Posts Tagged ‘Audi’

Audi in the Ads

Friday, October 8th, 2010

Audi is one of the Automotive brands out there that has always been highly skilled at repres­enting itself. That strap line is probably one of the most instantly recog­nisable in the history of advert­ising, and has encap­su­lated Audi’s technologically-​​focussed ethos perfectly. There have been some rather cool TV campaigns that have deepened and broadened the awareness of the brand. Here’s a fistful of our faves.

We’ve always had a bee our bonnet about what consti­tutes a future classic. Here’s Audi’s take:
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If ever there was justi­fic­ation for driving four corners of your car, Audi came up with a nice, light­hearted compil­ation in this inter­esting little ditty:

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And this is a clever piece of copyrighting that draws the brand values together nicely (as marketeers would say):

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Intertextuality with a clever twist here in the reference to seventies cult road flick Duel. Spielberg would enjoy.

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Definitive Cars of the 1980s

Friday, September 17th, 2010

Escort XR3i
Image: Chris Taylor

Near ubiquitous in the suburban environs of Britain in the mid eighties, Ford’s everyman classic is possibly Britain’s most instantly recog­nisable eighties motor.

Porsche 911 (959)

Spookily locked in tight to the aesthetic of the age, the 959 was Porsche’s group B rally homolog­ation special, and pioneered the company’s all wheel drive system.

Ferrari F40

The F40 was last car that the great Enzo Ferrari would personally commission, built to commem­orate the first four decades of the Prancing Horse. This ultimate in race bred road-​​legal motoring, it brought track and road exper­ience together in a legendarily lean, turbocharged package.

Honda CR-​​X

Nippy, light and to this day an accessible cult of enthu­si­astic motoring, we still desire one of these eminently chuckable Civic variants.

E30 M3 EVO.

Lusted after these last quarter of a century for its boxy mechan­icity, the E30 3 series makes you wish the world was the Green Hell.

Aston Martin V8 Vantage Zagato

Imagined in steel, wood and leather in the fusty workshops of Newport Pagnall, but bodied by the single minded Zagato in Milano. This was an unholy fusion of the old-​​world Aston and Italianate angularity. Decadent, faintly ridiculous, like the decade itself.

Audi Sport Quattro

No, Gene Hunt didn’t drive one of these. This was the short, stubby Group B Homologation car, one that no copper could ever afford. The Quattro expressed the twin obses­sions of the era  – all wheel drive and forced induction – in a geomet­rically appro­priate form that perfectly fitted the temper of the times.

Peugeot 205GTi

The defin­itive hot hatch of the eighties, the 205 GTi had front wheel drive but oversteered pleas­urably with lift-​​off going into the corner. This car is, to this day, stripped down, simple fun. Its success is as responsible as any car for the near ubiquity of the Front Wheel Drive form in current everyman motors.

Alfasud Ti Cloverleaf

We think some editions of Alfa’s ‘Sud are plain ugly: but the cloverleaf later versions with the twin carb 1500 Boxer and the bits of plastic trim scream eighties cool, and having recently driven one (thanks Scott) we are convinced. Some say they are even more fun to drive than the 205.

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.

Ten Green Classics

Thursday, April 15th, 2010

1: The Honda Insight Mk1

Back when it was released in 1999 the first mass market electric hybrid it was other­worldly and strange. And  the cooler for it. A decade on it is retro progressive and quaint. Dig the clamp-​​busting rear wheels, too.

2: Land Rover Defender

The vast majority of all of these proper Landies are still on the road. Easy to maintain and fix with an adjustable spanner and a hammer. If something falls off, just bolt it back on. Utilitarian and future proof.

3 My Grandad’s Granada MK1

Not only are the words ‘Granada’ and ‘Grandad’ (almost) an anagram of one another, but my Grandad’s Gas Guzzling Granada outlived the old boy by a decade and officially ran for nearly 300,000 miles. Had he been that way inclined, he surely could have had it in the record books. And it was green.

4 Audi A1 Etron

Obviously taking design cues from the game changing Fiat 500, Audi’s electro-​​hybrid city car looks as sweet and fun as the Italian Shetland stallion but comes with a leccy motor too.

5 Puch Magnum

The farty little moped with the butch moniker is popular amid the emerging craze of caffing up 50 cc buzzers. Eternally cheap to run, determined to live on in our backyards and as fun as candy floss to thrash. Respect.

6 Caterham 7

Taking the micro manufac­turing ethos to its most accessible conclusion, the light­weight flexible flyer treads ever so lightly whilst giving maximum automotive pleasure. If this is your only car, your footprint is going to be tiny.

7 Hindustani Ambassador

Ubiquitous on the subcon­tinent and manufac­tured constantly there since 1958, the ‘Amby’ is an object lesson in life cycle extension.

8 Bristol Fighter

Taking small volume manufac­turing to its most inaccessible conclusion, Mr Bristol will only sell you a car if he likes you. Bespoke motoring in extremis, this. Still made in England and reeking of leather and walnut. This may be the future.

9 Cinelli Gazzetta, 2010

There’s no contra­diction in drivers digging bikes. Dedicated road cyclists are after all intimates of the texture and camber of tarmac. Keep one in the back of your motor and there’ll be no need to sit in a traffic jam those last couple of miles to work ever again.

10 Honda CRZ

Whether a brand new car calling itself green is a contra­diction or not, we love the look of Honda’s forth­coming ‘sporty’ hybrid.

The Greenwash Chronicles

Thursday, April 15th, 2010

Most of us realise that there is nothing remotely ‘sustainable’ or ‘envir­on­mentally friendly’ about the mass-​​market auto industry. Still, these global businesses are they’re doing their utmost to convince consumers that they are doing there bit to save the planet. Some are brazenly faux pious, but others have a sense of humour (of sorts) Here are a few of our faves.

This Honda Civic hybrid ad from 2006 is a classic of the happy, hipster illus­trated flowers genre

For a full forty seconds, this looks like an ad for God’s creation…

Former Japanese F1 pilot Takuma Sato sends mixed messages in his Hybrid.

Ands this early Prius ad helps us recall that if you take the ‘r’ out of Prius you get something that sounds like ‘pious’

Here the new Prius falls back on the car’s design, less on the exploit­ation of the beauty of mountains and rivers. But the breathy female voice is still annoy­ingly remin­iscent of a mother Mary from Midlothian…

But this contro­versial ‘harmony’ ad for Toyota is a little insulting to the intel­li­gence. And to hippies.

One for the Tea Party Neocons here, shown during the Superbowl this year. Quite amusing, though.

But this Australian Smart ad takes the piety to another level. And uses children in the process.

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.

Signs of the Times

Wednesday, February 10th, 2010

There’s a good reason why DCI Gene Hunt drives the cars he does in Life on Mars and Ashes to Ashes. Few things scream seventies louder than a golden-​​brown Mark III Ford Cortina, or eighties louder than a red Audi Quattro. Iconic, instantly-​​recognizable cars like this are easy cultural shorthand for their era. Stick one on screen and your eye is immedi­ately drawn to it. And if you make the car the star, maybe the TV company has to spend a little bit less on props and street scenes to make its drama feel properly period.

Gene Hunt's Mk 3 Cortina grounded Life on Mars on period

Iconic cars represent their era, but they reflect it too. Much as we’d like the car to exist in a bubble, unaffected by the trends and crises of the outside world, it just can’t. The car shapes the world: along with the computer and indus­tri­alized warfare, the car was one of the biggest influ­ences on the last century. Our lifestyles and our physical envir­onment are organized around it, but it influ­ences the culture too. The freedom offered by the internal combustion engine, whether fitted to a car or a motorbike, has energized music, art, liter­ature and whole youth movements.

The 1959 Caddy was designed in response to Sputnik's triumph

And in turn, the cars we drive are influ­enced by their times in exactly the same way as the clothes we wear and the music we listen to. Think of a fifties American car, and what do you see? A tail fin. What does a tail fin represent? The jet age: a period of intense techno­lo­gical and economic optimism – in America at least – in which speed and power were so venerated, and advancing so fast, that the cars started to look like planes, and the planes turned into the rockets that would take us into space. Car design of the period reflects that so perfectly that if you show someone a tailfin now, they’ll smell a drive-​​thru hotdog and hear a Chuck Berry record.

Look at the work of designers like Harley Earl at General Motors and Virgil Exner at Chrysler: one sounds like a rock’n’roller, the other like a character from a period sci-​​fi puppet show, but together they gave us some of the most exuberant car design ever seen, culmin­ating in Earl’s ’59 Cadillac Eldorado, his final and most outrageous work. And what did we get in austere fifties Britain? A steady diet of grim, grey, porridge saloons, with the apologetically-​​befinned Ford Anglia 105E only arriving in the same year they launched – almost literally – that Cadillac. Case closed.

Peter Sellars's mini exemplified sixties automotive style.

Same applies in the sixties. More than the Lamborghini Miura or the Jaguar E-​​type, I’d argue that the original Mini and Fiat 500 are the iconic cars of that decade: partly because their access­ib­ility put millions more on wheels, but also because they reflect the class­lessness of the time; a Mini might have been your first car, but the Beatles and Peter Sellers drove them too.

Seventies? Harder to identify an icon, but that just proves the point. Beset by reces­sions and oil crises, the car industry lacked the confidence it had in the previous two decades, and it shows in the cars it produced; there were some great supercars like the awesome, angular Countach, but from makers which lurched from owner to official receiver and often lacked the cash to put the wheels on. There was a definite seventies look – Hunt’s Cortina being the perfect European example – but few stand-​​out cars. Frightened by the price of petrol and the threat of the sack, people wanted reliab­ility and afford­ab­ility in everything; this was the quartz watch decade. In cars, in the US, this mood killed the big-​​block V8 engine. In Europe and Japan, it spawned the hatchback; VW launched the Golf, and Toyota’s Corolla broke out of Japan and began its ascent to become the world’s best-​​selling model.

The aggressively proportioned Countach reflected the eighties' power-focused concerns

Things were better in the eighties: greed was good, and made near-​​200mph supercars like the Ferrari F40 and Porsche 959 both socially acceptable and econom­ically viable. The Quattro and hot hatches made a little of that mojo available to those not in receipt of a Gordon Gecko-​​sized bonus.

Nineties and noughties? Maybe we’re still too close to spot the real icons, and what they say about the times. The nineties produced arguably the greatest car ever made in the McLaren F1, but reces­sions and economic crises in Asia and Latin America brought the uncer­tainty back: for all its incan­descent performance, only 71 road-​​going F1s were sold.

Autocar magazine’s readers have just voted the current Range Rover the car of the noughties, but I’d disagree; by the time the decade ended the zeitgeist had turned so decis­ively against big SUVs that – for all its ability – I think it gets disqual­ified. Instead, I’d nominate the Prius. As a hybrid in a unique bodyshell, not only is it arguably green, but it’s obviously, visually green. That’s why diCaprio and Diaz are always seen in theirs. It tells other people you’re doing your bit, even though you’re still driving a car and probably haven’t altered the rest of your lifestyle much.

How noughties is that? Maybe, thirty years hence, when the BBC makes a retro cop-​​drama set in 2009, the lead character PC PC will drive a Prius, but decline to get into car chases because they’re ‘just not sustainable’.

Global recalls and eco piety – the Prius is the auto icon of the noughties.