Exactly one hundred years ago, grand prix racing seemed to be on the verge of a technological revolution. Three incredibly original and far-sighted 1923 designs – from Benz, Bugatti and Voisin – appeared almost simultaneously, radically different to anything which had gone before and quite different from each other. Aerodynamics seemed to have suddenly come into vogue after years of conventional flat-fronted, open-wheeled cars with long bonnets covering their front-mounted engines, an open cockpit and tapered tail.
Benz produced the Tropfenwagen, an incredible mid-engined car with independent suspension for all four wheels. Both these features would be fundamental to huge increases in performance in years to come.
Bugatti introduced the Type 32, a car with the look of a beetle, the wheels enclosed within the bodywork, the cockpit down low behind a curved full-width slab of a bonnet. Behind the cockpit the bodywork tapered away to nothing within a very short distance. Low drag was the priority.
There is a wish from F1’s technical group to introduce active aerodynamics
Voisin’s C6 ‘Laboratoire’ was even more bizarre, with the front wheels out in the air in the conventional manner but the rears brought inside the bodywork, almost touching each other so narrow was their track. It had an extremely small frontal area and a radical wedge-fronted body shape. Remarkably, it was of monocoque construction 39 years before the Lotus 25 popularised the technique in F1.
They were all failures, bludgeoned into also-ran status by the massive power advantage of the very conventional-looking Fiat 805 with a less visible but more potent innovation: a supercharger. The advantage conferred by its 140bhp engine dwarfed any low-drag advantages of the 100bhp Bugatti, the 80bhp Benz or the 73bhp Voisin. So the very real value of aerodynamics was rather overlooked and these three cars came to be looked upon as design dead-ends, their real merit not appreciated until decades later. It set racing on a fairly dull technical course over the following few years, where the motor was all. Once grand prix racing’s brief art deco season was over the previous visual uniformity returned. The aero baby had been thrown out with the bathwater.