Exclusive: Ferrari Design Director Flavio Manzoni On Ferrari Design Of The Past, Present And Future

Flavio Manzoni has served as Ferrari’s Senior Vice-President of Design since 2010, working in Ferrari Centro Stile, the Styling Centre. From 2001 to 2006, he worked at Fiat Group as Head of Design for Lancia, Fiat and the light commercial vehicle division. In 2007 he moved to the Volkswagen Group as Director of Creative Design, helping redefine the aesthetic philosophy of Skoda, Bentley, Bugatti and Volkswagen. Manzoni holds a degree in architecture with a thesis in industrial design from the University of Florence. Manzoni fielded questions about the Ferrari design ethos, citing current and past vehicles to illustrate.

Does Italian culture and  fine art influence Ferrari design? You have mentioned that the punctured surfaces of the F8 Tributo’s clear engine cover are a reference to the work of Lucio Fontana.

“Design of a Ferrari arises above all from an interdisciplinary approach where cross fertilization and lateral thinking are important to give rise to unexpected solutions,” says Manzoni. “As you mentioned, the punctured surfaces in the rear glass of the F8 Tributo, as well as the transverse slits of the SP38 greenhouse, are inspired by the famous cuts of Lucio Fontana.”

“But for instance at the base of the genesis of LaFerrari there is an organic approach to the form, where external and internal surfaces merge seamlessly, and even the mechanical parts and the outer skin are one. An approach that, at the time of development, made reference (purely conceptual) to the surfaces of the sculptures of the great Anish Kapoor, which in turn draws inspiration from the four-dimensional geometry of Bernhard Riemann.”

“Sometimes the reference is more implicit than explicit: on cars like the J50 there is an architectural approach, where overlapping layers merge, and where we also find a conceptual reference to Italian industrial design of the ‘60s and ‘70s in the way that two opposite halves of a shell meet with a gap creating a visual division,” says Manzoni. “But in this car, and in others that we have recently developed, there are also many references to highly technological products such as aircraft.”

“For example, the design of the Ferrari FXX-K references aerospace forms and, in its Evo version, the central fin supporting the imposing rear spoiler clearly refers to an aircraft’s rudder. In the organic and dynamic form of the FXX-K there is also a citation of the futurist surfaces of Umberto Boccioni’s ‘Unique Forms of Continuity in Space.’”

“In general, one can find inspiration in every field, even music, for example! It may seem difficult to find a link between sound and form, but I recently cited the example of Sting’s 1985 song ‘Russians,’ whose theme was not actually composed by him but by Prokofiev about 50 years earlier, yet interpreted in such a modern and radically different way that only a music lover could reconnect it to its historical precedent,” says Manzoni.

“This parallel is valid for the Monza SP1, a project that stems from the idea of interpreting in a modern way a concept of car that no longer exists: a single-seater barchetta with no windscreen, to be used exclusively en plein air either with or without a helmet. Here the design language is extremely modern. Some may call it retro-futurist, a term that I don’t particularly like, but which in this case explains this particular combination of a type of racing car which consolidated Ferrari’s racing pedigree and cutting-edge linguistic codes.” In the Icona Monza SP1, Manzoni and his department interpreted mid-1950s Ferrari sports-racing cars in exactly the same way Sting interpreted Prokofiev.

“Still in the field of music, you can find examples of very refined and discreet quotes from the past, such as in some improvisations by the outstanding Clarke-Boland Big Band, where perhaps a Strauss phrase appears within a solo! Examples of such subtle quotes can be seen, for example, in the F12berlinetta, or in its special limited-production version, the F12tdf.” The F12 and its Tour de France final variant are discreet quotes or subtle design improvisations of the long line of front-engine V12 Ferrari Berlinettas that reach into the 1950s.

And what of the front-engine cars? The F12 and 812 Superfast are clearly descended from the original TdF and the 250 SWB of the past. What of the Portofino?

“With the Portofino, my team and I wanted to create a car with two souls: a coupé and a spider together. The conceptual inspiration came from the very pure proportions of the 365 GTB4, the Daytona, a classic example of a two-volume design with long bonnet and fastback tail.”

“When I say conceptual, I mean that the inspiration is not formal,” Manzoni continues. “That is, we did not want to reinterpret elements of the Daytona, but we were interested in obtaining a certain type of proportion, with a greenhouse set to the rear with a very dynamic profile without interruption around the rear, and a long front bonnet.”

“A retractable hard top made getting these proportions a true design challenge. We worked very hard with the engineers to get the packaging of the roof and mechanism we needed to be able to sculpt the volumes and obtain that unmistakable coupé line with the roof closed, yet ensure the profile of a true spider with the roof down. The short overhangs and the wide, low rear treatment give the car its very sporty stance.”

Can you discuss the key traits of a mid-engine Ferrari Berlinetta?

“The mid-rear-engined berlinetta category is a milestone in Ferrari production history. The first V8-engined berlinetta was the 1975 308 GTB, but the distinctive characteristics of this engine layout were introduced by the 1967 Dino 206 GT, the first model produced by Ferrari to adopt a transversely mounted mid-rear engine.”

“The design themes demanded by this architecture start with the dimensions. We emphasize the advanced position of the cabin, the shortening of the bonnet and the consistency, the ‘power,’ of the whole rear section of the car body. The latter is clearly of greater importance compared to the 12-cylinder cars which are recognizable for the long profile of their bonnets,” says Manzoni.

“Obviously one of the major considerations when designing a mid-rear-engined berlinetta is the aerodynamics. First and foremost, with our models now generating easily upwards of 700 horsepower, there are the technical requirements to satisfy for air intake, cooling and heat evacuation,” says Manzoni. “This is why we work in synergy with the aerodynamics team at Ferrari from the word go. Similarly, with performance a primary requisite for cars that can reach speeds in excess of 200 mph, aerodynamic efficiency is key, so every aspect of the design must satisfy drag and downforce requirements so that top speed does not sacrifice high-speed stability.”

Aerodynamic demands bring challenges and possibilities? Perhaps the new SF90 Stradale plug-in hybrid supercar is a good example to explore.

“Like every Ferrari, the SF90 Stradale is a true product of design, in the deepest sense of the word, where form seeks to capture the essence of the project and communicate it through its language,” says Manzoni.

“There is a very close relationship between form and content, between the external surface and internal components. Perhaps it is only experts who can really appreciate just how interconnected form and function have become. The design of a car like this is very challenging due to its complexity as such high power and performance require very sophisticated aerodynamic solutions. My team and I always ensure that this becomes an advantage in terms of design layout, in the sense that the aerodynamic shape gives the car its own personality. The continuous exchange of ideas with the engineers helps us designers to understand the margins of intervention and interpretation that are available to us. This is what allows us to dominate the form and take it in the direction that we believe to be most aesthetically pleasing.”

Can you describe your collaboration with the engineers to create a beautiful form yet deliver characteristic Ferrari excellent outward vision?

“In general, I consider the collaboration we have developed between designers and engineers in recent years to be very fruitful. One of the key reasons why the Styling Centre was created, was to be able to work with a very high level of synergy with the engineers, and this has been happening since the moment the Ferrari Styling Centre was established in 2010.

“There is daily interaction with engineers, aerodynamicists and ergonomists on all projects and, by understanding our reciprocal skills, both Ferrari Design and our engineering colleagues have been able to refine the entire process of creating our new models,” says Manzoni.

“This has made the design influence even stronger, above all in the process of defining the architecture of Ferraris,” Manzoni continues. “Packaging a car should not be understood as setting up a technical layout to be used as the basis for ‘dressing’ the car, but is agreed between the various parties, starting from the pre-engineering or the early phases, until the definitive structure is found. This means that the car is guaranteed cutting-edge design and perfect proportions.”

“For example, with the SF90 Stradale, the strong integration between form, technology and performance was accentuated,” says Manzoni. “The collaboration with the engineers was constant and fundamental. The car’s packaging made it possible to enhance the cab-forward effect, giving us the ideal conditions to create a car with impeccable proportions—a real supercar with a futuristic look.”

Did SF90 Stradale’s powertrain offer challenges or advantages?

“The presence of the three electric motors in combination with the internal combustion engine certainly represented a challenge for my team and I, but it was also an opportunity that we approached with enthusiasm,” says Manzoni. “The project began by fully understanding the car’s engineering, then translating this into an organic form. In terms of proportions, the configuration with the mid-rear engine and the components linked to the hybrid system enabled us to position the cab forward with respect to the car body, giving the impression of a somewhat elongated tail and quite a slim profile in side view.”

“The presence of the electric motors also resulted in detailed solutions that are very different from the usual ones. Just think of the three front intakes: the electric motors’ radiator stands out between the two engine coolant radiators. We deliberately highlighted this with a central carbon-fiber duct,” says Manzoni.

The SF90 Stradale is the new benchmark for all sports cars. How did that guide design philosophy?

“The SF90 Stradale represents an important evolution for Ferrari’s mid-rear-engined cars. The goal was to come up with an extreme car with cutting-edge design, capable of providing a level of performance that has never been achieved before by the brand’s series production cars. The SF90 Stradale fits in the group of mid-rear engine coupés, along with the F8 Tributo and supercars like the LaFerrari, becoming a symbol of the extreme, hyper-technological car which is projected towards the future. Being the first Ferrari plug-in hybrid supercar, our philosophy was to highlight this content through its own linguistic code, which identifies it as the forefather of a new generation of Ferraris.”

“The interior was also an important chapter in this project. The futuristic approach to the interface concept led to considerable focus on the effect of an enveloping, aeronautical cockpit, with particular attention given to the instrumentation where the symbiosis between driver and car was further emphasized and enhanced.”

“The SF90 Stradale makes an epochal leap forward both in terms of form and content inaugurating very strong HMI (Human Machine Interface) innovation and adopting fully digital technology. When the car is switched off the on-board equipment becomes a black screen: the displays in the cockpit, which are positioned in a panoramic position with respect to the driver and the passenger, give a very minimalist effect when the car is turned off. Once the start engine is activated, the ignition process begins gradually involving all the digital components of the car. A series of icons light up on the screens and offer the possibility of displaying information, selecting the navigation mode, accessing services, taking advantage of a new generation instrument panel, from the curved screen, free-form Ultra HD to 4K, with capacitive haptic controls and the possibility to choose the information configuration, depending on the specific driving mode chosen.”

“Starting from this interface concept, the team of interior designers was able to work with a more avant-garde vision on the forms and stylistic concepts which really seem to project the interior towards the future, giving the impression of being inside a spaceship. The interior architecture of the SF90 Stradale also represents an important turning point in terms of design layout, offering a totally integrated solution, destined to become a new benchmark in the evolution of Ferraris.”

Are there quotes from the past in the SF90 Stradale exterior or interior?

“There are references to the past in the SF90 Stradale, but they are deliberately subliminal. They are not immediately recognizable thanks to the fact that they have been interpreted in a modern way.”

“In terms of the exterior I could mention two elements that certainly link this machine to tradition: firstly, the concept of the ‘flying buttress,’ which refers to a particular roof architecture, typical of cars like the Ferrari 330 P3 and P4, the 250 LM and the Dino. In the case of the SF90 Stradale, the effect is much more architectural; the arches serve to create what we call ‘slingshot effect,’ which optically pushes the whole car body forward giving it a typical arrow-like appearance like the shape of a car in tension, as if crouching ready to shoot. This concept continues on the front, also like an arrow.”

“On the side, another feature gives a nod to tradition. It’s subtle, but draws inspiration from the Ferrari 330 P3 and P4. It is a descending scalloped effect which conducts the air flows towards the side radiators. This solution creates a downward pattern counterbalanced by the other lines of the car, such as the waist line. The reference to the past is so subtle that the connection is not immediately recognizable; however, it is a very distinctive theme in the SF90 Stradale design.”

“Regarding the SF90 Stradale’s interiors, the one element that immediately catches the eye is a tribute to the classic manual gear selection ‘gate.’ It is a particularly iconic object, much loved by Ferrari drivers, which we wanted to recreate in a digital and extremely futuristic way.”