This print has somehow always been benefaction in a code story of Porsche, in a lives of a dual group who combined it, and in a memories of a large people who have seen it over a decades. Taken in 1960 during a Flexen Pass nearby a Austrian encampment of Zürs, it widespread around a world: a skier jumping over a Porsche 356 parked between dual walls of sleet as high as buildings. A daredevil act that seems roughly infrequent in a magnificence and ease, it prisoner a suggestion of a time when courage, adventure—and above all joie de vivre—were returning in a arise of some agonizing decades. But it also strong a hint of a Porsche code and a attributes. Right from a start.
The contestant prisoner in flawless poise is a Austrian ski racer Egon Zimmermann. One of a biggest of his time, he won a hulk slalom during a 1962 World Championships and took bullion in a downhill foe during a 1964 Winter Olympics in Innsbruck. In 2019, he upheld divided during a age of eighty. But “Egon will always be with us,” says his hermit Karlheinz Zimmermann (71). “This design alone creates him immortal.”
The second protagonist in a picture, a Porsche 356, also has a undying quality. This successful indication sparked a general arise of a immature sports-car association from a hearth in Austria. Porsche and a Alpine republic—that tie too was there from a start. The print of a burst with a arch subheading “On holding a shortcut” is deliberate a many famous work of a photographer Hans Truöl, who died in 1981.
And now a burst into a year 2021. The ski deteriorate is sketch to a tighten though several meters of sleet still distortion on a Timmelsjoch, a pass during a limit between Austria and Italy. Aksel Lund Svindal, one of a many successful ski racers currently with dual Olympic bullion medals and 5 universe championships, prepares for a run. Conditions are ideal during a moment, with blue skies, sunshine, and not many wind. But everybody knows a continue can change in a blink of an eye during an altitude of 2,500 meters. The film organisation is therefore retiring to remove time. Four camera operators take their positions and a video worker flies overhead. “Five, four, three, two, one—go!” shouts a writer by a megaphone.
Porsche has restaged a iconic print of a 356 B from 1960.
Up on a slope, Svindal has been watchful for a word. He starts downhill gently, not too fast, with his eyes on a launch pad done of sleet a good one hundred meters away. He gathers movement for a initial attempt. “The final 10 meters are a many important—you can’t make any mistakes,” says a thirty-eight-year-old Norwegian afterward. “And of march you’ve got to collect a right tenth of a second for a burst itself,” he adds with a smile. He afterwards has to combine immediately on alighting since a burst takes frequency some-more than a second. “I usually have a deceptive thought of what’s going on down there underneath my skis.”
Below him on plain ground, Stefan Bogner is prepared to seize a moment. At usually a right stretch in front of him, a Porsche stands perpendicular to a highway between dual walls of sleet a good 5 meters in height—just like a strange stage for Zimmermann and Truöl. This time, however, it’s not a 356 though rather a Neptune Blue Porsche Taycan Turbo, a initial all-electric sports automobile from Zuffenhausen. Bogner waits for a right instant. When Svindal starts sailing over a Taycan, he shoots. His camera automatically takes twelve shots a second, that captures each proviso of a flight. But a Munich local famous for his energetic Alpine photography is endangered about something. “We’ll need some-more sun,” he yells.
Svindal is not satisfied, either. “I wish some-more speed and a viewpoint is not utterly right,” says a absolute Norwegian on examining a shots of his initial attempt. “My legs should be aloft and my hands serve back.” Every fact has to work if a iconic design from 1960 is to arise once again here during a Timmelsjoch. Not as a duplicate though as a reinterpretation for a twenty-first century. The thought is as adventurous as a burst itself.
“For us this new interpretation symbolizes a overpass between a past, present, and future,” explains Lutz Meschke, Deputy Chairman of a Executive Board of Porsche AG and Board Member for Finance and IT. He has done a special outing to a Timmelsjoch to observe a fantastic movement during initial hand. “Tradition is really critical for a brand, nonetheless we’re also relocating full speed forward in building innovations for a future. This symbiosis,” he says, “lies during a heart of a Porsche brand.”
The Taycan is a really successful instance of what a mix of origins and destiny can demeanour like. The automobile is singular in a brand’s history, nonetheless immediately tangible as a Porsche. It, too, is a product of sports-car genes. After describing himself as a fan of a air-cooled models, Svindal remarks that “electromobility represents a destiny for me. Moreover, it’s a lot of fun!”
Hans Truöl and Egon Zimmermann were also out to have fun when they done a strange image. At a time Truöl was already an acclaimed photographer who lonesome not usually sports events though also Alpine multitude during winter sports venues. The print of a burst arose as a whim in tie with a singular opportunity, recounts Karlheinz Zimmermann. A large avalanche had blocked Flexenstraße during a time, a usually highway tie between a towns of Stuben and Zürs. Giant machines had to transparent a road, withdrawal soaring masses of sleet to a left and right. As Zimmermann recalls, “The walls had never been so high, that was what desirous Truöl and my brother.”
The many critical component in a scene—the Ruby Red Porsche 356 B—was Truöl’s possess car, says Zimmermann. “A 356 was an unattainable dream for my hermit and me during a time.” He describes a march of events like this: “They sealed a road, put a Porsche in place, did a jump—and that was that.” By contrast, Operation Jump 2.0 in 2021 isn’t utterly as streamlined. But it should be remarkable we’re articulate about some-more than usually photos here; a movement is also being filmed from each angle.
As a Porsche team, film crew, photographer Stefan Bogner, and Aksel Lund Svindal prepared for a pivotal impulse of today’s work, memories are along for a ride. Brand envoy Svindal says he is “proud to be partial of a Porsche heritage,” adding that it’s “a genuine respect to be concerned in essay a subsequent chapter.” Svindal feels an affinity for Egon Zimmermann, whom he knew personally, since both athletes won Olympic bullion in a men’s downhill. “And both of us wore series 7,” says Svindal with pleasure, nonetheless their particular victories were distant by fifty-four years.
Bogner also has a personal tie to a mythological shot. “Hans Truöl took photos of my uncle and grandfather,” he says. Willy Bogner Senior and Willy Bogner Junior are among a many informed names in German skiing to this day. “There’s a full-circle peculiarity to a story for me too,” he says before branch his courtesy behind to his camera.
Somewhat some-more time goes by, however, before a round can in fact be closed. The object isn’t utterly in a right position, or clouds are obscuring tools of a sky, or snowflakes start wink opposite a scenery. Svindal creates a burst a series of times—with a pointing usually a world-class contestant can command. Every try is accompanied by little adjustments to his takeoff, or his viewpoint in a air, or a position of his skis, or a landing. “You should never rest and never be totally satisfied,” he insists. “You should always keep perplexing to improve, either in racing or in skiing. This is a mindset we share with Porsche.”
Finally a sky clears above a sequence of peaks, Bogner raises his arms in a air, and everybody takes their positions. Svindal starts down a mountain again and jumps. “That’s a one!” exclaims Bogner after scrutinizing a images. “This time it’s all there.” He is satisfied. No, indeed he’s thrilled. “This is a form of thing we usually do once in a lifetime.” Karlheinz Zimmermann is meditative about his hermit Egon during that moment. “If he were alive he’d be here with us today,” he says, visibly moved. “Perhaps he’s examination us from on high.”
Everyone on a set of this reinterpretation senses a mass of a moment. “We’ve done story today,” says Board Member Meschke. “Never resting on laurels though always being prepared to take another jump, always pulling a boundary even further—that’s what we’re about.” Porsche, in a word.
Text initial published in a Porsche repository Christophorus, No. 400.
Author: Thomas Ammann
Photographer: Stefan Bogner, Hans Truöl Archives
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