P70_englisch_CC17_020118.indd 4
02.01.18 14:08
005
LIFESTYLE
Page 010
From James Dean to Kate Moss and Magnus Walker. In the US, in Sylt, in Monte Carlo. And a story on the revolutionary creed of Porsche Design.
TECHNOLOGY
Page 046
Oliver Blume on Porsche’s new business fields. And what kind of sports cars the future will bring us.
COMPANY
Page 066
Places that have a special significance for Porsche. And Chairmen of the Executive Board who have shaped the company.
COMMUNITY
Page 108
What kind of people call a Porsche their own? Unique characters united by two things: their irrepressible individuality and their love for the brand.
MODELS
Page 158
From the “No. 1” to the millionth 911—the most important Porsche models of the past seventy years in our overview.
PEOPLE
Page 218
A tribute to some of the people who have made this brand what it is today.
MOTORSPORT
Page 240
On the core of the brand. On perfection and passion. On titles and records. On what is still to come.
P70_englisch_CC17_020118.indd 5
02.01.18 14:08
PORSCHE 70
008
CONTRIBUTORS | Although we have singled out just a handful of contributors here, we of course would like to thank all those who have helped bring this project into being. The book would not have been possible without you. Our heartfelt thanks!
Anne Philippi At home in both Los Angeles and Berlin, author Anne Philippi is familiar with the world of celebrities. She has interviewed a wide range of prominent individuals such as actor Michael Douglas, Playboy founder Hugh Hefner, pro boxer Mike Tyson, and singer Amy Winehouse. Her work is published in the Frankfurter Allgemeine Zeitung, Vogue, GQ, Die Welt, and the SĂźddeutsche Zeitung. Her first novel, Giraffen, appeared in 2015.
Michael Mauer Born in the German state of Hesse, Michael Mauer became the head of design for Porsche in 2004 and then also the head of Volkswagen AG’s design division in 2015. His inimitable style has shaped the lines of Porsche in the 21st century, and impressive models have appeared under his leadership, not least of all the Porsche Panamera.
P70_englisch_CC17_020118.indd 8
02.01.18 14:08
009
CONTR IBUTORS
Prof. Paolo Tumminelli A native of Milan who has settled in Cologne, Paolo Tumminelli is a leading expert in automotive design, as is evident from his many books. He is also a sought-after speaker, curator, and business consultant. He once made the following striking comment about the Porsche 911: “It is the only sports car that smiles—because it lacks the aggressive radiator grille otherwise typical of sports cars.”
Magnus Walker Magnus Walker left his home in England at the age of nineteen to work in Los Angeles as a fashion designer. He rose from a street vendor in Venice Beach to a millionaire entrepreneur. Rock stars like Madonna and Alice Cooper and actors like Bruce Willis wore his designs—and Walker’s dream came true. He bought his first Porsche, and many others thereafter. An eccentric character with trademark dreadlocks, he has a collection of especially unusual Porsche models.
Mats Kubiak A former drummer for various Düsseldorf-based punk bands and owner of an innovative graphics studio, Mats Kubiak hardly limits his creative ideas to a single genre—whether design, music, or photography. He has also demonstrated his Porsche expertise with a groundbreaking book about legendary graphic designer Erich Strenger, who greatly influenced the Porsche brand image on into the 1970s.
P70_englisch_CC17_020118.indd 9
02.01.18 14:08
026
PORSCHE 70
MAGNUS WALKER | The self-described “urban outlaw� from Los Angeles makes his own rules. His interpretations of classic 911s are known the world over and attract no shortage of bids. His collection of Porsches now numbers more than forty.
P70_englisch_CC17_020118.indd 26
02.01.18 14:08
Lifestyle
P70_englisch_CC17_020118.indd 27
027
02.01.18 14:08
PORSCHE 70
038
“THE BELIEF THAT DRIVERS MIGHT WANT TO SEEK PROTECTION FROM HIGHER POWERS WAS MORE COMMON BACK THEN THAN IT IS TODAY.”
The “Magazine for friends of the Porsche brand” is obviously well known and loved by drivers of older models. After all, it has been delighting car lovers since the 1950s, and early issues have long since become collector’s items for fans of the Porsche 356 and similar models. In the meantime, later issues speak to the interests of the not quite so deeply rooted community of fans of the water-cooled models. But how exactly did Porsche become the first German company in the automotive industry to produce a magazine for its customers? One evening in the year 1950, hundreds of media representatives from throughout Germany gathered at a Stuttgart movie theater to watch the selection of “Miss Covergirl.” Richard von Frankenberg and Erich Strenger happened to be sitting next to each other. The two car enthusiasts started talking and quickly realized that the biggest topic of the evening would not be the attractive contestants. Strenger, who had been interested in the high-speed sports cars from Zuffenhausen for some time, quickly started rhapsodizing about them. Von Frankenberg, who was the only person at Porsche engaged in setting up a marketing department at the time, didn’t need any convincing. He told Strenger that he was planning to rev up publicity work for the brand, and that he was looking for people to join him. The two future magazine makers, both of them born in 1922, promptly decided to work together to promote the Porsche company brand.
CHRISTOPHORUS NO. 1/1952 | The first Christophorus fueled a romance between drivers and makers of the Porsche brand that continues to this day.
P70_englisch_CC17_020118.indd 38
02.01.18 14:09
039
Lifestyle
Von Frankenberg was a historian who had already met Ferdinand Porsche and written his first biography. Upon discovering his own love for rear-engine sports cars during this project, he began to race and developed close relations with Porsche in Stuttgart. Strenger had recently returned from a prisoner-of-war camp. Before the war he had started studying at the State Academy of Fine Arts (ABK) in Stuttgart. And as it happened, the race-driving automotive journalist and the passionate graphic designer would form a congenial and remarkable partnership. Porsche played a pioneering role in corporate communications with its customer magazine at that time. Named after the patron saint of travelers, Christophorus magazine has now accompanied these customers for sixtyfive years. One might wonder whether car drivers fit the general notion of “travelers,” but anyone who has ever set off on a journey in a Porsche knows that traveling doesn’t necessarily have to involve rails or wings. The belief that drivers might want to seek protection from higher powers was more common back then than it is today. Richard von Frankenberg in particular seemed to avail himself of this option. In 1956, for example, he attracted worldwide attention upon driving over the top of a banked curve on Berlin’s AVUS and crashing into the drivers’ camp. Without Christophorus’s intervention that incident could well have had more serious consequences, for he was thrown out of the car and landed softly in some bushes without
P70_englisch_CC17_020118.indd 39
injuries. Not much later, however, von Frankenberg ran out of luck and died in an accident through no fault of his own on the freeway between Stuttgart and Heilbronn. Just like the different developments in the Porsche product range, the covers of Christophorus also underwent change. In the beginning customers’ choices were limited to a 356 coupe or convertible, and Erich Strenger was not one to experiment much either with the cover design or production techniques. Covers in the 1950s consisted primarily of black-and-white photos that were colored by hand. But the 1960s saw graphics that reflected and were influenced by the spirit of the time. As color photography continued to develop and production processes became more affordable, large-scale color photo compositions began to dominate covers in the 1970s, a trend that has not changed all that much to this day.
02.01.18 14:09
PORSCHE 70
046
T E C H N O L O GY C H A P T E R
T HE ENGINEERS ’ A R T. Never let it be said that Porsche engineers dedicate their craft to the mere maximization of speed or acceleration. Of course, boosting the output of a sports car is a key aim of any company that makes such ambitious machines. But at Porsche, efficiency and innovation are prized in equal measure. Whether it’s rear-axle steering or a plug-in drive system, at Porsche the emphasis is not so much on going faster as going further.
P70_englisch_CC17_020118.indd 46
02.01.18 14:09
047
P70_englisch_CC17_020118.indd 47
02.01.18 14:09
COMPANY
093
1990–1992
ARNO BOHN | After gaining board experience at the Nixdorf computer company, Bohn joins Porsche as CEO during a period of crisis. He plans to add an entry-level model smaller than the 911 as well as a larger family-sized Porsche. When development costs for the four-door Porsche 989 CoupĂŠ keep rising, the family owners let Bohn go. The four-door idea will later come into being with the Cayenne and Panamera models.
P70_englisch_CC17_020118.indd 93
02.01.18 14:09
PORSCHE 70
094
1992–2009
WENDELIN WIEDEKING | Board assistant, board member, board spokesman, and finally board chairman—step by step, Wendelin Wiedeking works his way to the top. Once there, he launches comprehensive reforms. Porsche stops posting losses and becomes one of the most profitable car makers in the world thanks in part to the new Boxster, Cayenne, and Panamera model series. Wiedeking steps down following a change in strategy at Porsche SE.
P70_englisch_CC17_020118.indd 94
02.01.18 14:09
PORSCHE 70
166
PORSCHE 356 SPEEDSTER
1954
P70_englisch_CC17_020118.indd 166
Engine: Displacement: Output: Year:
Air-cooled flat-four engine 1,488 cc 55 hp (40 kW) 1954
02.01.18 14:10
167
MODELS
WHEN DRIV ING A CAR WAS ALLOWED TO BE FUN Porsche is different. While many roadsters of the 1950s grow ever larger and more powerful, with the 356 Speedster Porsche opts for lightweight construction and purism. Instead of roll-up windows on the sides it has attachable plastic windows, bucket seats instead of a bench seat, and a soft top that folds down flat, which gives the Speedster its typical shape. A fun car for ambitious sport drivers. With the 1500 or 1500 S engine, providing 55 or 70 hp, respectively. The Speedster is true to its name and open to anything. Cowards need not apply. This is a car for real men.
P70_englisch_CC17_020118.indd 167
02.01.18 14:10
PORSCHE 70
240
M O T O RS P O R T C H A P T E R
WHEN PORSCHE W INS, THE CLIENT W INS. Right from the start, motor racing was something the sports-car maker just had in its blood—whether we’re talking the 24 Hours of Le Mans, amazing successes in road and desert rallies or in Formula One, too. But what Porsche definitely didn’t do was to use motor racing to serve its own interests. This is there for all to see—the cult car marque used the long-distance and track-based contests to develop and improve new technologies. No matter where Porsche claims victory: The winner is always the client.
P70_englisch_CC17_020118.indd 240
02.01.18 14:13
241
P70_englisch_CC17_020118.indd 241
02.01.18 14:13
248
PORSCHE 70
THE MAJOR R ACETR ACKS | Porsche feels at home all over the world—since wherever there’s a racetrack, a Porsche won’t be far away. But there are certain circuits that the carmaker particularly loves. Where myth has been forged, where Porsche has notched up historic successes, written history and spawned legends. At Le Mans, of course, and on the Nürburgring’s Nordschleife—the north loop—but also in Daytona and Sebring.
P70_englisch_CC17_020118.indd 248
02.01.18 14:13
Motorsport
P70_englisch_CC17_020118.indd 249
249
02.01.18 14:13
290
P70_englisch_CC17_020118.indd 290
PORSCHE 70
02.01.18 14:13
291
MOTORSPORT
PERENNIAL WINNER WITH EXCEPTIONAL BALANCE The open-air Le Mans prototype premieres in the American Le Mans Series (ALMS) with Penske Racing in 2006, promptly winning not only the LMP2 class but repeatedly taking the series title—into the 2010 season. Starting in 2007 the car is made available to customer teams, which start with the RS Spyder both in the ALMS and its European counterpart, the Le Mans Series. Practically everyone who ever had the privilege of driving the RS Spyder prepared by Porsche for the new LMP2 category raves about its exceptional balance to this day.
2007 MID-OHIO
P70_englisch_CC17_020118.indd 291
PORSCHE RS SPYDER Engine:
Water-cooled V8
Displacement:
3,397 cc
Output:
503 hp (370 kW)
Year:
2007
02.01.18 14:13
PORSCHE 70
298
32.11 Gigabytes of data per car in the 24 Hours of Le Mans
2.22
12
kWh power consumption per lap for the Porsche 919 Hybrid
World Sportscar Championship titles
MOTORSPORT IN NUMBERS
5,335.313 kilometers—that was the distance achieved by Helmut Marko and Gijs van Lennep in their 1971 victory in the 24 Hours of Le Mans driving the Porsche 917. It would be another thirty-nine years before this record was broken.
67 of the 488 vehicles that started the 1986 Paris-Dakar Rally actually finished—with Porsche taking first and second place. It was one of Porsche’s two victories in this rally.
17
6:11.13
788 prototypes and GT cars by Porsche have competed at Le Mans since 1951.
P70_englisch_CC17_020118.indd 298
was the fastest lap time ever recorded at the Nürburgring, set by Stefan Bellof (Porsche 956.007) on May 28, 1983.
1
overall victories at Sebring
Lap: The distance between Dan Gurney and the field when winning the 1962 French Grand Prix—Porsche’s first victory as a Formula One race-car manufacturer.
02.01.18 14:13
299
Motorsport
19
19
11
overall victories in the
victories in the Targa Florio
24 Hours of Daytona
overall Le Mans victories
27
race years of Porsche Carrera Cup Germany
13
30,000
wins from sixteen races for the McLaren-TAG-Porsche team in the 1984 Formula One season
race victories
385 km/h was the top speed recorded by the Porsche 917/30 in the 1973 Can-Am series.
P70_englisch_CC17_020118.indd 299
20 more Carrera Cups on 5 continents
28,984 gear changes by the winning car at Le Mans 2017
25 Formula One wins as engine supplier and three World Championship titles (1984: Niki Lauda; 1985 and 1986: Alain Prost)
02.01.18 14:13
1st edition
Bibliographic information of the German National Library The German National Library lists this publication in the Deutsche Nationalbibliografie; more detailed bibliographic information can be found online at http://dnb.dnb.de. ISBN 978-3-667-11328-3 © Delius Klasing & Co. KG, Bielefeld (Germany) Publisher Christina Rahmes Concept Dr. Josef Arweck, Edwin Baaske Art Direction (German edition) Lutz Suendermann, Magnetic Stories, Karlsruhe Final Artwork (English edition) Jörg Weusthoff, Weusthoff Noël, Hamburg Image processing Sandra Martens
Printed in Germany 2018 While all reasonable care has been taken in the publication of the book, neither the author nor the publisher takes any responsibility for the accuracy, completeness or timeliness of the information given in this book. All rights reserved. This work may not be reproduced, transferred or copied in full or in part, manually or with the aid of electronic or mechanical systems, including photocopying, recording or storing as data, without the express consent of the publishing house. Delius Klasing Verlag Siekerwall 21, 33602 Bielefeld, Germany Phone: +49-521-559-0, Fax: +49-521-559-115 Email: info@delius-klasing.de www.delius-klasing.de
Project Management Charleen Spilker, Angela Tegtmeier Image editors Markus Bolsinger, Malte Busse, Julian Hoffmann, Laura-Marie Holstein, Tobias Mauler, Jana Schüler, Charleen Spilker, Jens Torner, Viktoria Wohlrapp Editors Thorsten Elbrigmann, Laura-Marie Holstein, Thomas Lötz, Christina Rahmes Authors Jo Clahsen, Anna Maria Engels, Sven Freese, Thomas Fuths, Mats Kubiak, Jürgen Lewandowski, Thomas Lötz, Michael Mauer, Klaus-Achim Peitzmeier, Anne Philippi, Dr. Wolfgang Porsche, Prof. Paolo Tumminelli, Michael Steiner, Magnus Walker Photographers Tim Adler (pp. 8 below, 111–113), Alexander Babic (pp. 26–27, 134–136, 138, 140–141), Theodor Barth (pp. 118–119, 122, 126–130), Stefan Bogner (pp. 52, 184–185), Markus Bolsinger (pp. 9 center, 142, 210–211), Paul-Henri Cahier (p. 234), Thorsten Doerk (pp. 114–115), Albrecht Fuchs (pp. 132–133), Joachim Gern (p. 8 above), Victor Goico (pp. 28–29), Alexander Hassenstein (pp. 14–15), Kurt Heuvens (p. 9 below), Bernhard Huber (p. 232), Steffen Jahn (p. 158–159), Frank Kayser (pp. 120–121), Anatol Kotte (pp. 108–109), Kevin McCauley (Cover, pp. 2, 4), Linhbergh Nguyen (pp. 124, 146–147), Frank M. Orel (p. 235), Robert Prange (pp. 18–19), Jürgen Tap (p. 101), Jay Watson (pp. 144–145), Frank Zauritz (pp. 48, 51), Tom Ziora (pp. 116–117) Picture credits Designteam Style Porsche Weissach (pp. 56–65), Ferdi Kräling Bildagentur (p. 252), Getty Images by Andreas Rentz (p. 233), KARAJAN®, registered trademark of the Karajan Estate (pp. 16–17), © KISD (p. 9 above), mptvimages.com (pp. 12–13), Picture Alliance (pp. 24–25), Porsche (inside front cover page, pp. 6, 10–11, 20–23, 46–47, 54, 66–84, 86, 89–90, 92, 95–96, 99, 160–183, 186–209, 212–214, 217–219, 221–231, 236, 240–250, 254, 256, 258–297, 300, 303, inside back cover page), Porsche Design (pp. 32, 35), Ullstein Bild—Porsche AG (cover) Staff Malte Busse, Nadine Cornehl, Bastian Fuhrmann, Dieter Gross, Katharina Knappe, Sarah Pelters, Diana Sänger, Julia Tawalalli, Jörg Thilow Translation RWS Group Deutschland, Germany Production Axel Gerber, Jörn Heese Lithography Magnetic Stories, Karlsruhe Printer Kunst- und Werbedruck, Bad Oeynhausen
P70_englisch_CC17_020118.indd 304
02.01.18 14:13