法拉利的歷史是一部生產高性能跑車和執著於賽車運動的歷史。正是這種投入全部精力開發屬於自己的賽車和公路版跑車的精神造就了這匹騰飛的駿馬的成就，並使它成為一個傳奇。
以法拉利的名字命名的第一輛汽車在1947年駛出了馬拉內羅工廠的大門，但是在此前的很長時間，恩佐·法拉利就開始為實現這一夢想打下了堅實的基礎。
1898-1947初期歲月
世界最著名的汽車品牌的締造者恩佐·法拉利（Enzo Ferrari）於1898年2月18日出生在意大利摩德納。第一次世界大戰結束之後，法拉利踏上了一條漫長的但最終使他的名字家喻戶曉的成功之路。 1918年，法拉利希望在都靈的菲亞特公司謀求一份工作，但結果令他失望，之後，法拉利接受了一家小型汽車維修廠的工作，幫助把軍用車改裝為民用車。後 來，他在米蘭的CMN公司找到一份工作，作為車隊的試車手和賽車手。在這裡，他結識了阿爾法·羅密歐公司的技師和車手，並在1920年加入了阿爾法·羅密 歐公司。法拉利很快便成為正式的阿爾法車手，並在1923年遇到了第一次世界大戰王牌飛行員Francesco Baracca的母親，她建議法拉利在賽車上使用她兒子的徽章作為幸運標記。這就是1932年首次出現在Scuderia法拉利車隊的賽車上的騰飛的駿馬 形象，該車隊隨後成為正式的阿爾法車隊。1939年，法拉利離開了阿爾法·羅密歐公司，並在1940年成立了Auto Avio Costruzioni公司，製造了他的第一輛汽車。儘管戰爭再次來臨，法拉利仍然以自己的方式堅持著成為賽車製造者的夢想，當和平年代降臨時，他迅速地 著手製造以他的名字命名的第一輛汽車125 S，該車於1947年問世。
1948-1968賽車運動的黃金時代
法拉利在第二次世界大戰結束之後開始正式參加國際賽車運動。第一輛參加大獎賽的法拉利車型是單座125 F1賽車，它於1948年在都靈舉辦的意大利大獎賽中獲得了第三名。二十世紀五十年代初，一級方程式世界錦標賽誕生了，法拉利在十年期間贏得了四次總冠 軍：1952年和1953年，車手是Ascari；1956年，車手是Fangio；以及1958年，車手是Hawthorn。1953年，法拉利第一次 參加世界運動汽車製造商錦標賽並立即獲得了冠軍，並在1954、1956、1957和1958年繼續奪得該項賽事的冠軍。二十世紀六十年代，由於經濟的空 前繁榮，賽車製造商之間的競爭十分激烈，使製造技術和工程研究得以迅速發展。就產量而言，法拉利是賽車精英中最小的一家公司，但除了這一因素以外，法拉利 保持著賽車領域的頂尖位置。事實上，在這段時期內，法拉利車隊曾兩次同時獲得車手總冠軍和車隊總冠軍：一次是1961年，Phil Hill駕駛156 F1賽車；以及1964年，John Surtees駕駛158 F1賽車。在這一時期，公路版跑車也獲得了長足的發展。法拉利改變了只生產數量很少的限量版車型的生產方式，利用在賽車運動的基礎上開發的底盤和技術，開 始進行更大規模的生產。在二十世紀六十年代，法拉利開始真正將自己的天賦應用在創造出融合了優雅、精緻和令人震撼的性能的跑車。
1969-至今：對成功的投資
1969 年，菲亞特成為法拉利的股東和技術合作夥伴，使法拉利能夠在各個方面進行拓展和開發。法拉利公司的私有賽道 – Fiorano賽道 – 於1972年4月8日正式落成，法拉利開始在自己的工廠附近測試和開發自己的全部車型。恩佐·法拉利甚至將自己的辦公室從Abetone Inferiore大街上位於技術部門旁邊的一間不大的房間搬到了Fiorano賽道。在很長時間沒有獲得F1冠軍以後，法拉利車隊終於在1975年再次 獲得F1總冠軍稱號，參賽車手是Lauda，隨後，法拉利車隊又在1977年獲得F1總冠軍。1979年，Scheckter獲得車手總冠軍。法拉利公司 在二十世紀八十年代和九十年代經歷了很大變化，隨著公司的持續贏利，開始對生產設施進行不斷更新。其中最具代表性的革新項目是1997年落成的由 Renzo Piano 設計的F1風洞。
Renzo Piano 設計的F1風洞
1999年，法拉利再次獲得F1車隊總冠軍，從這一年開始，法拉利車隊令人難以置信地連續六次獲得車隊總冠軍，邁克爾·舒馬赫也六次獲得車手總冠 軍，標誌著法拉利重新回到一級方程式比賽的頂峰。今天，法拉利作為汽車工程領域的先鋒，已經成為卓越技術的象徵。法拉利汽車製造廠位於馬拉內羅市中心，其 鋁質底盤和車身則由位於摩德納附近的法拉利Carrozzeria Scaglietti專業化鋁質部件生產廠製造。法拉利主廠區內的Gestione Sportiva賽車部門和Fiorano賽道被馬拉內羅市的主要街道Abetone Inferiore大街分開。這座歷史性的工廠可以追溯到二十世紀四十年代，自從盧卡·蒙特澤莫羅在1991年擔任公司總裁以來，已經對新廠房和新裝備進 行了巨大的投資。
法拉利在空氣動力學領域的領先技術促進了其公路版跑車的性能，現在，三個獨立的室內風洞進一步保證了這一競爭優勢。其中最新的一個是極富未來派風 格的一級方程式風洞，由Renzo Piano設計，於1997年正式投入使用。此外，法拉利公司還為F1賽車部門興建了新的後勤大樓，並為GT產品部門興建了最先進的機械加工廠房、工程技 術中心和噴漆廠房，使整個廠區達到了新的質量標準。
目前，法拉利公司每年生產超過4,500輛汽車，分為V8發動機車型（F430和F430 Spider）和V12發動機車型，包括599 GTB Fiorano兩座雙門跑車和旗艦車型2+2座612 Scaglietti。
世界頂級建築師為法拉利設計廠房
穿過法拉利汽車生產車間的後門，你就如同走進了一座建築博物館。你的左手邊是一座風洞式的建築，由意大利建築師倫佐·皮亞諾(Renzo Piano)設計。這座由巨大的灰色管狀物和立方體構成的頗具現代感的建築，專門用於法拉利汽車的空氣動力學檢測。右手邊則是由馬可·威斯康蒂 (Marco Visconti )設計的發動機和其他零部件生產車間，龐大的三座玻璃體建築與周圍的綠地交相輝映，融為一體。
再往下就是由剛剛贏得普利茨克獎(the Pritzker Prize)的法國設計師吉恩·努維爾(Jean Nouvel)所設計的組裝車間。這座由閃光金屬和鏡面玻璃構成的建築旁邊，就是法拉利過去的汽車廠房，這座磚石結構的房屋建造於上個世紀40年代，由法 拉利創始人恩佐·法拉利(Enzo Ferrari)於二戰後親自創建。每當夜幕降臨時，位於舊廠房上空標志性的法拉利紅被點亮了，為努維爾的設計靈感蒙上了一層神秘色彩。
建築師，汽車設計師？
『我們有三個目標要實現。』法拉利的現任總裁(圖庫論壇)盧卡·蒙特澤莫羅(Luca Cordero di Montezemolo)表示。自1997年起，他先後邀請了多名世界知名設計師為法拉利設計建造最新廠房。『我要重申一下，創新要與我們的傳統、文化以 及歷史傳承相統一。法拉利不僅僅是一輛車，它是一個夢，要實現這個夢需要每一個組成部分都進行不斷的創新。』
然而，法拉利並不是唯一一個通過不斷的自我創新，突出自身品牌並以傳奇方式塑造奢侈品風范的汽車生產廠商。大眾汽車(Volkswagen)也同 樣邀請了著名建築設計師甘特·赫恩(Gunter Henn)為其在德累斯頓(Dresden)設計建造了一所玻璃工廠，在那裡完成其頂級轎車的生產。萊比錫(Leipzig)的城郊地區，則矗立著由 GMP建築師事務所為保時捷汽車(Porsche)所設計的標志性建築。寶馬汽車公司(BMW)同樣不甘示弱，聘請另一位普利茨克獎獲得者——倫敦設計師 紮哈·哈迪德(Zaha Hadid)，為其設計建造位於萊比錫的工廠。
賦予法拉利發展計劃以優勢力量的是其重建整個法拉利工廠的勃勃雄心。根據知名建築師的設計，完成了從發動機鑄造車間到最終的裝配車間所有廠房的建築工作。
公司總裁蒙特澤莫羅則表示，無論是否有金融危機，我們都將繼續前進。『銀行家們，尤其是美國的銀行家們都很貪婪，他們將自己的交易置於不太牢靠的基礎之上。現在看來我們是退了一步，但是將來我們會前進兩步，這不是什麼壞事。』
法拉利藝術品，奢侈品？
專家稱法拉利的工廠重建計劃，不過是為了穩定其在日趨繁榮的奢侈品市場的地位。『在奢侈品市場競爭過程中，建築師們在其中扮演著日趨重要的角 色。』阿曼多·布蘭奇(Armando Branchin)表示，他所在的諮詢服務公司InterCorporate，專門為奢侈品生產廠家提供競爭戰略策略。皮亞諾曾為愛馬仕(Herm?s) 位於日本的旗艦店設計店面。知名設計師艾曼勒基度·傑尼亞(Ermenegildo Zegna)則邀請安東尼·奇特裡奧(Antonio Citterio)為其設計在米蘭的公司總部和陳列室。
甚至還有建築師為葡萄酒品牌進行設計。位於意大利托斯卡納區(Tuscany)的Petra 酒廠，就是由瑞士著名的建築師、舊金山現代美術館的設計者馬裡奧·博塔(Mario Botta)設計的。皮亞諾為法拉斯奈羅葡萄園(Rocca di Frassinello)所設計的葡萄酒廠，也於去年在托斯卡納區開業。
盡管過於野心勃勃，法拉利的十年發展計劃卻致力於『在公眾心目中塑造其創新形象』，布蘭奇表示，『幾年之前，人們一說起奢侈品就會想起隨身攜帶或者穿著的某些物品。如今奢侈品的涵蓋范圍卻有所增加，由原先的房子、別墅一直擴展到汽車、游艇和私人飛機。』
蒙特澤莫羅則追隨奢侈行業降低品牌銷售門檻的趨勢，借助其法拉利紅和奔馬標志的號召力，吸引了一大批顧客前往法拉利的專營店，以遠低於其汽車平均售價(20萬美元)的價格，買到一些相關產品。
借助於這一方式，法拉利將其生產的汽車及零部件，變身為藝術作品。法拉利於2004年在意大利米蘭開了它的第一家專營店。現在已經發展到20家，其中還包括在美國的4家，如今其規模仍有擴大的趨勢。
法拉利工廠大門對面的專賣店由恩佐·法拉利本人創建，店面是法拉利的標志性紅色。在那裡面你可以花10美元買到一頂帶有法拉利標志的司機帽。不過 一級方程式賽車中所使用過的賽車上的一個活塞，就價值1025美元，可以把它當作鎮紙或者辦公桌上的裝飾品來用。一個當作雕刻品來賣的鍍鉻凸輪軸，卻要價 5165美元；同樣當作雕刻品來賣，一個10缸的發動機組則要價70800美元。
『法拉利確實很成功，』布蘭奇說，『他將汽車的零部件變為一件件藝術品。』
如今法拉利仍在尋求進一步的發展。將其商標授權給阿布紮比開發商，在波斯灣沿岸的Yas Island上建造一級方程式賽道，該項目將於2009年啟用，下一年還將在此建立一座法拉利主題公園。法拉利的高層表示，迄今為止，他們約有20%的利 潤來源於印有法拉利商標的產品和與該品牌相關的主題活動。日前，法拉利又聘請了著名建築師吉恩·邁克·威爾莫蒂(Jean-Michel Wilmotte)為其設計行政辦公室，為即將要舉行的一級方程式各項活動進行籌備。
環保與創新
然而建築所涉及的不僅僅是風格和審美方面的問題。在汽車制造中心，也就是發動機組件從鑄造廠出來等待裝配的地方，設計師馬可·威斯康蒂 (Marco Visconti)『力求將現代建築藝術同我們的需求緊密結合在一起，』負責這棟建築總體運轉的路基·邦納茲(Luigi Bonezzi)表示。這些新的建築物，配備了太陽能電池和三代系統來節約能源；大范圍室內花園的運用，不僅提高了生產力，還為員工提供了機會和輪休的場 所。行政大樓的設計由馬西米利亞諾·富克薩斯(Massimiliano Fuksas)完成，這位建築師於2005年完成了新米蘭國際展覽中心(Milan Fairgrounds)的設計建造。如今的這座建築則頗具東方禪意，置於龐大的鵝卵石鋪成的池面之上，水面上倒映的一簇簇竹叢，仿佛蘊含著無限的創造 力。
然而，生產力的提昇則得益於建築的內部而非其外觀。在裝配車間的設計過程中，建築師努維爾和法拉利的行政人員一直在為一個問題爭論——那就是將車間建為一層還是兩層。
該車間將會用於8缸引擎法拉利加州的生產，正在籌備中的12缸引擎系列也將在此生產。最終定稿之時，法拉利的行政總裁阿米迪歐·費裡薩(Amedeo Felisa)表示，在新的裝配車間中完成同樣的任務，員工的活動空間增加了20%，活動量卻減少了60%。
購買者經常會親身前往法拉利的生產車間，親眼目睹這些耀眼奪目的賽車是如何一步步地被組裝起來的。前不久，法拉利的銷售人員菲利普·桑德斯(Philip Saunders)曾陪同50名購買者前往法拉利的工廠進行參觀，還到公司外面的賽道上親身駕車體驗了一番。
不知道他們有沒有被這巧奪天工的設計所打動呢？『我想是的。』桑德斯表示，『不過讓他們印象最為深刻的，應該是當年恩佐·法拉利所建造的那座工廠大門。』
The Prestigious Design of Ferrari’s Factory
A restaurant designed by Marco Visconti at the Ferrari facilities in Maranello, Italy.
By JOHN TAGLIABUE
Published: November 27, 2008
MARANELLO, Italy — To walk through the back gate of the Ferrari automotive works here and stroll down Viale Enzo Ferrari is to enter a museum of architecture. To the left is a wind tunnel designed by the Italian architect Renzo Piano, a soaring tangle of immense gray tubes and cubes where Ferrari’s ear-splitting, nerve-tickling, expensive automobiles are tested for aerodynamic properties.
To the right is the finishing plant for engine blocks and other components, designed by Marco Visconti — three sets of huge glass blocks floating on greenery.
Farther down is the sprawling new assembly hall, designed by Jean Nouvel, the French architect who won the Pritzker Prize this year, in gleaming metal and mirrored glass. One side faces a masonry wall of the old Ferrari works, erected in the 1940s by Enzo Ferrari, who started building his sports cars after World War II. In the evening, the ruddy color of the old wall is illuminated, casting an eerie red glow on Mr. Nouvel’s creation.
“We had three goals,” said Luca Cordero di Montezemolo, Ferrari’s president, who began commissioning star architects, beginning with Mr. Piano, in 1997. “We wanted to renew Ferrari’s organization, to eliminate the division into series A and series B among our employees, and to maintain, not to lose, the spirit of Ferrari.”
Seated behind a large round desk covered in red leather, Mr. Montezemolo added: “But — I repeat, but — there is a great link with our tradition, our culture, our DNA. Ferrari is not a car, it is a dream, and the ingredients must remain innovative.”
Ferrari is not the only carmaker to highlight a brand and underscore a claim to luxury style through the innovation of a factory design. Volkswagen hired the architect Gunter Henn to design an unusual glass factory in Dresden, Germany, where it assembles its top-of-the-line Phaeton. Outside Leipzig, Germany, Porsche has its own signature building, designed by the Hamburg architectural firm von Gerkan, Marg & Partners. BMW hired the London architect Zaha Hadid, another Pritzker Prize winner, to design a factory in Leipzig.
What gives Ferrari’s project its edge is its ambition to rebuild the entire Ferrari works, from engine block foundry to final assembly plant, not just one building, according to designs of leading architects. Moreover, the project is reaching its conclusion just as the global financial crisis, which will sweep away many of the bonuses that bought Ferraris in the past, undercuts the automobile market.
Mr. Montezemolo says that crisis or no, Ferrari will continue racing ahead. “I believe, though this is not a popular view, that the crisis will be quick, and salutary,” he said. “Bankers, above all American bankers, were greedy, and put their business on a not-so-solid base, with excessive valuations. Now we have taken one step back to better conditions. We will make two steps forward, and that’s not so bad.”
Last year Ferrari sold about 6,400 cars, including 1,761 in the United States and Canada. In the first eight months of this year, sales rose almost 25 percent, to 4,953. If sales should soften in traditional markets, like the United States, Ferrari is rapidly opening new markets. It entered China in 2004, and last year sold 200 cars there. “There will always be 6,000 people in the world who will want a Ferrari,” Mr. Montezemolo said.
Ferrari’s results are good news for its parent company, Fiat. Though Ferrari accounts for only about 6 percent of Fiat’s total revenue, it generates more than 26 percent of its profit.
Experts say the architectural projects are imbedded in Mr. Montezemolo’s strategy to position Ferrari in the vanguard of the luxury goods market. “More and more architects are playing a role in luxury goods,” said Armando Branchini, whose consulting firm, InterCorporate, advises luxury goods companies on strategy. Mr. Piano, he said, designed a flagship store in Tokyo for Hermès; the headquarters and showrooms in Milan of the couturier Ermenegildo Zegna were designed by Antonio Citterio.
There are even star architects for luxury wines. The renowned Petra Winery, in Tuscany, was designed by the Swiss architect Mario Botta, who also designed the San Francisco Museum of Modern Art; Mr. Piano designed the winery of Rocca di Frassinello, also in Tuscany, which opened last year.
Though far more ambitious than others, Ferrari’s 10-year project is meant “to convince people of the fact of their being innovative,” Mr. Branchini said. “Until a few years ago, people thought of luxury as the body; now there is a sort of enlargement of the space, and this is the reason why the apartment, the villa, is more important, and many add cars, boats, executive jets.”
Mr. Montezemolo has followed the rest of the luxury-goods industry in democratizing Ferrari’s product range, cashing in on the magnetism of the Ferrari name and prancing horse logo to offer a broad range of consumer products in exclusive Ferrari shops, at prices well below those of its cars, which can cost more than $200,000.
In so doing, Ferrari has turned its cars, and their components, into works of art. Ferrari opened its first store, in Milan, in 2004. It now has 20, including four in the United States, and plans more.
But he dislikes the comparison with luxury. “Luxury, for me, is spending for things for their aesthetics, color. Here we assemble cars,” he said.
In the shop across from Ferrari’s main gate — the original, in ruddy stucco, that Enzo Ferrari built — you can buy a Ferrari driver’s cap for $10. But a piston from a car actually driven in a Formula One race costs $1,025, to be used as a paperweight or desk ornament. A chromed camshaft, ideal as a sculpture, sells for $5,165; a 10-cylinder engine block, also a sculpture, for $70,800.
“Ferrari is very successful,” Mr. Branchini said. “Pieces of a car as pieces of art.”
Now Ferrari is pushing the envelope further. Licensing its brand to developers in Abu Dhabi, the partners are building a Formula One racetrack on Yas Island off the Persian Gulf city, to open in 2009, and a Ferrari theme park set to open the next year. By now, Ferrari executives say, roughly 20 percent of its profit comes from branded articles and activities. Ferrari has chosen the French architect Jean-Michel Wilmotte to design management offices, now in the planning stage, for its Formula One activities.
The involvement of big-name architects, said Chris Hibbs, who leads the automotive group at PricewaterhouseCoopers in Britain, “is what customers expect, after Ferrari’s stretching of the brand over the last few years.”
But the architecture is not just about style and aesthetics. In the machining center, where engine blocks fresh from the foundry are finished before assembly, Mr. Visconti, the architect, “sought to fit the demands of modern architecture with our needs,” said Luigi Bonezzi, who is responsible for running the building. The new buildings, he said, conserve energy by using solar cells and trigeneration systems, which produce electricity, heat and cooling simultaneously from a single energy source, like a gas burner. They also feature the widespread use of indoor gardens to increase productivity, where workers can meet for conferences or simply to rest between shifts.
The administration building designed by Massimiliano Fuksas, best known for his futuristic glass-and-steel Milan Fairgrounds of 2005, appears to float Zen-like on extensive pebble-bottomed reflecting pools interrupted by clusters of bamboo, to foster creativity.
Often, however, increased productivity comes from the interior of the buildings rather than from their external looks. Planning for Nouvel’s assembly plant, where Ferrari will build its new 8-cylinder California model and a 12-cylinder model that is in the planning stage, went through at least three stages as the architect and Ferrari executives debated questions like whether to build the plant on one or two levels.
In its final configuration, said Amedeo Felisa, Ferrari’s chief executive, the plant will have 20 percent more work space than the one it replaces, and assembly teams will make 60 percent fewer movements to do the same tasks.
Increased productivity and lower energy costs, Mr. Felisa said, enabled Ferrari to recover within two years the extra cost of hiring big-name architects.
Prospective owners of Ferraris are often brought to tour the plants to get a close look at how the cars they are buying are put together.
On a recent weekend, Philip Saunders, a Ferrari salesman from Exeter, England, accompanied a group of 50 or so buyers. They had toured Ferrari’s new prize buildings and were about to go out to the company track to drive a Ferrari.
Had they been impressed by the show of architecture? “Yes, I suppose so,” Mr. Saunders said. “But they were most impressed by the original gate of Enzo Ferrari’s building.”
A version of this article appeared in print on November 28, 2008, on page B1 of the New York edition.
The New York Times
以法拉利的名字命名的第一輛汽車在1947年駛出了馬拉內羅工廠的大門，但是在此前的很長時間，恩佐·法拉利就開始為實現這一夢想打下了堅實的基礎。
1898-1947初期歲月
世界最著名的汽車品牌的締造者恩佐·法拉利（Enzo Ferrari）於1898年2月18日出生在意大利摩德納。第一次世界大戰結束之後，法拉利踏上了一條漫長的但最終使他的名字家喻戶曉的成功之路。 1918年，法拉利希望在都靈的菲亞特公司謀求一份工作，但結果令他失望，之後，法拉利接受了一家小型汽車維修廠的工作，幫助把軍用車改裝為民用車。後 來，他在米蘭的CMN公司找到一份工作，作為車隊的試車手和賽車手。在這裡，他結識了阿爾法·羅密歐公司的技師和車手，並在1920年加入了阿爾法·羅密 歐公司。法拉利很快便成為正式的阿爾法車手，並在1923年遇到了第一次世界大戰王牌飛行員Francesco Baracca的母親，她建議法拉利在賽車上使用她兒子的徽章作為幸運標記。這就是1932年首次出現在Scuderia法拉利車隊的賽車上的騰飛的駿馬 形象，該車隊隨後成為正式的阿爾法車隊。1939年，法拉利離開了阿爾法·羅密歐公司，並在1940年成立了Auto Avio Costruzioni公司，製造了他的第一輛汽車。儘管戰爭再次來臨，法拉利仍然以自己的方式堅持著成為賽車製造者的夢想，當和平年代降臨時，他迅速地 著手製造以他的名字命名的第一輛汽車125 S，該車於1947年問世。
1948-1968賽車運動的黃金時代
法拉利在第二次世界大戰結束之後開始正式參加國際賽車運動。第一輛參加大獎賽的法拉利車型是單座125 F1賽車，它於1948年在都靈舉辦的意大利大獎賽中獲得了第三名。二十世紀五十年代初，一級方程式世界錦標賽誕生了，法拉利在十年期間贏得了四次總冠 軍：1952年和1953年，車手是Ascari；1956年，車手是Fangio；以及1958年，車手是Hawthorn。1953年，法拉利第一次 參加世界運動汽車製造商錦標賽並立即獲得了冠軍，並在1954、1956、1957和1958年繼續奪得該項賽事的冠軍。二十世紀六十年代，由於經濟的空 前繁榮，賽車製造商之間的競爭十分激烈，使製造技術和工程研究得以迅速發展。就產量而言，法拉利是賽車精英中最小的一家公司，但除了這一因素以外，法拉利 保持著賽車領域的頂尖位置。事實上，在這段時期內，法拉利車隊曾兩次同時獲得車手總冠軍和車隊總冠軍：一次是1961年，Phil Hill駕駛156 F1賽車；以及1964年，John Surtees駕駛158 F1賽車。在這一時期，公路版跑車也獲得了長足的發展。法拉利改變了只生產數量很少的限量版車型的生產方式，利用在賽車運動的基礎上開發的底盤和技術，開 始進行更大規模的生產。在二十世紀六十年代，法拉利開始真正將自己的天賦應用在創造出融合了優雅、精緻和令人震撼的性能的跑車。
1969-至今：對成功的投資
1969 年，菲亞特成為法拉利的股東和技術合作夥伴，使法拉利能夠在各個方面進行拓展和開發。法拉利公司的私有賽道 – Fiorano賽道 – 於1972年4月8日正式落成，法拉利開始在自己的工廠附近測試和開發自己的全部車型。恩佐·法拉利甚至將自己的辦公室從Abetone Inferiore大街上位於技術部門旁邊的一間不大的房間搬到了Fiorano賽道。在很長時間沒有獲得F1冠軍以後，法拉利車隊終於在1975年再次 獲得F1總冠軍稱號，參賽車手是Lauda，隨後，法拉利車隊又在1977年獲得F1總冠軍。1979年，Scheckter獲得車手總冠軍。法拉利公司 在二十世紀八十年代和九十年代經歷了很大變化，隨著公司的持續贏利，開始對生產設施進行不斷更新。其中最具代表性的革新項目是1997年落成的由 Renzo Piano 設計的F1風洞。
Renzo Piano 設計的F1風洞
1999年，法拉利再次獲得F1車隊總冠軍，從這一年開始，法拉利車隊令人難以置信地連續六次獲得車隊總冠軍，邁克爾·舒馬赫也六次獲得車手總冠 軍，標誌著法拉利重新回到一級方程式比賽的頂峰。今天，法拉利作為汽車工程領域的先鋒，已經成為卓越技術的象徵。法拉利汽車製造廠位於馬拉內羅市中心，其 鋁質底盤和車身則由位於摩德納附近的法拉利Carrozzeria Scaglietti專業化鋁質部件生產廠製造。法拉利主廠區內的Gestione Sportiva賽車部門和Fiorano賽道被馬拉內羅市的主要街道Abetone Inferiore大街分開。這座歷史性的工廠可以追溯到二十世紀四十年代，自從盧卡·蒙特澤莫羅在1991年擔任公司總裁以來，已經對新廠房和新裝備進 行了巨大的投資。
法拉利在空氣動力學領域的領先技術促進了其公路版跑車的性能，現在，三個獨立的室內風洞進一步保證了這一競爭優勢。其中最新的一個是極富未來派風 格的一級方程式風洞，由Renzo Piano設計，於1997年正式投入使用。此外，法拉利公司還為F1賽車部門興建了新的後勤大樓，並為GT產品部門興建了最先進的機械加工廠房、工程技 術中心和噴漆廠房，使整個廠區達到了新的質量標準。
目前，法拉利公司每年生產超過4,500輛汽車，分為V8發動機車型（F430和F430 Spider）和V12發動機車型，包括599 GTB Fiorano兩座雙門跑車和旗艦車型2+2座612 Scaglietti。
世界頂級建築師為法拉利設計廠房
穿過法拉利汽車生產車間的後門，你就如同走進了一座建築博物館。你的左手邊是一座風洞式的建築，由意大利建築師倫佐·皮亞諾(Renzo Piano)設計。這座由巨大的灰色管狀物和立方體構成的頗具現代感的建築，專門用於法拉利汽車的空氣動力學檢測。右手邊則是由馬可·威斯康蒂 (Marco Visconti )設計的發動機和其他零部件生產車間，龐大的三座玻璃體建築與周圍的綠地交相輝映，融為一體。
再往下就是由剛剛贏得普利茨克獎(the Pritzker Prize)的法國設計師吉恩·努維爾(Jean Nouvel)所設計的組裝車間。這座由閃光金屬和鏡面玻璃構成的建築旁邊，就是法拉利過去的汽車廠房，這座磚石結構的房屋建造於上個世紀40年代，由法 拉利創始人恩佐·法拉利(Enzo Ferrari)於二戰後親自創建。每當夜幕降臨時，位於舊廠房上空標志性的法拉利紅被點亮了，為努維爾的設計靈感蒙上了一層神秘色彩。
建築師，汽車設計師？
『我們有三個目標要實現。』法拉利的現任總裁(圖庫論壇)盧卡·蒙特澤莫羅(Luca Cordero di Montezemolo)表示。自1997年起，他先後邀請了多名世界知名設計師為法拉利設計建造最新廠房。『我要重申一下，創新要與我們的傳統、文化以 及歷史傳承相統一。法拉利不僅僅是一輛車，它是一個夢，要實現這個夢需要每一個組成部分都進行不斷的創新。』
然而，法拉利並不是唯一一個通過不斷的自我創新，突出自身品牌並以傳奇方式塑造奢侈品風范的汽車生產廠商。大眾汽車(Volkswagen)也同 樣邀請了著名建築設計師甘特·赫恩(Gunter Henn)為其在德累斯頓(Dresden)設計建造了一所玻璃工廠，在那裡完成其頂級轎車的生產。萊比錫(Leipzig)的城郊地區，則矗立著由 GMP建築師事務所為保時捷汽車(Porsche)所設計的標志性建築。寶馬汽車公司(BMW)同樣不甘示弱，聘請另一位普利茨克獎獲得者——倫敦設計師 紮哈·哈迪德(Zaha Hadid)，為其設計建造位於萊比錫的工廠。
賦予法拉利發展計劃以優勢力量的是其重建整個法拉利工廠的勃勃雄心。根據知名建築師的設計，完成了從發動機鑄造車間到最終的裝配車間所有廠房的建築工作。
公司總裁蒙特澤莫羅則表示，無論是否有金融危機，我們都將繼續前進。『銀行家們，尤其是美國的銀行家們都很貪婪，他們將自己的交易置於不太牢靠的基礎之上。現在看來我們是退了一步，但是將來我們會前進兩步，這不是什麼壞事。』
法拉利藝術品，奢侈品？
專家稱法拉利的工廠重建計劃，不過是為了穩定其在日趨繁榮的奢侈品市場的地位。『在奢侈品市場競爭過程中，建築師們在其中扮演著日趨重要的角 色。』阿曼多·布蘭奇(Armando Branchin)表示，他所在的諮詢服務公司InterCorporate，專門為奢侈品生產廠家提供競爭戰略策略。皮亞諾曾為愛馬仕(Herm?s) 位於日本的旗艦店設計店面。知名設計師艾曼勒基度·傑尼亞(Ermenegildo Zegna)則邀請安東尼·奇特裡奧(Antonio Citterio)為其設計在米蘭的公司總部和陳列室。
甚至還有建築師為葡萄酒品牌進行設計。位於意大利托斯卡納區(Tuscany)的Petra 酒廠，就是由瑞士著名的建築師、舊金山現代美術館的設計者馬裡奧·博塔(Mario Botta)設計的。皮亞諾為法拉斯奈羅葡萄園(Rocca di Frassinello)所設計的葡萄酒廠，也於去年在托斯卡納區開業。
盡管過於野心勃勃，法拉利的十年發展計劃卻致力於『在公眾心目中塑造其創新形象』，布蘭奇表示，『幾年之前，人們一說起奢侈品就會想起隨身攜帶或者穿著的某些物品。如今奢侈品的涵蓋范圍卻有所增加，由原先的房子、別墅一直擴展到汽車、游艇和私人飛機。』
蒙特澤莫羅則追隨奢侈行業降低品牌銷售門檻的趨勢，借助其法拉利紅和奔馬標志的號召力，吸引了一大批顧客前往法拉利的專營店，以遠低於其汽車平均售價(20萬美元)的價格，買到一些相關產品。
借助於這一方式，法拉利將其生產的汽車及零部件，變身為藝術作品。法拉利於2004年在意大利米蘭開了它的第一家專營店。現在已經發展到20家，其中還包括在美國的4家，如今其規模仍有擴大的趨勢。
法拉利工廠大門對面的專賣店由恩佐·法拉利本人創建，店面是法拉利的標志性紅色。在那裡面你可以花10美元買到一頂帶有法拉利標志的司機帽。不過 一級方程式賽車中所使用過的賽車上的一個活塞，就價值1025美元，可以把它當作鎮紙或者辦公桌上的裝飾品來用。一個當作雕刻品來賣的鍍鉻凸輪軸，卻要價 5165美元；同樣當作雕刻品來賣，一個10缸的發動機組則要價70800美元。
『法拉利確實很成功，』布蘭奇說，『他將汽車的零部件變為一件件藝術品。』
如今法拉利仍在尋求進一步的發展。將其商標授權給阿布紮比開發商，在波斯灣沿岸的Yas Island上建造一級方程式賽道，該項目將於2009年啟用，下一年還將在此建立一座法拉利主題公園。法拉利的高層表示，迄今為止，他們約有20%的利 潤來源於印有法拉利商標的產品和與該品牌相關的主題活動。日前，法拉利又聘請了著名建築師吉恩·邁克·威爾莫蒂(Jean-Michel Wilmotte)為其設計行政辦公室，為即將要舉行的一級方程式各項活動進行籌備。
環保與創新
然而建築所涉及的不僅僅是風格和審美方面的問題。在汽車制造中心，也就是發動機組件從鑄造廠出來等待裝配的地方，設計師馬可·威斯康蒂 (Marco Visconti)『力求將現代建築藝術同我們的需求緊密結合在一起，』負責這棟建築總體運轉的路基·邦納茲(Luigi Bonezzi)表示。這些新的建築物，配備了太陽能電池和三代系統來節約能源；大范圍室內花園的運用，不僅提高了生產力，還為員工提供了機會和輪休的場 所。行政大樓的設計由馬西米利亞諾·富克薩斯(Massimiliano Fuksas)完成，這位建築師於2005年完成了新米蘭國際展覽中心(Milan Fairgrounds)的設計建造。如今的這座建築則頗具東方禪意，置於龐大的鵝卵石鋪成的池面之上，水面上倒映的一簇簇竹叢，仿佛蘊含著無限的創造 力。
然而，生產力的提昇則得益於建築的內部而非其外觀。在裝配車間的設計過程中，建築師努維爾和法拉利的行政人員一直在為一個問題爭論——那就是將車間建為一層還是兩層。
該車間將會用於8缸引擎法拉利加州的生產，正在籌備中的12缸引擎系列也將在此生產。最終定稿之時，法拉利的行政總裁阿米迪歐·費裡薩(Amedeo Felisa)表示，在新的裝配車間中完成同樣的任務，員工的活動空間增加了20%，活動量卻減少了60%。
購買者經常會親身前往法拉利的生產車間，親眼目睹這些耀眼奪目的賽車是如何一步步地被組裝起來的。前不久，法拉利的銷售人員菲利普·桑德斯(Philip Saunders)曾陪同50名購買者前往法拉利的工廠進行參觀，還到公司外面的賽道上親身駕車體驗了一番。
不知道他們有沒有被這巧奪天工的設計所打動呢？『我想是的。』桑德斯表示，『不過讓他們印象最為深刻的，應該是當年恩佐·法拉利所建造的那座工廠大門。』
The Prestigious Design of Ferrari’s Factory
A restaurant designed by Marco Visconti at the Ferrari facilities in Maranello, Italy.
By JOHN TAGLIABUE
Published: November 27, 2008
MARANELLO, Italy — To walk through the back gate of the Ferrari automotive works here and stroll down Viale Enzo Ferrari is to enter a museum of architecture. To the left is a wind tunnel designed by the Italian architect Renzo Piano, a soaring tangle of immense gray tubes and cubes where Ferrari’s ear-splitting, nerve-tickling, expensive automobiles are tested for aerodynamic properties.
To the right is the finishing plant for engine blocks and other components, designed by Marco Visconti — three sets of huge glass blocks floating on greenery.
Farther down is the sprawling new assembly hall, designed by Jean Nouvel, the French architect who won the Pritzker Prize this year, in gleaming metal and mirrored glass. One side faces a masonry wall of the old Ferrari works, erected in the 1940s by Enzo Ferrari, who started building his sports cars after World War II. In the evening, the ruddy color of the old wall is illuminated, casting an eerie red glow on Mr. Nouvel’s creation.
“We had three goals,” said Luca Cordero di Montezemolo, Ferrari’s president, who began commissioning star architects, beginning with Mr. Piano, in 1997. “We wanted to renew Ferrari’s organization, to eliminate the division into series A and series B among our employees, and to maintain, not to lose, the spirit of Ferrari.”
Seated behind a large round desk covered in red leather, Mr. Montezemolo added: “But — I repeat, but — there is a great link with our tradition, our culture, our DNA. Ferrari is not a car, it is a dream, and the ingredients must remain innovative.”
Ferrari is not the only carmaker to highlight a brand and underscore a claim to luxury style through the innovation of a factory design. Volkswagen hired the architect Gunter Henn to design an unusual glass factory in Dresden, Germany, where it assembles its top-of-the-line Phaeton. Outside Leipzig, Germany, Porsche has its own signature building, designed by the Hamburg architectural firm von Gerkan, Marg & Partners. BMW hired the London architect Zaha Hadid, another Pritzker Prize winner, to design a factory in Leipzig.
What gives Ferrari’s project its edge is its ambition to rebuild the entire Ferrari works, from engine block foundry to final assembly plant, not just one building, according to designs of leading architects. Moreover, the project is reaching its conclusion just as the global financial crisis, which will sweep away many of the bonuses that bought Ferraris in the past, undercuts the automobile market.
Mr. Montezemolo says that crisis or no, Ferrari will continue racing ahead. “I believe, though this is not a popular view, that the crisis will be quick, and salutary,” he said. “Bankers, above all American bankers, were greedy, and put their business on a not-so-solid base, with excessive valuations. Now we have taken one step back to better conditions. We will make two steps forward, and that’s not so bad.”
Last year Ferrari sold about 6,400 cars, including 1,761 in the United States and Canada. In the first eight months of this year, sales rose almost 25 percent, to 4,953. If sales should soften in traditional markets, like the United States, Ferrari is rapidly opening new markets. It entered China in 2004, and last year sold 200 cars there. “There will always be 6,000 people in the world who will want a Ferrari,” Mr. Montezemolo said.
Ferrari’s results are good news for its parent company, Fiat. Though Ferrari accounts for only about 6 percent of Fiat’s total revenue, it generates more than 26 percent of its profit.
Experts say the architectural projects are imbedded in Mr. Montezemolo’s strategy to position Ferrari in the vanguard of the luxury goods market. “More and more architects are playing a role in luxury goods,” said Armando Branchini, whose consulting firm, InterCorporate, advises luxury goods companies on strategy. Mr. Piano, he said, designed a flagship store in Tokyo for Hermès; the headquarters and showrooms in Milan of the couturier Ermenegildo Zegna were designed by Antonio Citterio.
There are even star architects for luxury wines. The renowned Petra Winery, in Tuscany, was designed by the Swiss architect Mario Botta, who also designed the San Francisco Museum of Modern Art; Mr. Piano designed the winery of Rocca di Frassinello, also in Tuscany, which opened last year.
Though far more ambitious than others, Ferrari’s 10-year project is meant “to convince people of the fact of their being innovative,” Mr. Branchini said. “Until a few years ago, people thought of luxury as the body; now there is a sort of enlargement of the space, and this is the reason why the apartment, the villa, is more important, and many add cars, boats, executive jets.”
Mr. Montezemolo has followed the rest of the luxury-goods industry in democratizing Ferrari’s product range, cashing in on the magnetism of the Ferrari name and prancing horse logo to offer a broad range of consumer products in exclusive Ferrari shops, at prices well below those of its cars, which can cost more than $200,000.
In so doing, Ferrari has turned its cars, and their components, into works of art. Ferrari opened its first store, in Milan, in 2004. It now has 20, including four in the United States, and plans more.
But he dislikes the comparison with luxury. “Luxury, for me, is spending for things for their aesthetics, color. Here we assemble cars,” he said.
In the shop across from Ferrari’s main gate — the original, in ruddy stucco, that Enzo Ferrari built — you can buy a Ferrari driver’s cap for $10. But a piston from a car actually driven in a Formula One race costs $1,025, to be used as a paperweight or desk ornament. A chromed camshaft, ideal as a sculpture, sells for $5,165; a 10-cylinder engine block, also a sculpture, for $70,800.
“Ferrari is very successful,” Mr. Branchini said. “Pieces of a car as pieces of art.”
Now Ferrari is pushing the envelope further. Licensing its brand to developers in Abu Dhabi, the partners are building a Formula One racetrack on Yas Island off the Persian Gulf city, to open in 2009, and a Ferrari theme park set to open the next year. By now, Ferrari executives say, roughly 20 percent of its profit comes from branded articles and activities. Ferrari has chosen the French architect Jean-Michel Wilmotte to design management offices, now in the planning stage, for its Formula One activities.
The involvement of big-name architects, said Chris Hibbs, who leads the automotive group at PricewaterhouseCoopers in Britain, “is what customers expect, after Ferrari’s stretching of the brand over the last few years.”
But the architecture is not just about style and aesthetics. In the machining center, where engine blocks fresh from the foundry are finished before assembly, Mr. Visconti, the architect, “sought to fit the demands of modern architecture with our needs,” said Luigi Bonezzi, who is responsible for running the building. The new buildings, he said, conserve energy by using solar cells and trigeneration systems, which produce electricity, heat and cooling simultaneously from a single energy source, like a gas burner. They also feature the widespread use of indoor gardens to increase productivity, where workers can meet for conferences or simply to rest between shifts.
The administration building designed by Massimiliano Fuksas, best known for his futuristic glass-and-steel Milan Fairgrounds of 2005, appears to float Zen-like on extensive pebble-bottomed reflecting pools interrupted by clusters of bamboo, to foster creativity.
Often, however, increased productivity comes from the interior of the buildings rather than from their external looks. Planning for Nouvel’s assembly plant, where Ferrari will build its new 8-cylinder California model and a 12-cylinder model that is in the planning stage, went through at least three stages as the architect and Ferrari executives debated questions like whether to build the plant on one or two levels.
In its final configuration, said Amedeo Felisa, Ferrari’s chief executive, the plant will have 20 percent more work space than the one it replaces, and assembly teams will make 60 percent fewer movements to do the same tasks.
Increased productivity and lower energy costs, Mr. Felisa said, enabled Ferrari to recover within two years the extra cost of hiring big-name architects.
Prospective owners of Ferraris are often brought to tour the plants to get a close look at how the cars they are buying are put together.
On a recent weekend, Philip Saunders, a Ferrari salesman from Exeter, England, accompanied a group of 50 or so buyers. They had toured Ferrari’s new prize buildings and were about to go out to the company track to drive a Ferrari.
Had they been impressed by the show of architecture? “Yes, I suppose so,” Mr. Saunders said. “But they were most impressed by the original gate of Enzo Ferrari’s building.”
A version of this article appeared in print on November 28, 2008, on page B1 of the New York edition.
The New York Times