Here we are, first episode of Motori Online Talks and we're finally starting. This is our new space dedicated to chats with people who make cars: designers, engineers, people who work behind the scenes every day on the models we see on the road. If you like cars and want to understand what's really behind certain details, choices, or lines, you're in the right place. Are you ready? Intro.
Good morning friends of Motori Online and welcome to a new episode of Motori Online Talks. This time we have a truly special guest because we just came out of the presentation of the new Ferrari Amalfi, so we're talking about an absolute top-of-the-range car. With us here is Flavio Manzoni, the head designer of Ferrari, the true author of these works of art that are Ferrari vehicles. Thank you so much Flavio for being here with us.
Well, thank you, thank you all.
Great, so there are really so many things I'd like to talk about. I'd like to start with a more general discussion. At the beginning of the press conference, you talked about a certain approach to dimensions and proportions that you wanted to apply to the Ferrari Amalfi, which is a successor to the Roma but in many ways continues its narrative while also diverging.
Exactly. Proportions, yes, because the theme of proportions was fundamental during the development of the Ferrari Roma, which as you know was based on this idea we had defined a bit as a Formula 1 in a tuxedo, so perfection in proportions, elegance in the line, which is also given by this characteristic that the Roma has, the low tail. This creates an effect of intrinsic elegance in this type of concept. However, we wanted to work on totally new stylistic codes. The Roma was conceived more as a monolithic object, almost drawn through reflections. Reflections are truly the stylistic signature of the Roma. In the case of the Amalfi, instead, we have a line that is more defined from a geometric point of view. In fact, those few lines, very few lines that characterize its shape, are the result of intersections of volumes. So there's a skillful, rather subtle interplay of interlocking elements, because in the end the question is also how to control the flow of reflections and ensure there's this sense of great overall harmony. At the same time, we wanted to maintain the monolithic effect and obviously this shark nose that extends forward with a great sense of dynamism. But this time we decided to eliminate all those features that make it anthropomorphic, so no more eyes, no more mouth, all elements that belong to a more nostalgic conception. Instead, in this case, a treatment that unifies and connects the technical elements, so the headlights, sensors, air intakes, etc., are all inserted within two grooves, two incisions front and back, which don't dirty the lines but rather emphasize certain elements. Moreover, the front is also characterized by this concept of a quasi-wing element suspended with a wrapping effect that we also find at the rear, so with great coherence we find it on the back, but with the function of an active wing that remains hidden when not in use, but then allows two different configurations, generating different downforce depending on the needs.
Let's talk about the alloy wheels, how were they conceived and what type of designs did you choose to use?
Well, the alloy wheels, I adore them. These are particularly beautiful in my opinion because they play on two levels, so this play of depth is created that makes them truly unique. In a way, they contrast with the monolithic spirit of the bodywork, and this contrast surprisingly generates an effect of particular beauty. Let's keep in mind that these are wheels machined from solid billets, so CNC machined. You can imagine the complexity of going in and carving out all these hollows, which obviously are weight reductions that make the wheel particularly light but also very performant both in terms of resistance to stress and from an aerodynamic point of view.
By the way, you mentioned the tail earlier. The tail also includes a very important aerodynamic element regarding downforce.
Yes, I mentioned it before. So at the back, this full-width element that acts almost like an eyelid over the headlights actually functions as a wing, electronically controlled, which has three positions essentially.
Let's talk a moment about materials too, because I noticed that on the Amalfi there was also significant use, not excessive but rather important, especially on the rear, of carbon fiber. Carbon fiber that in this car, as in other recent generations, concerns especially all the more technical parts, what I call the underbody zone, right? So the side skirts, the front splitter, the rear diffuser, etc., which deliberately have a contrasting effect with the body. The body remains purer, you read it in its essentiality, in its form, and all the technical appendages are instead relegated to the lower part which we've treated in carbon. Then we also find carbon inside the car.
Of course. Before moving to the interior though, I was inspired by one of the questions asked during the press conference because it's a truly fascinating feature, and I'm obviously talking about the emblem. The front emblem, but especially the side one, which can also be ordered, if I recall correctly, painted.
