‏إظهار الرسائل ذات التسميات August. إظهار كافة الرسائل
‏إظهار الرسائل ذات التسميات August. إظهار كافة الرسائل

الخميس، 16 أغسطس 2012

Phil Llewellin commemorates the Battle of Britain (Car archive, August 1990)

By Phil Llewellin

Memory Lane

10 August 2012 09:00

He was the right build for a fighter pilot, or a scrum half, and looked younger than his years. Eyes that had scanned the skies from the cockpit of a Hawker Hurricane, half a century before, glinted in Air Vice-Marshal Harold Bird-Wilson’s tanned and smiling face. ‘Birdy’ autographed my Battle of Britain book and recalled being shot down by the Messerschmitt Bf109E of cigar-smoking Adolf Galland, one of the Luftwaffe’s greatest aces.

He introduced me to John ‘Cat’s Eyes’ Cunningham, Britain’s most famous night fighter pilot, then asked ‘Fred’ to add his signature to my collection. Fred, who had also been a Hurricane pilot during the battle, remained in the Royal Air Force until 1973. By then he was Air Chief Marshal Sir Frederick Rosier, the last Commander-in-Chief of Fighter Command.

Fred, Cat’s Eyes and Birdy were just a few of the modest old heroes who were on a parade for the opening of the special Battle of Britain exhibition at the RAF Museum in Hendon, a stone’s throw from the London end of the M1. Meeting them was the grand finale to a five-day, 1500-mile odyssey at the wheel of a Bentley Mulsanne S, undertaken to mark the 50th anniversary of the RAF’s epoch-making clash with the Luftwaffe.

There were several good reasons for choosing the £82,371 Bentley. For a start, whatever car was used had to be as quintessentially British as roast beef and cricket on the village green. Bentleys are made by Rolls-Royce Motor Cars in Crewe. The factory was built in 1938-39 to manufacture Rolls-Royce Merlin engines for Spitfires and Hurricanes. The Spitfire’s designer, Reginald Joseph Mitchell had a Rolls-Royce car. Jeffrey Quill’s highly commended Spitfire: A Test Pilot’s Story contains several affectionate references to ‘my old 3.0-litre Bentley’.

Billy Fiske, a young fighter pilot commemorated in the crypt of St Paul’s Cathedral, London, thundered along southern England’s sun-baked roads in a supercharged Bentley, complete with leather bonnet straps and worthy of Bulldog Drummond, Fiske was one of several Americans who volunteered for the RAF more than a year before Uncle Sam joined in the struggle. I was also reminded, while wondering what car would be most appropriate for this once-in-a-lifetime exercise, that Fighter Command’s headquarters, on high ground in the leafy London suburb of Stanmore, had been an 18th-century mansion called…Bentley Priory. That was the nerve centre from which Air Chief Marshall Sir Hugh ‘Stuff’ Dowding directed the prolonged aerial battle.

I recalled the background to the struggle that inspired some of Churchill’s most spine-tingling oratory while waiting for the red Mulsanne to appear outside the Crewe factory’s impressive new reception hall.

From the British viewpoint, the Second World War started on 3 September 1939, two days after Germany unleashed its blitzkrieg – ‘lightning war’ – assault on Poland. In the west, the so-called Phoney War, the lull before the storm, lasted until 10 May 1940. Eleven days later, the first of the panzers that had raced across France at astonishing speed reached the English Channel. Operation Dynamo, which plucked 338,226 British and French troops from Dunkirk’s blood-stained beaches, started on 26 May.

Dowding, despite immense political pressure, eventually refused to send more fighters to France, where they would be sacrificed on the funeral pyre of a lost cause. He stated his case in what has been described as the most famous letter in the RAF’s history. After reminding the Air Ministry that 52 fighter squadrons had long been considered essential to defend Britain, and pointing out that the number had tumbled to 36, he said: ‘If the Home Defence Force is drained away in desperate attempts to remedy the situation in France, defeat in France will involve the final, complete and irremediable defeat of this country.’
France gave up on the struggle on 21 June. Just over a week later, Hitler ordered his commanders to prepare detailed plans for the invasion of Britain, an enterprise for which control of the air was deemed essential. Britain now stood alone, in a position of unprecedented peril, awaiting the full fury of Reichsmarschall Hermann Goering’s cock-a-hoop Luftwaffe.

According to Richard Hough and Denis Richards, whose Battle of Britain: The Jubilee History is required reading, the air fleets charged with bringing about the RAF’s demise mustered about 1260 long-range bombers – Junkers 88s, Heinkel 111s and Dornier 17s – plus 317 of the screaming Junkers 87 dive-bombers that had proved so effective over mainland Europe. Messerschmitt Bf109Es, powered by a Daimler-Benz V12 whose assets included a direct fuel-injection system, accounted for most of the air fleets’ 1089 fighters. Twin-engined Messerschmitt 110s made up the balance.

Hurricanes outnumbered Spitfires by almost two to one in the home team’s line-up. Figures quoted by the RAF Museum are 347 to 199. Bristol Blenheims, Boulton Paul Defiants, and a flight of Gloster Gladiator biplanes, raised the total number of Dowding’s fighting-fit aircraft to 640. No wonder Churchill’s famous tribute – ‘Never in the field of human conflict was so much owed by so many to so few’ – came to mind as rather more than two tons of Bentley Mulsanne whispered away from its Cheshire birthplace, en route for Stoke-on-Trent.

Half a century earlier, Rolls-Royce’s supercharged Merlin V12 had produced 1030bhp from 27 litres. That gave the Mk1 Hurricane a 324mph top speed. The early Spitfire was good for 350 in level flight and climbed to 20,000ft in just over nine minutes. The myth about the power of today’s Rolls-Royce and Bentley cars not being revealed is kept alive by writers who should know better.

Thanks to European markets, which insist that ‘adequate’ does not constitute sufficient information, it should be common knowledge that the Mulsanne’s naturally aspirated, 6.7-litre V8 develops 222bhp at a genteel 4200rpm. Some 330lb ft of torque is generated 2700 revs lower down the scale. Performance figures? My stopwatch credited this heavy, square-shouldered status symbol with reaching the mile-a-minute mark in 9.7 seconds. The maximum, which I didn’t check, must be a little over 120. The speedometer was a paragon of precision.

Why was Stoke-on-Trent my first target? Because it was here that Reginald ‘Spitfire’ Mitchell, a schoolmaster’s son, was born in 1895. A section of the City Museum and Art Gallery in Bethesda Street is dedicated to the engineer who became Supermarine’s chief designer at the age of 24, and died of cancer just 18 years later.

Wonderfully evocative photographs of Mitchell, and the aircraft he masterminded, overlook a Spitfire LFXVI that was delivered to 667 Squadron in 1945. Fifty-four years have passed since the prototype’s maiden flight, but the Spitfire, in my judgement, remains the most graceful and beautifully proportioned of all aeroplanes. In a corner of the Spitfire Gallery stands a Merlin, parts of which have been removed to reveal such details as four valves to each 2.25-litre cylinder. An excellent power-to-weight ratio was one of the most outstanding characteristics of an engine that was eventually modified to belt out as much as 2640bhp.

Two-level air-conditioning soothed and susurrated as the Bentley inched through narrow streets, solid with slow-moving traffic, then made up for lost time on the road to Derby. My destination was the Rolls-Royce aero-engine company’s headquarters in Nightingale Road. Here, in the Merlin’s birthplace, light streams through a window whose stained glass depicts a young RAF pilot. The inscription reads: ‘This window commemorates the pilots of the Royal Air Force who in the Battle of Britain turned the work of our hands into the salvation of our country.’

Quiet main roads and free-flowing motorways, cruised at a discreet and theoretically fuel-efficient 80mph, took the Bentley to Southampton by the way of Middle Wallop, in rural Hampshire. This most euphonious of 1940’s fighter bases stands amid fields that roll gently down to thatched cottages clustered around olde worlde pubs and medieval churches. The sky above these idyllic villages was ripped apart, time and again, when Goering’s bombers attempted to defeat Fighter Command by wiping Middle Wallop, and the rest of the front-line aerodromes, off the map. Middle Wallop is now shared by the army flying corps and the Museum of Army Flying.

Four o’clock found the red Bentley parked outside Southampton’s Hall of Aviation, which is close to the Supermarine factory’s site. Links with Mitchell include a Spitfire MkXXIV powered by Rolls-Royce’s 36.7-litre, 2350bhp Griffon. But the collection’s most remarkable aircraft is one of two Supermarine S6 seaplanes designed to contest, successfully, the very prestigious Schneider Trophy in 1929. Two years later, a development of that astonishingly sleek aircraft raised the world air-speed record to almost 410mph. Lessons learned from the seaplanes were applied to the Spitfire.
The first of almost 23,000 Spitfires and Seafires flew from what is now Southampton’s airport at Eastleigh. In the passenger terminal, a plaque unveiled by Mitchell’s son gives the date as 5 March 1936. Jeffrey Quill is convinced that the maiden flight took place a week later. Such quibbles concerned me less than the fact that the Bentley’s fuel warning light was on after only 266 quite sedate miles.

Just over 18 gallons were needed to brim the tank before visiting Tangmere. No fewer than 124 gallons had sloshed into the Mulsanne by the end of the trip. The cost factor speaks for itself. Less obvious, perhaps, is the amount of time spent catering for a thirst worthy of Gargantua and Pantagruel.

A small aviation museum occupies one corner of Tangmere, an airfield that was bombed on 16 August 1940 by Ju87s that dived almost vertically from 12,000ft. Anti-aircraft guns held their fire rather than risk hitting the Hurricanes that were taking off the Stukas as they came down, sirens wailing. Billy Fiske, the Bentley man, died that day. Watching the sun set from what remains of Tangmere’s control tower, I said a prayer for all the foreign pilots who contributed so much to the RAF’s strength. They included 145 Poles and 87 Czechs.

Early next morning another link between automobiles and aircraft was forged during a brief stop at Brooklands, between the Surrey towns of Byfleet and Weybridge. Opened in 1907, and now the home of a motoring and aviation museum, Brooklands was the world’s first made-to-measure track for car racing. In 1935, Oliver Bertram and the Barnato Hassan Special, based on an 8.0-litre Bentley, lapped the circuit at 142.6mph.

It was from Brooklands, which incorporated an airfield, that the first Hurricane made its maiden flight on 6th November 1935. Designed by Sydney Camm, the eldest of a carpenter’s dozen children, the Hurricane shared the Spitfire’s armament as well as its engine. Each wing concealed four Browning 0.303in machine guns fed by a total of 2600 shells. The guns were general set for their fire to converge at a mere 250 yards. Accurate shooting was essential, because there was rarely time for more than a two-second burst. But the pressure on Fighter Command became so great that many pilots had never fired a shot until they went into action for the first time.

Biggin Hill, only 15 miles south-east of London’s heart, played a key role in the capital’s defence. Today, Hurricane and Spitfire replicas flank the entrance to the airfield Chapel of Remembrance, which is open to visitors. The White Hart, down the road in Brasted, was a great favourite with this famous fighter station’s pilots. Many signed the blackboard, which is now in the RAF Museum in Hendon.

There was time to spare for a few more thoughts for the Bentley while driving to Dover beneath skies as clear as they had been for day after day in the summer of 1940. Only a cock-eyed optimist equipped with the most rose-tinted of spectacles would expect a car this long, wide, high and heavy to be a miracle of agility. But gone are the days when Bentley and Rolls were synonymous with such pejoratives as barge-like.

Much less money can buy a low-speed ride that’s significantly quieter and smoother, but the latest suspension – introduced last year for all but the ragtop models – combines with informative steering and Avon Turbosteel tyres, to make the Mulsanne far more of a driver’s car than its predecessors.

Tight corners are best treated with restraint, if only because the seats provide less support than Mrs Thatcher gets from the Beast of Bolsover, but the Bentley sweeps through the more open variety on a surprisingly even keel. The biggest problem, when trying to leapfrog dawdlers on give-and-take roads, is the car’s length.

Another point that came to mind, frequently, was that cars such as this no longer provide features far beyond the aspirations of Mr Average. But the Bentley does command respect. I parked in what may have been the chairman’s slot when visiting Rolls-Royce in Derby, knowing that I wouldn’t be there for more than five minutes. The commissionaire who marched out looked tough enough to breakfast on barbed wire sandwiched between concrete. He said: ‘How can I help you sir?’ not ‘Hey! Get that bloody car out of there!’

Standing on Dover’s white cliffs, I tried to picture the scene on 10 July 1940, when German attacks on a big convoy of merchant ships sparked off a series of furious dogfights. This was later deemed to be the day on which the Battle of Britain started.

Two months later, Goering and his staff enjoyed a picnic on Cap Gris Nez, 21 miles from Dover, while 1000 aircraft assembled to attack London. The assault’s scale and ferocity were unprecedented. Among those who flew to smite the Luftwaffe’s armada that Saturday were three squadrons from Duxford. Their leader, Douglas Bader, had rejoined the RAF in 1939, eight years after losing both legs when his Bristol Bulldog crashed.

Duxford, on the M11 near Cambridge, was the whispering Mulsanne’s next touchdown point. The airfield where the first squadron to fly Spitfires was based is now part of the Imperial War Museum. I spent a long afternoon that wasn’t half long enough admiring one of the world’s finest collections of military and civil aircraft. Hurricane, Spitfire, Thunderbolt, Messerschmitt 262, Mustang, King-cobra, Mosquito, TSR-2, Super Sabre, B17 Flying Fortress, Sunderland, Comet and Concorde are just a few names plucked from page after page of notes. The room from which operations in the Duxford sector were controlled during the Battle of Britain has been restored, down to such details as a Careless talk costs lives poster.

A top-secret chain of coastal radio stations made a priceless contribution to the efficiency of such ‘ops’ rooms. That’s why the Bentley headed due east from Duxford to Orford, a delightful little Suffolk village whose main street ends in a quay. Four men travelling in two cars, an Armstrong Siddeley and an MG, reached this isolated spot on 13 May 1935. Accompanied by two RAF trucks, laden with equipment, the scientists were there to build Britain’s first experimental radar station. The full story is told in Radar Days by Dr EG ‘Taffy’ Bowen. He recalls relaxing in the Jolly Sailor, where I lingered over an excellent pint before dropping anchor at the Crown and Castle, where Robert Watson Watt and his colleagues spent many a long night talking about what was then called Radio direction Finding.

Squadron Leader Colin Patterson welcomed me to the RAF’s Battle of Britian Memorial Flight and Coningsby, between Boston and Lincoln. He flies the four-engined Lancaster bomber. The flight’s five Spitfires and two Hurricanes, one of which has The Last Of The Many painted on its fuselage, are due to do about 200 displays during this jubilee year. I did a deal with a commanding officer, letting him drive the Bentley while I sat, spellbound, in the narrow cockpit of a Spitfire that flew in the Battle of Britain.

We drove as far north as Flamborough Head, because Yorkshire’s answer to the white cliffs of Dover witnessed an almighty dogfight on 15 August 1940, then spent a night near Lincoln before wafting down the A1 to meet yesterday’s heroes at Hendon. The RAF Museum in general reduced me to a gaping, gasping wide-eyed schoolboy. I could have spent two or three days there, but I wanted to visit Bentley Priory – now the headquarters of the Royal Observer Corps and the RAF’s 11 Group – before returning the Mulsanne.

The last name on my list was Tern Hill, 15 miles south-west of Crewe, which had been a training and operational bade in 1940. On 18 July, a pupil pilot who had just celebrated his 23rd birthday took off in a Harvard, which crashed near Nantwich at 3.15pm. He left a pregnant widow. Her son was born on 23 October, 11 days after Hitler, thwarted by Fighter Command’s resolution, rolled up his invasion plans. Fifty years later, the Pilot Officer’s son was commissioned to roam far and wide across England, gathering Battle of Britain material. He drove a red Bentley Mulsanne.

 


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الأحد، 12 أغسطس 2012

The Design Power List – (CAR archive, August 2010)

By Guy Bird

Memory Lane

03 August 2012 10:00

Reed has been head of the biggest transportation education course in the world, in Pasadena, California, since 2005. He also runs his own studio, has designed more than 20 concepts and been a judge for many design awards. Influential.

How much has Reichman achieved at Aston since 2005? After all, the Rapide is 'only a LWB DB9', say critics. But stewardship of the world's most beautiful sports car brand isn't easy. Compare Rapide to Panamera to gauge his talent. Influential.

Our list is littered with graduates from London's RCA. In charge of arguably the most influential car design course in the world for more than a decade, Harrow has the power and responsibility to shape car design's future stars. Inspirational.

Been a Mazda man since 1982, bar a brief stint with Ford in 1999, appropriate given his name even sounds like 'Mazda' bar a middle E. Brought suicide doors (safely) back into fashion with the production RX-8 and became overall design boss in 2009.

Giolito's new 500 made the world love Fiat again (and contributed greatly to its profits and brand equity). He was also responsible for the first modern-day Multipla – harder to love from the outside – but still a fantastic 3+3 interior package.

McGovern penned segment-defining production cars like the original Freelander and MGF and oversaw the reinvention of Lincoln in the early '00s before returning to Land Rover in late 2006. Upcoming Evoque set to redefine luxury SUV design. No-nonsense maverick.

Now into his fourth decade as the respected designer of 60+ vehicles, including the odd truck, Horbury is best known for changing the face (and shoulders) of Volvo in the '90s before heading up Ford's Premier Automotive Group in 2002. Rejoined Volvo 2009.

He only got the top job in January 2010 – but he'd already changed the game while head of concepts in 2009 with the BB1 scooter-car concept, now set for production, and before that a host of Citroën concepts and production cars. One to watch.

Worked on original Ka, Focus and Mk5 Fiesta, then switched to GM in 2002 and penned the current Corsa and Astra. Has the popular touch, big time. Commercially savvy.

Haitian-American Gilles replaced Brit Trevor Creed in autumn 2008 aged just 38. Expect vastly improved quality and style from the next generation of nearly two million annual Chryslers, Jeeps and Dodges. Reports directly to Marchionne so no Fiat design-filter either.

A VW design veteran since 1989, working his way up from interior designer to head of VW brand design by 2007. Had his paws in most key VW-badged projects during that period, plus the interior of the Bugatti Veyron. Consistent.

Speaks seven languages (including Swahili), has a fondness for weaponry design (his dad was a hunter) and made Lamborghini great again before joining Seat in 2005. Current Ibiza shows new approach and there's plenty more to come. A dangerously good designer. Inspirational.

Like some musicians some car designers only have one or two designs in them. Callum's not one of them with a diversity and breadth of brands and great-looking cars from hot superminis to luxury saloons and supercars. Made Jag relevant again.

Unsung legend and long-time J Mays collaborator behind an endless variety of cars from the Audi TT and VW Beetle concepts to the wonderfully nut-job 500bhp Dodge Tomahawk show bike, 300C for Chrysler and the future-facing 2010 Ford Start concept. Visionary.

Rising to director of the revered Italian design house in 2007 at just 33, Vermeersch has been involved in stunning production Ferraris, awesome concepts (Nido, Sintesi, 2uettottanta), mainstream cars for emerging brands (Brilliance, Chery and Tata) plus loads more confidential work for established carmakers too, as Vermeersch puts it: 'as a sparring partner to give new ideas and an outside view.' Vital.

The most Italian German you'll ever meet, Egger studied in Milan and helped Italian Walter de'Silva (now VW Group design boss) 'bring the emotion' at Alfa Romeo on the 156, 166, 147 and 8C. Followed de'Silva to Seat and then again to Audi as group design boss (in charge of Audi and Lamborghini). Shades Audi brand design chief Stefan Sielaff for influence as a result. A good egg.

Made his name at Audi in the '90s on less-is-more first generation A6, A4 Avant, A3 and TT, much admired and since copied. After working for VW in the early '00s his move to Kia in 2006 shocked many, but the formerly unloved brand is already gaining sales and design flair. Way more influential than his Korean counterpart at Hyundai 'Mr Oh'. Oh...

Started at Renault on the acclaimed Mk1 Twingo (with Patrick le Quement as chief designer) and then the 1994 Argos – Renault's TT. After eight years as Citroën's design director adding flair (C2, C3, C4, C4 Picasso and C6) where once there was despair (Xsara, Xantia etc) he's been in overall charge of Peugeot and Citroën since 2008. French design's future looks bright.

Living legend behind 200-plus vehicles equating to 60 million cars worldwide from the everyman Fiat Panda and more recently Grande Punto to supercars like the Lotus Esprit and Maserati Bora. Makes this list courtesy of VW's recent purchase of his company that should secure its future and could yet turn him into the Mandelson of the VW Group – in a good way.

After stints at VW, GM Opel and Mazda, Wagener's been a Merc career man since 1997 involved in almost all of the brand's key cars. Since becoming head of design in 2008 he's championed the SLS, plus the F800 and Shooting Break concepts as examples of his more fluid future direction that should banish the brutal angularity of some of the current range. Nay-sayers claim Merc hasn't re-found its mojo since Bruno Sacco, but its design influence is still huge, as Sam Livingstone of Car Design Research puts it: 'Wagener's responsible for the most important luxury car brand in the world.'

Filled big boots in 2009 when he took over after Patrick le Quement's 22-year reign ended, on the back of global experience gained from a series of superb concepts for Mazda and Ford. Reporting directly to chief operating officer Patrick Pelata, he's now in charge of Renault and Dacia brands, some 460 staff across three continents and tasked by Pelata to make 'great cars'. Improving on current dull Renaults shouldn't be hard but being allowed to vent his full creativity within a business needing sure-fire sales hits might be. Slight Achilles heel is the lack of more production work on his CV.

Who? Uchiyamada is a relative 'unknown' within car design circles because he's an engineer who also serves as the head of the Design Center. His big break was chief engineer of the first generation Prius (the really ugly one) and according to his CV is big on NVH reduction. Great engineering CV, but can he really have the vision required to stimulate the creation of beautiful, relevant cars? Listed due to his power to influence how nine million vehicles per year look. Toyota used to have a de facto design boss Wahei Hirai but didn't directly replace his position when he vacated it in 2009. Which says a lot.

Coaxed out of retirement to take on a newly created role of head of Fiat Group design in 2007 including responsibility for Fiat, Alfa, Lancia, Abarth and also Maserati. Has an amazing track record as a Pininfarina man from 1973 to 2005 where he was in charge of countless vehicle projects including stand-out Ferraris like the 456GT, Enzo, 550 Maranello, 360 Modena, 612 Scaglietti plus the Maserati Quattroporte and Gran Turismo, as well as more accessible cars like the Alfa Romeo GTV and stunning Peugeot 406 Coupé. Pedigree-filled track record, but Fiat influence yet to be fully felt.

Smith's career has been central to many key trends of the last 30-plus years. At Audi in the late '70s, '80s and '90s he helped develop the brand's clean lines on the Audi 80, 100, Avus concept and TT (with J Mays). From 1997-2004 at GM's European operation, he influenced the future of Opel/Vauxhall with the 2004 Insignia show car. He then moved to Ford of Europe where he has been instrumental in its dynamic 'Kinetic design' (think Mondeo and Fiesta) now key to its 'One Ford' global policy – and in 2006 added Africa and Asia Pacific to his remit. Massively influential with sales hits to match.

Nobuki Ebisawa doesn't play the flamboyant designer role – more white lab coat, shirt and tie (he's also MD of R&D) – but since 2009 he's had overall responsibility for the look of nearly four million Hondas every year. Joining back in 1977 he worked through Honda's early '80s 'man maximum, machine minimum' design phase and post-2000, when the firm added a more emotional dimension as witnessed in the superbly packaged Jazz (or Fit) city car, radical European Civic hatchback, aerodynamic FCX Clarity fuel-cell vehicle and wedgy CR-Z. In all, he's behind more independent-thinking, functional and more dynamic design than he's sometimes given credit for.

Only the sixth ever design leader for the General and the first to hold the position of global design VP created in 2005. Five years in he now oversees 10 design centres in eight countries from the US to China with a 1500-strong team. The brand portfolio may have shrunk in 2009 but he's marshalled significant change in aesthetics and quality for the brands that are left – Buick (Enclave, La Crosse), Cadillac (CTS), and even GMC (Granite concept) plus Opel and Vauxhall in Europe. Before all this, as director of advanced design, he also led the excellent GM
AUTOnomy and Hy-wire fuel-cell projects. Big job, (relatively) low profile.

A BMW man through and through, joining in 1992 and since thoroughly involved with Chris Bangle and his highly controversial but also very influential 'flame surfacing' design language of the last decade. Busier and more complex exterior surfacing cropped up across the car industry after their work and is still prevalent today. He followed in Bangle's footsteps (but luckily not his fashion sense) to become BMW's design director in 2004 and then in addition head of group design, including Mini and Rolls-Royce, when his mentor stepped down in 2009. Beyond cars, van Hooydonk 'gets' the bigger design picture and was president of BMW's product consultancy DesignworksUSA in LA for three years. Although BMW's current mainstream car designs have calmed down under his watch, a brand and a designer still capable of producing stunning cars such as the new production Z4 and the Vision Efficient Dynamics concept has a very positive future.

Nakamura is the man who put Japanese car design on the map after decades of copycat and me-too designs. Headhunted from under-the-radar Isuzu in 1999 he oversaw an onslaught of radical concepts and high-selling production cars as part of Carlos Ghosn's 'Nissan Revival Plan' including the Chappo, Cube, Jikoo, Effis, 350Z, Murano, various Micras, the Qashqai, (and soon Juke) as well as the FX45 production car and Essence concept for Infiniti – described by CAR as 'sexier than Kate Moss naked'. Key to his success is not only his ability and work ethic – he allegedly often does 12-hour days working from a chauffeur-driven GT-R – but also his skill and willingness to communicate his designs' relevance internally and externally and his global experience (he studied at Art Center in the US and has worked in Europe and Japan). Bonus pub fact: played jazz double bass to semi-pro standard before starting in the car industry.

Ten years ago Mays was responsible for eight brands – Ford, Lincoln, Mercury, Mazda, Volvo, Land Rover, Jaguar and Aston Martin. Pending Volvo's sale to Geely this year all that will be left is Ford and Lincoln. Still, those two brands represent some 4.5million vehicles a year and globally Ford is in better overall design shape than it's been for decades, due in no small part to Mays' direction and execution of the 'One Ford' global policy – take the acclaimed European Fiesta launching into the US as just one example. Add in his legacy of successful concepts – the 1991 Audi Avus led to the TT and the 1994 VW Concept 1 to the new VW Beetle – his ability to nurture (and poach) design talent to work with him (Smith, Thomas, Horbury, van den Acker), plus thoroughbred production car designs like the Land Rover Discovery 3 and Aston DB9 and you have a man who still wields heavyweight clout.

While other big design chiefs have been shedding brands (Welburn at GM and Mays at Ford) de'Silva has been busy adding them to his cap – the latest considerable feather being Porsche. This brings his tally to eight and includes some of the most famous names in motoring – Lamborghini, Bugatti, Audi, Bentley, Seat, Skoda and VW – and some 6.3million sales in 2009.

De'Silva made his name with Alfa and the beautifully proportioned 156 saloon and Sportwagon of the late '90s with their simple curves and hidden rear door handles that gave the appearance of a coupé or shooting brake. Switching to the VW Group in 1999 he added 'auto emocion' to Seat with the Salsa and Tango concepts and production Leon and Altea before adding more curves, fuller volumes and gapey-grilled 'emotional design' to the Audi brand from 2002. The current TT Mk2, A5, A6 (Mk2) and R8 supercar were all his work and have been critical and commercial successes.

As head of VW Group design since 2007 de'Silva has turned his attention to overhauling the VW brand and replacing its rather clumsy chrome-faced big grilles with slimmer, subtler ones, epitomised by the new Scirocco and Polo (Mk5). The only tiny blip in his track record was the weakly retro 2006 Lamborghini Miura tribute concept. That aside, the breadth of designs, brands, segments, consistent sales and internal and external influence has been astonishing. As auto analyst Max Warburton puts it: 'Investors are increasingly trying to determine which company is going to be most consistent at delivering hit products.' In de'Silva VW Group has found its hit machine. 


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السبت، 11 أغسطس 2012

News watch August 2012: today's auto industry news

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jjrdias says

Marchionne likes to whiine about overcapacity, but that's only an issue because Fiat's model lineup is dreadful. Only the 500 and its derivatives are appealing, but even those have some issues - why can't you have an automatic transmission on the city-dwelling 500 1.3 multijet? The germans - VW - have proven that if you build good cars, people will buy them. A lack of vision and adequate investment, when it was called for, is what's truly hurting Fiat's bottom-line.

01 August 2012 17:04


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الجمعة، 10 أغسطس 2012

Honda NSX driven by Gavin Green (CAR archive, August 1989)

By Gavin Green

Reviews

30 July 2012 09:00

The Japanese are about to attack the most difficult market of the lot: supercars. Domination of the small and medium-sized saloon markets, worldwide, has been accomplished. They can also check off the small coupe sector. And the big saloon market, never a Japanese forte, is about to get a worthy couple of Asian challengers, in the form of Nissan’s Infiniti and Toyota’s Lexus.

But supercars are different. Japan is the world’s most successful car producing nation because Japan builds the world’s most sensible cars: good value, reliable, well researched, well equipped, tidily finished. Those values count for naught in the emotionally supercharged world of supercars. Common sense means nothing. Ditto practicality. The big master computer that helps the Japanese tap into the thought patterns of Western car buyers will blow a fuse trying to work out why people buy Ferraris and Porsches and Lamborghinis. There are no sensible reasons. No logic. Instead, what’s needed is soul, inspiration and emotion. Over the years, these are the very things the Japanese have shown themselves wanting.

Until now. Honda, long regarded as the most inspirational of its country’s car makers, and now imbued with a strong image after its trouncing of Ferrari, Porsche et al in formula one racing, is only a year away from launching a supercar that exposes Porsche as a builder of mainly obsolete cars (after all, the company’s last all new design was introduced more than 10 years ago), and highlights Ferraris as being cramped, noisy and uncomfortable. The new NS-X will be built in much greater numbers than any other powerful mid-engined car, and has an on-paper specification superior to most Ferraris or Porsches (all-aluminium monocoque, aluminium body, full-wishbone suspension twin-cam four-valve heads using variable valve timing to give 90bhp per litre, perfect weight distribution, and more). To boot, the car is great fun to drive, and easy to drive, too. No mid-engined high-performance car has ever combined those virtues before. All-round visibility is panoramic, the seats are comfortable, and the cabin is tasteful. Its cockpit says 1990. Step into a Porsche 911 and you step back 20 years. Step into a Ferrari GTB and you’re likely to bang your thigh on the sill, and your head on the roof – never mind having to cope with the off-set pedals, the poor rear visibility, and the sheer weight of the controls. By comparison, the Honda pampers. But it also entertains.
Honda has never understood why supercars have to be silly cars. It wanted to make a mid-engined two seater that the effete, as well as the fit, could enjoy; in which Sennas could get exhilaration and everyday shoppers satisfaction; a car that would be reliable and well made and quite simple, but that would also do 170mph (or thereabouts), make all the right noises and satisfy the sensibilities.

And Honda has succeeded. Quite spectacularly, in fact. During a full day spent driving two different NS-Xs (one manual, one auto) at Honda’s Tochigi test centre, about 60 miles north of Tokyo, the cars barrelled around the high-speed bowl at 150mph, tracking straighter than either the 911 or the GTB (both ’89-spec cars) that Honda conveniently had on hand, and generated less wind noise, too. But – surprise surprise – they generated more of the right sort of noise: a superb deep-voiced bellow under acceleration that infiltrates the cockpit, and gushes from the rear exhaust pipes. Neither the 911 or the GTB sound as good, and that amazed me.

Later that day, on the handling circuit which snakes around inside the high-speed bowl, offering a good variety of tight low-gear bends, and quick, can-I-take-this-flat-or-not? corners, the NS-X showed the flip side of its abilities. More forgiving, more predictable than the Porsche, and almost as fast on the winding bits. Lighter, far less tiresome, and almost as quick as the GTB. Better interior, just as wide a torque bad, much better gearchange, just as good at braking, although it lacks the turn-in sharpness of the Ferrari, and, ultimately, its animal alacrity. I told the posse of Honda engineers on hand (including engineering chief Nobuhiko Kawamoto) as much.  ‘We know. We are working on those problems. Don’t forget the car is still a year away from production.’

It will be built in a new factory at Tochigi, where production is expected to be 6000cars a year – vast by the standards of170mph, mid-engined machines. The US will be the biggest market, although Europe also promises to be lucrative. The target price is ‘about $60,000’. Expect the NS-X to cost about £40,000 in the UK, which is 944 Turbo money. The on-paper comparison does not read kindly for the Porsche: a 13-year-old, front-engined four-cylinder design using conventional strut suspension an fitted with a steel body, versus a mid-engined, aluminium supercar using a brand new V6 motor that is the most efficient supercar powerplant yet built, and riding on forged aluminium wishbones. Porsche, which has been very lazy for a very long time when it has come to giving us new metal, is about to get a rude shock. And not a moment too soon.

The cars I drove in Japan used 3.0-litre singe-cam-per-band, four-valve-per-cylinder engines, developing 250bhp. The production engines will be stronger. New heads, using twin caps per bank, are on the way. Good for 270bhp, they feature Honda’s radical variable valve timing, first seen on the new Integra, recently launched in Japan. Variable valve timing is an ingenious way of increasing an engine’s effective torque band, and of increasing top-end power. At low and medium revs, low lift cam lobes, giving minimal overlap, are used to operate the valves – ensuring good pick-up and tractability. As the revs increase – at a point where conventional engines start to run out of breath – extra cam lobes (one for every pair of valves) and rocker arms are activated, increasing the lift and overlap of the valves, and thus greatly increasing top-end power. The Honda’s system is the first to alter the valve timing and the lift, and is thus much more advanced than the existing systems such as the one used on the Alfa Twin Spark engine. Maximum power will be developed at 7300rpm, and the engine will be capable of running to 7700rpm.

The 90deg V6 engine is sited transversely and drives the rear wheels through a five-speed gearbox or a four-speed automatic transmission. Four-wheel drive was considered, but rejected: it added more than 200lb, and low weight is regarded as crucial. Four-wheel steering was also considered, but rejected for the same reason: with it, the mass would have increased by just over 100lb.

The search for light weight demanded the use of an aluminium monocoque and body panels. No steel is used in the body, nor glassfibre. Using aluminium rather than steel saved 440lb, reckons Kawamoto.

The car’s no featherweight, all the same. Yet its 3816lb compares favourably with the (shorter and narrower) 944 Turbo’s 2970lb, the Ferrari GTB’s 2805lb, and the 911 Carrera’s 3190lb. Using the new quad-cam variable valve timing unit, the NS-X will enjoy comfortably the best power-to-weight ratio in its league.
As with most sporty Japanese cars, the detailing of the NS-X is excellent. The engine – unrelated to the Legend’s V6 – not only sounds superb, it looks terrific. The forged aluminium wishbones which hang off each corner are beautifully crafted; there is a formula one type simplicity about them. Coil springs soften the bumps. Fifteen-inch diameter wheels are used in the front, 16in rims at the rear. They, in turn, wear 205/50 and 225/50 rubber. Yokohamas were fitted to both test cars. The fronts carry 43 percent of the vehicle’s weight; the rears 57 percent. Anti-lock brakes stop the big ventilated discs from locking, and speed-proportional power steering will be offered – but probably only on the automatic version
Although the car is designed as a strict two-seater, roominess is important.

Headroom, legroom and shoulder room are of saloon car, not exoticar, proportions. Similarly, the boot is larger than the letterbox-sized supercar norm. It’s shallow, but tolerably wide and long, and is helped by the NS-X’s long tapered tail – which also helps reduce yaw. The forward bot is virtually useless as a luggage, or oddments, repository. There is no rear shelf: the rear bulkhead is only inches behind the driver’s shoulders.

Without doubt, the car is handsome, and it will turn more heads than a 944 turbo. But in Honda’s effort to make the NS-X look like a supercar, it has been a touch too slavish in following Europe. The NS-X looks like a Ferrari – not surprising given that Pininfarina had a hand in the design – a fact to which Honda officially gives a wide berth – but not a particularly distinguished one. Given that Honda has pumped out some very attractive, original cars in the past few years (notably the CRX and the Prelude), you may have expected better. But the NS-X looks neat and clean and elegant, and the Yanks will love it. Despite the importance of America, however, no Targa-top version will be offered.

The doors open wide, allowing easier access than does a Ferrari, and, once behind the wheel, folk used to everyday saloons and coupes won’t feel in a foreign land. You don’t struggle to see over the dashboard, as you do in a Countach; you aren’t cut off from the outside world behind, as you are I an Esprit; you don’t sit skewy in front of stupid instruments and switches, as you do in a 911; and you don’t have to put up with a silly driving position and no headroom, as you do in a GTB (and most other Ferraris, for that matter). The combination of low seating position, and mid-engine does not affect the driver’s visibility or comfort, and that’s just the way it should be.

The architecture of the dashboard is clean and attractive – in the Honda tradition. A large binnacle, right in front of the driver, contains all the instruments, Ferrari GTB-style. The gauges themselves are all large, clear white-on-black affairs.
During the pre-drive press briefing, Kawamoto and the other senior Honda engineers on hand (and every senior Honda engineer was on hand), spoke about being influenced by aeroplanes, when the design was done. At the time, I thought it was the same fatuous aircraft association that Saab and Rover try to milk every time they make excuses for being behind the Germans. I underestimated Kawamoto. The interior of the NS-X plainly does have an aircraft feel. The driver and passenger sit in quite separate, heavily enveloped compartments, rather like fighter pilots do. The two seats are separated by a high and wide centre console, on top of which is mounted the stumpy, wedge-shaped gearlever. Both the driver and passenger can wedge themselves comfortably into their areas, knees butted against the door and centre console, better to resist side forces and, in the driver’s case, better to control the car at speed.

A large left footrest is also conveniently sited, for the driver.

A reach-and-rake-adjustable steering wheel – a beautifully compact, three-spoke design – is at chest height, and doesn’t badly obscure the large gauges nestling behind it. Some of the switchgear – ugly, hard plastic switches – are on pods either side of the steering wheel, and mover with the wheel during its adjustment. The seats are heavily bolstered, and offer excellent lateral and thigh support. When your belt is clipped up, your torso is snug among the cushions.

Ready to go. The engine engages smoothly, and quite silently. Give the throttle a jab, though, and the silken beast resting behind your shoulders will snarl. It’s a deep, aggressive, inspired bellow. The exhaust note will tingle your spine, even if the vibrations do not (for this is an exemplarily well balanced unit, as you would expect from Honda). The message is clear enough: there’s Sumo-wrestler-sized muscle on offer, rather than the pert, judoist-sized strength usually offered by sporty Japanese machines. But the brawn is matched to elegance: that much is clear, on the track.

The clutch is quite light for a performance machine, particularly by supercar standards. First gear is engaged a little notchily: the clutch takes up smoothly, the engine digs deep into its rev band, and the NS-X growls its way out onto the high-speed bowl. The view out the front is panoramic, a deep, acutely curved windscreen, bordered at the bottom by the sweep of the front wings (the nose itself is well out of view). Check the rear-view mirror, and you also get a generous view of the track, as well as of the rear wing, sitting truculently on the sweeping tail. Rear three-quarter vision, one of the traditional bêtes noirs of supercars, is generous.

Around and around the bowl, the car touching 150mph on the straights, the engine braking pulling that back to about 120 on the banked corners. The bends are actually quite tight – you can hear the front Yokohamas giving mild protest – but the overriding impressions are of the stability, the lovely accelerative below, and the absence of wind noise (I had no companion with me but, had I, we could have conversed comfortably at 150).

Swap from manual to automatic. A fine marketing idea, fitting an automatic into a supercar (sacrilege and desecration! cry the enthusiasts), but the auto in the NS-X hunts far too much between changes: it’s too indecisive.

The bulk of the day was spent on Honda’s handling circuit: a track on which Senna and Prost and their McLarens have been known to while away time. Of course, we’re on Honda’s home territory – if the car doesn’t go well here, what hope has it got? – but the circuit is difficult enough to truly test any car.

We - self and four other European journalists (from Auto Motor Und Sport in Germany, Sport Auto  in France, Quattroruote in Italy and Automobile Revue  in Switzerland) barrelled around the track for the best part of four hours, wearing the Yokohamas to mush.

Whereas the NS-X is more impressive than the 911 and GTB on the bowl, it isn’t on the tight stuff. It understeers a touch too much, and when the understeer gets bad the front Yokohamas start shaking and streaking like a demented ninja. Keep pushing, and you and the Honda will commit hara-kiri, for the run-off areas at Tochigo are small. Honda is trying different front rubber, with greater sidewall rigidity; that may stiffen the front, improving the wayward wail of the tyres. The NS-X rolls a little more than the GTB and the 911, a corollary of its softer suspension. Given that Honda is trying to court fat-bellied Americans , as well as fiery-blooded Italians, the extra chassis suppleness is sensible. And the roll doesn’t affect the tidiness of the Honda much. More worrying, though, is the car’s tendency to do a deceptive oversteer flick when really tanking on: I suspect a lack of chassis rigidity. And a Honda engineer later confirmed that the next prototype the company builds will have extra solidity.

The gripes are more peccadillos than major criticisms, though. For a car still a year away from production, the NS-X is uncommonly and (for Ferrari and Porsche) worryingly good. There is a gracefulness that the sharp but tail-happy 911 and the heavy-to-drive but lively GTB just cannot match. The Porsche and the Ferrari entertain more, and the Ferrari is more obedient to both steering inputs and throttle changes. But both cars require more work, for only marginally more reward. The Honda is a rewarding and easy car to drive at nine-tenths. At the outer limits, it may not be quite as fast or as entertaining on a winding road, but this fact will cause Honda no grief. Just as important, the single-cam-per-bank engines we drove are at least a match for the 911’s and GTB’s engines: chances are the quad-cam engine will be better. Its gearchange – although still a little notchy – certainly betters the Ferrari and Porsche shifts. Its brakes are a match for Europe’s finest and, unlike the 911’s they won’t lock when what you want is roll.

In short, Honda has breached the gap between invigorating supercar and friendly sports car. It probably won’t cause Ferrari any worry, for no amount of Senna-Prost one-twos will give a company that also makes Civics enough cachet to outdo Enzo’s mob. And it won’t hurt the dear old 911, which soldiers on and on. But it’s going to hurt the 944 range, on which Porsche depends for its volume.

More important, it’s going to put powerful, exhilarating, attractive mid-engined muscle cars into homes that have had to make do with less. It will bring a whole category of car into the reach of those who cannot afford Ferraris and Lamborghinis, or haven’t got the patience to put up with their waiting lists or their mechanical foibles. People who settle for the Honda will not be disappointed, not if my opening shot at the car was anything to go by. For the NS-X is not only a wholly competent car, which was to be expected, given Honda’s determination to get it right. To boot, it is a characterful, entertaining machine: one that has soul. The Japanese, it seems, have opened the door to Europe’s last remaining automotive secret.


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