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How to Build a Car
Adrian Newey
'Adrian has a unique gift for understanding drivers and racing cars. He is ultra competitive but never forgets to have fun. An immensely likeable man.' Damon Hill
The world’s foremost designer in Formula One, Adrian Newey OBE is arguably one of Britain’s greatest engineers and this is his fascinating, powerful memoir.
How to Build a Car explores the story of Adrian’s unrivalled 35-year career in Formula One through the prism of the cars he has designed, the drivers he has worked alongside and the races in which he’s been involved.
A true engineering genius, even in adolescence Adrian’s thoughts naturally emerged in shape and form – he began sketching his own car designs at the age of 12 and took a welding course in his school summer holidays. From his early career in IndyCar racing and on to his unparalleled success in Formula One, we learn in comprehensive, engaging and highly entertaining detail how a car actually works. Adrian has designed for the likes of Mario Andretti, Nigel Mansell, Alain Prost, Damon Hill, David Coulthard, Mika Hakkinen, Mark Webber and Sebastian Vettel, always with a shark-like purity of purpose: to make the car go faster. And while his career has been marked by unbelievable triumphs, there have also been deep tragedies; most notably Ayrton Senna’s death during his time at Williams in 1994.
Beautifully illustrated with never-before-seen drawings, How to Build a Car encapsulates, through Adrian’s remarkable life story, precisely what makes Formula One so thrilling – its potential for the total synchronicity of man and machine, the perfect combination of style, efficiency and speed.
Adrian Newey
How to Build а Car
COPYRIGHT
HarperCollinsPublishers
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London SE1 9GF
www.harpercollins.co.uk
First published by HarperCollinsPublishers 2017
FIRST EDITION
Text and illustrations © Adrian Newey 2017
Cover layout design © HarpercollinsPublishers 2017
Cover illustrations © Adrian Newey 2017
A catalogue record of this book is available from the British Library
Adrian Newey asserts the moral right to be identified as the author of this work
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Source ISBN: 9780008196806
Ebook Edition © October 2017 ISBN: 9780008196813
Version 2017-10-26
PROLOGUE
Clouds were gathering that day. Rain was forecast. Feeling scrutinised, I lowered myself creakily into the cockpit of the FW15, painfully aware that at 35, after 10 years in the business, and with two constructors’ championships under my belt, I was about to take my first proper spin in a Formula One car – in fact, my first real drive on a race track, period.
It was 1993, and I was chief designer at Williams. Frank Williams, owner of the team, had been talked into letting a journalist take one of our cars for a spin. What you might call a promotional drive. With that idea gaining traction, co-founder and technical director, Patrick Head, thought that the senior engineers, him, me and Bernard Dudot, who was in charge of Renault engine development, should also have a go.
And so here I was, sitting in the car at the Paul Ricard circuit in the South of France, absorbing from a driver’s angle all the things I’d paid so little attention to as an engineer: the procedure for the ignition sequence; the whine and howl of the engine – a feeling of being cocooned but alone in the cockpit, as though the sheer volume and bone-shaking drama of it is physically holding you in place. Nerves suddenly give a feeling of intense claustrophobia.
‘You’ve got to be smooth on the clutch or you’ll stall it,’ I’d been warned.
I didn’t want to do that. Just the pride talking here: after all I’d designed it; I really didn’t want to stall it – like some kind of competition winner.
I stalled it. Those carbon clutches are so aggressive. You have to give the engine about 5,500rpm, which is like trying to move off at the rev limit for a normal road car. Even then you’re barely touching the throttle.
They wound it up again and this time I managed to get off the line, tentative but wanting to give a good account of myself. Taking to the straight, I had the traction control wound up high for stability, but even so it felt like I was wrestling with the car rather than driving it. I was wearing my motorcycle helmet, which was in constant danger of being sucked off my head, the chin strap throttling me. I’d thought the constant howling noise was immense at a standstill, but on the track it’s like World War III breaking out in the cockpit. The airbox is above your head so it felt as though the V10 was screaming at me, while the sheer forward thrust, the sense of the car wanting to break free of my puny control, was breathtaking. We’re used to having absolute dominion over our machines, but not me over this one: the FW15 had around 780bhp in a car weighing 500kg plus the driver; so me with kit on, say 580kg, gave a very, very high power-to-weight ratio. And it was stunning.
The clutch at that time was still a left-foot pedal – these days it’s on the steering wheel. Even so, you only use the clutch once, to get rolling, the rest of the time your left leg is unemployed. The right, of course, is trying to stay on the accelerator, though the monkey brain is telling it to get back on the brake pedal. The shift itself was the flappy paddle, still a relatively new feature that had not yet spread on to road cars. Lights on the dash – green, green, amber – indicated the build-up of revs. My limit was 14,000.
At 13,500rpm, the green light goes on. You get ready.
The second green blinks on at 13,700rpm. Almost there.
Amber at 13,900rpm.
Change.
That little sequence takes about half a second.
Gradually becoming accustomed to the noise and beginning to feel as though I was controlling the car and not the other way around, I thought how intuitive the driving controls are. Green. Green. Amber. Change. It made me see Paul Ricard from a new vantage point, and the act of piloting a Formula One car from a fresh perspective. I was in my forties when the bug to actually race rather than just design the cars bit deep – but it first nibbled at that moment.
It began to rain – chucking it down with rain. I’d started to get a bit cocky but the combination of inexperienced (but gathering in confidence) driver and the rain was not a good one, and as my engineer’s brain began to think about that redundant left leg, and whether it could be positioned differently to allow a narrower and more aerodynamically efficient front to the chassis, I lost a little focus. Before you knew it, I’d spun the FW15.
Good thing about Ricard: there are lots of run-offs. You have to be going some to hit anything at Ricard and I wasn’t, so I didn’t, and no, I wasn’t quick with the clutch, so yes, I stalled it again.
There’s no on-board starter on the car. If you spin and don’t manage to keep the engine running, you have two problems: first, the engine’s stopped, so you’ll need mechanics armed with a pit starter motor to get back in business; second, it’s stuck in whatever gear you were in at the time, and because the gear shift is hydraulically powered, it’s not until the engine is running that you can then go back down through the gears. But, of course, the mechanics can’t start the car in gear, because it would race off away from them. They need to come to the car with a little ratchet spanner and manually rock the car backwards and forwards while working the spanner on the end of the gear-shift barrel until it gets back down to neutral. Only then can they put the starter in and restart the car and off you go again.
First drive in an F1 car, at the end of ‘93. Surprisingly, I don’t look scared witless!
So there I waited. After five minutes or so, the mechanics arrived in a hire car. This had brightened their day, and yes, I was on the receiving end of some light-hearted banter. When everything was safe I took off again, clocking up more laps, really getting into it now, feeling a bit more at one with the car. Speeds? Now you’re asking. At Monza, cars reach speeds of 220mph. Me at Ricard, I got it up to 175mph that day, which obviously is not what Alain Prost or Damon Hill would have settled for in that car, but still, for a 34-year-old engineer on his first outing, it was fast enough.
Indeed, by the following June, when I raced the FW15 against Christian Fittipaldi and Martin Brundle ‘up the hill’ at the Goodwood Festival of Speed, I felt comfortable simply driving it. After all, it’s actually relatively easy to drive a Formula One car. Throttle, Green, Green, Amber. Change. Brake, turn the wheel, point it at a corner, accelerate. Simple. It’s like an arcade game.
The challenge is doing it faster than everybody else without losing control. That is an entirely different level.
ON THE GRID
CHAPTER 1
Born in 1958, I came of age in a world infatuated with the motorcar: Scalextric, Formula One, The Monte Carlo Rally. At 10 years old I watched a Lamborghini tumble down a mountainside and Mini Coopers pull off The Italian Job. And when Kowalski slapped his Dodge Charger into fifth and accelerated away from the cops in Vanishing Point, I yelled in amazement, ‘He’s got another gear!’ and then slid down in my seat as what felt like the whole of the cinema turned to glare at me.
I devoured Autosport, the weekly ‘bible’ for all things motorsport. I was glued to the radio during the 1968 London-to-Sydney Marathon. By the age of six I’d decided my future lay in motor sport. I was 12 when I knew I wanted to design racing cars.
Playing with Scalextric.
My passions were forged at home. Situated at the end of a rural lane on the outskirts of Stratford-upon Avon, our house backed onto a smelly pig farm, and it was from there that my father, Richard, ran a veterinary practice with his business partner, Brian Rawson. The practice combined pet surgeries with farm visits for bigger animals, and from an early age I was a dab hand at passing buckets of water and lengths of rope. I’ve seen enough newborn livestock to last me a lifetime.
My mother, Edwina, was attractive; quite the catch. She’d been an ambulance driver during the war and met my dad when she brought her unwell Pyrenean Mountain Dog into his practice. Her father had taken an instant dislike to her new beau. ‘That man will only cross my doorstep over my dead body,’ he said. The day before he and my dad were due to visit for the first time, he died of a heart attack.
I was born on Boxing Day. The rather far-fetched tale I was told involved my mother and father driving around Colchester, complete with a midwife in the back of the car, when my mother’s waters broke. Different times, of course, but I’m not sure that even in those days you were assigned a midwife just in case you gave birth, and why on earth she would have been with them on Boxing Day, I couldn’t possibly say. But anyway, my father knocked on a door, they were taken in by strangers, and my mother gave birth there and then. My very first crib was in a chest of drawers.
As the 1960s wore on, the hippy lifestyle appealed to my mum and she dressed accordingly, which made her pretty exotic for Stratford. Unusually for a time when divorce was less common, she had a son, Tim, from a previous marriage. Tim is seven years older than me and our interests were different. Top of the Pops and Thunderbirds, broadcast at the same time but on BBC1 and ITV respectively, was always a lively battle of channel switching. That age gap meant he soon left for Repton boarding school, and then university, eventually settling in Spain where he teaches English to local kids. We have fond reunions once a year over the course of the Spanish Grand Prix in Barcelona.
Both my parents had tempers, and in my early teens I’d witness some terrible arguments between the two. Mum would drag me in and try to enlist my support, which in retrospect was a bit naughty.
On one occasion I cycled off to escape the feuding pair. After about an hour I thought I’d better return, but as I pedalled back down the lane I saw our red Lotus Elan (registration number: UNX 777G) driving very, very slowly towards me. At first I thought there was nobody inside. It was only as I came closer that I realised my mum was driving. God knows how. She was slouched so low into the driver’s seat she must have been navigating by the telephone poles.
I have a habit of suppressing bad memories, so placed firmly at the back of my mind is a recollection of walking into the bathroom to find my mother slumped in a pool of blood, an event I didn’t understand at the time but have since come to realise was a cry-for-help suicide attempt. I’m pleased to say though that, with time, my parents got over their warring ways and learnt to live with – and cherish – one another.
My mother would from time to time hit the bottle to get herself through, though she firmly denied this, claiming that she never poured her own drink, always waiting for my father to get in from evening veterinary surgery at around 7pm.
Our African Grey parrot, Goni, lived in his evening cage just by the drinks cabinet. One evening, as my dad made my mum her usual tipple, Goni started to mimic the sounds: ‘click’ as the sweet Martini cork was pulled, followed by ‘glug-glug’ as the drink was poured, ‘squeak-squeak’ as the gin bottle lid was undone, followed by ‘glug-glug’, ‘chink-chink’ as the ice went in, followed by my mother’s voice: ‘Aah, that’s better!’ Rumbled by the parrot.
One thing was for sure, though: you never knew what to expect from them; orthodox they were not. I was 13 when my brother, Tim, home from Bath University, suggested a family outing to see A Clockwork Orange. My parents were happy for me to dress up as an X-appropriate 18-year-old, complete with hat, glasses and my brother’s trench coat, and steal into the cinema, but then were angry with Tim for recommending the film, their liberal-parenting sensibilities falling at some point in between the two stools.
The film, meanwhile, seeped into my subconscious, and 40 years later, when I finally saw it for the second time, I found I could remember almost every single frame: its sleek lines, stylised hyper-realism and violence set to a soundtrack of synthesised Beethoven made an impression on me in ways I had never fully comprehended at the time.
We weren’t frightfully rich, but neither were we poor. Supplementing the money from the practice were my father’s shares in the family business, Newey Bros of Birmingham.
Established in 1798, Newey Bros had risen to become one of the country’s biggest manufacturers of hooks and eyes, dress fasteners and military and tent hooks, and by 1947 had added ‘Sta-Rite’ hair pins and ‘Wizard’ bodkins to the range. To this day you can buy fasteners bearing the Newey name. No doubt it was thanks to that extra income that my father was able to indulge his interest in cars, not just driving them, although he did an awful lot of that, but tinkering, modifying and maintaining them.
It was where his true interest lay. Despite specialising in the life sciences for his career, his heart lay in physical science. He read maths books like other dads read John le Carré, he had a huge passion for engineering and he liked nothing better than a challenge: how can I do this differently? How can I do this better? Each year in Formula One we pore over the regulations for the next year, and part of my job, perhaps even the part I relish most, involves working out what the regulations actually say, as opposed to what their intent is and whether this subtle difference allows any new avenues. I’m basically saying, ‘How can I use these regulations to try something that hasn’t been done before?’
It’s a process that seems to come naturally to me, I guess because I effectively started at an early age, and I had an excellent mentor in my father.
Fittingly, it was a combination of Dad’s need to think outside the box, his love of cars and a compulsion to tinker that led to one of my earliest memories: five years old, looking out of the landing window – to see smoke billowing from the windows of the garage below.
Our garage at that time was an annex to the main house, an Aladdin’s cave for a five-year-old. Dad would spend hours in there, working on cars and dreaming up solutions to problems.
For instance: how do you thoroughly creosote fence posts? The world at large would knuckle down to giving them a second coat. My dad, on the other hand, had a better idea. He cut the ends off several empty tins of Castrol GTX before soldering them together to make one long tube. Into that went the posts, then the creosote. It was, or should have been, an easy and efficient way to creosote the fence posts. Mad, but ingenious, like the elaborate, custom-fitted boxes he built to store veterinary equipment in the boot of his cars, or the gardening equipment he made; or the fact that he used to prepare for camping trips to the Brecon Beacons or Scotland by dedicating a bedroom to the endeavour for a month in advance, taking a pair of scales in there and weighing everything obsessively, even going so far as to cut the handle off a toothbrush. He had an eye for detail, which is another characteristic that’s rubbed off on me. I wouldn’t say I was tidy – it was a standing joke in our family that my father and I were as messy as each other – but when it comes to the research and design of racing cars, attention to every little detail is imperative.
Chief among Dad’s many quirks was a disregard for most things health-and-safety, which brings me back to his revolutionary method for creosoting fence posts. What he’d failed to take into account when he left his contraption to marinade in the garage was the paraffin heaters he used to stop the sumps freezing on his Riley RMF (registration VCD 256 – a very pretty car, I loved it), and his red Saab 2 Stroke (a car I despised for the disgusting noise it made).
The Riley that suffered when the garage caught fire.
And you can guess what happened. Left upright, the fence posts had fallen over, the creosote met the paraffin and boom.
I had two thoughts on seeing the flames. I’m not sure in which order they came but, for the record, let’s say they were: (1) I must alert my parents and the fire brigade, and (2) I hope the Saab is destroyed, not the Riley.
With objective number one achieved we ran out to try and extinguish the flames, before – very exciting – the fire brigade arrived, and we were told to stand at a safe distance and let the professionals do their job. I was concerned about the damage, of course, but also in that rather nice position of knowing I wasn’t responsible.
However, Murphy’s Law prevailed; it was the Riley that was damaged, not the Saab.
CHAPTER 2
I have a driver who ferries me to and from work. If that sounds terribly flash, I apologise, but it’s an arrangement born out of practicality, because as well as giving me the chance to go over emails (I have them printed out for me, which I know is not very green but it allows me to scribble and make notes more easily on them), it affords me valuable extra thinking time. My thoughts naturally default to shape and form, problems and solutions, and I can easily be lost in them. Many were the times I’d arrive late, having taken a wrong turn or missed my junction, deep in thought. So now, for reasons of effective time management and a desire for punctuality, I have a driver.
My office at Red Bull in Milton Keynes overlooks the car park and is at one corner of the main engineering office, home to some 200 engineers. I try to keep meetings and administrative duties to a minimum, so that most of my working day is spent at my drawing board, where I’ll work on next year’s car or refinements to the current model. Whatever I’m working on, it’s always with the same aim, the one defining goal of my entire career: to increase the performance of the car.
Computer-aided design (CAD) systems weren’t around when I began in the industry, and although most, if not all, of my colleagues have long since converted, I’ve stuck with my drawing board. Call me a dinosaur, but I think of it as my first language; for me it represents a state of continuity and I like continuity; it’s something I strive for. If I were to convert to CAD I’d have to learn something new, and not only is there a time penalty to doing that, but there’s the question of whether I’d be as fluent in my new language as I was in my old.
Besides, what I value about the drawing board is that you can have everything at scale in front of you, whereas on a CAD system you’re limited by the size of the monitor. I also like the fact that I can sketch freeform and change it quickly. It’s an illustration of how fast I can work that when I’m flat-out I keep at least two people occupied taking my paper drawings and turning them into CAD drawings. And these are just the ones I think are worth transcribing. It’s usually taken several iterations to get to that point; my consumption of erasers is only just behind my consumption of pencil lead.
I’m happiest when working on a big regulation change. Drawing the RB7, the 2011 car, was just such a time: an overhaul that included the incorporation of the KERS system (it stands for ‘kinetic energy recovery system’), which stores energy in a battery under braking and then releases it during acceleration.
Other designers were saying that the best place to put the battery was under the fuel tank: it’s nice and central, it’s in a relatively cool location and it’s easy to connect from a wiring point of view. But aerodynamically, I wanted to get the engine as far forward in the chassis as possible so as to allow a very tight rear end to the bodywork, and the best way to achieve that was to take the heavy KERS battery and put it near the back of the car, which in turn would allow the engine to be moved forward to keep the weight distribution balanced. My suggestion was that we put the battery behind the engine, in front of the gearbox.
Figure 1: Placement of the KERS system in the RB7.
Initially I proposed this to Rob Marshall, our chief designer. His reaction was a deep breath. You want to take the batteries, which we know are a difficult thing to manage, very sensitive to vibration, prone to shorting out, sensitive to temperature – you want to take these and put them between the engine and the gearbox, one of the most hostile environments on the car? Really?
I was insistent. I said, ‘Look, Rob, I’m sorry, and I know it’s difficult, but not only does putting them in this location give us a good advantage, but it’s an advantage we’ll have locked in, because it’ll be impossible for a team to copy that within a season, it’s such a fundamental part of the architecture of the car.’
So Rob went away and started talking to his engineers in the design office, and came back and said, ‘No, everybody agrees, it’s just not possible, we can’t do it.’
My feeling was that it ought to be possible, so I drew some layouts that split the battery into four units, two mounted inside the gearbox case just in front of the clutch and two mounted alongside but on the outside of the gearbox case. I drew some ducting to put the batteries into their own little compartments with cold air blowing over them in addition to the water-cooling they have anyway.
Fortunately Rob is not only a very creative designer but also a designer who understands that if there is an overall performance benefit to be had, and if it looks viable, you’ve got to give it a go. It was a brave, I guess you could argue an irresponsible decision, in that if we hadn’t got it to work it would have compromised our season.
It took longer than I hoped. During the early part of the season, the KERS system was in the habit of packing up and was constantly in danger of catching fire. But once we made it reliable, we had this underlying baked-in package advantage that we were able to carry for the balance of that season and the next two, a key part of the 2011, 2012 and 2013 championship-winning cars. Which, as you can imagine, appealed to my inner love of continuity.
If the fact that I still use a drawing board and pencil sounds old-fashioned, that’s nothing compared to my start in education. At four I was sent to the local convent school where I was told that being left-handed was a sign of the devil. The nuns made me sit on the offending hand, as though I could drive out the demon using the power of my godly bum.
It didn’t work. I’m still left-handed. What’s more, when I went from that school to Emscote Lawn prep school in Warwick, I still couldn’t write. As a result I was placed in the lower set. And what do kids in the lower set do? They mess around.
My earliest experiments in aerodynamics came during a craze for making darts out of felt-tip pens and launching them at the blackboard. We’d have competitions, and I was getting pretty good until one particular French lesson, when for reasons best known to my 12-year-old self I launched my dart straight up into a polystyrene ceiling tile. The teacher turned from the blackboard, alerted by suppressed laughter that fluttered across the room, and what he saw was a classroom full of boys with their hands clamped over their mouths and one, me, sitting bolt upright with an expression like butter wouldn’t melt.
Sure enough, he made his way through the desks to mine, about to demand what was going on, when the dart above our heads chose that moment to come unstuck from the ceiling, stall, turn sideways and bank straight into the side of his neck. Statistically, it was a one in a thousand chance. It was poetry.
That wasn’t my only caning. The other one was for rigging up a peashooter from a Bunsen burner tube and accidentally tagging a science teacher instead of the mate I was aiming at.
Speech days were especially boring. On one particular occasion, me and my friend James had been playing in the woods, found some aerosol cans and lobbed them on the school incinerator. Expecting them to blow up straightaway, we took cover behind some trees, only to be frustrated by a distinct lack of pyrotechnics. Eventually we got tired of waiting and wandered off.
Shortly after that, speech day commenced, parents assembled and we took our seats, ready to be bored rigid, when suddenly from the woods came a series of booms and the stage was showered in ash. James and I looked at each other gleefully, but we counted ourselves lucky not to be caught and punished for it.
When it came to the challenge of making a hot-air balloon, I was able to put to good use my interest in building things. By this time I was beginning to understand the concept that if you want something to go up, you need to make it big in order to achieve a good volume-to-surface-area ratio, so I made a large balloon out of tissue and bent coat-hangers, complete with solid-fuel pellets for heat. Unfortunately the pellets didn’t generate enough oomph to get the balloon airborne, so I carted my dad’s propane burner into school and used that instead. The headmaster came out to see what was going on, leant on the burner and burnt his hand, which cemented his dislike of me.
At home I continued messing about with motor cars. In 1968 Dad bought a red Lotus Elan in kit form (other families had large saloons, we had sporty two-seaters), which according to Lotus you could build yourself – ‘in a weekend’, although even Dad could never manage that – and save on car purchase tax. Manna from heaven for an obsessive tinkerer like my dad, and I was his willing helper, happy to put up with his occasional, volcanic loss of temper in order to watch a car being built from a kit.
Meanwhile, I’d started building model kits. Most of my friends were making Messerschmitts and Spitfires but naturally I preferred cars, and my favourite was a one-twelfth-scale Tamiya model of a Lotus 49, as driven by Jim Clark and Graham Hill.
