Red: 44, 1, 7 white: 56 blue: 12, 20, 39 navy (away): 7, 13, 18 old red: 42, 0, 5 light blue: 0, 36, 55 blue:0, 23, 50 dark teal (gk away): 6, 14, 16 grey: 25, 27, 25. Roma’s record against the top four from 2018-19 and 2019-20 reads two victories, nine draws and five losses, with one of those successes coming last summer against a heavily rotated Juventus.
From the December 2020 issue of Car and Driver.
The Ferrari Roma's start button isn't a button. It's an iPad-like touch-sensitive switch at the bottom of the steering wheel. And it's but one of many functions crammed onto the helm. Even after spending 30 hours with the car, we were still uncovering new ones. Ferrari isn't relying on its heritage here. This is only the second V-8-powered front-engine GT coupe in the brand's history—the first being the 2018 GTC4Lusso T, which was the refreshed FF with four fewer cylinders. No, with the Roma, Ferrari focused on making a 21st-century grand-touring car with an almost all-digital interface and without a goofy retractable roof.
Sure, the hardtop convertible Portofino is still around, and there's a lot of Portofino in the Roma, but the Roma is some 200 pounds lighter and 20 horses more powerful, with a 612-hp version of Ferrari's twin-turbo 3.9-liter V-8. The upcoming Portofino M will match that output, but it won't rectify the weight discrepancy. And while all three of these Ferraris have an engine that roars like artillery, the Roma is prettiest.© Ferrari 2021 Ferrari Roma
It has the face of a shark. The fenders flare like a Sophia Loren sigh, and the bodywork is free of holes, vents, and gouges. The razor-edge taillights look nothing like the usual round Ferrari fare. The Roma and Portofino share a 105.1-inch wheelbase and their basic suspension design, but the Roma is 0.7 inch lower, 1.4 inches wider, and at 183.3 inches long, 2.7 inches longer overall.
Gallery: Quickest Cars We've Tested in 2020 (and the Slowest) (Car and Driver)
The 561-lb-ft torque peak comes up at 3000 rpm and stays there until 5750 rpm, with plenty beyond that to the 7500-rpm redline. Pop the hood and the Ferrari V-8 looks as good as the body. There's no plastic sound-insulation cover here.
Pull the right carbon-fiber paddle shifter and the rear-mounted, Magna-made eight-speed dual-clutch transaxle loads first gear. The Roma is the first of Ferrari's GTs to include a Race setting for the stability and traction-control system. Turn the manettino selector on the steering wheel to Race and the car growls and gets down to the business of ground flying.
© Ferrari 2021 Ferrari Roma
Shifted with the paddles, the eight-speed reacts instantly. Downshift into a corner and the car squats flatly, takes a set at the apex, and bolts confidently. The system allows a bit of tail slide, but on public roads, it's hard to get to the cornering velocity where the 285/35ZR-20 Michelin Pilot Sport 4S tires will break free. What's available even in Comfort mode is perfectly calibrated steering and the thrill of feeling the 245/35ZR-20 Michelins up front bite into the surface.
We expect this Ferrari to eclipse 60 mph in 3.1 seconds when launch mode is activated, but the exhaust drama and pull of the engine make it seem even quicker than that. And the Roma is beguiling at triple-digit speeds. It also has a hilarious rear seat and a reasonably sized 10-cubic-foot trunk.
Roma prices start at $222,420. The version driven here carried an option load that put it at $316,240. Skip the $11,812 carbon-fiber rear diffuser, the $5906 front spoiler you're bound to scratch, the $4725 carbon-fiber dashboard inserts, and a few other bits, and a Roma could be a great quarter-million-dollar Ferrari. In the prancing-horse world, that's a bargain.
Atmospheric Spaces is a project that does not deal with the word «atmosphere» from a meteorological or an earth-scientific point of view. It rather arises in order to provide a point of reference for everyone who is dealing with this subject matter from a phenomenological and aesthetical point of view, because, nowadays, there is no platform that attempts to collect and gather all news, events and publications on this topic. This blog is created with the aim of constructing a network and gathering a community that works together on this philosophical and transdisciplinary subject.
Atmosphere means, in this context, a sensorial and affective quality widespread in space. It is the particular shade or tone that determines the way one feels his/her surroundings. Air, ambiance, aura, climate, environment, genius loci, milieu, mood, numinous, Stimmung, Umwelt – all these words are names hiding, in fact, the founding idea of atmospheres: a vague ens or power, without perceivable and discrete boundaries, which we meet around us and which affects our lived body and even involves us. Studying atmospheres means, thus, a parte subjecti, to analyze the range of unintentional or involuntary experiences and, in particular, those experiences which emotionally “tonalize” our everyday life. A parte objecti, it means however to learn to critically evaluate intentionally (e.g. artistically) produced feelings and to avoid being manipulated by such feelings.
Driver signature enforcement overrider 1.3b. Director: Tonino Griffero (University of Rome Tor Vergata)
Coordinator:Marco Tedeschini (University of Rome Tor Vergata)
Executive Secretary: Federica Scassillo (University of Rome Tor Vergata)
Niels Albertsen(Arkitektskolen Aarhus), Jean-François Augoyard (CNRS – Grenoble), Arnold Berleant(Emeritus – Long Island University), Mikkel Bille (Roskilde Universitet), Gernot Böhme (IPPh – Darmstadt), Christian Borch (Copenhagen Business School), Gabor Csepregi(Université de Saint-Boniface – Winnipeg), Christoph Demmerling (Universität Jena), Thomas Fuchs (Universitätsklinikum – Heidelberg),Michael Großheim(Universität Rostock), Robert Gugutzer (Goethe Universität), Hans Ulrich Gumbrecht (Stanford University), Jürgen Hasse (Goethe Universität – Frankfurt), Michael Hauskeller (University of Exeter), Timothy Ingold (University of Aberdeen),Christian Julmi (FernUniversität in Hagen),Rainer Kazig (LMU – München),Hilge Landweer (Freie Universität Berlin), David Le Breton (Université de Strasbourg), Juhani Pallasmaa (Aalto University), Alberto Pérez-Gómez (McGill University – Montreal, Quebec),Andreas Philippopoulos-Mihalopoulos (University of Westminster – London), Hermann Schmitz (Emeritus – Universität Kiel), David Seamon (Kansas State University), Giovanni Stanghellini (Università “G. D’Annunzio” – Chieti; Universidad “Diego Portales” – Santiago), Shanti Sumartojo (Monash University), Jean-Paul Thibaud(CNRS – Grenoble).
Valeria Bizzari(University of Heidelberg), Guenda Bernegger (SUPSI – Swiss), Alessandro Bertinetto(Università di Torino), Margit Brunner (University of Adelaide), Barbara Carnevali (EHESS – Paris), Vincenzo Costa (Università degli Studi del Molise), Federico De Matteis (Sapienza – Università di Roma), Madalina Diaconu (Universität Wien), Elisabetta Di Stefano (Università degli Studi di Palermo), Gianni Francesetti (Istituto di Gestalt HCC Italy), Carsten Friberg (Freelance Researcher – Copenhagen), Julian Hanich (University of Groningen), Dehlia Hannah (Arizona State University), Klaske M. Havik (Delft University of Technology), Christiane Heibach (FHNW Basel), Maximilian Gregor Hepach (University of Cambridge), Yuho Hisayama (Kobe University), George Home-Cook (Indipendent Researcher), Veronica Iubei(University of Heidelberg) Steffen Kluck (Universität Rostock), Reinhardt Knodt (Berlin), Joel Krueger (University of Exeter), Wendelin Küpers (Karlshochschule – Karlsruhe), Rita Messori (Università di Parma), Eugenio Morello (Politecnico di Milano) Werner Müller-Pelzer (Fachhochschule Dortmund), Barbara Piga (Politecnico di Milano), Matthew Pritchard (University of Leeds), Tiziana Proietti (Oklahoma University), Andreas Rauh (Universität Würzburg), Friedlind Riedel (Universität Göttingen), Simon Runkel (Universität Heidelberg), Susanne Schmitt(LMU – München), Sara Asu Schroer (University of Aberdeen), Renata Scognamiglio (Sapienza – University of Rome), Antonio Somaini (Université Sorbonne Nouvelle – Paris 3), Anette Stenslund (University of Copenhagen), Thomas Szanto (University of Copenhagen), Juha Torvinen (University of Helsinki), Dylan Trigg (University of Vienna), Silvia Vizzardelli (Università della Calabria), Izabela Wieczorek (University of Reading), Barbara Wolf (Hochschule Mittweida), Penelope Woods (Queen Mary University – London).