Posts Tagged ‘jaguar’

The Chimaera of Speed

Wednesday, January 13th, 2010

The perfect illustration (below) of the glorious absurdity of the very, very fast car. The Bugatti Veyron will do 253 miles per hour. But it can’t do 253 miles in an hour, because at that speed its fuel consumption is so voracious that it will drain its tank after just fifty miles. You’ll have covered the distance from London to Brighton in twelve minutes, but stopping for petrol five times for every hour’s driving might get to be a drag.

The Veyron is not alone, of course. The 200mph car is probably a complete chimaera; to our knowledge, nobody has ever tried to drive a production car at 200 miles per hour, for an hour. Almost all the cars that make the claim would need to be towing an oil tanker to do it, and that would knock their speed a little.

Bugatti Veyron FGB
Veyron: a brilliant absurdity

And it’s all academic anyway. The combination of circumstances that allow you to do a really big speed in a road car are so rare as to make the proportion of very fast cars that have actually been driven at very fast speeds incalculably small. Forget the law: you’re almost certainly going to have to break it. The real problem is distance. Plainly, as a car’s speed increases, its rate of acceleration declines; you might get from zero to sixty in three-and-a-bit seconds, but getting from 190mph to the double-ton might take a minute as your car reaches the very limit of its abilities. Finding a road sufficiently long and straight and clear is almost impossible, and finding the nerve is even harder.

So why are we so hung up on top speed? Once, there was a genuine engineering benefit; the advances that made cars go faster, such as aerodynamics and more efficient engines, and stay stable and stop again, such as better brakes and suspension, filtered down to ordinary cars. That’s no longer the case; we’ve learnt pretty much all we’re going to learn, and the extra few miles per hour that now make a car the fastest in the world are eked out with extreme engine tuning and otherwise utterly impractical aero and suspension settings.

The Veyron did bring some benefits. Ferdinand Piech, the Sauron-like mastermind behind the Volkswagen group used the project as a trial-by-fire for aspiring engineers; if they could hit the almost impossible targets he set for the car – 400km/h, 1001 horsepower, one million euros – their careers were assured, and they’re now working on the Polos and Golfs the rest of us drive. But more often, being cajoled into doing a huge speed makes a car worse in normal driving. Off the record, Bentley engineers admit that making the Continental GT do 200mph left it hopelessly overspecified and overweight at a crushing 2.4 tonnes.

Over Specced and superfast: The Bentley Continental GT Speed

But even if you don’t actually want it, and never get the chance to use it, a big top speed appeals to anyone who ever played Top Trumps as a kid. It sells cars, and it sometimes prompts even the most revered of carmakers to massage the figures a little. A car’s top speed can be calculated with a fairly simple equation, making it easy to disprove some of the more ludicrous claims. You only need a car’s power, frontal area, drag coefficient and rolling resistance to work out how fast it will go with the right conditions and gearing.

But the really striking thing is the relationship between speed and power. To make a car go faster, the extra power required is proportional to the cube of the extra speed. Put simply, to make a 180mph car do 200mph – a speed increase of 11 per cent – you need 37 per cent more power. It’s difficult, expensive, and much easier to fib.

Could this car really breach a ton-fifty?

The pre-production Jaguar E-Type that became the first road car to hit 150mph in 1961 almost certainly had a little help from the competition department; subsequent tests couldn’t replicate it. The Ferrari F40 was the first credible production car to claim a top speed over 200mph, boasting of 201.3mph at its launch in 1987, but to our knowledge this has never been independently verified. Maximum respect to Porsche for eschewing Italian willy-waving and NOT claiming 200mph for its 959, launched at the same time as the F40. It would have been a killer marketing line, but Porsche knew it wasn’t true. It claimed 197mph instead, and that’s exactly what the 959 did in an independent test.

In the same month that Ferrari made its 200mph claim for the F40, Phil Hill and Paul Frere timed the Ruf CTR ‘Yellowbird’ at 211mph for US magazine Road and Track, and it did 213mph the following year at Nardo. The CTR – Ruf’s reworking of the Porsche 911 Turbo – was made in small numbers compared to the 1315 F40s built but it still qualifies as a production car, Ruf having been granted manufacturer status by the German government six years previously. This tiny, bespoke carmaker beat the best in the world to make the first production car to prove it could do 200mph.

Ferrari was caught out again with the F50: it claimed 202mph, but the lease under which all 349 were sold specifically forbade independent speed tests; when a US mag finally managed to test one it did ‘only’ 194mph. Ferrari learnt its lesson; the Enzo will do all of its claimed 218mph.

The Ferrari Enzo
The Enzo Ferrari lived up to its noble moniker

The Jaguar XJ220 and McLaren F1 posted genuine big numbers, but needed a little help. In ’92 the Jag had to have its catalysts removed to produce the extra 50bhp Martin Brundle needed to lift it from 210 to 217mph at the Nardo test track in Italy, or just over 220mph once the scrub effect of the high-speed bowl has been allowed for. Cue mass exhalation in Coventry; the car (just) lived up to its name. The McLaren F1 in which Andy Wallace set the long-standing 240.1mph record in 1998 needed its rev limiter removed to do it, though rumours still abound that the engine was ‘special’.

All these cars are extraordinary, covetable, engineering marvels. But perhaps our obsession with top speed is passing. There may never be another car like the Veyron: global recession, emissions regulations, social opprobrium and dwindling oil supplies mean we’ll have to get our kicks elsewhere, and the new technologies that replace the internal combustion engine might simply be incapable of propelling a car that fast. But do you really care that the all-electric Tesla Roadster will do ‘only’ 125mph, when you’ll seldom get close to that in normal driving, and its acceleration to 100mph is so – well – electrifying, and produced with zero emissions or guilt?

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.

Jaguar XKSS & Steve McQueen

Monday, August 3rd, 2009

jaguar-xkss-steve-mcqueen

Sometimes we just want to run a picture because it's so damn cool.

It goes without saying that the Jaguar XKSS, one of only 18 stripped down, road going examples of Le Mans-dominating D-Type, is cool. And of course, McQueen is officially the coolest man who has ever, and probably will ever, live.

Combine the two and the levels of cool goes into hyperdrive.

Take a close look at the XKSS and you can see little hits at its true savagery. The drilled exhaust that runs under the offside sill. The drilled magnesium wheels. The exposed rivets.

Owning this car, which could make 180 MPH on the Mulsanne straight and averaged 100 MPH round the Le Mans circuit, was the equivalent of rocking up to the DVLA and trying to get road tax on one of the Audi diesels.

And look closely at McQueen himself. Check out the dark aviators. Notice the light windbreaker (probably the ubiquitous and zeitgeist hugging Harrington immortalised by James Dean, Ryan O'Neill and McQueen himself, in countless Hollywood movies.

Everything McQueen owned, from his brown 250 Lusso to his Persol Sunglasses to his Rolex, fetch silly money at auction, because of that elusive essence known as cool, an essence he bestowed upon the most unlikely of objects.

But we think you'll agree that there's nothing unlikely about the XKSS.

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

Necessary Madness: Confessions of a Reluctant Classicist

Friday, July 10th, 2009

“Ooh – Please take me for a spin around the block, Steve,” squealed Liisa, our friend and host for the evening. Steve had arrived at Liisa and Mark’s house in his classic ’64 Sunbeam Alpine convertible (above) which was only fired up on extremely sunny days; so not very often. Which was fortunate, as I had seen the sweat and tears that usually accompanied the whole starting procedure.

I had arrived in my far-from-classic Audi A3. I like my car, a lot. It goes very well, rarely has any problems, has air-con and fuel injection and starts first time, every time.

Steve’s Sunbeam, on the other hand, always had problems, the air-con was the roof, off, and it never started first time – sometimes not at all. But he loves it, probably more than I love my Audi.

sunbeam

What is this madness that makes normally sane people become irrational about a car simply because it’s old? Maybe it has nothing to do with its age, but how it looks. Maybe, like the one-eyed, three-legged dog in an animal rescue centre, you simply have to take it home and dedicate your life to it, nursing it along for other reasons, rational or otherwise.

Perhaps owning a classic is a charitable act, keeping old dogs alive. I asked Steve later when we were all sat round the table… “I’d always wanted one, ever since I was a kid,” he told us. And that’s an answer many classic owners will offer, be it about a historic classic, classic or modern classic.

And therein lies the big question: what makes a classic a classic? For road tax purposes, anything registered before 1973 is tax exempt and regarded as a classic. (That’s the year I was born. Why can’t I be tax exempt?) According to HM Revenue and Customs, anything over 15-years old is regarded as a classic, meaning the cars I grew up with, like the Opel Manta, the Sierra XR4i, Renault 5 Turbo, are all classics too.

But be very careful to whom you say that… Peter Skinner of the Karmann Ghia Owners Club has his own reasons for loving old dogs: “I’m an engineer and like engineering solutions. For me the Karmann Ghia, and of the course the Beetle it’s based upon, is a wonderful tour de force of engineering.”

Now this makes sense to me. The Beetle was indeed ahead of its time in terms of functional engineering solutions. “I’m interested in how the designers arrived at these engineering solutions,” Skinner continues. “The Beetle was a clever, utilitarian solution.” But then the classic madness appears: “But I do also own a Citroen DS which, in comparison, is a dog’s breakfast underneath; a heap of crap that won’t start either. But I love them for it.” Oh dear, and it was going so well...

vw-karmann-ghia

Graham Searle, who runs the Jaguar Enthusiast Club, has owned over 60 Jags, and there’s nothing his doctor can do for him either. His reasoning for the one-eyed, three-legged dog ownership stands up a little more simply because, well, they’re Jags. “Jaguars were automatically called a classic when they were made,” he says. “But what really defines a classic is far from tangible. There are official definitions of ‘classic’ but everyone has their own meaning. For me it was those childhood memories, the strongest memories, of a neighbour’s MkII Jag.

jaguar-mark2

Nostalgia is a big part of it, regardless of how far back you look or how old you are. It’s all the same emotion, of harking back to better days, regardless of whether they were actually better or not. Classics are different. Modern cars all look alike. They’re boring. I remember when snooker was in its heyday and there was the boring but brilliant Steve Davis, with little charm or personality. And at the other end was the obnoxious, arrogant, unreliable Hurricane Higgins. But it the one who had the character, or rather the character flaws, that was the most interesting.”

Steve Garret, owner of a mint 1980 Escort XR3i, always to be found polishing it in his drive down the road from my house, also talks about the nostalgia: “I grew up watching the bloke across the road polishing his XR3i and dreaming of one day owning one. I didn’t realise it’d take over 25-years before I would.” And his car is nearly 30-years old now, so it must a classic, right? “Of course it is,” he says, “regardless of anyone else’s definition, this is my classic right here, because I have the same feelings of nostalgia for it as Old Charlie and his Austin Healey. It’s no different. And just look at it…

escort-xr3i

Car manufacturers are still trying to reassemble the DNA in the right order to create the same emotions this car did when it was launched. And they’re struggling.” That evening, at Mark and Liisa’s, came to a close and Steve offered to drop me home as I had been drinking. Foolishly he’d parked the Sunbeam nose first on a slope, where he needed to back-up. It was about 11.30pm, in a densely populated residential estate. The cacophony of noise as he repeatedly attempted to start the car and keep it from bogging down and stalling as he attempted a reverse hill start, was embarrassing, to say the least.

After ten minutes, now illuminated by the numerous windows around us, each filled with a curious and weary face, he managed to back out of the space. Another five minutes of bicep-pumping 20-point turns, and we popped and banged away with a wave, amidst a chorus of cheers. And not angry cheers, but amused and probably pitying cheers. As I got out at my house five minutes later and watched him roar away, I found myself muttering, “I’d love one of those.” I immediately went inside and repeatedly slammed my head in a cupboard door until the madness had gone.

Author Rich Beach and his other, slightly more classic, ride.

rich_beach

Car = Art?

Tuesday, May 5th, 2009

Look at your car. Ignore the kerbed alloy and the parking dent and the fact that you didn’t get around to cleaning it last weekend. Look beyond all that. Look at its forms, its details, its edges and curves. How does it make you feel when you really look at it? If it leaves you cold, it’s a crime. There’s no excuse for lazy, passionless car design; you have been cheated. If - even when it’s parked - the looks suggest speed and freedom and all the other things you love about driving your car, the designer has done his job. The very best-looking cars are simply beautiful; if you own a DS or a Miura or an Alfa 8C, just looking at it might be enough.

alfa-8c

But is it art? You might get the same instinctive, irrational, love it-loathe it reaction to a car as you do to a painting or a sculpture, but can it qualify as a work of art? I’m going to argue that it doesn’t, but it does get very close. Perhaps a car magazine shouldn’t be attempting to answer such big questions - but one definition of art is that it exists purely for its own sake. The shape of your car does not; the designer has had to package an engine in a given position and a given number of seats and doors, and wrap it all in a shape that slips efficiently through the air and won’t try to take off over 100mph.

This is design, not art, but the car industry has produced some of the most emotive design of the last century. The French philosopher Roland Barthes wrote when the Citroen DS was launched in 1955 that the car was now 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.”

The comparison between architecture and car design is a good one. Buildings and cars each have a function beyond their physical appearance; we ought to care how they look, and too often are let down. The comparison of cars with cathedrals is even better. One is a place of worship, the other an object of worship. It’s hard to separate how they look from what they represent. Believers look at a great church and see divinity in its beauty and the fact that it was built at all. Our reaction to great cars is maybe a little more prosaic, but the same thing happens; we look at a Ferrari 250 and can’t dissociate its looks from the knowledge that it is fast and rare and expensive and sensationally exciting to drive.

ferrari-250-lusso

So, some examples of the greatest car design/art. We’ve wanted our cars to look good since Edwardian times; as soon as we’d cracked getting them to drive at more than a few miles per hour and for more than a few miles without breaking down, we’ve wanted them to look more than purely functional. Those ungainly, upright things with bicycle mudguards and their guts on public display soon gave way to styled, streamlined sheet metal.

bugatti-atlantic

Despite a much shorter history, great car design, like great art, forms movements, grouped around a certain place or time. Europe in the mid-thirties gave us the first real rush of beauty with the 1935 Alfa Romeo 8C and the 1937 Bugatti Atlantic.  Fifties America was another locus; the cars weren’t always beautiful but, like pop art, they were an incredibly self-confident reflection of an incredibly self-confident society which the car itself had helped create. Back to Italy for the sixties, where designers with names like Old Masters created first bewitching, almost unobtainable coupes and roadsters for Ferrari and others, before producing the Miura: the first supercar, and arguably the most beautiful car ever drawn, though we won’t get bogged down in that row here.

1935-afla-8c

And just like art, attribution is everything; despite being designed 43 years ago, a pedantic but amusing row still simmers between Gandini and Giugiaro - now old men - over who really created the Miura.

lamborghini-miura

But how many truly beautiful cars have there been since then? Car designers have always had to work around the constraints imposed on them by the engineers and aerodynamicists. There’s an argument that the constraints are now too tight for designers to create anything beautiful. Add the legal requirements of all the countries where the car sells and, according to Jaguar design chief Ian Callum, skinning a car becomes a ‘join the dots exercise’. Callum knows good design; one critic wrote that his Aston Martin DB7 has ‘the sort of beauty the car world is lucky to see once in a generation”. His seductive XK coupe and XF saloon have re-established Jaguar’s reputation as a maker of the world’s best-looking cars, anchored by the ’49 XK120, the ’61 E-type and the ’68 XJ, but he isn’t sure he could do something as unfettered as the DB7 again.

aston-martin-db7

It isn’t Callum’s work, but the Bugatti Veyron exemplifies his thinking. At €1.2m, handbuilt in tiny numbers and with no purpose other than to delight its owners it ought to be a visual masterpiece, as ‘30s Bugattis were. But the Veyron’s styling is its least-discussed attribute; the demands of packaging its monstrous mechanicals, cooling its 1001 horsepower engine and preventing it from taking flight at 253mph mean that when you first encounter it you’re surprised by its unthreatening, unremarkable egg-shape.

bugatti-veyron

But we are still making great looking cars, if not cars that border on art. Look at the new Alfa 8C, or even the Fiat 500, cars whose visual appeal is so strong that discerning car people are prepared to ignore the fact that they’re not that great to drive. Patrick le Quement, about to retire after 43 years as a car designer and 22 as the head of Renault design is more sanguine than Callum. “Yes, we’re all suffering a little bit, and the European pedestrian protection rules mean the noses of our cars look a little bit like Le Mans-ready Porsche 911s, but ingenious engineers will find us a little more flexibility. I think we could be entering a new golden era.”

By Ben Oliver

New Jaguar XJ

Tuesday, April 21st, 2009

jag_1

Jaguar have just announced that an all-new Jaguar XJ will make its public debut this July. And the rotten teases in the Gaydon press office have released just this one bird's eye view of the new saloon.

Speaking at Auto Shanghai 2009, Jaguar Cars Managing Director, Mike O'Driscoll confirmed that the all-new XJ will go on sale at the end of 2009 – but will officially be revealed on July 9th in London.

It will be the first car to feature the next-generation of Jaguar's aerospace-inspired aluminium body architecture.

All of Jaguar's new ultra-efficient Gen III petrol and diesel engines will be available in the new XJ, including the already acclaimed V6 diesel and 510 bhp supercharged V8. There will be a choice of standard or long wheelbase models – as well as a panoramic glass roof highlighted in the first picture.

With the success of the excellent XF, It's difficult to see what space the XJ is going to occupy in the Jag Pantheon. We'll just have to wait and see how the final release looks, feels and drives.

But can there really be room for two completely different mid size luxury saloons from Jaguar?

In our humble opinion, the loveliest Jag ever to grace our roads is the incomparable XK 120, that was produced way back in 1948.

Now that's what we call a panoramic roof.

jaguar_xk120_flip