The interview has finished and arguably the greatest race car designer of the modern era gets up and wanders over to the window of his office.
“Well, if we are finished, then I might erm, uh, just get on with some things,” says Adrian Newey.
No one is going to disagree. So, while we pack up our things, Newey picks up a 2B pencil and, literally, goes back to the drawing board. It is a pretty big board – over a metre long – and it runs down the side of his neat office.
Large scrolls of A2 paper are carefully stacked in one corner, rolled into tubes ready to be pored over later (I’ve read that he has two assistants charged with converting the sketches into digital form) in another department at Red Bull’s sprawling Formula 1 operation. On one wall is a Tim Layzell artwork of Newey’s Ford GT40. On the other wall a photograph of Donald Campbell and his Bluebird land-speed record car, which reached a speed of 403mph in 1964 and was the first car properly to use ground effects.
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