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SIR HENRY ROYCE (1863 – 1933): DRIVEN BY PERFECTION

  • Rolls-Royce marks the 160th anniversary of the birth of co-founder Sir Henry Royce
  • A look back at his remarkable life and work reveals a driven, even obsessive character and a relentless work ethic forged in childhood poverty and frequent adversity
  • The quest for perfection extended to every aspect of Royce’s professional and personal life
  • His famous maxim “Strive for perfection in everything you do. Take the best that exists and make it better” still informs and inspires the company’s activities today
     

“Sir Henry Royce bequeathed to the world an extraordinary legacy of engineering innovation and achievement. He also left us, his successors at Rolls-Royce Motor Cars, an unequivocal instruction: ‘Strive for perfection in everything you do. Take the best that exists and make it better’. Sir Henry himself lived out this maxim in every aspect of his personal and professional life. Today, as we mark the 160th anniversary of his birth, his challenge still informs and inspires everything we do. It serves as a constant reminder that perfection is a moving target: it is never ‘done’. There is always something we can refine, adjust, rework, reinvent or innovate in our pursuit of perfection; and that is what makes our life and work here so exciting.”
Torsten Müller-Ötvös, Chief Executive Officer, Rolls-Royce Motor Cars

Sir Henry Royce’s uncompromising command, “Strive for perfection in everything you do. Take the best that exists and make it better” is one of the most famous quotations in automotive history. It is also a maxim that rings down the ages, and still inspires and informs the company that bears his name.

As Rolls-Royce marks the 160th anniversary of Sir Henry’s birth, we look back at his remarkable life and career, in search of the origins of his most celebrated and oft-repeated exhortation. What drove his own lifelong striving for perfection; and how did his relentless, some might say obsessive, desire to improve and refine manifest itself in both his work and domestic spheres?

A LOT TO IMPROVE ON

Royce’s early life was one of hardship, poverty and disadvantage. The youngest of five children, he was born in 1863 into a family in perilous financial circumstances. Matters worsened considerably when his father, a miller, was finally declared bankrupt and, under the law of the time, ended up in prison.

It was against this unpromising backdrop that Royce’s character was formed. Yet he was determined to make a better life for himself, and by the age of just 10 was working in London, first as a newspaper seller and later as a telegram delivery boy.

Things appeared to be moving his way when in 1879, with financial support from his aunt, he secured a coveted apprenticeship at the Great Northern Railway (GNR) workshops in Peterborough. Instantly and obviously in his element, his natural aptitude for design and innate skill with tools and materials quickly become apparent. One early indicator of his talent was a set of three miniature wheelbarrows he made in brass; these pieces clearly demonstrate the exemplary standard of workmanship and quest for excellence he would maintain throughout his life.

VICISSITUDES

Royce’s drive for self-improvement came to an abrupt halt after two years, when his aunt was unable to pay his annual apprenticeship fee. Undaunted, Royce returned to London and, in 1881, began work at the fledgling Electric Lighting & Power Generating Company (EL&PG).

His decision to forsake traditional engineering for the emerging field of electricity was essentially a pragmatic one. Electricity was then so new it had no governing body or professional institutions, and thus no examinations to pass or standards to attain. Unlike in engineering, therefore, Royce’s lack of formal qualifications was no barrier to his progress.

His fascination for the subject, already formidable work ethic and commitment to study (he attended evening classes in English and Mathematics after work) meant that in 1882, the EL&PG, by now renamed the Maxim-Weston Electric Company, sent him to work for its subsidiary in Lancashire as First (Chief) Electrician, responsible for street and theatre lighting in the city of Liverpool. Yet again, however, circumstances conspired against him: through gross mismanagement in its acquisition of patents, the company abruptly went into receivership and Royce, aged only 19, found himself unemployed once more.

TAKING CHARGE

Although the parent company of his erstwhile employer chose to salvage what it could rather than sell off the remaining resources, Royce had had enough. Impelled by his innate drive, clear appetite for (calculated) risk and the abundant self-assurance noted by his contemporaries, he started up in business on his own.

In late 1884, he founded F H Royce & Co (he was christened Frederick Henry) in Manchester. Initially producing small items such as battery-powered door bells, the company progressed to making heavy equipment such as overhead cranes and railway shunting capstans.

But while the business was thriving, Royce himself was not. By 1901, his years of overwork and a strained home life were taking a severe toll on his health, which had probably been fundamentally weakened by the privations of his childhood.

His doctor persuaded him to buy a De Dion quadricycle as a way to escape the office and enjoy some fresh air; but before long, Royce’s health collapsed. A major contributing factor was his growing concern that the company was heading into financial problems; something that would perhaps have had particular significance for him given his father’s experiences.

The company owed its dwindling fortunes to an influx of cheap, or at least cheaper, electrical machinery from Germany and the USA that was able to undercut Royce’s prices. Ever the perfectionist, Royce himself was not prepared to enter a race to the bottom or compromise the quality of his products.

Complete rest was required, and he was eventually persuaded to take a 10-week holiday to visit his wife’s family in South Africa. On the long voyage home, he read ‘The Automobile – its construction and management’. The book would change his life – and ultimately, the world.

MAKING THE BEST BETTER

On his return to England, Royce ­– now fully revitalised both mentally and physically – immediately acquired his first motor car, a 10 H.P. Decauville. Given the still-parlous state of his company’s finances, this might have seemed a frivolous squandering of precious funds; but in fact, this purchase was a shrewd and calculated one that, in his mind, held the key to the company’s future prosperity.

The story usually goes that this first car was so poorly made and unreliable that Royce decided he could do better. In fact, his holiday reading had already focused his mind on producing his own car from scratch; he had already supplied a limited number of electric motors for the ‘Pritchett and Gold’ electric car. So contrary to the received wisdom, he chose the Decauville precisely because it was the finest car available to him, in order to dismantle it and then, in his most famous phrase, “take the best that exists and make it better”.

He began by building three two-cylinder 10 H.P. cars based on the Decauville layout. That he was the only person who believed this new direction could save the company is another sign of his tenacity and self-belief. Just as importantly, his attention to detail in design and manufacture, accompanied by a continuous review of components after analysis, set the production template he would follow until his death.

These first examples were followed by the three-cylinder 15 H.P., four-cylinder 20 H.P. and six-cylinder 30 H.P. – each of which represented significant advances in automotive design. In 1906, two years after the founding of Rolls-Royce, Managing Director Claude Johnson persuaded Royce to adopt a ‘one model’ policy. In response, Royce designed the 40/50 H.P. ‘Silver Ghost’, the car that rightly earned the immortal soubriquet “the best car in the world”.

The Silver Ghost demonstrated Royce’s almost uncanny instinct for using the right materials for components, long before scientific analysis could provide reliable data. He also worked out that the properties of fluids alter with speed, so designed the Silver Ghost’s carburettor with three jets that came into play at different throttle openings, thereby eliminating ‘flat spots’.

HOME AND AWAY

By 1906 it was obvious that Rolls-Royce’s Cooke Street works in Manchester could no longer accommodate the company’s rapidly expanding motor car production. Rolls-Royce acquired a site on Nightingale Road in Derby, where Royce designed and oversaw the building of a brand-new, purpose-built factory. He undertook this enormous and technically complex task on top of his normal workload, and demanded his customary exacting standards from all concerned, not least himself.

Given the relentless volume and pace of his work, Royce’s second serious health crisis in 1911 came as little surprise. Rest was again prescribed, and during the summer and autumn, Johnson drove him on a road trip that extended as far as Egypt. On the return journey, they stopped in the south of France, where Royce took a strong liking for the tiny hamlet of Le Canadel, near Nice. Ever the man of action, Johnson bought a parcel of land and commissioned a new house for Royce, plus a smaller villa for visiting draughtsmen and assistants. Royce himself naturally took a keen interest in the building work, basing himself in a nearby hotel.

His health, however, remained fragile. After a relapse which led to emergency surgery in England, he returned to the now-finished house to recuperate. For the rest of life, he (very sensibly) spent his winters at Le Canadel and the summers in the south of England.

From 1917, his English residence was Elmstead, an 18th-Century house in the village of West Wittering on the Sussex coast, just eight miles from the present-day Home of Rolls-Royce at Goodwood. Elmstead had some adjoining land, where Royce resumed his long-standing interest in fruit farming. Inevitably, he brought his desire for perfection to this activity, too, and he quickly became a leading expert in many aspects of farming and horticulture.

His domestic life at Elmstead throws further light on his perfectionist nature, which focused his attention on even the smallest actions of others. For example, any aspiring cook would be employed only if they boiled potatoes in the ‘right’ way – just as an unfortunate labourer in the Cooke Street works was once admonished and shown how to use a broom correctly.

A REMARKABLE LEGACY

Whether he was designing car components or aircraft engines, Royce’s search for perfection never waned; yet even he acknowledged that it was, in fact, unattainable. His mantra for his drawing-office staff was ‘Rub out, alter, improve, refine’, and that process of constant improvement and development led to some of his greatest engineering achievements. Under his direction, the Buzzard aero engine built in 1927 with an initial output of 825 H.P. was transformed in just four years into the Schneider Trophy-winning ‘R’ engine that, in its final form, was capable of producing 2,783 H.P. And his outline design for a V12 engine would appear almost unaltered in the Phantom III of 1936, three years after his death. An instinctive, intuitive engineer, he was a firm believer that if something looked right, it probably was right. His extraordinary ability to assess components by eye alone proved infallible time and time again.

Royce’s tendency to overwork, often at the expense of his own health, was a symptom of his quest for perfection, and a will to achieve it forged in hardship and adversity. He was a highly driven – some might say obsessive – man who overcame many setbacks and misfortunes, and applied his meticulous engineer’s eye, inquisitive mind and relentless work ethic to every aspect of his life. And such is the power of his ethos and legend, they still inform and inspire the company that bears his name 160 years after his birth.

100 Years of Lingotto: the design marker for the future of the FIAT Brand

  • In the 100th anniversary celebration video “Shaping the Future”, Olivier Francois, FIAT CEO, anticipates a vision for future FIAT models.
  • FIAT’s future cars will be inspired by signature aspects of the Lingotto and of the world-famous rooftop track: including its characteristic lightness, optimization of space, and the intensity of its façade.
  • The video features a conversation between Olivier Francois and Ginevra Elkann, President of the Pinacoteca Agnelli, about the Lingotto centenary: starting from its birth and projecting the Lingotto into the brand’s future. 

 

Today, FIAT celebrates the 100th anniversary of the iconic Lingotto: a century has gone by since the fundamental production facility was officially opened on May 22nd, 1923, immediately establishing the location as a major Italian industrial centre. The famous building now has a new life and purpose but continues to be an engine of new ideas and inspiration.
 

For FIAT, Lingotto is a place where heritage meets the future. In its early days, its iconic structure and features were a manifesto that truly launched FIAT into the 20th century. Today it is again a manifesto of the brand’s renewed vision in the 21st.
 

In the celebration video “Shaping the Future” Olivier Francois, FIAT CEO and Stellantis Global CMO, takes the opportunity to anticipate some details of the cars that will begin to appear on the market from 2024. The  “Lingotto inspired” theme also makes FIAT’s goal explicit: to inspire change and make a sustainable future accessible to all. Olivier Francois said: “At FIAT we think that the Lingotto and the track are such a landmark that they deserve to become ‘design markers’. Their characteristics have inspired FIAT designers to trace the lines of the future FIAT models, from the incredible roof track, to the ramp – a revolution in the 1920s – which is like a manifesto of our traditional lightness: less material, more space, that’s our vision of interior design moving forward. The oval shape of “La Pista 500” inspires several new interior product marker, while the façade, with the lightness of its windows, will also become a distinctive signature of the future models. I look forward to launching those ‘Lingotto inspired’ models a year from now.”
 

Ginevra Elkann, President of Pinacoteca Agnelli said: “Today is a special day: the Lingotto was officially opened by my great grandfather, exactly 100 years ago. It was a very proud moment: a huge step forward for FIAT, and for the Italian industry in general. Corbusier called it “one of the most impressive sights industry has ever offered”. The Lingotto has been an icon of Italian production, of renewal and transformation and, still today, it’s an engine for new ideas. In the 80s we were in search of a new purpose, so my grandfather decided to turn it into what you see today: shops, offices, hotels, and culture fulfilled by the artistic mission of Pinacoteca Agnelli.  Recently relaunched through a new ambitious programme of exhibitions and events, the Pinacoteca has become a new destination for a diverse and young public. Thanks to the hanging garden on La Pista 500 with its spectacular art installations, to Casa 500 and its FIATCafé500, Pinacoteca Agnelli is today one of the most visited museums in the city.
 

The Lingotto building found its new vocation during the 80s when it was inaugurated to the city of Turin and the collection of Giovanni and Marella Agnelli became its symbolic core. Today the opening of La Pista 500  reconnects the public with the original identity of this special site, merging the past with new, fresh, and vital roots.
 

La Pista 500 is the largest hanging garden in Europe and Casa 500 – welcoming visitors interested in the FIAT icon, art, architecture, and nature – is not just a museum: it’s the beginning of a journey into the future.
 

As the original, symbolic home of FIAT for a century, the Lingotto is constantly evolving and adapting itself over time, like the FIAT Brand. Innovation, attention to detail and lightness remain at the core of the brand’s future plans, with a strong prioritization of customers’ real needs in an era of continuous change.

Turin, May 22nd, 2023

CITROËN CELEBRATES 55 YEARS OF THE MÉHARI

  • Citroën is celebrating the 55th anniversary of the Méhari, revealed on 16 May 1968 at the Deauville golf course
  • Between 1968 and 1987, 144,953 units were produced, mainly at the Citroën factory in Forest, Belgium
  • This atypical, all-terrain and all-season vehicle was renowned for its modularity, practicality and economic benefits
  • The Méhari became an iconic model both for Citroën and more widely within the automotive world and enjoyed a diverse career which included film appearances and service with the French army
  • The Méhari shares this distinctive and leisure-oriented attitude with the Citroën C3 Pluriel, which will soon celebrate its 20th anniversary, and more recently with My Ami Buggy

 

Citroën is celebrating 55 years since the reveal of the Méhari, which was shown for the first time at the Deauville golf course on 16 May 1968.

 

The Méhari’s unusual pick-up design was built on a Dyane 6 platform, while the model produced between 28 and 32hp and featured an innovative ABS (acrylonitrile butadiene styrene) plastic body designed by Roland de La Poype.

 

During the Méhari’s almost 20 years in production between 1968 and 1987, 144,953 units were built (including 1,213 4×4 Méhari), making it a surprising success. The Méhari was mainly produced in the Citroën factory in Forest, Belgium, but also in seven other factories in France, Spain and Portugal.

 

AN ALL-TERRAIN AND ALL-SEASON VEHICLE

 

The Méhari’s name derives from the name given to dromedary camels in North Africa and the Sahara. These animals are known for their off-road ability, their resistance and their ability to transport both goods and passengers over long distances – making it a fitting name for a model known for its ability to adapt to all terrains.

 

From the outside, the Méhari doesn’t appear to be suitable for all seasons, as it looks more like a small convertible used during the summer holidays. Thanks to a winter cover, the car is completely sealed, turning it into a vehicle that can be used all year round.

 

PRACTICAL, MODULAR AND ECONOMICAL

 

The Méhari is highly modular, being able to transform part of its floor into a backrest, which allows it to add two seats at the rear and thus accommodate up to four passengers.

 

The body is made up of only 11 easily repairable parts and can be cleaned with a single blast of water both inside and outside. This makes the car easy to maintain and economical for its customers.

 

THREE UNIQUE VERSIONS

 

Although it was produced for almost 20 years, only three different versions of the Méhari were added to the range, including two limited editions.

 

In 1979, Citroën introduced a new variant of the Méhari with the 4×4 version. Then, in 1983, two special editions were launched. The first to be launched was the Méhari Plage, with its holiday look and bright yellow colour scheme, which was sold in Spain and Portugal. Finally, in April 1983 the Méhari Azur was launched in France, Italy and Portugal, limited to just 700 units.

 

A DIVERSE CAREER

 

The Méhari was a popular choice among organisations as varied as the police, customs, airports, racecourses and many others, but also appealed to shopkeepers, craftsmen and private individuals.

 

The model enjoyed a long career with the French army, which ordered a total of 11,457 Méhari between 1972 and 1987. The Méhari 4×4 also served as a medical assistance vehicle, with ten vehicles taking part in the 1980 Paris-Dakar Wheel alignment to provide medical support along the route.

 

Finally, the Méhari even appeared in films, most notably ‘Le Gendarme de Saint Tropez’ starring Louis de Funès.