Posts Tagged ‘Citroen’

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 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.

Citroen GT: Fantasy to become Reality?

Tuesday, June 30th, 2009

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Citroen came to London last week to show off their GT concept which had been designed for the new Grand Turismo ‘street circuit’ featured in Gran Turismo 5 – the new PLAYSTATION 3 driving game.

The virtual-​​turned-​​reality supercar ‘swapped pixels for Piccadilly’ as put lovingly by the Citroen Press Office, as it swept through the world famous circus, toured Regent Street, rounded Trafalgar Square and cruised down the Mall past Buckingham Palace.

The result of a partnership between Citroën and Sony Computer Entertainment, the GT by CITROËN concept measures nearly five metres long and just over a metre high with a wire-​​frame design featuring rear air-​​diffuser, horizontal LED headlamps, gull wing doors and diamond-​​effect 21s.

The cabin offers “a refined racing exper­ience” with copper, steel and black leather finishes combined with hi-​​tech racing controls.

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Now, according to reports in the mainstream motoring press Citroen has decided to put the GT supercar concept into limited production.

The project was believed to have been given the green light last week by the company’s product boss Vincent Besson. Only six Citroen GTs will be made, and rumour has it that the car will cost around £1.1 million pounds.

Virtual reality has begun to play more and more into the hands of the real-​​time engineers of existence.

Shame the strato­spheric price tag makes it about as likely that you will drive the GT as you will upload yourself into the Playstation and win Gran Turismo in a 512 BB.

Francophilia

Wednesday, June 10th, 2009

alpine

Fans of French cars are usually pretty easy to spot. They’ll be the ones leafing through a car magazine or hanging around a Peugeot, Citroen or Renault dealership with a look of mild sadness and disap­pointment on their faces. New French cars have been, on the whole, pretty disap­pointing for all of us in recent years, but partic­u­larly for French car nuts whose loyalty remains undimmed, and who still believe that France will give us another DS or 2CV (below). We all hope it will.

http://www.dailymotion.com/video/x350r2

Why do French cars attract such loyalty? Mainly because the best ones meld a set of really appealing attributes. First, a good French car is affordable; sold at the kind of price we might all reasonably afford. Even the bigger, more expensive good ones  — the DS, the CX – weren’t unobtainable, and if you couldn’t afford it at first then the staggering depre­ci­ation big French cars suffer meant you soon could, until it became a classic and the price rocketed back up.

Second, a great French car should be an innov­ative, idiosyn­cratic piece of design. Both its archi­tecture and its engin­eering detail should display the kind of left-​​field free-​​thinking you want to buy into and be associated with. It should look striking and fresh, but doesn’t have to be beautiful.

Third, it should be practical. With a few admirable excep­tions, a good French car can be your only car; its design smarts should make it easier to use every day, and much of the satis­faction of owning one comes in the slow revel­ation of how well it fits your life. It was only after a couple of months of Kangoo ownership that I realized the big plastic cupholder in the boot was designed to take a wine bottle, and picnics were instantly slightly better as a result.

Lastly, it should, of course, be great to drive. Not immensely powerful; in fact the best ones often have the least grunt. Instead it should goad you to make the utmost of whatever power it has, with lightness, quick steering, a fluid ride and grip that gives way progress­ively, and, ideally, at the back first: the Peugeot 306GTi-​​6 is the absolute master of this.

And there’s also a bunch of stuff a good French car needn’t be or have. It won’t rely on a snooty badge for its appeal. It doesn’t need a cabin trimmed in oak and veal-​​skin, or stuffed with more gadgets than Dixons; in fact a little roughness-​​round-​​the-​​edges is kind of desirable.

There are a few French cars that reflect all of these values and which everyone knows: we’ve already name-​​checked the Citroen 2CV and DS; you’ll know the Peugeot 205GTi and the Renault 4 too. Others might not be as familiar; if you don’t know the Citroen Traction Avant, the HY van or the Mehari (below), Google them and prepare to be charmed.

thisisthis

So if the qualities that make a great French car are so clear and bright and simple, why isn’t every French car great? Because assem­bling a car that hits all of those bases is decept­ively hard, and getting harder. It’s tougher to be truly innov­ative now than forty years ago when so many more cars have been made, so many more ideas already tried, and so many restric­tions placed on how a car should crash, and therefore be built in the first place.

It’s also hard to defy the trend towards bigger, heavier, better-​​equipped, more solid-​​feeling cars, led by the German marques. The relative recent success of the French and German car indus­tries makes it clear what most buyers want. But the majority aren’t always right. Sadly, when it goes chasing them and tries to build a German car the French car industry is at its worst. See the Renault Safrane and Peugeot 607 for evidence.

But let’s not get too downbeat. Every so often, the French car industry still produces an utter corker. (Well, Renault does, anyway: since Citroen was swallowed up by the more pedes­trian Peugeot in the ‘70s its design and engin­eering genius has been suppressed.) In the eighties, Renault created the people carrier with the Espace. In the nineties, it created the mini-​​MPV with the launch of the Scenic. Both created whole new market sectors, left their rivals racing to catch up and made literally millions of family’s lives easier. This decade, Renault has produced a series of scorching hot hatches. It currently offers the Clio 197, described by one magazine as ‘the Porsche 911 GT3 of the hot hatch world’, and the utterly insane and barely legal Megane R26R, with its roll cage, plastic windows and semi-​​slick tyres. Can you see Volkswagen building something similar? Not really.

Renault has also, to its credit, tried really, really hard in recent years to produce a truly original car but ended up going way too far. There was the windowless Sport Spider and two versions of the mid-​​engined Clio V6, which was hilarious to drive but a little too eager to swap ends in the wet. There was the Vel Satis executive saloon, which tried so hard not to be a BMW 5-​​series, and ended up with a great interior but weirdly contorted styling as a result.

avantime

And there was, of course, the Renault Avantime (above), that mad coupe-​​meets-​​MPV with two doors, four seats and awesome views through its long pillarless side windows and moon-​​roof; it wasn’t great to look at, but it was glorious to look out of. There had never been anything like it before, and given how badly it was built and how poorly it sold, there never will be again. It was exactly what fans of French cars like me thought we wanted, until we got it.

But there’s hope. Renault has just launched the new version of the Kangoo (below), which may be a little better-​​padded than the old one but is still the clearest carrier of French car DNA. Don’t be fooled by the fact that most are driven by mad old ladies with dogs: Gordon Murray, creator of the McLaren F1, has two.

kangoo

Renault also has radical electric-​​car plans, and is bringing its low-​​cost, five-​​grand and surpris­ingly good Dacias to more western European countries, and maybe eventually the UK. For economic and envir­on­mental reasons, the world is coming back around to the idea of affordable, practical, light, frugal and fun cars: France just needs to start making more of them.

Paris Retro: DS Doctors

Wednesday, June 10th, 2009

engine_2

Francophilia is a common, if perhaps unexpected thing in these islands. Agincourt, Norman invasions, and centuries of general and endemic antipathy between France and Britain hasn’t dimin­ished the reality that we have a grudging admir­ation for many things French.

ds_9-2

We started special­ising in French cars because basically because we had Citroens. People at the time were scared of them,. “ Tony Williams tell me. Tony is co-​​proprietor of Paris Retro, a garage in the Somerset town of Temple Cloud special­ising in all things French (as well as being dab-​​hands at anything on four, or two wheels for that matter).

red_ds_1

We can do anything from full restor­a­tions from the ground up of classic DS models, all the way through to simple day-​​to-​​day maintenance of everyday cars.”

The Paris Retro yard is litterred with mouth­wa­tering examples of Citroen’s ground­breaking ‘goddess’ in various states of order.

toysign_1

We have had a partic­u­larly great number of DS lately. The thing about them is that they are relat­ively simple to work on, despite people being afraid of the hydraulics.”

The prevelance of air suspension and electronic trickery is one of the the things about French cars that have made many British engineers turn sneerily up at the French fondness for super-​​mechanical jiggery pokery amongst French cars. But the fear is pretty much unjustified.

grey_11

French cars are built along the same principles as any other vehicle, “ he tells me, “ and Hydraulics are just a line. And what’s more, even though the design of the DS is around fifty years old, it remains a beautiful, practical and relat­ively fuel-​​efficient car.”

2cv_11

According to the expert, many of the examples of DS he has seen lately continue to reach around 30 MPG if they are treated right.

And there’s one thing that remains true about Citroens is that they are a great ride.”

Hail the Goddess: Citroen DS Transcends the Boundaries

Tuesday, May 5th, 2009

I think that cars today are almost the exact equivalent of the great Gothic cathedrals: I mean the supreme creation of an era, conceived with passion by unknown artists, and consumed in image if not in usage by a whole population which appro­priates them as a purely magical object.”

citroen_ds_101

It is obvious that the new Citroen has fallen from the sky inasmuch as it appears at first sight as a super­lative object. We must not forget that an object is the best messenger of a world above that of nature: one can easily see in an object at once a perfection and an absence of origin, a closure and a brilliance, a trans­form­ation of life into matter (matter is much more magical than life), and in a word a silence which belongs to the realm of fairy-​​tales.”

citroen-ds-3

The D.S. — the “Goddess” — has all the features (or at least the public is unanimous in attrib­uting them to it at first sight) of one of those objects from another universe which have supplied fuel for the neomania of the eight­eenth century and that of our own science-​​fiction: the Deesse is first and foremost a new Nautilus.”

citroen_ds211

It is well known that smoothness is always an attribute of perfection because its opposite reveals a technical and typically human operation of assem­bling: Christ’s robe was seamless, just as the airships of science-​​fiction are made of unbroken metal. The D.S 19 has no preten­sions about being as smooth as cake-​​icing, although its its general shape is very rounded; yet it is the dove-​​tailing of its sections which interest the public most: one keenly fingers the edges of the windows, one feels along the wide rubber grooves which link the back window to its metal surround.”

citroen-ds

There are in the D.S. the begin­nings of a new phenomen­ology of assem­bling, as if one progressed from a world where elements are welded to a world where they are juxta­posed and hold together by sole virtue of their wondrous shape, which of course is meant to prepare one for the idea of a more benign Nature.”

ds

We are therefore dealing here with a humanized art, and it is possible that the Deesse marks a change in the mythology of cars. Until now, the ultimate in cars belonged rather to the bestiary of power; here it becomes at once more spiritual and more object-​​like, and despite some conces­sions to neomania (such as the empty steering wheel), it is now more homely, more attuned to this sublim­ation of the utensil which one also finds in the design of contem­porary household equipment.”

verdier_02
“The dashboard looks more like the working surface of a modern kitchen than the control room of a factory; the slim panes of matt fluted metal, the small levers topped by a white ball, the very simple dials, the very discreetness of the nickel-​​work, all this signifies a kind of control exercised over motion rather than performance. One is obviously turning from an alchemy of speed to a relish in driving.”

The public, it seems, has admirably divined the novelty of the themes which are suggested to it. Responding at first to the neologism (a whole publicity campaign had kept it on the alert for years), it tries very quickly to fall back on a behaviour which indicates adjustment and a readiness to use (“You’ve got to get used to it ”). In the exhib­ition halls, the car on show is explored with an intense, amorous studi­ousness: it is the great tactile phase of discovery, the moment when visual wonder is about to receive the reasoned assault of touch (for touch is the most demys­ti­fying of all senses, unlike sight, which is the most magical).”

The bodywork, the lines of union are touched, the uphol­stery palpated, the seats tried, the doors caressed, the cushions fondled; before the wheel, one pretends to drive with one’s whole body. The object here is totally prosti­tuted, appro­priated: origin­ating from the heaven of Metropolis , the Goddess is in a quarter of an hour mediatized, actual­izing through this exorcism the very essence of petit-​​bourgeois advancement.”

©Roland Barthes
Reproduced with permission from
Mythologies
Vintage
ISBN 0 09 997220 4
1957

A Car Designed for (Group) Sex – or Just a Windup?

Wednesday, February 18th, 2009

vvd9

Now, we at Influx are no prudes. Hell no. And we under­stand intim­ately the visceral relationship between cars and the libido. There’s not many of us here at Influx towers in fact who haven’t associated the throbbing power of a V8 lump – or the feline curves of a sheet of steep tempered lovingly in a carrozzeria in Emilia-​​Romagna – with the urge to get down and dirty. There is of course something essential about the act of movement – through a landscape and into ones imagin­ation, that will always link the lust for life with the desire for the open road. Even so, it’s difficult to get our heads around what renowned Italian indus­trial designer Mario Bellini really had in mind when he penned the Kar-​​A– Sutra.

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The project was a collab­or­ation for Citroen and Pirelli in 1972 and It was first exhibited at New York’s Museum of Modern Art in 1972. The show in which it appeared, The New Domestic Landscape, is credited in art-​​historical circles with having intro­duced modern Italian design to the US. It’s difficult not to titter at the thought of Woody Allen in tweed blazer, chinos and a neurotic expression coming across the thing and urging partner Diane Keaton that they should take the thing for a drive up to the Borscht Belt that summer. The thing is straight out of The Sleeper. According to the Bellini’s own promo material (replete with black clad mime artists offsetting the stick man squiggles nicely) the lime green wagon was not just a car, but a ‘mobile human space’ designed to be more than a living room on wheels. It had panoramic glass and soft seating for seven that you could configure either for conver­sation pits or beds. The corrugated body panels evoke two classic, much more prosaic Citroens, the ungainly HY van, and the stripped down Mehari.

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Now any reader will attest that we are neither prudes as mentioned above, nor Clarksonian philistines. We can do cars as art and art as cars. It was the seventies, this was the Museum of Modern Art. To give the great man himself the final word the point of the design was to broaden the defin­ition of the car. He wanted to see the vehicle as a place “…to stretch out, sleep, smile, chat face-​​to-​​face, stand up, enjoy the sun, take photos, play cards, eat and drink, make love, buy a horse and a piano along the way… forerunning (sic) the future…” But you can’t help thinking that Bellini was taking the mick out of the art-​​yanks.

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