How to Build a Car: The Autobiography of the World’s Greatest Formula 1 Designer. Adrian Newey

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СКАЧАТЬ it’s tending to under-rotate and carry straight on, what the Americans call ‘push’) then there are all sorts of things you can do to try to solve that: you might add more front wing to increase front downforce; you might soften the front anti-roll bar, so there’s not as much weight transfer across the front tyres; you might change what the Americans call the ‘stagger’, the difference in diameter between the inside rear tyre and the outside rear tyre; you might alter the cross-weight, which is how weight is carried diagonally across the car, analogous to a wobbly bar table. You have all these and more variables, many of them not present on a standard road-racing car, because an oval-track car only has to turn left.

      This was a big challenge to get my head round, but we were a close-knit team. Bobby, the team manager Steve Horne and chief mechanic Jimmy Prescott were patient with me as I learnt the ropes and we got to know each other well during the season.

      Internal air travel wasn’t common in the States back then, so we’d all jump into one of these vans they called Starcraft, effectively minibuses pimped-out with lots of red velvet. We would travel through the night to the circuits, taking it in turns to drive. You know those old movies where drivers do big steering movements all the time? That’s how you had to drive these Starcraft, because they wouldn’t go in a straight line; as part of the pimping process, they had been fitted with tyres that were far too wide for the rim. Dreadful things but comfortable, which is what you need when you’re driving from track to track across America, although I do feel calling them Starcraft was a bit of an oversell. Those long trips were great fun – apart from the time we drifted into the side of an 18-wheeler truck when one of the guys fell asleep at the wheel.

      It helped that I was forging a close relationship with Bobby. I’ve been fortunate enough to develop strong bonds with a few drivers over the years, but it was Bobby who first taught me how valuable that close relationship between race engineer and driver can be. He was able to describe what the car was doing in a language I could then translate into set-up changes.

      Truesports had a drawing office, or more accurately a tiny office with an old drawing board, where I’d draw parts to improve the performance of the 84C and then work with Bobby at the racetrack to fine-tune the set-up. At race weekends we’d go out for dinner in the evening and talk about the car. I’d have a think about it overnight and come up with changes ready for the following morning’s session.

      So for me it was a nice meeting of the skills in aerodynamics and mechanical design that I’d learnt over previous years, with race engineering, and throughout the season I made some decent changes. The car had an angled engine, specified by its designer, Ralph Bellamy, to help the aerodynamics, but I wasn’t convinced so we changed that to reduce the centre-of-gravity height, while redesigning the rear suspension to improve the aero. It was quite a heavy car, so we put a lot into weight saving.

      By the end of the season we were able to give Mario Andretti’s Lola, which had been the class car of the field, a good run for its money, winning a few races in the process. At the same time, my 83G design had gone on to win the 1984 IMSA championship. So with that, and with us having turned this rather clumsy 84 IndyCar into something that was able to rival and beat the Lola, Robin Herd promoted me to chief designer on next year’s IndyCar. I was the grand old age of 25.

CHAPTER 14

      It was all change at March. Ralph Bellamy had moved across to work on Formula 3000, designing the March 85B for my old friend Christian Danner (a good car, too. Christian won that debut Formula 3000 season in it). Meanwhile, I started work on the March 85C, which was to be sold to US teams to compete in the 1985 IndyCar season, the first race of which was in April 1985. It was to be my first car designed from scratch.

      Now it goes without saying that there are a million and one factors to consider when you’re designing a racing car. Here are just three that cropped up in this instance.

      THE TASK

      Your job as the chassis designer is to take all the elements – the engine; turbocharger; the radiators for the water, engine oil and gearbox oil; driver; fuel tank; suspension; gearbox; and find an elegant package solution for them – so that you can design the externals into the right aerodynamic shape while having a structurally sound, lightweight solution.

      A VISION

      As a result of that experience at Fittipaldi and March, I’m one of the few designers with a degree of knowledge in different departments who can move between them. What it gives me is the insight to approach a design from a holistic point of view, avoiding the situation where you see a car where clearly the aerodynamicist and the chief designer were having a row, since you’ve either got nasty mechanical bits sticking out of what was otherwise a clean aerodynamic surface (the structural guys obviously won the battle) or an aerodynamically elegant-looking car that performs poorly because it has the stiffness of a rubber band.

      You might see other cars where it looks as if one person’s designed the front end of the car and somebody else did the back end. If there’s one thing I hope to be remembered for it’s that the cars I’ve been overall responsible for look cohesive.

      THE DRIVER

      Despite the fact that March planned to sell the 85C to whichever team wanted it – indeed, there were well over a dozen of them competing in the 1985 IndyCar championship – it was Bobby for whom the car was tailored and his input that set the handling targets. And what Bobby wanted, mainly, was for the car to be balanced.

      Why? Well, if you watch 1970s motor racing you’ll see some drivers driving them like rally cars. Fans and journalists love to see that because it looks dramatic, as though you’re witnessing a tense and skilful struggle between man and machine. Gilles Villeneuve, for example, was a master of the controlled slide – ‘power slides’ they’re sometimes called – and could drive sideways all day. He won the adoration of fans as a result.

      What he didn’t win, however, was the championship. And who knows: maybe his propensity for exuberant driving was partially to blame because the problem is that this style puts an enormous amount of energy into the tyres, which are prone to overheating, as well as reducing the effectiveness of the aerodynamics and hence downforce. Or put another way, when you’re going sideways you’re not going forwards. Compare Gilles to Niki Lauda who never let the car get ragged. It was always moving forward. His results speak for themselves.

      What all drivers want is a car that stays under control throughout all phases of the corner. You want the car to rotate when you turn the wheel at the entry phase of the corner, but not so much that the car tries to swap ends on you. And then at the exit phase of the corner, you want a car that can put down its power without spinning up the rear tyres or snapping sideways. Give them that and the delicate driver will explore the grip of the car to its limit without allowing it to get out of shape.

      Bobby was no exception. IndyCars are heavy, which means they can be lazy when it comes to changing direction in corners. What’s more, the circuits differ greatly and can be very bumpy, so we needed a car that would maintain its balance over a range of ride-heights. If we could achieve this then Bobby’s delicate style would result in a very fast package. On the flipside, Bobby would struggle to extract time from a poorly balanced car that required a more flamboyant style.

      We granted his wishes by working on the suspension, and on making the aerodynamics deliver in order to keep the car stable. We also designed the cockpit around his size, because he’s a tall guy. When you consider that we were working in the days before data recorders or simulation packages, the driver’s input was essential. After all, other than driver feedback all you had in those days was your own experience, instinct and …

      THE WIND TUNNEL

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