Posts Tagged ‘aston martin’

Stars of the Seventies

Friday, July 16th, 2010


1970 Plymouth Superbird

A few more muscle cars trickled out in ’71, but the Superbird’s massive rear wing marks the literal high-​​point of muscle car design, and also its swan-​​song.

1971 Lamborghini Countach concept

Why are all the best supercars – McLaren F1, Bugatti EB110 – launched into the teeth of reces­sions? Fortunately, the Countach’s incan­descent styling meant it lasted into the nineties.

1972 Volvo VESC

This ESV embar­rassed some of the bigger players who had taken a distinctly lax approach to their buyers’ health. Volvos have sold on safety ever since.

1973 Austin Allegro

Just bloody awful: epitomized everything that was wrong with the British car industry. Some say there’s no such thing as a bad car now, but there was back then.

1974 Volkswagen Golf

There had been hatch­backs before, but none looked as good, or mixed premium feel with affordable price like the Golf. Set the template that family cars still follow.

1975 Porsche 911 Turbo

911’ and ‘Turbo’ put together have always seemed slightly tauto­lo­gical, and were certainly terri­fying in these early cars. But 35 years on they’re still being made.

1976 Aston Martin Lagonda

William Town’s insane styling is one of the stand-​​out designs of the decade. Digital dash and computer-​​controlled everything meant they broke down as much as they stood out.

1978 Lancia Megagamma

At the Turin motor show Giugiaro unveiled a concept that would spawn not just a new car, but a whole new type of car.

1980 Audi Quattro

It might have been launched in 1980 but the Audi Quattro  –  full of brawn but laced with new tech – was the ultimate expression of seventies automotive ethos. A truly modern performance car; still sensa­tional to drive, and still inspiring current fast cars.

Car Crush No.5: Maserati A6G Zagato

Tuesday, July 13th, 2010

Sometimes a car stops you in its tracks through its sheer beauty. It happened this morning, and we had to share.

This latest aesthetic epiphany occurred in the midst of a discussion about whether or not Zagato had made any truly beautiful cars.

A huge Zagato-​​ed up Aston Vantage had burbled past at the top of my street — and my colleague had reckoned it was an ugly brute.

If it was a brute, I said, it was a gorgeous hunk of a British matinée idol.

Zagato has a bad rep in some people’s eyes. But I personally think there were a number of purely pretty Zagato designs out there. One look at this Zagato bodied Masser A6G from 1955 — and I think it’s impossible to deny that this is one truly drop-​​dead gorgeous Z-​​car. Nothing brutal here.

The curved propor­tions of the coachwork combined with its laid-​​back, hunkered down poise get me in the back of the throat. It’s the little details too. Those tiny rear headlamps. The huge Maserati trident on the grille. The minimal brushed steel bumpers and the pertly curved boot! Those Webers! Those wire wheels!

Only a handful of the Zagato-​​bodied A6Gs remain — one appar­ently changing hands at auction recently for six figures. Must work harder.

Images via Autoblog

Geneva Salon Roundup

Monday, March 8th, 2010

The 918 takes the classic Spyder fomat and plugs it into the 21st century

I’m not the greatest lover of motor shows. They’re all titil­lation and no consum­mation. I’ve never really under­stood their appeal in the same way I don’t get strip clubs. Just looking at cars is the same as looking at an attractive member of the opposite sex; very pleasant, as far as it goes, but you only get about ten per cent of the pleasure that should be had.

And it may be also that motor shows will wither away. The British show was once one of the most important but has effect­ively died off. Even the mighty Detroit, Tokyo and Frankfurt shows have been clobbered by the recession: non-​​attendance by a big carmaker at one of those was once unthinkable, but as the recession struck they bailed out in such numbers that last year’s Tokyo show was almost cancelled.

But it’s superfast broadband that might finally kill the motor show. Why would you travel for hours to a grim part of town to traipse around a draughty exhib­ition hall when you’ll be able to download hi-​​def, 3D renderings of the latest models which you can configure with your choice of colour and trim, look at without the backs of other people’s heads getting in the way, and then get into (virtually), start up and drive?

But if one show survives, I hope it’s Geneva. For a start it’s five minutes’ walk from the airport, so you can Sleazyjet in from anywhere. Second, it’s small enough that your feet won’t hurt by the end of the day. Third, despite the size, all the major carmakers and lots of insig­ni­ficant but insane ones are here: nobody bails on Geneva, yet.

I’ll get to the important cars of this year’s show in a moment, but those tiny, loopy tuning firms alone make Geneva worth the trip. You’ll see stuff you just won’t see elsewhere; really outrageous cars that it would be completely unacceptable to launch anywhere else. Thought the flagrant, aggressive SUV was a thing of the past? Oh no. Maybe it’s because Switzerland is neutral territory and non-​​EU that Hamann feels safe revealing its Range Rover Sport-​​based Conqueror II, or its BMW X6-​​based Tycoon Evo M. Carlsson brought its €429,000, 735bhp, Mercedes SL-​​based C25, whose envir­on­mental impact will be limited only by the fact that just one will be supplied to each of 25 countries. Swiss tuner Mansory has somehow managed to get hold of a Rolls-​​Royce Ghost already and pimped it with a shocking electric blue and gold paintjob, which looked even more garish alongside its more subtle but otherwise entirely pointless carbon-​​fibre bodied Mercedes G-​​wagen.

Ugliest was probably the Malaysian-​​made, V8-​​powered Bufori Geneva limo: slogan, ‘A Statement of Pride,’ though ‘a statement of staggering bad taste’ might be more truthful. Who in their right mind buys these things? Is Switzerland so awash with idle cash that these excres­cences are needed to soak it up? Even Bentley wasn’t immune, displaying a foul purple-​​and-​​cream Continental.

The design houses like Giugiaro have always used Geneva to show their own work, unfettered by the restric­tions of a commission from a big carmaker, and these cars are another good reason for coming. Pininfarina’s take on an Alfa spider is bewitching; Bertone’s Pandion, a variation on the same theme, more challenging. But you’ve never seen anything like the Pandion’s rear grille: a mad, asymmetric jumble of spikes, somewhere between a porcupine’s quills and broken glass. This is proper, free-​​thinking car design; you wonder if a big carmaker would have the balls to put it into production.

There were some great-​​looking cars from the major makers, though. The show-​​stopper was unques­tionably Porsche’s 918 Spyder. It was a genuine surprise; when the covers are whipped off new cars at motor shows they have almost always been leaked in advance or shown to car magazines so they can put them on their covers in time. But this was a genuine shock: a plug-​​in hybrid supercar with over 500bhp and a 3.2sec 0-​​60mph time, yet returning 90mpg and 70g/​km of CO2. Those figures are greener than a Prius, and Porsche is not in the habit – unlike some other car firms – of making claims it can’t prove. For once, looking was almost enough; the 918 manages to appear compact, delicate and light but raw and aggressive all at once. It also looked bored on that stand; bored being looked at when it’s built to be driven. And you just know it will be incan­descent to drive.

The most signi­ficant car of the show is probably Audi’s A1, because it sits at the nexus of a series of inter­con­nected trends. Audi is on a roll, despite the downturn. People want cool small cars again for a bunch of reasons and they want a premium badge. The Mini better watch out. Ford showed its new Focus, more signi­ficant than the A1 in terms of numbers, but the looks are a little Korean and you just know it will be more of the same from Ford; great dynamics, great quality, and a car that doesn’t treat the ‘ordinary’ driver like a schmo.

Alfa’s new, Focus-​​sized Giulietta was much better-​​looking, but like I said, the looks are only ten per cent of the appeal.
Elsewhere, like every other motor show for the past two years, pretty much every big carmaker had some sort of electric/​hybrid/​whatever concept on display, but there’s a big difference between just saying your new concept runs on manure and emits only butter­flies, and actually putting an appre­ciably greener car into profitable mass production.

And like every other motor show, Geneva’s halls are crammed with car-​​anoraks festooned with cameras and laden with brochures, with the garishly-​​dressed and bouffanted ‘valued clients’ being buttered up by the more exclusive carmakers (so that’s who buys a Bufori…), with teams of Chinese engineers taking digital pictures of obscure parts of the latest models, and with the angular, archi­tec­tural, intim­id­at­ingly beautiful stand-​​girls.

I’ve never quite under­stood this either; if a carmaker wants us to look at its new model, why does it distract us with beautiful women wearing very little? And why does the car industry continue to get away with a ‘marketing’ tactic that should have died off at the same time the Miss World contest was taken off TV? Maybe there’s a parallel with motor shows in general; maybe predic­tions of their demise are premature. A few more will die off, certainly. But if you don’t mind just looking, go to Geneva.

The Art of the Car (dboard)

Wednesday, February 17th, 2010

Italy-​​based British artist Chris Gilmour has to be one of the most metic­ulous cardboard engineers in the world.

His renderings of everything from a ’32 Ford Hotrod to the classic Cinquecento – and from a Vespa scooter to the delectable Aston Martin DB5 –make the strength of the original designs all the more powerful.

The objects call up memories and emotions connected to our exper­ience of these things…” the artist told an inter­viewer recently, “…many people assume that the works were ‘real’ things that had been painted or covered in paper”.

There is indeed a very strange leap in your mind when you first see Gilmour’s work. The cardboard cars seem to us a poignant homage to design and engin­eering values that are lost somewhere back in the twentieth century.

The fact that these pieces are made from materials regarded often as useless only adds to their power. They feel almost like a lament for devalued mechanical beauty.

http://www.chrisgilmour.com

One-Seven Seven Goes Ballistic

Wednesday, December 23rd, 2009

177

Aston Martin’s One-​​77 supercar has moved closer to setting a new all-​​time record for the British marque in initial high speed testing.

According the Aston Martin, the ridicu­lously pricey and carnally propor­tioned One-​​77 is currently under­going devel­opment testing in advance of the planned launch in 2010 at a top secret proving ground in southern Europe. In a series of test runs completed last week the One-​​77 exceeded original expect­a­tions and recorded a 220.007mph (354.86kmh) top speed in dry but windy condi­tions Dynamic testing is now scheduled to continue into the New Year.

As name suggests, production of the seven litre V12 hypercar with a unique carbon-​​fibre monocoque is limited up to a maximum of 77 individually numbered examples, with deliv­eries expected to commence in mid-​​2010.

Stick us down for one.

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The Ten New Cars We'll Lust After in 2010

Thursday, December 17th, 2009

Stare into the crystal ball. The motoring industry tugs us in two direc­tions. On the one hand it fuses the heights of driving passion, design discernment and techno­lo­gical exactitude to produce the most dizzying hypercars of which we could ever have dreamed.

On the other meanwhile, that same passion and techno-​​savvy explores new ways of powering, driving and being on the road.

Somewhere in the middle lay the worse of marketing-​​led product launches and misguided nods to trend. Meet our heroes and villains of the next 12 months.

English Revolutionaries

Thursday, July 16th, 2009

xj

It occurred to us here at Influx towers that with the release of the new XJ imminent, that it is time to celebrate the passion for innov­ation and design in British cars. The XJ did after all, achieve its desig­nation because it was thought of as an ‘Experimental Jaguar’.

It feels good to feel good about Jaguar again, and with a new corporate partner in Indian company Tata, an exciting projected lineup that includes a D-​​Type reima­gined on modern mechanics, as well as a boxster-​​beating drophead in addition to continuous evolu­tionary manifest­a­tions of the superb XF, the future seems to be looking increasignly bullish for the cat badge.

This new-​​found fascin­ation with the forth­coming fleet of new Jaguars have had us lusting after all sorts of old Jags, especially the playboyish XJ12C and the beefy XJ40 their erstwhilet Arfur Dalyish image notwithstanding.

Though the visceral reality of the new XJ is in Orwellian lockdown for the moment, we love the idea of it, and the more we look at it’s aggress­ively stylish nose, the pulch­ritudinous rear three quarter and the sweeping lines that link them, the more excited we become.

Hail the power of automotive design and branding.

Here are five more British cars that should be celeb­rated for their boldness, innov­ation and forward thinking vision:

1: The Aston Martin Bulldog

Cancelled custom order or doodle-​​time indul­gence. The Aston Bulldog was the revolution that never was

bulldog_2

2: The Farbio GTS

Carrier of the Marcos legacy Chris Marsh’s lovely pocket supercar, pieced together in a stable in South Gloucestershire.

gts_1

3 TVR Tuscan

Full bloodied English hooligan, and as fashion-​​conscious as a football casual too.

tuscan_1

4 Bristol Fighter

The height of British eccent­ricity. The fighter looks madly strange, but we want one anyway.

bristol_fighter

5 Lotus 7 Series 1

Stripped down and peren­nially outrageous. Simple and superb as egg and chips.

lotus_7