Читать книгу How to Build a Car: The Autobiography of the World’s Greatest Formula 1 Designer - Adrian Newey, Adrian Newey - Страница 16

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

My old friend the wind tunnel. I used the one at Southampton right up until 1990, which means that including student years I spent about 13 years in that wind tunnel. That’s almost a quarter of my life used in five-day periods of stooping, squatting and kneeling over in a 7ft-wide, 5ft-high tube.

Our models were quarter-scale, made out of wood and aluminium, with moving suspension to allow the wheels to go up and down, but no springs or dampers and no internals. The floor of the tunnel was a conveyor belt. But although the tyres touched the ground, the model didn’t rest on them. It was in fact hung from a strut on the ceiling. We used a turn buckle to vary the ride-height, and having done that we’d do a run, blow air over the model, about 10 minutes’ worth of that, then stop the run, go into the tunnel, stoop over, take a set of spanners, adjust the ride-height and do another one. During the run we would measure the downforce, drag and the ‘pitching moment’, which allows us to calculate how the load is distributed between the front and rear axles.

LEAD TIMES

Typically, what takes longest is the central monocoque and gearbox casing – everything hangs off those two components. The rear suspension hangs off the gearbox casing, while the nose, front suspension, radiators and most of the bodywork hang off the monocoque, which itself contains the driver and fuel tank. So you need to have a pretty good idea of what the whole car will look like by the time you release the drawings for the monocoque and the transmission casing. Because they are the components that take the longest to make, to establish their release dates you simply work back from when the car is first scheduled to run.

You can keep working on the details after you’ve done that, so you might finish the front wing sometime later. Something like the driver’s mirrors get released a few days before D-Day, because they don’t take long to make.

At March, most of the car was made in-house, which for a production company where profit is important was crucial. The gearbox casing was made to our design, sent out to a foundry to cast and then machined by another company, but the monocoque, for instance, was made in-house, as well as all the suspension.

Because all the components were drawn by hand, it was difficult to check every last thing to make sure the components were going to assemble correctly, and we had occasional disasters when the first prototype car was being built: something wouldn’t fit, for example, or a suspension member would go through a piece of bodywork. Nowadays, with everything drawn on computer, it is easy to fully assemble the car in the virtual world and check for such howlers before anything is actually made.

Work on the 85C began in August 1984, when I was pulling double-duty, wearing one hat as race engineer for Bobby in the States, and another doing design and wind tunnel work on the 85C in the UK. As a result it had a compressed aero programme and design time. Never good.

THE CHOICE

There’s always a trade-off between making something strong and making it aerodynamic. For instance, to make the chassis stiff, you want a wide rim to the cockpit where the driver sits, and so I made the rim width 2in, which on the one hand gave a stiff chassis, but on the other presented a large and not very aerodynamically sympathetic opening to the top of the cockpit. Research 12 months later for its successor, the 86C, showed this to be a much bigger penalty than I had expected: with the compressed design time, I’d had to make a judgement without the time to evaluate it in the tunnel. It was the wrong call.

BRAINWAVES

I was lucky enough to fly business class as I began the commute in August between the US racetracks and March in Bicester, but the seats were upholstered in that squeaky leather that’s supposed to be the height of luxury but is in fact slippery and uncomfortable, so for the return night flights I’d down a couple of whiskey and sodas and then wander through to economy.

God knows how airlines like Pan Am and TWA made any money in those days. Half the time you’d have the flight almost to yourself. Sure enough, I’d find three or four seats together and lie across those.

I remember one particular flight over the Irish Sea and the pilot announcing that there was a technical problem. We were going to have to circle over the sea, dump our fuel, then return to Heathrow. Of course that meant a delay back at Heathrow, the bottom line being that by the time we did eventually touch down at JFK in New York it was almost midnight.

There I had to bribe the hire company 20 dollars to stay open (‘We’re closed.’ ‘Says here you close at midnight.’ ‘We’re closed.’) and give me a car, and then I set off, map balanced on my lap, aiming to get to New Jersey across the Washington Bridge. Except, of course, I got hopelessly lost and ended up in the Bronx.

The Bronx in 1985 wasn’t at all how it was portrayed in the films of the period like Death Wish 3 and The Exterminator. Oh no. It was much, much worse. In fact, I’d go as far as to say that anybody needing to film post-apocalyptic scenes in 1985 needed only to set up shop in the Bronx. The ingredients were all there, burnt-out – and still-burning – cars, roaming gangs of sinister-looking miscreants, derelict buildings, shuttered-up shops and shadowy alleyways.

For a lost Englishman, one who but a few hours ago was secretly bemoaning the slippery leather in business class, it was quite a culture shock. So you can imagine my relief when I spotted a cop car pulled over at the side of the road. I drew to a halt, got out and went to ask for assistance.

As I did so, however, I registered what I’d missed before. The cop car had pulled in behind another car, its boot open. The driver of that car stood with his legs splayed and hands across the roof, being frisked.

The cop heard me approach and whether he came to the conclusion that I was the guy’s accomplice or not, I don’t know. What I do know is that he span round, pulled his gun, dropped to one knee and yelled, ‘Freeze’.

I did as I was told, swallowing jagged glass at the same time. On the one hand there was a certain novelty at being in such a cinematic situation. On the other, I was scared shitless.

I mustered my very best English-gentleman voice. ‘I’m so sorry to bother you, I can see that you’re busy. But I was just wondering if you might be able to direct me to New Jersey.’

His answer? ‘Beat it, pal.’

Once again, I did as I was told, cursing myself for having got lost and then making the mistake of stopping. But mistakes happen when you’re as exhausted as I was at that time. As I’ve said, I was on a fairly unremitting schedule.

Even so, I did a lot of work on flights. Being on a plane has the distinct advantage of freeing you from distractions and pressure. I look back at my ideas now and I can pinpoint which ones I did over the Atlantic.

And what of the March 85C? Well, the great news for me as a designer is that it won the championship that year. Possibly the competition was a little weak, but it was still the first car for which I had been totally responsible, and despite the compressed design cycle, it had won!

The sad news for me as a race engineer was that it was won by a team called Penske, not Bobby, the very driver around whom I had designed the car.

The other highlight of the year was that, as well as the championship, it won the Indy 500.

And the Indy 500 of that year was a humdinger.