Press release12/3/2012

Bugatti presents the fastest artwork ever

Bugatti presents the fastest artwork ever

Molsheim

Prof. Dr. Ferdinand Karl Piëch was the driving force behind one of the most audacious automotive projects in history: the Bugatti Veyron 16.4. Today, on April 17, we celebrate the birthday of this remarkable visionary.​
With the Veyron, Ferdinand Karl Piëch made his ambition clear: deliver the extraordinary, the unsurpassed, the ultimate. ​
In 1997, while on a train between Tokyo and Nagoya, Ferdinand K. Piëch sketched an idea on the back of an envelope – a vision that would lay the foundation for the legendary W16 and ultimately change the automotive world.​
As in previous Bugatti models, the Tourbillon's engine is always visible and is a work of art in its own right.
The naturally aspirated V16 engine alone produces 1,000 HP at 9,000 rpm and delivers 900 Nm of torque.
The 8.3-liter naturally aspirated V16 engine is a completely new innovation and has been specifically designed to meet the extreme requirements of Bugatti's new hyper sports car.
The new mechanical powertrain of the Tourbillon is unique in the automotive world with a length of almost one meter.
The plenum, a critical component in any naturally aspirated engine, became a key point of the design process as Bugatti worked to achieve the perfect balance between performance and aesthetics.
The new mechanical heart of the Bugatti Tourbillon is handcrafted by the world-renowned engine specialists at Cosworth.
Episode 7 of ‘A New Era’ takes viewers through a significant milestone in the development of Bugatti's new V16 engine.
Countless test-runs on Cosworth's engine dynos helped the team to better understand the performance characteristics, sound quality, and overall behavior of the new engine.
Unlike conventional early-stage testing, which often begins with the construction of a single-cylinder prototype engine, Bugatti took a more ambitious approach and built an initial test engine with four cylinders.
Marco Arnoletti, Powertrain Chief Engineer at Bugatti Rimac, and Emilio Scervo, CTO of Bugatti Rimac, reflect on the history of the new naturally aspirated V16 engine.
Excellence through continuous learning. Ongoing technical training ensures every Bugatti Service Partner upholds the marque’s exacting standards.​
Christophe Piochon, President of Bugatti, welcoming Service Partners to Molsheim. Strengthening relationships and honoring contributions at the heart of the brand.​
Service Partners together with the Bugatti team in front of the Château Saint-Jean, Molsheim. A moment of pride and tradition as the service teams gather at the historic home of Bugatti for the Bugatti Customer Service Accreditation Training.​
Sharing the Bugatti ethos. Dedication to craftsmanship, innovation, and attention to detail — the foundation of every Bugatti service interaction.​
Hendrik Malinowksi, Managing Director at Bugatti, exchanging ideas at Château Saint-Jean during the welcoming in the Château Saint-Jean. Celebrating collaboration and commitment to continuous improvement in aftersales service.​
BUGATTI Greenwich – Regional Service Partner of the Year. Recognized for outstanding service delivery and commitment to Bugatti’s core values in North America.​
Bugatti Vienna – Most Improved Service Partner of 2024. A team driven by excellence, pictured with one of Bugatti's engineering masterpieces, the Bugatti Veyron 16.4 Super Sport World Record Edition.​
The Bugatti Service Excellence Award 2024 – A symbol of precision, dedication, and the pursuit of perfection, awarded only to those who meet the highest standards of service.​
Alexis Ploix, Director of After Sales and Customer Service, introducing the attendees to the home of the marque. Sharing insights and strategy to uphold the unmatched customer service experience.​
Bugatti UAE – Global Service Partner of the Year 2024. Honored with the top accolade for setting the benchmark in customer service and operational excellence worldwide.​
Power is in the small details. Hands-on expertise reflects the commitment to delivering a customer experience that’s as refined as the vehicles themselves.​
Bugatti Zurich – Regional Service Partner of the Year, celebrating exceptional performance and customer service excellence in the European region.​
The Tourbillon marks a new era for Bugatti, in which the design team is breaking new ground while drawing inspiration from the brand's rich heritage.
Frank Heyl, Director of Design at Bugatti, and Jan Schmid, Chief Designer Exterior and Head of the Berlin Studio.
The new Bugatti Design Studio in Berlin is a creative space that fosters and inspires the talents of designers.
Exterior design, color and trim, and 3D modeling are the main disciplines of the Berlin design team.
Bugatti designers are using cutting-edge technologies such as virtual reality to develop the next generation of hyper sports cars.
In order to meet the brand's highest standards, every material, color, and cut is carefully selected and tailored to the customer's wishes.
Bugatti customers and designers have access to a virtually unlimited range of colors.
The new Bugatti Design Studio in the listed E-Werk building pays homage to the long tradition that has shaped Bugatti for more than 115 years.
A 1,100 square-meter studio was created in an industrial building of purist beauty that has stood the test of time and still reflects this today.
The Tourbillon marks a new era for Bugatti, in which the design team is breaking new ground while drawing inspiration from the brand's rich heritage.
The new Bugatti Design Studio in Berlin connects tradition with innovation and modernity.
The new Bugatti Design Studio in Berlin connects tradition with innovation and modernity.
The new Bugatti Design Studio in Berlin connects tradition with innovation and modernity.
The new Bugatti Design Studio in Berlin connects tradition with innovation and modernity.
The new Bugatti Design Studio in Berlin connects tradition with innovation and modernity.
The new Bugatti Design Studio in Berlin connects tradition with innovation and modernity.
The four concept studies – EB 118, EB 218, EB 18/3 Chiron and EB 18/4 Veyron –immortalised in 2000 in the historic gardens of Herrenhäuser near Hanover.​
The EB 118, designed by Giorgetto Giugiaro, was unveiled at the Paris Motor Show in October 1998 and marks the first milestone on the path to the Bugatti Veyron 16.4.​
In the spring of 1999, Bugatti presented the EB 218 – one of the few four-door concepts ever designed by the brand.​
The Art Deco-inspired interior of the EB 218 set new standards in luxury, comfort, and craftsmanship.​
Unveiled in September 1999, the EB 18/3 Chiron embodied Bugatti's first vision of a modern super sports car.​
Ferdinand Piëch’s vision of a W18 engine became reality. The 555-horsepower all-wheel-drive W18 served as the foundation for all four design studies and could be admired openly from the outside for the first time in the EB 18/3 Chiron.​
The EB 18/4 Veyron, presented in Tokyo in 1999, embodied a new stylistic direction under the leadership of Hartmut Warkuß. The design was penned by the young designer Jozef Kabaň.​
Each concept was defined by exceptional creativity and unparalleled technical ambition, speaking its own design language – from the Grand Tourer to the luxury sedan, all the way to the mid-engine sports car.​
Not only in the exterior of the EB 18/4 Veyron are some features of the later production version of the Veyron 16.4 clearly visible, but the interior also reflects many design elements that would define the final Veyron.​
Ferdinand K. Piëch pursued the vision of creating a vehicle capable of reaching 400 km/h – without compromising on comfort, elegance, or usability. The four concept studies served as crucial stepping stones on the path to turning this vision into reality.​
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French artist Bernar Venet has been invited by Bugatti, legendary supercar-maker, to create a work of art that combines the artist’s vision and passions with Bugatti’s celebrated Grand Sport. Through a congenial synthesis of artistic concept and technical possibilities, Venet has created an object that integrates the symbol of speed with a fascinating, painterly exterior and an interior that alludes to haute couture. This one-of-a-kind sculptural work will be on view at the Rubell Family Collection in Miami during Art Basel Miami Beach.

Bernar Venet remarks, “A Bugatti is already a work of art in itself, one that transports both its beholder and its driver into new dimensions of reality. I realized how I could translate my passion for mathematical equations and scientific treatises into three-dimensional form. My works are usually self-referential. So I found the idea of translating the equations of the Bugatti engineers onto the bodywork of the car very appealing. It was, so to speak, a logical conclusion and a new challenge in terms of the specific form of collaboration and implementation. To me, the result is also exceptional when measured by artistic standards and bestows the object with a mythical character.”

The artistic avant-gardes of the first half of the twentieth century found inspiration in the car as an object of desire; they depicted it in drawings, paintings and sculptures that projected absolute speed as their point of orientation. In the 1970s, the car served as an unconventional canvas for many artists, such as Robert Rauschenberg, Roy Lichtenstein and Andy Warhol, who painted what became known as “art cars”. This practice continued to be embraced in the 1980s.

Since the 1990s, international artists have concentrated on exploring the shifting cultural historical significance of the car. This has resulted in sculptural and conceptual responses such as those by Erwin Wurm, Gabriel Orozco, Christoph Keller, Olafur Eliasson and Damian Ortega, which tend to contextualize the car as a paradigm for the acute social and cultural changes of a globalized world.

Bernar Venets approach is radically different from these movements and art works. He takes on the Bugatti Grand Sport by selecting a totally original solution, which distinguishes itself from the more traditional work of his predecessors. The application of mathematical formulae calculating the enormous power of the Bugatti engine on the car itself, allows him to implement the self-referential character inherent for his paintings. In doing so he pays tribute to the genius of technological science as well as the German Know-How of automobile production.

In his 2012 artistic adaptation and exploration of the Bugatti Grand Sport Bernar Venet has combined image and object to highlight the fascination with this model’s absolute beauty and speed. His work unites a conceptual approach and sculptural craft on equal footing. In this work for Bugatti, Venet links the Pop artists’ claim to the car as a canvas with the utilization of every technical and aesthetic means available for designing the fastest and costliest car in the world today. Venet incorporates signs taken from the realm of production into his visual idiom and creates a total work of art that harmonizes object and outer surface, interior and exterior, and evokes the exhilarating speed of the Bugatti Grand Sport.

Achim Anscheidt, Chief Designer at Bugatti, states, “Our collaboration with Bernar Venet, one of the most demanding artists of our time, has led to creative impulses and inspiration that will continue to motivate us in the fields of concept and design. We are pleased that this collaboration has resulted in the creation of a significant, collectible work of art. The self-image of the Bugatti brand derives from an artistic identity that unites sketch, drawing, technical planning and realization into an intermedial whole. Bernar Venet doubly honors our brand by making reference to the technical formulae of our engineers without fully revealing their secrets. It is an homage to the principle of dialogue and to the human capacity to question and redefine established boundaries. Venet is always focused on the essentials and so is Bugatti.”

The Rubells have a long history with the artist, and Mera Rubell notes, “Our friendship with Bernar Venet began in the mid-1970s. Our young families bonded over dinners and great conversations in his SoHo loft. The children played and the adults engaged in endless talk about contemporary art. Don Rubell and Bernar have always shared an obsession with the beauty and complexities of mathematics. When we met Bernar he was already an accomplished artist and a very intuitive collector of emerging art. We benefitted from his generous insight into the artist’s perspective and his artwork has been part of our collection since the 1970s. Bernar’s life-long, signature obsession with mathematical formulas has found a ready-made canvas on the Bugatti, which is both original and dynamic. We’re proud to present the Venet/Bugatti collaboration at our Foundation’s museum.”

About Bernar Venet

Born in France and based in New York, Bernar Venet is one of the most influential contemporary sculptors of our time. During the summer of 2011, Venet unveiled his monumental sculptures in a solo exhibition at the Château de Versailles in France, becoming one of only five contemporary artists to be given the honor.

From 1961 to 1963, he covered canvases in tar; his notoriety from this period was further established after his installation of a sculpture without any specific form, composed only of a Pile of Coal heaped onto the floor. Originally known for his early radical gestures, Venet moved from Nice to New York in 1966 where, over the course of the following four decades, he has continued to explore painting, poetry, film, and performance. He is known for creating abstract pieces that make reference to the language of mathematical concepts and scientific theories, bridging pure science as a subject for art and introducing the concept of “monosemy”. His capacity for intellectual abstraction and his taste for pure reason and experimentation led him to the Conceptual Art Movement of which he is one of the most prominent figures.

He represented France at the 1974 São Paulo Biennial, and also participated in the 1977 Documenta VI in Kassel. 1979 marked a turning point in Venet’s career, when he began a series of wood reliefs, Arcs, Angles, Diagonals, and created the first of his Indeterminate Lines. That same year, he was awarded an artist grant by the National Endowment for the Arts.

In 1994, Jacques Chirac, then the Mayor of Paris, invited Venet to present twelve sculptures from his Indeterminate Lines series on the Champs de Mars, which afterwards developed into a world tour in Asia, Europe, South and North America. To celebrate the establishment’s bicentennial in 2007, Bernar Venet was chosen by the French Ministry of Culture to paint the ceiling of the Palais Cambon at the Cour des Comptes in Paris. In May of 2010, President Nicolas Sarkozy inaugurated 9 Lignes obliques, a 30-meter tall sculpture to celebrate the 150th anniversary of Nice's reunification with France.

Venet is represented in many important public and private collections all over the world, including The Museum of Modern Art (New York), The Solomon R. Guggenheim Museum (New York), the Centre Pompidou (Paris), and the Museum of Contemporary Art (Los Angeles). In recent years, important retrospectives of the artist’s work have been mounted in Germany, Hungary, France, Spain and South Korea. After the 2009 Venice Biennale, where 1,200 square meters were dedicated to the installation of his steel Arcs, Venet is returning to the Biennale in 2013, this time with the intention of highlighting his works on canvas.

Venet has been the recipient of several distinguishing honors such as France’s Commandeur des Arts et des Lettres and Chevalier de la Légion d’honneur, and is also a member of the European Academy of Sciences and Arts. In 2013, Venet will be awarded the international Julio Gonzaléz Prize by the IVAM in Valencia.

About the Rubell Family Collection

The Rubell Family Collection (RFC) was established in 1964 in New York City, shortly after its founders Donald and Mera Rubell were married. It is now one of the world’s largest, privately owned contemporary art collections.

In Miami, Florida, since 1993, the RFC is exhibited within a 45,000-square-foot repurposed Drug Enforcement Agency confiscated goods facility. The museum and its sculpture garden are publicly accessible. The Contemporary Arts Foundation (CAF) was created in 1994 to expand the RFC’s public mission inside the paradigm of a contemporary art museum.

The collection is constantly expanding and features such well-known artists as Jean-Michel Basquiat, Keith Haring, Damien Hirst, Jeff Koons, Neo Rauch, Cindy Sherman, Kara Walker and Andy Warhol. In addition to displaying internationally established artists, the RFC actively acquires, exhibits and champions emerging artists working at the forefront of contemporary art.

Each year the Foundation presents thematic exhibitions drawn from the collection with accompanying catalogs. These exhibitions often travel to museums around the world. In 2011–12, 30 Americans was presented at the Corcoran Gallery of Art in Washington, DC, the Chrysler Museum of Art in Norfolk, Virginia, and the North Carolina Museum of Art in Raleigh, North Carolina. Paintings from the Rubell Family Collection were at the Fundación Banco Santander in Madrid, Spain in 2012. Time Capsule, Age 13-21: The Contemporary Art Collection of Jason Rubell is currently at the Nasher Museum of Art at Duke University. Other exhibitions have been presented at the Brooklyn Museum of Art, Palm Springs Art Museum in California and North Carolina Museum of Art. Sponsors for recent exhibitions have included Bank of America, Puma, Audi, Lanvin and Dedon.

The Foundation has been recognized as a pioneer in what is often referred to as the “Miami model,” whereby private collectors create a new, independent form of public institution. The Foundation also maintains an internship program, an ongoing lecture series and an extensive artwork loan program to facilitate exhibitions at museums around the world. Its ongoing partnership with Miami-Dade County Public Schools enables thousands of schoolchildren to visit and have educational programming inside the Foundation every year. In addition, the Foundation has a public research library containing over 40,000 volumes and a comprehensive contemporary art bookstore.

Fuel consumption and emissions

  • Bolide: Not subject to Directive 1999/94/EC, as it is a racing vehicle not intended for use on public roads.

  • Centodieci: WLTP fuel consumption, l/100 km: low phase 40.3 / medium phase 22.2 / high phase 17.9 / extra high phase 17.1 / combined 21.5; CO2 emissions combined, g / km: NA; efficiency class: G

  • Chiron: WLTP fuel consumption, l/100 km: low phase 44.6 / medium phase 24.8 / high phase 21.3 / extra high phase 21.6 / combined 25.2; CO2 emissions combined, g/km: 572; efficiency class: G

  • Chiron Profilée: WLTP fuel consumption, l/100 km: low phase 44.6 / medium phase 24.8 / high phase 21.3 / extra high phase 21.6 / combined 25.2; CO2 emissions combined, g/km: 572; efficiency class: G

    • Chiron Pur Sport: WLTP fuel consumption, l/100 km: low phase 44.6 / medium phase 24.8 / high phase 21.3 / extra high phase 21.6 / combined 25.2; CO2 emissions combined, g/km: 572; efficiency class: G

    • Chiron Sport: WLTP fuel consumption, l/100 km: low phase 44.6 / medium phase 24.8 / high phase 21.3 / extra high phase 21.6 / combined 25.2; CO2 emissions combined, g/km: 572; efficiency class: G

    • Chiron Super Sport: WLTP fuel consumption, l/100 km: low phase 40.3 / medium phase 22.2 / high phase 17.9 / extra high phase 17.1 / combined 21.5; CO2 emissions combined, g/km: 487; efficiency class: G

    • Chiron Super Sport 300+: WLTP fuel consumption, l/100 km: low phase 40.3 / medium phase 22.2 / high phase 17.9 / extra high phase 17.1 / combined 21.5; CO2 emissions combined, g/km: 487; efficiency class: G

    • Divo: WLTP fuel consumption, l/100 km: low phase 43.3 / medium phase 22.2 / high phase 18.0 / extra high phase 18.3 / combined 22.3; CO2 emissions combined, g/km: 506; efficiency class: G

    • La Voiture Noire: WLTP fuel consumption, l/100 km: low phase 43.3 / medium phase 22.2 / high phase 18.0 / extra high phase 18.3 / combined 22.3; CO2 emissions combined, g/km: 506; efficiency class: G

      • Tourbillon: This model is currently not subject to directive 1999/94/EC, as type approval has not yet been granted.

      • W16 Mistral: WLTP fuel consumption, l/100 km: low phase 40.7 / medium phase 21.9 / high phase 18.3 / extra high phase 17.6 / combined 21.8; CO2 emissions combined, g/km: 495; efficiency class: G

        Bugatti

        The specified fuel consumption and emission data have been determined according to the measurement procedures prescribed by law.

        Further information on official fuel consumption figures and the official specific CO2 emissions of new passenger cars can be found in the “Guide on the fuel economy, CO2 emissions and power consumption of new passenger car models”, which is available free of charge at all sales dealerships and from DAT Deutsche Automobil Treuhand GmbH, Hellmuth-Hirth-Str. 1, D-73760 Ostfildern, Germany and at www.dat.de.

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