‘The epic Ferrari family revenge’
In Maranello, a true Italian Godfather saga has taken place in recent years: Ferrari’s hard break with Pininfarina. The legendary Italian car design house, responsible for an almost endless list of unprecedentedly haunting Ferrari masterpieces, was suddenly after 70 years of intensive collaboration. sleeping with the fishes.
The LaFerrari was the first fully in-house drawn Ferrari of the modern era: the new don. With this hypercar as chief, Ferrari Centro Stile set the new course. A series of wildly drawn cars and special editions, of which it was unclear exactly where they were positioned within the genus, followed each other – in an increasingly complex line-up – in rapid succession. As if in a bloody internal power struggle for the capoposition competed.
Obviously, the performance potential of any modern Ferrari is impressive, but the new ideas were far from relevant spiritual successors to the stylish previous generation of design icons. The proportions and surfacing previously controlled by Pininfarina had now been replaced by brutal proportions outlined in wild skin with meaningless notches. These insections only served a questionable optical function, but were completely useless aerodynamically. The chaos was complete, the last shred of Ferrari-class brutally strangled to death.
The consigliere however, has run the household and brought family matters under control. Because again a paradigm shift is taking place at Ferrari. The 296 GTB has a completely different character and again fits seamlessly into the so elegant family portrait. The design redefines the identity of the Ferrari berlinetta. The proportions of the 296 GTB, with the short wheelbase, are completely different – to underline the agility of the car. This allowed the Ferrari design studio to give the car an extremely light, sleek and compact architecture, resulting in a modern and sleek look that underlines and visualizes its sporty character.
In a close family, perceptibility of consanguinity is undeniably essential. Several models from the past have therefore inspired Ferrari Centro Stile for the design of the 296 GTB. The pure shapes and interlocking volumes strongly refer to Ferraris of the 1960s. The refined cars of that dynasty made simplicity their hallmark. There are clear hints of the 1963 250 LM, such as the lavishly sculpted body. Also the design of the B-pillar, the unusual composition of the rear fenders in which the eccentric air intakes are placed and the finely proportioned Kamm-tail rear show a modern 250 LM interpretation. With the 296 GTB, the Italian house also makes a sharp break with the past with regard to aerodynamics choices: the absence of wild spoilers, air intakes and air vents and wings makes the car clean all around and free of visual noise.
The graphic elements of the headlamps are calm, with intelligent focus, and visually linked to the air intakes for the brakes. The lamps are a modern interpretation of the oval units of the past. On the back we see another link with heritage: the typical family DNA of four round rear lights has been strongly modernized in a concept that is as innovative as it is recognizable.
The visor-style windshield that wraps around the side windows has previously been used on several limited-edition Ferraris, including the J50 and several one-offs. This design theme at the front blends organically with the arch shape that runs across the roof and works together with a richly sculpted transparent hood that showcases the new engine.
The 296 GTB is an unforgettable new cultural touchstone. The youngest member appears to have all the strength to make the illustrious Italian car family regain their position of power and return them to their top status: an offer we can’t refuse.
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– Thanks for information from Autoweek.nl