mercredi 4 février 2015
9 DAYS IN SUMMER
9 Days In Summer is a documentary created by Ford in 1967-68, the film covered the development and subsequent successes of the Ford Cosworth DFV V8 and the Lotus 49 – a pairing that would go on to win the world championship in 1968 and 1970. The 3 litre Ford Cosworth DFV V8 would become the most successful engine in Formula 1 history – amassing a total of 155 wins in Grand Prix racing over the course of its life.
Despite the fact that the film was meant to be a marketing reel for Ford, it’s become a bit of a cult classic and is now considered essential viewing for any fan of Formula 1 (or motor racing in general). 9 Days In Summer gives some unique insight into the lives of Colin Chapman, Graham Hill and Keith Duckworth – three men whose influence can still be felt in the sport today.
Watch the full film above or read more about it here via IMDB.3
via SILODROME
If you can squeeze into an Alpine A110, you’ll be smitten...
With Gallic charm in abundance, a stellar competition career and looks to die for, the Alpine A110 was a car that put France back on the motorsport map. And with Renault's revived Alpine project bubbling away nicely, renewed interest in these blue pocket-rockets is inevitable...
Alpine’s founder Jean Rédélé was a visionary. His competition success with a modified Renault 4CV in a variety of events (including the Mille Miglia and Coupe des Alpes) in the early 1950s spurred him on to create his own cars, ones that he hoped would prove themselves not on sales, but on motorsport merit. When the A110 was revealed at the 1962 Paris Motor Show, few could have guessed at the impact it would have on the world of rallying. Rédélé’s vision was to become a reality.
Slow burn success
Weighing a scant 660kg and boasting a rigid backbone chassis, the A110 was as adept on the treacherously snowy Monte Carlo passes as it was on the stiflingly dusty stages of the Acropolis.
As the decade came to a close, the A110 had tasted success on numerous European rallies, but that was just the start. In the early 1970s, in partnership with Renault (which would eventually become Alpine’s sole owner) and thanks to a dizzying number of ever-more potent engines, it proved almost unbeatable. Sweeping up in 1971 and in the inaugural World Rally Championship in 1973, Alpine had taken the fight to Porsche, Fiat, Citroën and Ford, and it had won.
Thrilling, in every guise
Every encounter with an A110 forces you to reconfigure your conception of what defines a ‘small’ car, but its diminutive dimensions, both outside and in, only add to its charm. Its hunkered down, purposeful shape is timeless, and that dollop of negative camber serves to remind you of its competition breeding. 'Did these really conquer the Monte?' you ask yourself. There are few cars that offer such a pared-back driving experience – even in modest road trim, there’s a riot to be had on every drive. In fact, a well-sorted A110 might just be the perfect tool for historic rallies such as the Tour Auto, assuming you're no taller than 5"10', that is.
Though the Lancia Stratos – the first real purpose-built rally car – rendered the A110 obsolete virtually overnight, the Gallic coupé’s legacy was already cemented. Rédélé had proven his point, and in astonishing style.
You can find several Alpine A110s for sale in the Classic Driver Market.
T14 by Unique Cycle Work
Snapshot, 1969: Who set the Miura among the Peugeots?
In the late 1960s, Paul Bouvot was responsible for Peugeot’s series models in his role as chief designer. But he secretly yearned for a more exotic automobile…
From the 1950s onwards, Bouvot worked on Peugeot’s new small saloons and coupés but, after closing time, his wish was to drive home in something more sporty. He’d already owned many Ferraris and, by the end of the 1960s, he had his eye on a new Ferrari 275 GTB/4. Bouvot was well-connected, so asked his Italian friend Sergio Pininfarina – who had designed several cars for Peugeot – whether he could quickly source him such a car. However, before the Turinese designer had the chance to look, Bouvot snapped up a Lamborghini Miura – penned by Pininfarina’s rival Bertone, of course.
Car park surprise
The next time Pininfarina was in Paris, he spotted the white Lamborghini in the employee car park surrounded by modest Peugeots, and was highly amused at the cheeky design chief’s bravado. Next morning, Alain Peugeot took a birds-eye picture of the ironic scene, wrote a tongue-in-cheek message on his business card, and left both on Bouvot's desk.
But Bouvot soon experienced a sobering moment. While on a drive with a friend in his Bertone-bodied supercar, a pebble jammed the throttle open at 140mph. The only way he could stop the car was to withdraw the ignition key; at 110mph, it pirouetted twice in the rain, yet they came to a stop, somehow unharmed. The next day, the wild bull was sold.
Photo: Archiv Marc Bouvot
You can read the full story of designer, artist and sports car lover Paul Bouvot soon on Classic Driver. In the meantime, you can search the Classic Driver Market for various Ferrari 275 GTB/4s, Lamborghini Miuras - and of course, a few Peugeots.
Moto Guzzi V11 by Emporio Elaborazioni Meccaniche
Words by Martin Hodgson.
Moto Guzzi is one of Continental Europe’s classic brands and even more so when you think of Café Racers, making it one of the perfect manufacturers to choose when deciding what bike to base a custom build. But then you go and pick one of their heaviest bikes, all covered in plastic, weighing a gargantuan 500lbs and with an enormously long wheelbase. It seems you like a challenge, one that the boys of Emporio Elaborazioni Meccaniche in Rome were more than up for!
The Moto Guzzi V11 is an unusual creature, from the visual appearance you would assume it was meant to be a canyon carving light weight, but the specifications reveal the enormous weight, ergonomics and freight train like V-twin to be more of a highway roadster. But the EEM team of Dopz, Schizzo and Massimé saw the potential and as Dopz explains “We believed on what was under those plastics and under those heavy lines to bring out the classic style of a Guzzi bike; to make it a real Guzzi-racer.”
There was a very deliberate plan in the build, strip as much of the unnecessary weight out of the bike while making the most of the mechanical components, even celebrating their mass. With this in mind EEM started at the rear of the bike showing off the unique elements of the shaft drive. A new rear subframe was fabricated to allow for negative space to enhance the mechanicals while the muffler was made particularly small for the bike so as not to impede the machine like vista. The seat is an old hand made Guzzi racer unit the boys found at a local market, with plenty of work to get it just right without taking away any of its character and maintaining a view to the rear shock.
Reduced weight meant a more sporty front end could be utilised and when in Rome… well how could you possibly go past the beauty and performance of a Ducati 998 set of forks, Showa internals and Ducati stopping power, bellísimo! The one problem with such a Ducati setup is the fairly large fluid reservoirs that would normally be hidden behind fairings. But EEM don’t just build, they fabricate and with genius innovation they incorporated both the brake and clutch fluid reservoirs into the top triple tree and devised a system to ensure enough fluid was held so the bike could be ridden hard, “it’s a bike not a steady piece of art!”
At this point you’re probably scratching your head about the tank and just where it comes from, I know I was. Knowing it clearly wasn’t the original, as hard as I tried I just couldn’t think which fellow Italian had lent its metal. That’s because this tank not only comes from the Suzuki factory in the land of the rising sun it has been heavily modified to slim it down and improve the sideline profiles. But there was a problem, unlike the Guzzi item there was no internal fuel pump, not a big issue for the skilled men at EEM who fabricated an external system you’ll probably never see. The same treatment was given to the normally complex Guzzi oil system, whereas many builders simply block lines off or add filters, EEM instead improved the systems performance while reducing its bulk.
Then there are the details that really set this build apart, the stunning 1950’s Falcone Sport headlight that retains its worn feel but perfectly houses a digital dash. The exhaust that while new looks like it could have been salvaged from a much earlier time, the same worn metal look featuring on the valve covers, tank cap and the re-work subframe. All of which works in harmony with the 1970’s V7 Special white paint that gives this modern steed even more of a classic touch. While just to prove there is almost nothing they can’t do EEM made a set of 90’s Fiat turn signals look perfectly minimalistic and are the final touch in making the Guzzi road legal.
And if the whole build wasn’t magnificently Italian enough the Guzzi carries the name ‘Il Sorpasso’, from the 1962 cult classic film about two very different strangers sharing a road trip from Rome to Tuscany. It’s almost the perfect metaphor for EEM’s V11 build, a plain original bike, an outlandish idea and the collaboration to form something special; all result in a machine perfect for that dream Italian countryside ride.
[Photos by: F. Porrozzi]
via PIPEBURN
THIS HARLEY STREET 750 IS A BLAST FROM THE PAST
What’s the best-looking Harley-Davidson of all time? We’d put our money on the XRTT road racer from the 1970s: the one with the sleek fiberglass fairing, orange-and-black paint and Ceriani drum brakes.
Many of those original 750s were destroyed in action. Probably less than 25 remain, and to put one in your garage would cost $100,000 or more. But you can get a little of that XRTT style for much less, as this Harley Street 750 shows.
The bike was built by Joeri Van Ouytsel, a Belgian mechanic who works for Silver Lake Harley-Davidson. It’s part of Harley’s upcoming Battle Of The Kings competition, which challenges authorized Harley dealers to apply their customization skills to the blank canvas of the Street 750.
The 30-liter tank is from a Laverda—exact model unknown—and immediately gives the Street 750 an old-school racer look. It’s more angular than the XRTT original, and Joeri has grafted on a shorter tail unit to match.
The fairing comes from a Paton, and cost less than $500. It’s been reshaped to fit the Street 750, and hides the bulky frame downtubes and radiator. The stock bars have been replaced with Triumph clip-ons.
The standard 17- and 15-inch cast aluminum wheels are gone, replaced by symmetrical 21-inch rims taken from a Sportster Seventy-Two.
The exhaust headers are old aftermarket items, matched to custom pipes and mufflers. (Joeri’s attention to detail even carries through to the exhaust wrap, which is immaculately layered.)
Joeri has also made the foot controls from scratch, creating a traditional racer-style body position.
At the back you’ll spot piggyback shocks from a Harley XR1200—with springs repainted to match the bodywork. The brake lines are also color-matched, another neat touch.
The factory Street 750 has nimble handling by Harley standards, with relatively light weight and a center of gravity that feels low. So Joeri’s homage to the XRTT is likely to be a fun ride.
It’s probably a little easier to maintain than a classic racer too.
All photos © Mike Van Cleven | Harley-Davidson Battle Of The Kings
via BIKEexif
These Renault 5 ‘Street Art Cars’ are giving back to their community
Shortly before its Rétromobile sale, French auction house Artcurial will offer three Renault 5 ‘Street Art cars’ painted by a trio of artists – with the proceeds going to charity…
Many will remember the ‘broken windows’ theory of the 1980s. According to sociologists James Q. Wilson and George L. Kelling, when relatively harmless vandalism offences and graffiti are allowed to thrive, a lawless atmosphere that brings with it more serious crimes is inevitable.
Graffiti for a good cause
What their study didn’t predict, however, was just how popular ‘street art’ might become in the decades to come. On 4 February, these Renault 5s will directly benefit a good cause: all proceeds from their individual sales will go to the Abbé Pierre Foundation and the French Red Cross. The rolling blank canvases were given to the street artists for each to apply their own remix; the trio will go under the hammer at Artcurial’s Urban Art Sale carrying a guide price of $5,000 – $6,600.
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