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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
CONTENTS
COVER
TITLE PAGE
COPYRIGHT
PROLOGUE
ON THE GRID
CHAPTER 1
CHAPTER 2
CHAPTER 3
CHAPTER 4
CHAPTER 5
CHAPTER 6
CHAPTER 7
Turn One
HOW TO BUILD A MARCH 83G
CHAPTER 8
CHAPTER 9
CHAPTER 10
CHAPTER 11
CHAPTER 12
Turn Two
HOW TO BUILD A MARCH 86C
CHAPTER 13
CHAPTER 14
CHAPTER 15
CHAPTER 16
CHAPTER 17
CHAPTER 18
CHAPTER 19
CHAPTER 20
CHAPTER 21
Turn Three
HOW TO BUILD AN 881
CHAPTER 22
CHAPTER 23
CHAPTER 24
CHAPTER 25
CHAPTER 26
CHAPTER 27
CHAPTER 28
CHAPTER 29
CHAPTER 30
Turn Four
HOW TO BUILD AN FW14
CHAPTER 31
CHAPTER 32
CHAPTER 33
CHAPTER 34
CHAPTER 35
CHAPTER 36
CHAPTER 37
Turn Five
HOW TO BUILD AN FW16
CHAPTER 38
CHAPTER 39
CHAPTER 40
CHAPTER 41
CHAPTER 42
CHAPTER 43
CHAPTER 44
CHAPTER 45
CHAPTER 46
CHAPTER 47
CHAPTER 48
Turn Six
HOW TO BUILD AN FW18
CHAPTER 49
CHAPTER 50
CHAPTER 51
Turn Seven
HOW TO BUILD AN MP4 13
CHAPTER 52
CHAPTER 53
CHAPTER 54
CHAPTER 55
CHAPTER 56
CHAPTER 57
CHAPTER 58
Turn Eight
HOW TO BUILD AN MP4 20
CHAPTER 59
CHAPTER 60
CHAPTER 61
Turn Nine
HOW TO BUILD AN RB5
CHAPTER 62
CHAPTER 63
CHAPTER 64
CHAPTER 65
CHAPTER 66
CHAPTER 67
CHAPTER 68
Turn Ten
HOW TO BUILD AN RB6
CHAPTER 69
CHAPTER 70
CHAPTER 71
Turn Eleven
HOW TO BUILD AN RB8
CHAPTER 72
CHAPTER 73
CHAPTER 74
CHAPTER 75
CHAPTER 76
CHAPTER 77
EPILOGUE
GLOSSARY
ACKNOWLEDGEMENTS
LIST OF SEARCHABLE TERMS
ABOUT THE PUBLISHER
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.
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.