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  • [ENGINE REVVING]

  • [MUSIC PLAYING]

  • JF MUSIAL: What you're about to see is the most authentic,

  • honest car factory in the world.

  • Welcome to the Morgan Motor Company.

  • Unlike other factory tours that take weeks of phone calls

  • and emails just to orchestrate,

  • Morgan is an open book.

  • Every other car factory we've been to, we're always ushered

  • past secret rooms that hold future designs and technology

  • worth millions of dollars.

  • This Malvern, England based workshop holds no secrets.

  • All you'll find here are happy designers, craftsmen and

  • women, the smell of wood, glue, leather.

  • And did I say wood?

  • So what do you need to know about this place?

  • Well, this is the oldest car company in the world owned by

  • a single family.

  • Their designs, not much different from

  • five decades ago.

  • They produce a three-wheeled car called,

  • well, the three wheeler.

  • And simply put, this is just the coolest [BLEEP]

  • place you'll ever visit as a car enthusiast.

  • And what better person to give us a tour than a Morgan?

  • A Mr. Charles Morgan.

  • So, Charles, where are we right now?

  • CHARLES MORGAN: Right, well, this is

  • where it starts, really.

  • This is the start of the Morgan assembly line.

  • It all starts with the chassis, of course, that we

  • actually import in from Birmingham, which is only

  • about 30 miles north of us.

  • But this is built for a [INAUDIBLE]

  • shape to our designs, obviously.

  • It's designed on a CAD [INAUDIBLE].

  • And as I said, it's cohesively bonded aluminium.

  • You've got what is the same principle as the racing cars.

  • In other words, what I'm saying is, the chassis does

  • all the work.

  • It provides all the stiffness.

  • It provides all of the mounting points for the engine

  • and the gear box and the power train.

  • And we even, of course, fit the fuel tank.

  • We fit all the electric wiring, which is neatly hidden

  • inside the chassis.

  • And you can actually start the car.

  • You can drive it as a chassis.

  • It's not actually driven.

  • But we do run it.

  • And of course we run it because we have a quality

  • check that is demanded by BMW or by one

  • of our engine suppliers.

  • And that means you go through all the diagnostic checks on

  • the engine.

  • And what I quite like about that, doing it as a chassis,

  • is that everything is visible.

  • So if there are any leaks, or if there is any problems at

  • all, it's all accessible to put right.

  • And that's particularly pleasant if you're an

  • electrical engineer, for example, because modern wiring

  • [INAUDIBLE] are very, very complicated.

  • What happens in this e-box, there's actually five

  • computers, I think, in this car.

  • This is actually the 4.8 liter BMW, which it's still a

  • current engine, but they've built it especially for us.

  • And the reason they do that is they've gone twin turbo 4.4

  • liter to keep the emissions down.

  • But actually, the 4.8 in this car, because it only weighs,

  • less than 2,000 pounds--

  • it's about 1,150 kilos.

  • This car is ultra light.

  • So actually, the emissions are very low anyway.

  • So we didn't need to go to the

  • complications of the twin turbos.

  • But this is the diagnostic check equipment, so that

  • allows us to run the engine up.

  • -Are you sure that doesn't pick up any Nazi frequencies?

  • [LAUGHTER]

  • CHARLES MORGAN: It's an early mobile phone actually.

  • I think one of the reasons why BMW quite like working with

  • us, to be honest, is that most of their cars are still

  • [INAUDIBLE].

  • And they tend to be a lot heavier than an aluminium car.

  • So the engineers--

  • I'm not talking about the marketing people here, but the

  • engineers quite enjoy seeing their product in our

  • lightweight frame.

  • Dr. Schmidt-- who's left unfortunately, I think he's

  • gone to Ford-- but he was the head of engine

  • power train at BMW.

  • And he got out one of the earlier versions of this and

  • said, at last, Charles, I can feel my engine.

  • Because normally it's so quiet.

  • [MUSIC PLAYING]

  • JF MUSIAL: I wouldn't be able to do a full episode on the

  • history of Morgan.

  • It would just take too long.

  • But here's what you need to know.

  • The roots of the company come from HFS Morgan, with a basic

  • vehicle formula--

  • Powerful motorcycle motors, light chassis, simple,

  • resourceful, and fun.

  • And for Malvern, where every road somehow leads up a

  • mountain, that's especially useful.

  • So let's start off with-- what is this thing?

  • I've seen it before, but I have no idea what it is.

  • JONATHAN WELLS: OK, well, this is our 2009 life car concept

  • vehicle, really.

  • And this was a car that featured a hydrogen fuel cell

  • platform underneath it.

  • So it's a completely zero emissions car.

  • It was a great advertisement for the company, because

  • people see a zero emissions car, and they go, wow, Morgan,

  • a sports car maker is building something very

  • environmentally friendly.

  • But then you actually to get into Morgan and the brand, and

  • it does a lot more.

  • When you realize that all the materials in this car are

  • locally sourced.

  • And the factory itself isn't using big machinery, and it's

  • hand crafting these vehicles.

  • It's a low energy manufacture.

  • The car is very lightweight.

  • You've got all these other fantastic environmentally

  • friendly accreditations that they're adding to it.

  • So although it is a zero emissions vehicle, every

  • Morgan is actually very environmentally friendly.

  • They have a long life span.

  • They're kept for a long period of time.

  • So, it was just a testament to the way in which we build cars

  • considerably.

  • JF MUSIAL: I think the one thing that we all notice when

  • we first come in here is the smell.

  • CHARLES MORGAN: Yes, this is the wood shop.

  • This is very unusual to find a wood shop like

  • this in a car factory.

  • You'll find veneers in a luxury car factory, but you

  • won't find guys putting together solid hard wood

  • that's this grand.

  • Obviously these are the back presses.

  • When you laminate some wood--

  • this is really heavy-- ah, I can't pick it up.

  • But when you laminate wood, obviously you put the grain in

  • the different directions, and then you bond them together.

  • And of course, you want to take all the air out of it

  • that you can to stop the air bubbles in the glue, so that

  • creates a bonded laminate.

  • And that's a very strong component.

  • And of course, it's got a lot of spring in it.

  • And it seems to last forever.

  • That's partly why we use wood.

  • We also use wood, to be honest, because it's

  • environmentally correct.

  • Because it encourages people to plant forestry.

  • And it's the young trees that clean the air.

  • So it's our, if you'd like, bit of greenness too.

  • But we're actually using wood in sustainable forestries

  • that's being kept going by people who use wood.

  • But I suppose the other thing is it gives us a unique

  • proposition.

  • And these days, basically, there's so much competition in

  • the car industry, we want to maintain

  • something that's very Morgan.

  • Something that's very different.

  • And as you said, the smell's very nice, too.

  • The 1950s.

  • Plus Morgan plus four coupe.

  • And we've got it here just to show that we can actually

  • build the cars and keep the cars going on the road.

  • For instance, Morgan probably has got about 30,000 or 40,000

  • cars around the world.

  • And they do say that a Morgan never dies.

  • The wood--

  • it's not in brilliant condition, is it?

  • But the fact is that you can replace it.

  • So basically, what people tend to do with Morgans, is that

  • they re-chassis them.

  • They re-body them.

  • And they keep them going with components, which again, is

  • very, very good from the environmental point of view.

  • Because ideally, what you want to do is produce a product

  • that generation after generation, like a watch, is

  • going to want to keep going.

  • That's very much part of our philosophy.

  • Now, one person definitely is responsible for a chassis and

  • for a wood frame.

  • So if you like that, that gives the

  • ownership to the operator.

  • And he signs it off.

  • He could actually sign it.

  • Sometimes they do.

  • They sign it.

  • But I think it's very important to recognize that a

  • car is a combination.

  • It's not one person that build the whole car, but it's a

  • combination of different people who actually are really

  • skilled in their own particular area.

  • The wood's ash.

  • It's English.

  • It grows fairly straight.

  • Comes from England or Europe.

  • Not America.

  • It's faster growing in America, but

  • it's a slow grow here.

  • What's good about it is the grade.

  • You don't tend to get too many knots in it, and so you can

  • use a lot of it.

  • And it grows fairly straight, whereas oak tends to go in

  • lots of different directions.

  • But it's the same material as a handle of a

  • cricket bat, for instance.

  • It absorbs shock really well.

  • In the old days, in the Italian factories, they have

  • this thing called Superleggera, and that was the

  • aluminum body.

  • And then you added some tubular steel frame

  • underneath.

  • And in a sense, this is exactly the same.

  • This is the structure underneath the aluminum body

  • of the three wheeler.

  • Under this, of course, is a big tubular chassis.

  • Yeah, but this if you like, is just a way of keeping the

  • aluminum taut and acting as a little bit of a cushion

  • between the chassis and the body.

  • The problem with Superleggera, of course, is that it was

  • steel against aluminum.

  • So of course the aluminum reacts with

  • the steel and corrodes.

  • We don't have that problem with the wood.

  • So to an extent, this is Morgan Superleggera.

  • Without the problems.

  • When you actually treat the wood, and obviously this is to

  • a certain extent, how much work you want to put in.

  • A bit like a favorite pair of shoes.

  • They tend to get better with age.

  • JF MUSIAL: Yeah.

  • CHARLES MORGAN: And so will wood.

  • And it will look better and better and better the more you

  • rub it and polish it.

  • This is obviously [INAUDIBLE].

  • So I prefer this style of luxury interior to veneers.

  • Veneers are an acquired taste, really.

  • Veneered cigar boxes and all that kind of thing.

  • This is more honest, I think.

  • Proper real wood.

  • And of course, what you get here is you get the same

  • thing, where you get every bit of wood slightly different.

  • So you've got a very personal product out of wood.

  • These jigs are slightly fascinating.

  • They've been here since the war, I suppose.

  • JF MUSIAL: What is the jig for?

  • CHARLES MORGAN: Well, this is the real [INAUDIBLE]

  • for one of the traditional cars.

  • JF MUSIAL: Oh, cool.

  • CHARLES MORGAN: And as you see, it's just three bits of

  • ash with the grain going a different direction.

  • JF MUSIAL: So you've got the vacuum stuff over there.

  • That's the modern version of this?

  • CHARLES MORGAN: Yes.

  • This is just sheer brute force.

  • JF MUSIAL: And how long are they staying in here for?

  • CHARLES MORGAN: Half a day.

  • Six hours.

  • JF MUSIAL: Cool.

  • It's very cool.

  • JONATHAN WELLS: But what I brought to the design team

  • essentially is 3D surfacing.

  • So Matt would sketch the ideas out, and I'd draw with him.

  • And then we needed some way of relating these concept

  • sketches and aesthetic design training to the way we build

  • cars in the shop floor.

  • So my job would be to take the sketches and model these in

  • 3D, sometimes in clay as well, but mainly in 3D on the

  • computer screen.

  • We'd apply textures and materials and colors to this,

  • and visualize exactly what this car is

  • going to look like.

  • Show this to Charles, and say, here you go, Charles, this is

  • your car in 3D.

  • Once we have the sign-off, we would then chop this car up on

  • the screen, take out some printed plots to the wood

  • shop, they would make this out of wood, and then the plan

  • would be to hand craft this entire car.

  • So everything you see here is hand beaten from a flat sheet

  • of aluminum.

  • JF MUSIAL: It's amazing you've from modern technology back to

  • old vintage technology.

  • JONATHAN WELLS: Exactly, yeah.

  • [MUSIC PLAYING]

  • -And that brings up an interesting point.

  • Every corner you turn your smell something new and

  • wonderful, like a chef walking into a fresh produce market.

  • But not only that, you start looking at the faces.

  • Less than 200 people work in these work shops.

  • Everyone from designers to wood craftsman.

  • It's a close-knit family.

  • Men and women with 40 years of experience between these walls

  • training young teenagers.

  • There are no instruction books, no Volkswagen era

  • just-in-time logistic systems.

  • Everything is taught by word of mouth with the hands of

  • experience.

  • And despite the archaic methods,

  • it's all just working.

  • It will continue to work for years to come, even as they

  • ramp up daily production.

  • CHARLES MORGAN: So once you've got the wood frame, then we

  • cover it in aluminum.

  • And the panels are a combination of pre-formed and

  • literally hand assembled.

  • So what you'll see is somebody actually

  • wiring the edge of this.

  • So he's turning it around and putting a--

  • JF MUSIAL: It's all hand done?

  • CHARLES MORGAN: Hand done, yeah.

  • This is actually a 1950s or 1960s body.

  • It's a lot narrower.

  • People were smaller in the old days.

  • JF MUSIAL: Seems that way, yes.

  • CHARLES MORGAN: Cars were smaller, but

  • they're all very light.

  • Once you've--

  • JF MUSIAL: Whoa!

  • Could we both pick it up?

  • CHARLES MORGAN: Yeah, of course.

  • That's the whole car.

  • JF MUSIAL: That's incredible.

  • CHARLES MORGAN:This, again, is about a six-hour process to

  • assemble the aluminum panel.

  • We tend to have a half day cycle throughout the factory,

  • so that things move on every half--

  • I think you'll still find the affordable cars,

  • they're using aluminum.

  • The new Jaguar F type is very much an aluminum car.

  • And we pioneered that technology on the Aero, so

  • yes, we're not perhaps pathfinders anymore, but we

  • were pioneers then.

  • The trouble with carbon fibers is there's a very

  • short supply of it.

  • It's mostly wanted by the aircraft industry.

  • So the price has gone through the roof.

  • So it's really only super car territory.

  • And our buyers are not necessarily people who want to

  • pay 500,000 pounds for a car.

  • JONATHAN WELLS: There's certain elements that have a

  • nod to a more classic era of motoring.

  • And that's what's nice about a Morgan.

  • Morgan doesn't conform to generic car design.

  • It doesn't follow any rule book.

  • Nowadays, car design can be quite constricted by the rules

  • and regulations and positions of certain parts of the car.

  • We try not to get too blinded by that.

  • We like the proportion of the Morgan car.

  • The wind line in vehicles like this, we try to add a bit more

  • tension to it, and strengthen it a bit, and give it a bit

  • more stance and purpose.

  • But, as you say, that classic form is very much there.

  • It's the British Coke bottle proportion on

  • the side of the car.

  • But, as I mentioned, some of these lines are sped up a

  • great deal.

  • There's a lot more sharp edges, which break the air

  • away cleaner, and improve the aerodynamics, while staying

  • true to what we can achieve with the actual materials.

  • CHARLES MORGAN: So, this is our paint shop.

  • As I say, once the car's disassembled,

  • they all come in here.

  • And each component is painted.

  • We've actually got two paint shops because the constraints

  • on our production system is paint, really.

  • It's the slowest process, is baking the paint.

  • JF MUSIAL: Waiting.

  • CHARLES MORGAN: And waiting for it to dry.

  • JONATHAN WELLS: In the development department,

  • there's 10 of us.

  • Very closely tight knit team.

  • JF MUSIAL: Are you all in the same--

  • JONATHAN WELLS: Literally all in the same room.

  • And everybody is a genius and a specialist in their own

  • right that gets involved with lots of different things.

  • And as you mentioned, you do have to conform to things like

  • harmonization, and get this passed off.

  • In a lot of companies, the design may happen, and then

  • enters the next division where you can't do this

  • and can't do that.

  • And something's lost.

  • And then it moves on again, and the material engineers

  • can't quite work with this, so something else is lost.

  • And you end up with a fairly generic form.

  • But for us, when we're drawing and we're sketching, I've got

  • harmonization here looking over my shoulder going, oh

  • those headlights need to be a bit higher.

  • So I scrap that drawing, and I work on the next thing.

  • And arguably, that could compromise the design in some

  • instances, but what we find is when you do hit the nail on

  • the head, and you get something that works, really

  • exciting concept sketch, and harmonization are happy

  • straight away.

  • And so are the material engineers.

  • So is everyone else.

  • That idea has got more chance to make it all the way to the

  • road, to the end user, with that same

  • excitement and drama.

  • I think essentially over the last 10 years, it's been a

  • roller coaster at Morgan.

  • Cars like the Aero have come along and shown people that

  • you can build super cars with this DNA.

  • And when you are building vehicles, with those

  • performance figures like the Aeros-- and even the three

  • wheeler on the other end the spectrum-- do have, you do

  • have to consider a lot more suspension dynamics, and

  • aerodynamics, and all sorts of stuff.

  • These tests are very expensive.

  • Wind tunnels are very expensive.

  • So small companies like us are encouraged, really, to start

  • using a lot of onscreen simulation.

  • So we do.

  • We run every single CAD model through onscreen CFD.

  • CHARLES MORGAN: Oh, nice and quiet.

  • JF MUSIAL: Yes.

  • CHARLES MORGAN: We're now smelling cow or leather, as we

  • would call it.

  • But no, essentially as I say, the assembly goes back

  • together, and then we start to trim the inside of the car.

  • And this is where you see the different specifications that

  • a customer wants coming out.

  • We actually use Scottish leather.

  • The cows are from Scotland.

  • I think there's less barbed wire out there, so they don't

  • scratch them.

  • But no seriously, that's the reason, actually.

  • And--

  • JONATHAN WELLS: We had the idea for three wheeler, and we

  • started sketching it.

  • And 18 months later, we're all in the workshop doing a

  • 48-hour stint building the things up ourselves, and

  • seeing this design come to life.

  • And it's at the Geneva Motor Show.

  • A matter of a few months later, the first cars are on

  • the road going to production.

  • So from a sketch to a full complete production car on the

  • road, you're talking less than two years, which is no time

  • really, compared to other companies.

  • JF MUSIAL: Comapred to the big manufacturers.

  • The Americans, the Germans, the Japanese, who spend six,

  • seven, eight years designing--

  • JONATHAN WELLS: I think that's testament to the

  • way in which we work.

  • And the way the factory and development and technology are

  • all united in this pot.

  • CHARLES MORGAN: This is basically where all the cars

  • come after they've been road tested.

  • JF MUSIAL: Every car gets road tested?

  • CHARLES MORGAN: Every car gets road tested.

  • And then it comes in here.

  • And this is the detailing, if you like.

  • So it enables us to really, really inspect the paint work.

  • Essentially, each car will spend about half a day in

  • here, get a thorough inspection, and then be passed

  • off for quality control.

  • JF MUSIAL: Who's the final person that signs off on a car

  • going to the customer?

  • CHARLES MORGAN: One of these guys.

  • JF MUSIAL: Each person is assigned a

  • car and sign it off?

  • They go through a checklist of things?

  • CHARLES MORGAN: Absolutely.

  • JONATHAN WELLS: I think Morgan design is uncompromised.

  • I think it's excitement and fun.

  • It's happiness.

  • I think people see a Morgan, and it makes them feel happy.

  • There's no pretentiousness, there's no arrogance.

  • It's a very honest design, which is challenging,

  • uncompromised, and there's a lot of stories to it.

  • There's a lot of story.

  • There's a lot of meat to talk about in the pub,

  • when you pull up.

  • CHARLES MORGAN: Morgan's link with motor racing, really, is

  • that we've used it as a test bed.

  • So essentially, we feel that if a car performs well on the

  • track, then it's going to perform

  • quite well on the road.

  • There are now, of course, test tracks as well.

  • And that's another thing.

  • The German manufacturers will tell you that if you can drive

  • a car 200 miles an hour, it's going to be really quite good

  • at 100 miles an hour.

  • So there's an element of that in it.

  • But we also, of course, were one of the first cars to have

  • a bonded aluminum chassis--

  • adhesively bonded aluminum.

  • Now, when I told that to my father, he said, is that a

  • good idea, Charles?

  • I know we made those air fix kits, but should we actually

  • make a car like that?

  • So we thought it would be quite a good thing to test it

  • on the track first before some poor owner actually finds out

  • that the bonding doesn't work.

  • Seriously though, Le Mans is a 24-hour race.

  • So if a car lasts 24 hours at the max at Le Mans, then it's

  • pretty sure it's going to be a good road car as a chassis.

  • So we use the long distance endurance racing and the GT

  • championships to bottom out exactly what this chassis

  • would do under great stress and under great strain.

  • And of course, you do put bigger strain, because

  • typically a modern sticky race tire will

  • pull 3G, perhaps more.

  • Whereas a road tire will only ever go up to one

  • or a bit over one.

  • So you're putting a hell of a lot more stress into the

  • components.

  • That's the main reason we do motor racing.

  • Because it's all about enjoyment when it

  • comes down to it.

  • We are about actually a car factory, which provides people

  • with the experience of having fun behind the wheel.

  • And I think you still can in safety.

  • The super car world, and to a certain extent, the racing

  • world has just gone out of--

  • it's gone completely out of the possibilities of the

  • normal person, and that's a shame.

  • Because to an extent, Morgan was really about offering an

  • affordable way of going racing,

  • going into motor sport.

  • I've got some lovely stories.

  • In fact, one of them is American.

  • The very first race at Sebring,

  • the 12 hours at Sebring.

  • And in fact, a competitor had had his car blow up and was in

  • the pub, when a Morgan owner arrived.

  • He'd only just bought his car.

  • I think it was a week old.

  • And he came to watch the race.

  • And the guy in the pub said, do you want to enter with me?

  • Because my car's blown up.

  • And this poor bloke went, well, all right.

  • So he ends up doing the race, and they came 13th overall.

  • JF MUSIAL: With the car just off the showroom floor.

  • That's cool.

  • CHARLES MORGAN: So that was the philosophy behind Morgan,

  • really, was to provide a car that without much work, you

  • could enter in a race and do quite well.

  • Those days are certainly gone.

  • Well, internationally they are.

  • But that doesn't mean to say that we don't still believe in

  • that philosophy.

  • This is the top of the hill.

  • We have a very sophisticated assembly line, actually.

  • It's gravity feed.

  • Well, it's only gravity feed relatively recently because an

  • engineering guru came around here.

  • And he said, gosh, this is brilliant.

  • You've got this business of no expensive equipment because

  • you just push the car down the hill.

  • And I said, but the problem is we're pushing them up the hill

  • at the moment.

  • So we've changed it now.

  • We are pushing them down the hill.

[ENGINE REVVING]

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    稲葉白兎 發佈於 2021 年 01 月 14 日
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