pagani la storia di un sogno
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16 About times, inventions and oceans
In a lazy little rural town in the Argentinean hin-
terland, there once lived an exuberant ten-year-
old boy. At that time, back in the Sixties, there
wasn’t much for a child to do when he came
home from school. There was nothing on TV
that could catch the interest of a little guy with
a wild and creative imagination, animated by
kaleidoscope images and dreams and stars. So-
cial and sport activities organised by local insti-
tutions were out of the question; things were
rather different then from what we are used to
nowadays. Leisure activities were typical by ru-
ral Argentinean standards of that time and al-
ways the same all year round, like playing foot-
ball with a few friends in a field in the outskirts
of the neighbourhood, a perfect training place
for kids who dreamt of becoming future foot-
ball stars, like their idol Pelè; sometimes the lit-
tle boy would manage to escape his mum and
dad’s attention to go fishing or chasing frogs in
the canal which ran through the lower part of
town; in the afternoons, he would gather with
his friends to talk about the events of the day,
the latest and greatest of the sports universe
and swap the greatly sought-after picture cards
of the “Idols of Sport” collection and, some-
times, make a timid approach to the young girl
who had stolen his heart.
Horacio Pagani’s childhood was permeated
with all this and much more: after doing his
homework with great diligence, after watching
Lassie on TV and playing outside with his
friends, he would withdraw to a narrow room
that his mother used as a laundry room and
where objects that had fallen into disuse were
hoarded - the same room to which the young
designer had proudly given the name of “la
piecita”, that is “the tiny room”. Here in per-
fect solitude, he would start drawing and carv-
ing miniature car models out of balsa wood,
dreaming that one day they would become the
most beautiful cars in the world. He was fasci-
nated by the pictures of cars produced in the
Old Continent that he saw in a magazine, and
by using the only tools available to a child liv-
ing in the Sixties, that is: a Gillette razor, Pe-
gatodo (a type of glue containing celluloid and
acetone) and a few sheets of fine sandpaper,
he would start crafting and modelling cars with
his petite, unskilled hands: futuristic cars, con-
ceived by the vivid imagination of this little day-
dreamer.
The fellow peers were immersed in the chal-
lenge of laying their hands on the unfindable
picture-card that would allow a privileged few
to complete the album and win football n.5.
Horacio, instead, preferred to spend his spare
time at the shop of Tito Ispani, a maker of
model ships and aeroplanes who was well-
known in town. The young Horacio would
spend hours trying to discover the precious se-
crets of the finishing techniques for the frag-
ile wood models or the mystery behind his per-
fect Duco varnishes.
The little racing car models which survived the
ravages of time, and which were overlooked by
many at that time, are now on display like reli-
quaries in an elegant showcase in the reception
area of Pagani Automobili, San Cesario, in the
province of Modena. This privileged space,
where Pagani unveils his fondest dreams and
confers a tangible dimension to his projects, re-
calls an alchemist’s laboratory, his place in the
1.1
T H E B O Y W H O W A N T E D T O C R E A T E T H E M O S T B E A U T I F U L C A R I N T H E W O R L D
Hug
o Ra
cca
“When you aim
the visionary bow at a star,
with the desire of perfection
and rebel to mediocrity,
you carry within you
the mysterious spring of an ideal”.
José Ingenieros, Argentinean writer
Opposite page: Horacio Pagani in a passport photo from the 60s.
01-storia ENG:nuova bozza 21/07/10 18:22 Pagina 16
101
74
fied, but nonetheless, six months later, he
shelved the whole thing again, fully convinced of
the greater potentialities of the original project.
One day he was introduced to doctor Dieter
Zetsche with whom he discussed the Mercedes
engine. His model met with Zetche’s approval. Pa-
gani was more convinced than ever that he was
treading the right path. He did not want his Zon-
da to be a mere product of advanced and mind-
blowing technology but also a reflection of the
great artisan workmanship that had contributed
in making Modena famous all over the world. He
wanted a car that embodied a sort of modern day
artistic Renaissance. As he says, technologic exu-
berance should never override the emotional and
human aspect, so warm and vibrant.
Pagani started to put together a selected team
of skilled collaborators for his new firm which
was under construction; they may be called
artists rather than artisans, people with extreme-
ly high levels of craftsmanship and an unfalter-
ing passion for their profession.
Most of the work was dedicated to the construc-
tion of the frame; Pagani considered it the most
crucial aspect of the whole project, since the suc-
cess of the whole project would depend on the
type-approval crash test results. After all, he
wanted his car to be complete in every detail and
this included type-approval, of course.
He wanted his Zonda to run like any other
mass-produced car; failing this, he would not
let it run at all. If the C8 project - eagerly pur-
sued for years - happened to fail the crash test,
it would inevitably end up languishing on a
dusty garage shelf forever, sharing the same
fate of many other ingenious prototypes.
Pagani installed a bench test for carrying out tor-
sion tests for the frame and the suspension sys-
tem. Each component was tested beyond its
breaking point.
In 1997, when he was through about 75% of
the project, he made his most important invest-
ments amongst which was a technical office at
Modena Design for building the components
and carrying out calculations and mathematical
verifications and also to prove to the world that
he was doing the right thing. He considered this
step as a confirmation of his efforts and an op-
portunity to improve even further. The car, con-
sidered as exotic (and perhaps even more so) as
any other car within the rarefied supercar seg-
ment, had to be exclusive, to ensure the client
that what he was buying was a unique work of
art, something made purely for him, an object
with a “soul”, that embodied a mystery only
known to the owner. The day of delivery of a car
is always an exciting time at the atelier: every em-
ployee takes a break to attend this magic mo-
ment with hearts beating a little faster in thrilling
anticipation. Everyone crowds around the awe-
inspiring vehicle which is covered with a drape
waiting for its new owner to come in. The mo-
ment becomes solemn; a deep silence falls; the
keys are handed over to the client and the drape
is removed. The car register, a binder containing
a detailed description of each building phase, in-
cluding variations and procedures carried out
during construction, is shown to the client.
work moulds for shaping the first carbon parts.
Despite the hardship, they worked non-stop: the
three thousand car components were designed
one by one and assembled later on. It took them
years to accomplish their goal, with the in-
evitable ups and downs of creative imagination
along the way, since ideas are not immediate and
ingenious every time. Furthermore, it was neces-
sary to solve the complex technical matters
linked to an extreme vehicle of this kind. Anoth-
er ambitious goal was to create a car that would
be able to withstand the turning of the tide and
the unavoidable changes in technologies and
trends over time.
Pagani discovered very early that if he wanted to
live up to his commitment, he would have to lay
other projects aside. He was aware of the risks he
would be exposing himself to in case of failure;
nonetheless he was determined to focus all his
human and creative energy in one direction only.
For this reason, his methodological re-elabora-
tion went to great lengths, starting from the 1:5
scale models realized between 1991 and 1992
and derived from his first car designs. Pagani
took several pictures of the models and gradual-
ly began to make changes to the parts until each
detail matched his taste perfectly. When the new
project seemed to be complete, he shelved it for
another six months. Then he went through it all
over again and designed a different version to
find out if he could make further improvements.
The new design had taken on a more aggressive
connotation and entailed further solutions that
recalled the Lamborghini style. Pagani was satis-
Above: several sketches of the C12.
Below: several models of the car ( 1993).
Opposite page: a sequence of photos showing various stages of projectdevelopment for the C12, from the first hand-carved wooden models tothe prototype intended for use in crash tests.
143
56
T H E C O U N T A C H A N N I V E R S A R Y
While he was working at Lamborghini, Horacio hadstarted to develop his own projectual experiments inresponse to the work orders that the company usuallyassigned to famous Italian designers. Horacio had thesecret hope that one day some of his ideas would beimplemented for mass-production cars.This never happened, but Horacio eventually managedto attract the attention of the executives of the House ofthe Raging Bull, who entrusted him with the task of theCountach restyling.Horacio tried to build the central frame cell withcomposite materials, a solution that was deemed unvi-able at that time. As a matter of fact, the feasibility of thisidea was never verified, as the project for the CountachEvoluzione was brought to a standstill and the onlymodel that was built remained a prototype.Two years later, on the occasion of the company’s 25thanniversary, the restyling project for the Countach wasresumed in order to comply with the new bumper regu-lations, amongst other things. Since it was not consid-ered a new project, the work was entrusted to Horacioinstead of the usual designers. This represented atremendous opportunity for him. He put himself to workand immediately came up with several solutions for thenew parts. Needless to say, the car was a huge commer-cial success.
1987: sketches and prototype of the Countach Anniversary (known asCountach 25th).
01-storia ENG:nuova bozza 21/07/10 18:23 Pagina 56
115
and enough longitudinal suspension compliance toprevent sharp bumps crashing through to the chassis.The secondary ride is just OK - much better than the Vey-ron’s, but it does start to fidget uncomfortably over someof the smaller bumps; I would love to try a Zonda F on18 inch wheels. Road and wind noise are high, whichwould prove tiring on a long trip, though Horacio ex-plains that this particular car has no soundproofingmaterial.All to soon it’s over. Apart from the driving position, thedrive to Goodwood and back was a very enjoyable ex-perience and it was a great pleasure for me to have the
sort of cars that will deliver something approaching theF1 experience.It wouldn’t be entirely fair to labour the Zonda vMcLaren F1 comparisons at this point.The McLaren was a massively focussed technical motorcar with many engineering firsts in terms of materials,packaging, suspension and aerodynamics - some ofwhich have not been surpassed even today. But the F1 isno longer being built.The Pagani Zonda doesn’t break the same sort of newground, but stands more as a handmade work of artfrom a small, passionate team of engineers. It delivers
car’s creator sitting by my side - it also gave me a chanceto brush up on my very rusty Italian!The Zonda F is a true supercar, well engineered andwell-built enough to lift itself above all the other sportscars being produced by small companies. A very goodpowertrain, well-resolved dynamics and excellent, pro-gressive brakes all add up to a great drive.Minimal luggage space, the seating position and thecar’s overall size detract a little from its “real world” ap-peal, but the Zonda is still a very viable purchase, alongwith the Porsche Carrera GT, in the upper price-level“handmade” category of rear-engined supercars. The
not so much by concept but by performance.Time will tell if it will become a classic car, but alreadyit is a car of which both its creator and its owners canbe very proud.
Gordon MurrayEVO UK - February 2006
160 The F version did not represent a simple restyle
of the Zonda S, but a whole new car. The en-
gine, still 7.3, was completely revised. Aerody-
namics were redesigned on a mathematical
base. Both the CZ and the CX were improved be-
coming the first Pagani to exceed 350 kilometres
per hour. The front end was revised and elongat-
ed, and the front air intake became larger. The
main headlights incorporated the indicators,
while the fog lights took the shape of aggressive
torpedoes. The rear boot adopted the windows
already tested on the Roadster S; the spoiler, held
in place by a slender metal rods, became once
again a one-piece fixed wing, with a profile stud-
ied in the wind tunnel. The NACA were multi-
plied, and were now present on all the wheel-
houses, while various details of the interiors were
revised as well as the instrumentation, which was
redesigned and enriched with new instruments.
Two versions were presented, of which the most
powerful, called Clubsport, became the most
popular. The car appeared more slender than the
Zonda S, with flowing and more aggressive
streamline, which soon caught the interest of the
press and customers.
4.5
Z O N D A F / Z O N D A F C L U B S P O R T
Robe
rto
Mor
elli
Engine: Mercedes-Benz AMG 12 cylinder V 60°, 48 valves; displacement 7291 cc.Max. Power: (kW) hp/rpm: (443) 602/6150 - (478) 650/6200*.Max. Torque: Nm/rpm 760/4000 - 780/4000*.Weight-to-Power ratio: 2,04 kg/hp - 1,89 kg/hp*.Intake manifold*: aluminium/avional hydroformed alloy MHG-System.Exhaust system*: hydroformed steel and inconel ceramic coated manifold, titanium muffler.Transmission: longitudinal mid engine; rear wheel drive with self-locking differential.Clutch: twin plate clutch.Gearbox: mechanical 6 speed (+ reverse).Brakes: 4 ventilated Brembo disks, hydraulic power brake.Carbon-ceramic brakes*: front 380x34 mm 6 piston caliper; rear 355x32 mm 4 piston caliper.Steering: TRW rack and pinion power assisted.Wheels: Forged aluminium/magnesium alloy APP wheels; 19” front, 20” rear.Tyres: Michelin Pilot Sport 2: front 255/35/19; rear 335/30/20.Suspensions: 4 independent wheels with double A-arm; pull rod helical springs
and Öhlins adjustable shock absorbers; anti-roll bar; aluminium/magnesium alloy suspension arms.
Structure: central carbon fiber chassis; front and rear Cr Mo space frames;carbon fiber “MD System” bodywork panels.
Dimensions: length 4435 mm; width 2055 mm; height 1141 mm; wheelbase 2730 mm;dry weight 1230 kg (without Comfort Pack and with CCM brakes).
Weight distribution: 46% front; 54% rear.Downforce: ~600 kg at 300km/h (Clubsport version);
downforce distribution: ~270 kg front; ~330 kg rear.Safety: ABS/Traction Control Bosch; central carbon fibre safety cell with steel
and carbon fibre roll bar; front and rear impact energy absorbing structure in carbon fibre and Cr Mo.
Performance*: acceleration 0-100 km/h 3,6 sec.; 0-200 km/h 9,8 sec.;lateral g’s: 1,4 g with SPORT setting; deceleration 200-0 km/h: 4,4 sec.; top speed: > 345km/h.
* = Clubsport version
ZONDA F
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V A L E N T I N O B A L B O N I
Legendary test driver, Valentino Balboni, has been work-ing with Lamborghini for 40 years. Together with theToro automobiles, he clocked up more kilometres thananyone else in the world and he well and truly repre-sents a historical memory of the golden age, when thecars were constructed with the use of muscle strengthand hammer.
Valentino, in the 80’s Horacio Pagani wasemployed by Lamborghini. What do you remem-ber about that period?
V.B. - I met Horacio when he was here with us, atLamborghini. He set up the first composite department,and it was he who proposed to construct spare partsusing innovative materials, as at that time things weredone in the traditional way, beating the panels to giveshape to the body work. He was also one of the biggestsupporter of that famous experimental car, theCountach Evoluzione.He was very young, and yet he already had experience,that was crucial to mount the first pieces in carbon fibreon the Countach series, which he himself had manufac-tured.
But he wanted to be a designer...
V.B. - Oh yes! He always had in mind his stuff, his style,his drawings (laughs) and he was unstoppable. He wasalways delicate, sweet, calm, yet he constantly proposedhis views on things we were working on. It was impossi-ble to stop him.At that time, restructuring works were being done herein the factory and the employee parking lot was inacces-sible. We had to park far away, near the church, andevery morning our cars lined up side-by-side to oneanother, on a first-come first-serve basis. Everyone hashis own habits, and so without any agreement whatso-ever, a kind of hierarchy was created: Horacio and Ialmost always arrived together and ended up parkingside by side. Furthermore, here in the factory, ourdepartments were opposite each other, in an area of thebuilding just facing the car park. So we used to do along five minute walk together. Imagine the scene: I usedto arrive at work at seven o’clock in the morning, freez-ing cold, half-asleep... and Horacio inevitably pulledout of his pocket a few drawings, a sketch or somethinghe had worked on the preceding night, showing me andforcing me to comment on his ideas. Once he showed mea panel which was meant for the inside of the car door,another one was a bumper or an alteration to the side.I had to express my opinion and it was not possible toavoid answering because he did not let go of me! Healways had in mind to study some new solution anddraw it his own way. I used to tell him: “Well, stop itHoracio, leave me alone! At night just take care of yourwife, rather than spending time making drawings!” Wehad a great friendship based on mutual respect, that isstill ongoing today. He was always so full of energy thathe ended up involving everyone. His attitude was posi-tive and enthusiastic; he was capable of transformingpeople. Working with him was gratifying, and we wereall dominated by the feeling of doing the right things, upto standard.
What chances did he have to see his ideasapplied?
V.B. - Initially Horacio did not have any designingresponsibility. He did these things out of personal pas-sion. Nobody had ever asked him to design anything,there were the official designers for this. He worked withinstinct, and then tried to get his ideas across to thedesign centre. His irrepressible attitude, by dint of insist-ing, allowed him to play a decisive role not only in theconstruction of components, but also in defining thestyle concepts. In fact a large part of the Anniversary’sstyle was made by him. In short, there were two distinct phases: in the early dayshe was driven by pure desire, after some years his ideasbecame an integral part of the projects.
What happened when Pagani began to speakabout a composite department?
V.B. - We were interested in working with innovativematerials. Everyone started to speak about these fibresthat could replace sheet metal. Horacio pushed a lot inthis direction, but the management were rather con-servative. They wanted to maintain a reduced produc-tion, in order to remain exclusive and follow the tradi-tion. Nobody wanted to expand the company and com-plicate things by inserting stunning features, or daringinnovations that required investments which were notfelt as a real need. This was because, the company wasgetting on just fine thanks to the “holy” Countach, athoroughly tested car, which had been easily sold foryears and had also repaid the wrong-doings that someleaders had done. The company used to live off the annuity and used tothink that it could go on forever.Horacio, however, opposed himself to this staticapproach. Gradually he inserted himself in style issuesand in this way ended up suggesting things that could beonly done with the composite. He wanted to go aheadand also be the centre of attention. When Alfieri received a substantial government grant todevelop an innovative project, he grasped the opportu-nity. Obviously, Alfieri wanted to utilise only a smallpart of that capital to develop a composite machine; alarge sum was spent to improve the existing factory.However, at least a prototype had to be built. In this wayHoracio could demonstrate to the whole world that hewas capable of building a car from scratch. There camea day when, surprisingly, he presented in front of ourincredulous eyes the Evoluzione, a Countach which hada carbon cell instead of a tubular metal cell. It was anunpretentious project which did not aim to make it aproduction car: it should have been a sort of “expenseaccount” in order to justify the public economical con-tribution. Eventually, the car was terminated and thefinal result was impressive. It was very light and aerody-namic, yet rigid and having values well beyond those wewere accustomed to. After testing at Nardò, we coulddeclare a top speed of more than 330 kmph, a remark-able fact for that period. All this attracted the attentionof the worldwide press. In an moment, the littleLamborghini was once again on everyone’s lips. All thiswas unprecedented publicity which proved to be valu-able for the sales of our cars. The Evoluzione was thensent to the crash test for homologation. The only speci-men was destroyed during the crash test and after thisnobody ever talked about launching its construction inseries.
Pagani says that you were the first to arrive andthe last to go home in the evening.
V.B. - This is true. My department was in front of his, sep-arated only by a small passage way. I used to go and seewhat he was doing, just for personal curiosity, but Iended up learning myself. In those years at Lamborghinithere was truly a feeling of being a great team, the dis-tance between managers and workers was minimal. Itwas a joy to arrive at work in the morning and a sad-ness to go home in the evening. We have had the uniquefortune of living in a golden age, when everything washandmade and the cars were done with a passion. We lived day by day. There was a conservative mentali-ty and luckily someone had thought to manufacture aMiura and a Countach, which made us survive failuresand vicissitudes of all kinds. Obviously, nowadays, wecan no longer make cars in this way: they have to beperfect straight away, right from the first specimen. Byinserting a chassis number into a computer, one cannow see all the details in the construction sheet. We cannow repair a Lambo that has broken down in Australia,but actually driving the Countach gives a completely dif-ferent thrill.
Horacio still applies the old method. I have the fortune toknow almost all the important people in the supercarfield, and everyone speaks positively about Horacio’swork. He won everyone’s respect thanks to his character,his technical expertise, his experience and an unwaver-ing determination. Ferruccio Lamborghini and EnzoFerrari’s cultures are still alive in him. For an old roman-tic like myself, it is good to see that there is still someonewho wants to do things in this way, although I understandthat the world has changed and now the results areobtained through calculations not by instinct, I still missit. Up until fifteen years ago a talented person could suc-ceed alone in winning a challenge like this only if he hadthe guts and desire to be perseverant. The talent emerged.Nowadays we work in teams: the results are more perfect,but it ultimately lacks passion.
01-storia ENG:nuova bozza 21/07/10 18:23 Pagina 63
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