16 About times, inventions and oceans

In a lazy little rural town in the Argentinean hin-

terland, there once lived an exuberant ten-year-

old boy. At that time, back in the Sixties, there

wasn’t much for a child to do when he came

home from school. There was nothing on TV

that could catch the interest of a little guy with

a wild and creative imagination, animated by

kaleidoscope images and dreams and stars. So-

cial and sport activities organised by local insti-

tutions were out of the question; things were

rather different then from what we are used to

nowadays. Leisure activities were typical by ru-

ral Argentinean standards of that time and al-

ways the same all year round, like playing foot-

ball with a few friends in a field in the outskirts

of the neighbourhood, a perfect training place

for kids who dreamt of becoming future foot-

ball stars, like their idol Pelè; sometimes the lit-

tle boy would manage to escape his mum and

dad’s attention to go fishing or chasing frogs in

the canal which ran through the lower part of

town; in the afternoons, he would gather with

his friends to talk about the events of the day,

the latest and greatest of the sports universe

and swap the greatly sought-after picture cards

of the “Idols of Sport” collection and, some-

times, make a timid approach to the young girl

who had stolen his heart.

Horacio Pagani’s childhood was permeated

with all this and much more: after doing his

homework with great diligence, after watching

Lassie on TV and playing outside with his

friends, he would withdraw to a narrow room

that his mother used as a laundry room and

where objects that had fallen into disuse were

hoarded - the same room to which the young

designer had proudly given the name of “la

piecita”, that is “the tiny room”. Here in per-

fect solitude, he would start drawing and carv-

ing miniature car models out of balsa wood,

dreaming that one day they would become the

most beautiful cars in the world. He was fasci-

nated by the pictures of cars produced in the

Old Continent that he saw in a magazine, and

by using the only tools available to a child liv-

ing in the Sixties, that is: a Gillette razor, Pe-

gatodo (a type of glue containing celluloid and

acetone) and a few sheets of fine sandpaper,

he would start crafting and modelling cars with

his petite, unskilled hands: futuristic cars, con-

ceived by the vivid imagination of this little day-

dreamer.

The fellow peers were immersed in the chal-

lenge of laying their hands on the unfindable

picture-card that would allow a privileged few

to complete the album and win football n.5.

Horacio, instead, preferred to spend his spare

time at the shop of Tito Ispani, a maker of

model ships and aeroplanes who was well-

known in town. The young Horacio would

spend hours trying to discover the precious se-

crets of the finishing techniques for the frag-

ile wood models or the mystery behind his per-

fect Duco varnishes.

The little racing car models which survived the

ravages of time, and which were overlooked by

many at that time, are now on display like reli-

quaries in an elegant showcase in the reception

area of Pagani Automobili, San Cesario, in the

province of Modena. This privileged space,

where Pagani unveils his fondest dreams and

confers a tangible dimension to his projects, re-

calls an alchemist’s laboratory, his place in the

1.1

T H E B O Y W H O W A N T E D T O C R E A T E T H E M O S T B E A U T I F U L C A R I N T H E W O R L D

Hug

o Ra

cca

“When you aim

the visionary bow at a star,

with the desire of perfection

and rebel to mediocrity,

you carry within you

the mysterious spring of an ideal”.

José Ingenieros, Argentinean writer

Opposite page: Horacio Pagani in a passport photo from the 60s.

01-storia ENG:nuova bozza 21/07/10 18:22 Pagina 16

101

74

fied, but nonetheless, six months later, he

shelved the whole thing again, fully convinced of

the greater potentialities of the original project.

One day he was introduced to doctor Dieter

Zetsche with whom he discussed the Mercedes

engine. His model met with Zetche’s approval. Pa-

gani was more convinced than ever that he was

treading the right path. He did not want his Zon-

da to be a mere product of advanced and mind-

blowing technology but also a reflection of the

great artisan workmanship that had contributed

in making Modena famous all over the world. He

wanted a car that embodied a sort of modern day

artistic Renaissance. As he says, technologic exu-

berance should never override the emotional and

human aspect, so warm and vibrant.

Pagani started to put together a selected team

of skilled collaborators for his new firm which

was under construction; they may be called

artists rather than artisans, people with extreme-

ly high levels of craftsmanship and an unfalter-

ing passion for their profession.

Most of the work was dedicated to the construc-

tion of the frame; Pagani considered it the most

crucial aspect of the whole project, since the suc-

cess of the whole project would depend on the

type-approval crash test results. After all, he

wanted his car to be complete in every detail and

this included type-approval, of course.

He wanted his Zonda to run like any other

mass-produced car; failing this, he would not

let it run at all. If the C8 project - eagerly pur-

sued for years - happened to fail the crash test,

it would inevitably end up languishing on a

dusty garage shelf forever, sharing the same

fate of many other ingenious prototypes.

Pagani installed a bench test for carrying out tor-

sion tests for the frame and the suspension sys-

tem. Each component was tested beyond its

breaking point.

In 1997, when he was through about 75% of

the project, he made his most important invest-

ments amongst which was a technical office at

Modena Design for building the components

and carrying out calculations and mathematical

verifications and also to prove to the world that

he was doing the right thing. He considered this

step as a confirmation of his efforts and an op-

portunity to improve even further. The car, con-

sidered as exotic (and perhaps even more so) as

any other car within the rarefied supercar seg-

ment, had to be exclusive, to ensure the client

that what he was buying was a unique work of

art, something made purely for him, an object

with a “soul”, that embodied a mystery only

known to the owner. The day of delivery of a car

is always an exciting time at the atelier: every em-

ployee takes a break to attend this magic mo-

ment with hearts beating a little faster in thrilling

anticipation. Everyone crowds around the awe-

inspiring vehicle which is covered with a drape

waiting for its new owner to come in. The mo-

ment becomes solemn; a deep silence falls; the

keys are handed over to the client and the drape

is removed. The car register, a binder containing

a detailed description of each building phase, in-

cluding variations and procedures carried out

during construction, is shown to the client.

work moulds for shaping the first carbon parts.

Despite the hardship, they worked non-stop: the

three thousand car components were designed

one by one and assembled later on. It took them

years to accomplish their goal, with the in-

evitable ups and downs of creative imagination

along the way, since ideas are not immediate and

ingenious every time. Furthermore, it was neces-

sary to solve the complex technical matters

linked to an extreme vehicle of this kind. Anoth-

er ambitious goal was to create a car that would

be able to withstand the turning of the tide and

the unavoidable changes in technologies and

trends over time.

Pagani discovered very early that if he wanted to

live up to his commitment, he would have to lay

other projects aside. He was aware of the risks he

would be exposing himself to in case of failure;

nonetheless he was determined to focus all his

human and creative energy in one direction only.

For this reason, his methodological re-elabora-

tion went to great lengths, starting from the 1:5

scale models realized between 1991 and 1992

and derived from his first car designs. Pagani

took several pictures of the models and gradual-

ly began to make changes to the parts until each

detail matched his taste perfectly. When the new

project seemed to be complete, he shelved it for

another six months. Then he went through it all

over again and designed a different version to

find out if he could make further improvements.

The new design had taken on a more aggressive

connotation and entailed further solutions that

recalled the Lamborghini style. Pagani was satis-

Above: several sketches of the C12.

Below: several models of the car ( 1993).

Opposite page: a sequence of photos showing various stages of projectdevelopment for the C12, from the first hand-carved wooden models tothe prototype intended for use in crash tests.

143

56

T H E C O U N T A C H A N N I V E R S A R Y

While he was working at Lamborghini, Horacio hadstarted to develop his own projectual experiments inresponse to the work orders that the company usuallyassigned to famous Italian designers. Horacio had thesecret hope that one day some of his ideas would beimplemented for mass-production cars.This never happened, but Horacio eventually managedto attract the attention of the executives of the House ofthe Raging Bull, who entrusted him with the task of theCountach restyling.Horacio tried to build the central frame cell withcomposite materials, a solution that was deemed unvi-able at that time. As a matter of fact, the feasibility of thisidea was never verified, as the project for the CountachEvoluzione was brought to a standstill and the onlymodel that was built remained a prototype.Two years later, on the occasion of the company’s 25thanniversary, the restyling project for the Countach wasresumed in order to comply with the new bumper regu-lations, amongst other things. Since it was not consid-ered a new project, the work was entrusted to Horacioinstead of the usual designers. This represented atremendous opportunity for him. He put himself to workand immediately came up with several solutions for thenew parts. Needless to say, the car was a huge commer-cial success.

1987: sketches and prototype of the Countach Anniversary (known asCountach 25th).

01-storia ENG:nuova bozza 21/07/10 18:23 Pagina 56

115

and enough longitudinal suspension compliance toprevent sharp bumps crashing through to the chassis.The secondary ride is just OK - much better than the Vey-ron’s, but it does start to fidget uncomfortably over someof the smaller bumps; I would love to try a Zonda F on18 inch wheels. Road and wind noise are high, whichwould prove tiring on a long trip, though Horacio ex-plains that this particular car has no soundproofingmaterial.All to soon it’s over. Apart from the driving position, thedrive to Goodwood and back was a very enjoyable ex-perience and it was a great pleasure for me to have the

sort of cars that will deliver something approaching theF1 experience.It wouldn’t be entirely fair to labour the Zonda vMcLaren F1 comparisons at this point.The McLaren was a massively focussed technical motorcar with many engineering firsts in terms of materials,packaging, suspension and aerodynamics - some ofwhich have not been surpassed even today. But the F1 isno longer being built.The Pagani Zonda doesn’t break the same sort of newground, but stands more as a handmade work of artfrom a small, passionate team of engineers. It delivers

car’s creator sitting by my side - it also gave me a chanceto brush up on my very rusty Italian!The Zonda F is a true supercar, well engineered andwell-built enough to lift itself above all the other sportscars being produced by small companies. A very goodpowertrain, well-resolved dynamics and excellent, pro-gressive brakes all add up to a great drive.Minimal luggage space, the seating position and thecar’s overall size detract a little from its “real world” ap-peal, but the Zonda is still a very viable purchase, alongwith the Porsche Carrera GT, in the upper price-level“handmade” category of rear-engined supercars. The

not so much by concept but by performance.Time will tell if it will become a classic car, but alreadyit is a car of which both its creator and its owners canbe very proud.

Gordon MurrayEVO UK - February 2006

160 The F version did not represent a simple restyle

of the Zonda S, but a whole new car. The en-

gine, still 7.3, was completely revised. Aerody-

namics were redesigned on a mathematical

base. Both the CZ and the CX were improved be-

coming the first Pagani to exceed 350 kilometres

per hour. The front end was revised and elongat-

ed, and the front air intake became larger. The

main headlights incorporated the indicators,

while the fog lights took the shape of aggressive

torpedoes. The rear boot adopted the windows

already tested on the Roadster S; the spoiler, held

in place by a slender metal rods, became once

again a one-piece fixed wing, with a profile stud-

ied in the wind tunnel. The NACA were multi-

plied, and were now present on all the wheel-

houses, while various details of the interiors were

revised as well as the instrumentation, which was

redesigned and enriched with new instruments.

Two versions were presented, of which the most

powerful, called Clubsport, became the most

popular. The car appeared more slender than the

Zonda S, with flowing and more aggressive

streamline, which soon caught the interest of the

press and customers.

4.5

Z O N D A F / Z O N D A F C L U B S P O R T

Robe

rto

Mor

elli

Engine: Mercedes-Benz AMG 12 cylinder V 60°, 48 valves; displacement 7291 cc.Max. Power: (kW) hp/rpm: (443) 602/6150 - (478) 650/6200*.Max. Torque: Nm/rpm 760/4000 - 780/4000*.Weight-to-Power ratio: 2,04 kg/hp - 1,89 kg/hp*.Intake manifold*: aluminium/avional hydroformed alloy MHG-System.Exhaust system*: hydroformed steel and inconel ceramic coated manifold, titanium muffler.Transmission: longitudinal mid engine; rear wheel drive with self-locking differential.Clutch: twin plate clutch.Gearbox: mechanical 6 speed (+ reverse).Brakes: 4 ventilated Brembo disks, hydraulic power brake.Carbon-ceramic brakes*: front 380x34 mm 6 piston caliper; rear 355x32 mm 4 piston caliper.Steering: TRW rack and pinion power assisted.Wheels: Forged aluminium/magnesium alloy APP wheels; 19” front, 20” rear.Tyres: Michelin Pilot Sport 2: front 255/35/19; rear 335/30/20.Suspensions: 4 independent wheels with double A-arm; pull rod helical springs

and Öhlins adjustable shock absorbers; anti-roll bar; aluminium/magnesium alloy suspension arms.

Structure: central carbon fiber chassis; front and rear Cr Mo space frames;carbon fiber “MD System” bodywork panels.

Dimensions: length 4435 mm; width 2055 mm; height 1141 mm; wheelbase 2730 mm;dry weight 1230 kg (without Comfort Pack and with CCM brakes).

Weight distribution: 46% front; 54% rear.Downforce: ~600 kg at 300km/h (Clubsport version);

downforce distribution: ~270 kg front; ~330 kg rear.Safety: ABS/Traction Control Bosch; central carbon fibre safety cell with steel

and carbon fibre roll bar; front and rear impact energy absorbing structure in carbon fibre and Cr Mo.

Performance*: acceleration 0-100 km/h 3,6 sec.; 0-200 km/h 9,8 sec.;lateral g’s: 1,4 g with SPORT setting; deceleration 200-0 km/h: 4,4 sec.; top speed: > 345km/h.

* = Clubsport version

ZONDA F

63

V A L E N T I N O B A L B O N I

Legendary test driver, Valentino Balboni, has been work-ing with Lamborghini for 40 years. Together with theToro automobiles, he clocked up more kilometres thananyone else in the world and he well and truly repre-sents a historical memory of the golden age, when thecars were constructed with the use of muscle strengthand hammer.

Valentino, in the 80’s Horacio Pagani wasemployed by Lamborghini. What do you remem-ber about that period?

V.B. - I met Horacio when he was here with us, atLamborghini. He set up the first composite department,and it was he who proposed to construct spare partsusing innovative materials, as at that time things weredone in the traditional way, beating the panels to giveshape to the body work. He was also one of the biggestsupporter of that famous experimental car, theCountach Evoluzione.He was very young, and yet he already had experience,that was crucial to mount the first pieces in carbon fibreon the Countach series, which he himself had manufac-tured.

But he wanted to be a designer...

V.B. - Oh yes! He always had in mind his stuff, his style,his drawings (laughs) and he was unstoppable. He wasalways delicate, sweet, calm, yet he constantly proposedhis views on things we were working on. It was impossi-ble to stop him.At that time, restructuring works were being done herein the factory and the employee parking lot was inacces-sible. We had to park far away, near the church, andevery morning our cars lined up side-by-side to oneanother, on a first-come first-serve basis. Everyone hashis own habits, and so without any agreement whatso-ever, a kind of hierarchy was created: Horacio and Ialmost always arrived together and ended up parkingside by side. Furthermore, here in the factory, ourdepartments were opposite each other, in an area of thebuilding just facing the car park. So we used to do along five minute walk together. Imagine the scene: I usedto arrive at work at seven o’clock in the morning, freez-ing cold, half-asleep... and Horacio inevitably pulledout of his pocket a few drawings, a sketch or somethinghe had worked on the preceding night, showing me andforcing me to comment on his ideas. Once he showed mea panel which was meant for the inside of the car door,another one was a bumper or an alteration to the side.I had to express my opinion and it was not possible toavoid answering because he did not let go of me! Healways had in mind to study some new solution anddraw it his own way. I used to tell him: “Well, stop itHoracio, leave me alone! At night just take care of yourwife, rather than spending time making drawings!” Wehad a great friendship based on mutual respect, that isstill ongoing today. He was always so full of energy thathe ended up involving everyone. His attitude was posi-tive and enthusiastic; he was capable of transformingpeople. Working with him was gratifying, and we wereall dominated by the feeling of doing the right things, upto standard.

What chances did he have to see his ideasapplied?

V.B. - Initially Horacio did not have any designingresponsibility. He did these things out of personal pas-sion. Nobody had ever asked him to design anything,there were the official designers for this. He worked withinstinct, and then tried to get his ideas across to thedesign centre. His irrepressible attitude, by dint of insist-ing, allowed him to play a decisive role not only in theconstruction of components, but also in defining thestyle concepts. In fact a large part of the Anniversary’sstyle was made by him. In short, there were two distinct phases: in the early dayshe was driven by pure desire, after some years his ideasbecame an integral part of the projects.

What happened when Pagani began to speakabout a composite department?

V.B. - We were interested in working with innovativematerials. Everyone started to speak about these fibresthat could replace sheet metal. Horacio pushed a lot inthis direction, but the management were rather con-servative. They wanted to maintain a reduced produc-tion, in order to remain exclusive and follow the tradi-tion. Nobody wanted to expand the company and com-plicate things by inserting stunning features, or daringinnovations that required investments which were notfelt as a real need. This was because, the company wasgetting on just fine thanks to the “holy” Countach, athoroughly tested car, which had been easily sold foryears and had also repaid the wrong-doings that someleaders had done. The company used to live off the annuity and used tothink that it could go on forever.Horacio, however, opposed himself to this staticapproach. Gradually he inserted himself in style issuesand in this way ended up suggesting things that could beonly done with the composite. He wanted to go aheadand also be the centre of attention. When Alfieri received a substantial government grant todevelop an innovative project, he grasped the opportu-nity. Obviously, Alfieri wanted to utilise only a smallpart of that capital to develop a composite machine; alarge sum was spent to improve the existing factory.However, at least a prototype had to be built. In this wayHoracio could demonstrate to the whole world that hewas capable of building a car from scratch. There camea day when, surprisingly, he presented in front of ourincredulous eyes the Evoluzione, a Countach which hada carbon cell instead of a tubular metal cell. It was anunpretentious project which did not aim to make it aproduction car: it should have been a sort of “expenseaccount” in order to justify the public economical con-tribution. Eventually, the car was terminated and thefinal result was impressive. It was very light and aerody-namic, yet rigid and having values well beyond those wewere accustomed to. After testing at Nardò, we coulddeclare a top speed of more than 330 kmph, a remark-able fact for that period. All this attracted the attentionof the worldwide press. In an moment, the littleLamborghini was once again on everyone’s lips. All thiswas unprecedented publicity which proved to be valu-able for the sales of our cars. The Evoluzione was thensent to the crash test for homologation. The only speci-men was destroyed during the crash test and after thisnobody ever talked about launching its construction inseries.

Pagani says that you were the first to arrive andthe last to go home in the evening.

V.B. - This is true. My department was in front of his, sep-arated only by a small passage way. I used to go and seewhat he was doing, just for personal curiosity, but Iended up learning myself. In those years at Lamborghinithere was truly a feeling of being a great team, the dis-tance between managers and workers was minimal. Itwas a joy to arrive at work in the morning and a sad-ness to go home in the evening. We have had the uniquefortune of living in a golden age, when everything washandmade and the cars were done with a passion. We lived day by day. There was a conservative mentali-ty and luckily someone had thought to manufacture aMiura and a Countach, which made us survive failuresand vicissitudes of all kinds. Obviously, nowadays, wecan no longer make cars in this way: they have to beperfect straight away, right from the first specimen. Byinserting a chassis number into a computer, one cannow see all the details in the construction sheet. We cannow repair a Lambo that has broken down in Australia,but actually driving the Countach gives a completely dif-ferent thrill.

Horacio still applies the old method. I have the fortune toknow almost all the important people in the supercarfield, and everyone speaks positively about Horacio’swork. He won everyone’s respect thanks to his character,his technical expertise, his experience and an unwaver-ing determination. Ferruccio Lamborghini and EnzoFerrari’s cultures are still alive in him. For an old roman-tic like myself, it is good to see that there is still someonewho wants to do things in this way, although I understandthat the world has changed and now the results areobtained through calculations not by instinct, I still missit. Up until fifteen years ago a talented person could suc-ceed alone in winning a challenge like this only if he hadthe guts and desire to be perseverant. The talent emerged.Nowadays we work in teams: the results are more perfect,but it ultimately lacks passion.

01-storia ENG:nuova bozza 21/07/10 18:23 Pagina 63

220

Car 64 - Roadster F - Year 2006 - No. ZA9C820C110SF76064Exterior: fully visible carbon fibre - Interior: red leather - Drive: left hand

Car 65 - Zonda F Coupé - Year 2006 - No. ZA9C820C10SF76065Exterior: fully visible carbon fibre - Interior: black leather and Alcantara - Drive: right hand

Car 66 - Zonda F Coupé - Year 2006 - No. ZA9C820C10SF76066Exterior: chrome grey - Interior: matt / glossy red leather - Drive: right hand

Car 67 - Zonda F Coupé - Year 2006 - No. ZA9C820C10SF76067Exterior: New York pearl white - Interior: black leather - Drive: right hand

Car 68 - Roadster F - Year 2006 - No. ZA9C820C110SF76068Exterior: metallic black gold - Interior: black leather - Drive: left hand

Car 69 - Zonda “1 of 1” - Year 2006 - No. ZA9C820C10SF76069Exterior: Geneva yellow 2 - Inside: yellow leather and ostrich - Drive: left hand

Car 70 - Roadster F - Year 2006 - No. ZA9C820C110F76070Exterior: Singapore orange - Interior: black leather - Drive: right hand

Car 71 - Zonda F Coupé - Year 2006 - No. ZA9C820C10SF76071Exterior: New York pearl white - Interior: blue leather - Drive: left hand

Car 72 - Zonda F Coupé - Year 2006 - No. ZA9C820C10SF76072Exterior: New York pearl white - Interior: black leather - Drive: left hand

Car 73 - Zonda F Roadster - Year 2007 - No. ZA9C820C110F76073Exterior: fully visible carbon fibre - Interior: matt red leather - Drive: left hand

Car 74 - Zonda F Roadster - Year 2007 - No. ZA9C820C110F76074Exterior: fully visible carbon fibre - Interior: matt red leather - Drive: right hand

Car 75 - Zonda F Coupé - Year 2006 - No. ZA9C820C10SF76075Exterior: midnight blue - Interior: black bull leather - Drive: left hand

Car 76 - Zonda F Coupé - Year 2007 - No. ZA9C820C10SF76076Exterior: chrome grey - Interior: matt red leather - Drive: right hand

Car 77 - Roadster F - Year 2007 - No. ZA9C820C110F76077Exterior: fully visible carbon fibre - Interior: yellow leather and ostrich - Drive: left hand

Car 78 - Roadster F - Year 2007 - No. ZA9C820C110F76078Exterior: fully visible carbon fibre - Interior: matt red leather - Drive: left hand

Car 79 - Zonda F Coupé - Year 2007 - No. ZA9C820C10SF76079Exterior: Dubai red - Interior: anthracite leather - Drive: left hand

Car 80 - Roadster F - Year 2006 - No. ZA9C820C110F76080Exterior: fully visible carbon fibre - Interior: matt red leather - Drive: left hand

Car 81 - Roadster F - Year 2007 - No. ZA9C820C110F76081External: two-tone black fully visible carbon fibre - Interior: black leather and Alcantara Drive: left hand

Car 82 - Roadster F - Year 2007 - No. ZA9C820C110F76082External: two-tone fully visible carbon fibre and Saint Tropez orange - Interior: black and beige leather - Drive: left hand

Car 83 - Zonda F Coupé - Year 2007 - No. ZA9C820C10SF76083Exterior: fully visible carbon fibre - Interior: black leather - Drive: left handThe first Zonda painted with an opaque transparent.

Car 84 - Zonda PT2 F - Year 2007 - No. ZA9C820C10SF76084Exterior: Dubai red and fully visible carbon fibre - Interior: cream leather - Drive: right hand

Car 85 - Zonda F Coupé - Year 2007 - No. ZA9C820C10SF76085Exterior: Gorizia white - Interior: black bull leather - Drive: left hand

Car 86 - Zonda F Coupé - Year 2007 - No. ZA9C820C10SF76086Exterior: black and fully visible carbon fibre - Interior: black leather - Drive: right hand

Car 87 - Roadster F - Year 2007 - No. ZA9C820C110F76087Exterior: fully visible carbon fibre - Interior: black leather - Drive: right hand

Car 88 - Zonda F Coupé - Year 2007 - No. ZA9C820C10SF76088Exterior: New York pearl white and fully visible carbon fibre - Interior: red and cream leather - Drive: right hand

Car 89 - Roadster F - Year 2007 - No. ZA9C820C110F76089External: two-tone blue / fully visible carbon fibre - Interior: blue and beige leather Drive: right hand

Car 90 - Zonda F Coupé - Year 2008 - No. ZA9C820C10SF76090Exterior: fully visible carbon fibre - Interior: black leather - Drive: left hand

Car 91 - Zonda PT1 F - Year 2007 - No. ZA9C820C10SF76091Exterior: St.Tropez orange / fully visible carbon fibre - Interior: black bull leather - Drive: left hand

Car 92 - Zonda F Coupé - Year 2008 - No. ZA9C820C10SF76092Exterior: New York pearl white and fully visible carbon fibre - Interior: matt red leather Drive: left hand

Car 93 - Zonda PT3 F - Year 2008 - No. ZA9C820C10SF76093Exterior: chrome grey - Interior: matt / glossy red leather - Drive: left hand

Car 94 - Zonda F Coupé - Year 2007 - No. ZA9C820C10SF76094Exterior: fully visible carbon fibre - Interior: red leather - Drive: left hand

Car 95 - Roadster F - Year 2009 - No. ZA9C820C110F76095Exterior: fully visible carbon fibre - Interior: black leather - Drive: left hand

Car 96 - Roadster F - Year 2008 - No. ZA9C820C110F76096Exterior: fully visible carbon fibre - Interior: black bull leather with red leather detailsDrive: left hand

Car 97 - Roadster F - Year 2008 - No. ZA9C820C110F76097Exterior: fully visible carbon fibre - Interior: black leather - Drive: left hand

Car 98 - Roadster F - Year 2008 - No. ZA9C820C110F76098Exterior: fully visible carbon fibre and metallic blue - Interior: white ice leather - Drive: left hand

193