works in combination with the neat boot lip spoiler. (Author)
Ä Almost replicating the Daytona’s bold styling of 1968, the Ferrari 599 GTB Fiorano was a combination of assertive but functional design. (Author)
The lightness of frame, which delivered a 50 per cent improvement in torsional rigidity/weight over the 575M Maranello, combined with the astonishingly powerful engine, ensured a blisteringly quick acceleration time for the 0–62mph (0–100kph) sprint of just 3.7sec. The 599’s design was developed around frontsloping lines, which gave the car a dynamic stance when viewed from the side. The front wings (fenders) extended forward into the front bumpers so that it seemed that the central section, comprising the bonnet and central vent, was set into them. The front section was strikingly sculptured with one of the main visual features being the prominent power bulge in the bonnet. With the engine and fuel tank located between the axles and the cabin pulled back, an optimal weight distribution of 47 per cent front and 53 per cent rear was achieved. With these improvements, the engineers were able to lower the car’s centre of gravity by 20mm (¾in) compared to the 575M Maranello. The Pininfarina-designed body featured aggressive yet elegant lines that incorporated advanced functional aerodynamic elements such as the cooling and intake vents which were integrated into the design of the body. Up front, the classic central Ferrari vent optimised the ÅV^ VM HPY [V^HYKZ [OL YHKPH[VY ^OPSL [^V PUSL[Z ^OPJO ÅHURLK [OL JLU[YHS PU[HRL Z\WWSPLK JVVSPUN HPY [V [OL brakes and the intake ducts of the engine.
230 t FER R AR I DESIGN – T HE DEFINI T IV E S T UDY
Dihedral lines which started in the centre of the front headlamps continued back along the wings (fenders), and could be traced along the door tops to the trailing LKNL VM [OL YLHY ^PUNZ MLUKLYZ Ă&#x201E;UPZOPUN Q\Z[ HIV]L [OL rear lights. This feature encouraged the eye to see the design of the 599 GTB Fiorano as one continuous form, NP]PUN [OL ZWVY[Z JHY H MYLZO HUK TVKLYU HWWLHYHUJL ;OL ZPKL ]PL^ PZ H Ă&#x201E;UL L_HTWSL VM H TVKLYU interpretation of the true Ferrari GTB concept, featuring slightly sharper styling, while still retaining the shapely J\Y]LZ VM `LZ[LY`LHY ;OL SVUN T\ZJ\SHY IVUUL[ SLH]PUN you in no doubt as to the location of the engine, was in JVU[YHZ[ [V [OL ZOVY[ I\[ H[[YHJ[P]L [HPS 0U HJJVYKHUJL ^P[O the tradition set by the Ferrari Berlinettas of years gone by, the 599 continued the styling with round rear light clusters, I\[ UV^ MLH[\YPUN -LYYHYPÂťZ [YHKLTHYR L_WVZLK \WWLY Z\YMHJLZ 3H[LYHS OV[ HPY L_P[ ]LU[Z WVZP[PVULK Q\Z[ ILOPUK the front wheel-arches and quite high up on the wings MLUKLYZ MLH[\YLK Z[`SPZO Ă&#x2026;HZOLZ ^OPJO YLHJOLK IHJR HSVUN [OL Ă&#x2026;HURZ VM [OL KVVYZ ^OPSL [OL JVYYLZWVUKPUNS` SV^ SL]LS JVVSPUN K\J[Z MVY [OL M\LS [HUR HUK NLHYIV_
Ă&#x192; 0UUV]H[P]L KL[HJOLK
mimicked this rakish style. These features contributed to
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[OL T\ZJ\SHY Z\YMHJPUN VM [OL JHYÂťZ Ă&#x2026;HURZ
LUOHUJLK [OL
The 599â&#x20AC;&#x2122;s high rear haunches highlighted the carâ&#x20AC;&#x2122;s
HLYVK`UHTPJ LMĂ&#x201E;JPLUJ`
muscular, forceful look, while still successfully presenting
VM [OL
a strikingly simple shape. According to Fabrizio Valentini,
(Author)
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.;) -PVYHUV
ÂťZ PUUV]H[P]L YLHY
YVVM WPSSHYZ KPK UV[ TLYLS` OH]L H Z[H[PJ M\UJ[PVU I\[ ^LYL detached from the surface of the characteristic Berlinetta [LHYKYVW YLHY ^PUKV^ HUK HJ[LK HZ HLYVK`UHTPJ ÂşĂ&#x2026;`PUN I\[[YLZZLZÂť JVU[YPI\[PUN [V^HYKZ [OL ]LOPJSLÂťZ ULNH[P]L lift and stability. A small nolder on the trailing edge of the boot JVU[YPI\[LK [V [OL JHYÂťZ HLYVK`UHTPJ LMĂ&#x201E;JPLUJ` increasing downforce and resulting in a lift factor (Cz) of 0.190 and a Cd of 0.336. ([ [OL [O .LUL]H 0U[LYUH[PVUHS 4V[VY :OV^ VU 4HYJO -LYYHYP PU[YVK\JLK P[Z /HUKSPUN .; ,]VS\aPVUL /.;, WHJRHNL MVY [OL
.;) -PVYHUV
Ă -LYYHYP Ă&#x201E;YZ[ \ZLK SHYNL
Although the outward appearance of the car changed
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]LY` SP[[SL [OL [LJOUPJHS TVKPĂ&#x201E;JH[PVUZ PU[YVK\JLK ^P[O
MHY IHJR HZ [OL
[OL /.;, WHJRHNL LUZ\YLK TVYL K`UHTPJ OHUKSPUN
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^P[O PTWYV]LK YLZWVUZP]LULZZ ^OPSZ[ Z[PSS YLTHPUPUN HU
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LHZ` JHY [V KYP]L -YVT H Z[`SPUN WVPU[ VM ]PL^ L_[LYUHS
^OPJO LZ[HISPZOLK
TVKPĂ&#x201E;JH[PVUZ PUJS\KLK PU ZWSP[ YPT ^OLLSZ ^OPJO
[OL Z[`SL MVY -LYYHYP ;OL
ZH]LK SI RN PU \UZWY\UN ^LPNO[ HUK [OL YLHY KPMM\ZLY
^HZ Ă&#x201E;UPZOLK PU TH[[ ISHJR
KLZPNU [YHKP[PVU (Author)
.;) JVU[PU\LK [OPZ
FRO N T- EN G INE D OMINAN CE t 231
Dale Harrow says, ‘I think it is a bit of a shame they are not bringing that heritage and tradition into their new products, and have resisted actually dipping into their history. You could imagine them going back to some of those ’50s and ’60s models and reinterpreting them just like Aston Martin have done. They have gone back and kind of found that [design] language and kind of tweaked it.’ The success of many of the older Ferraris perhaps highlights the fact that a lot of the design back then was successful because it was done in an atmosphere of relative freedom. Dale Harrow goes on to say, ‘Yes, I Â The Ferrari F430
think that is true as well. And I think the current designs
is today perhaps one
have got lost in a poor aesthetic collection of shapes that
of the most complete
they just keep reinterpreting, when actually there is more
sports cars, offering
in the cupboard. And I am surprised that Ferrari has
quality, reliability, and
not gone back and looked in that cupboard, because
performance. This Spider
you could almost imagine they could hatch a stream of
was shown at the 2008
heritage vehicles, limited editions, and make some very
Geneva Motor Show.
ZLYPV\Z TVUL` HUK HJ[\HSS` YLKLÄUL [OLTZLS]LZ H SP[[SL
(Author)
bit by actually doing that.’ Research has shown that people’s taste is usually set early on in their lives, and that they tend to keep their early preferences thereafter. This makes it all the more surprising that Ferrari have not analysed their heritage more actively, since many of those motoring enthusiasts who, when they were young, dreamed about one day owning their favourite Ferrari sports car are now (if they have been successful in business) in a position to afford one. Keith Helfet shares his feelings: ‘I resent what’s happening at the moment because when I couldn’t afford the cars that I desired, there were a lot of them around to choose from. Now that I can afford one, there is nothing that I really want. There are still key cars that I yearn for, and the 328 is one of them. If I were looking for a Ferrari, that’s the car I’d still buy now, and in a way that says it all.’ However, the dynamics of the market have changed substantially from the days when designers produced sports cars that had real meaning for both the company and the car’s owner. That is to say that the owner of a Ferrari in the period between the ’50s and perhaps the ’80s was more likely to have been a motor sport enthusiast who would have been swayed by Ferrari’s racing results around the world. With the increase in the number of models now available, and therefore in total production, a greater
26 6 t FER R AR I DESIGN – T HE DEFINI T IV E S T UDY
BUILD ING O N T HE PA S T t 267