Manzoni traces his tal­ent to what we might call or­gan­ised chaos

Wheels (Australia) - - Head to Heaod -

“Since I was very young, I was re­ally tend­ing and wish­ing to be­come an ar­chi­tect, a de­signer, a car de­signer, an artist, a mu­si­cian. I had prob­a­bly a naive con­sid­er­a­tion about the life­time as a very long time that al­lows you to re­alise a lot of things, many dreams.

“This de­sire to be eclec­tic in­flu­enced me prob­a­bly to choose the stud­ies in ar­chi­tec­ture, un­der the sug­ges­tion of my father, leav­ing open dif­fer­ent pos­si­ble di­rec­tions. So I de­cided to study ar­chi­tec­ture and the fi­nal the­sis, as part of my de­gree in ar­chi­tec­ture, fo­cused on in­dus­trial de­sign and on the car.”

He did dally with bricks, mor­tar and set-square for a while, de­sign­ing vil­las in Sar­dinia among other build­ings.

He ad­mits to us­ing ev­ery “de­sign trick” in the book to hide its pre­pos­ter­ous pro­por­tions and to lower the look of its roofline. And from most an­gles he has largely pulled it off, in a way that Porsche never has with its Panamera, nor Fer­rari with its own FF.

“The Lusso is re­ally just a For­mula 1 car that you can drive on the high­way, in in­cred­i­ble com­fort, but as soon as you push on the ac­cel­er­a­tor it be­comes a mon­ster” Manzoni en­thuses. “We didn’t want to cover or hide the dif­fuser, for ex­am­ple, be­cause it’s the part that shows the F1 spirit of the car. It’s For­mula 1 with an el­e­gant suit.”

Manzoni, the first di­rec­tor of de­sign Fer­rari has ever em­ployed (out­sourc­ing smaller. But it’s also got big shoul­ders, a fan­tas­tic stance, and it sits very pow­er­fully on the wheels.”

What thrills Manzoni most is to be told that the Lusso looks like some­thing that could only come out of Italy.

The dif­fer­ence be­tween Ger­man de­sign – think the Audi R8 – and the work of Ital­ians (don’t men­tion the Lam­borgh­ini Hu­ra­can to him, but it’s a good com­par­i­son) is one that Manzoni is clear on.“their way to think about form is cold; our way is warm,” he says.

“I tell my team, ‘Don’t think about the form for a mo­ment, try to un­der­stand the tech­ni­cal soul of the car, and es­pe­cially the feel­ing of the air’. It’s more artis­tic, I think, and we fol­low our in­stincts.

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