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How F1's Red Bull mastered the art of the 2-second pit stop

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How F1's Red Bull mastered the art of the 2-second pit stop

Between the Racing Lines | Formula One is complicated, confusing and constantly evolving. This story is part of our guide to help any fan — regardless of how long they’ve watched the sport or how they discovered it — navigate the pinnacle of motorsports.


Box, box.

Every Formula One fan is familiar with that radio message, the call for a driver to head in for a pit stop. Whether it’s changing tires, serving a time penalty or repairing damage, the pit stop is one of the most strategically important moments during any grand prix. The longer you spend off the track, the farther behind you fall. McLaren holds the world record for the fastest pit stop — 1.80 seconds, set during the 2023 Qatar Grand Prix — but no team has matched the consistency of Red Bull’s blazing pace.

For each of the last six seasons, the Milton Keynes-based team has won the DHL Fastest Pit Stop Award based on their stop times throughout the year. They should repeat in 2024, holding nine of the 10 fastest stops over the last five races. The top three came from the Chinese Grand Prix weekend, where Red Bull stunned the F1 world with two flawless double stacks, changing the tires on Max Verstappen and Sergio Pérez’s cars in rapid succession. The first took 4.18 seconds; the second, 3.95 seconds.

Whether a routine stop or a double stack, pit stops are choreographed dances. They begin the moment activity buzzes in the garage as more than 20 team members hurry out to their positions in the pitlane, waiting for the drivers to pull into the box. As Jonathan Wheatley, Red Bull’s Sporting Director, said, “Your perfect pitstop involves everyone having that perfect two seconds.”

It’s a game of millimeters and milliseconds. Here’s how it goes down.

The positions

Pit stops are a whirlwind of noise and speed, typically taking 2.5 seconds or less. The drivers need to hit their marks within the outlined area, and the crew members then jack up the front and back of the car, swap out the four wheels, and lower the car — all in unison when nailed perfectly.

“You get a buzz,” said Phil Turner, the team’s chief mechanic. “You get that adrenaline rush that you know you’ve had a good pit stop. You just tell by the sound, the noise, and how quick the car drops.”

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It starts with the people, all of whom hold other team positions in addition to being on the pit crew. Teams are limited by how many people can be trackside, and some roles require people to be at computers when pit stops unfold. Wheatley described a pit stop as “an endeavor by 22 human beings.”

The wheels

Number of people: 12

This grouping is a trio per wheel — wheel off, wheel on and a wheel gunman. For wheel off and wheel on, strength is a requirement, said Jack Harrison, a mechanic on the team and a ‘wheel on’ member. Each wheel weighs over 44 pounds (20 kg). “You’ve got to have some sort of size to be able to manipulate the wheel to where you want it to be.”

The call is typically given around 15 seconds out, and the ‘wheel on’ crew carries the tires from the garage to the pit box. All three at the four tire locations crouch, and the wheel gunman readies to loosen and tighten the wheel nuts as the car slams to a halt. “I don’t ever think the car’s gonna hit me,” said wheel gunman Callum Adams. That doesn’t mean it can’t happen, but it’s a matter of trusting the driver will stop where they’ve practiced. Adams’ favorite part of his role is his proximity to the car because when it’s dropped, he can see the clutch engage and the wheels spin.

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What may surprise fans about the wheel off, wheel on process is that the wheel nut stays attached to the tire itself. The wheel gunman loosens the wheel nut before the car has stopped, Adams said, and they’re working “on the wheel nut for the new wheel before it’s even on the car. That’s where you make up the time.” The ‘wheel off’ crew member is taking the tire off as the car is coming off the ground, thanks to the jacks.

Jackmen

Number of people: 4

This grouping includes two main players: a front and rear jackman.

Because the cars are so low to the ground, both jacks need to lift at the same time. If the car stops short, front jackman Chris Gent said he struggles “to get the jack under the car because the car is so low, and the jack will only go under really when the car is on all four wheels.” If the rear jack lifts before the front, Gent says he has to signal for the car to be lowered to fit his jack under the car.

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“It’s also awkward (if) they stop on the first few laps of a race when the car has a full amount of fuel, and then the car is so much heavier than whether it’s midway or towards the end,” Gent added. “It feels completely different to jack it up when it’s a lap or two into the race.”

Each jack is different, but Gent described his as one that can rotate and has two levers, one that releases the jack and the other that allows the jack to tilt.

“When the car arrives, we jack it up, and you can jack it to a certain point, and then you can relax because it has two little feet that come out so the car is always at the same height, which is obviously quite important for the gunmen,” Gent said. He later added that, in theory, the jackmen don’t have to pull the lever to release the jack, which drops the car to the ground, but he does so in case there is a failure in the lights system.

There are spare jackmen for both positions, just in case of an issue. If a front wing is damaged, teams will use a side jack instead and replace the wing.

Gent has been hit by a car before but “never any real damage other than being knocked back quite a long way.” When it comes to getting over the initial reaction to jump out of the way of a moving vehicle, Gent said, “A lot of it is down to trust, isn’t it?”

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Car steadier 

Number of people: 2

When the car is lifted, two people grab hold of the cockpit area, keeping it stable as other crew members do their work. If needed, they may clean the mirrors or radiators.

Front wing adjuster

Number of people: 2

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These crew members help make aerodynamic changes to the wing, which impact understeer or oversteer based on the driver’s feedback.

Lollipop (aka the green light) 

This resembles how NASCAR teams hold out a sign as drivers enter the pit box. Within the world of F1, this individual would give the signal for when the car can release, but over time, it’s become more electronic. A system now indicates when the driver can leave the pit box.

The guns and jacks are essentially linked to a traffic light system of sorts, but the decision of when the car is released lies with the crew member with the override button, who monitors pit lane traffic. The green lights indicate the wheels are secure, and once there is space for a safe release, the driver gets the go-ahead to exit the pit box. If the stewards deem a pit box exit to be unsafe release, drivers may face a five-second time penalty.

The practice

Teams practice pit stops during a race weekend, and fans can watch from pit lane or their seats during certain windows. But these sessions also take place back at the factory, both in and out of the season. Harrison said Red Bull will practice anywhere from five to 20 pit stops during these sessions. Wheatley commented how, with Red Bull, “your first pitstop is likely to be for a race win.”

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However, as Harrison noted, there is work that is done before a “real physical practice,” like what fans see during a race weekend. Whether it’s with the entire crew or just the specific group, like the corner crews, they’ll visualize the pit stops with props. Harrison said, “We’ll be using those to be able to help you. Even just with the movements, not necessarily the weight of the wheel.” It’s about being limber and warming up for the real deal.

Practicing with the entire pit stop team is easier, he said, because a big component of an efficient stop is listening to each other. As part of the corner crew, he finds it helpful to hear the jackmen and the four-wheel guns, but he can also see the different parts of the pit stop in his peripheral vision. Each grouping has slightly different techniques, so practicing with the same people becomes a strength.

“The size of people doesn’t make a difference,” Harrison said. “The amount of time you’ve been doing it with the same people makes a difference because I will put my foot in a certain position, which may be different to the left rear side. I’ll wedge my foot underneath the (wheel) gunman’s knee, and then I can feel where he moves. And then with sight as well, I can see where he moves so I can move to him.

“So if the car goes long or short, he’ll move his body to react to that, whereas I’ll do the same with my body to where his body moves.”

Given the length of the F1 season and because life happens, teams do select backups for each position. During practice, people swap in and out.

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As for physical requirements, Harrison said core strength, stability, overall strength, and cardio are all key, and the crew works towards staying nimble. For the wheel on position, for example, core and leg exercises are helpful because you’re essentially in a squat position, waiting to fit the wheel to the car, Harrison said. Adams said that flexibility and core strength are important for the wheel gunman because if the car stops short or long, they need to adjust quickly while being low to the ground, not losing their balance.

An effective pit stop extends beyond the physical. It’s about the senses and muscle memory. The Milton Keynes-based team decided to try executing a pit stop in complete darkness during the off-season, and Adams said, “It made everyone sort of realize how much their role was done on feel and muscle memory.”

The final product

A pit stop technically begins the day before a race, Wheatley said.

That’s when the team discusses race strategy. Come race day, he’ll brief the team if there could be something unusual coming, and they’ll perform a series of stops during their routine practice session, mixing it up some to prepare. During the race, Wheatley keeps the team up to speed on how the race is unfolding strategically. Pit stops are about nailing the right timing, such as trying to do the opposite strategy of a rival to gain positions. Wheatley said, “Generally, we make a decision to pit, I think, later than some teams would be comfortable with. We like to have a team that can react very quickly and in a very short lead time ahead of a pit stop.”

When it looks like the call to pit is coming, Wheatley begins preparing the team, not getting too excited. “If I’m calm, everyone should be calm.”

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Then comes the countdown. The crew members file out of the garage in a specific order to avoid getting in each other’s way, Gent said. Typically, the farthest people will leave first, he added, “so you’re not climbing over people to get to your position.”

Any number of things could go wrong during a pit stop, like a wheel gun failure (which is why they have spares). Mistakes do happen, like jacks not engaging properly on the first try. But as much as a smooth pit stop depends on the crew members, it’s also about the driver’s approach, specifically “the speed and consistency of deceleration into the pit box,” Wheatley said. If drivers don’t hit their marks, the other twenty-some crew members will need to adjust. That awareness also applies to the crew, particularly with the group changing the wheel. Sometimes the tires touch during the swap, and as Wheatley said, “When they touch, that’s when you get your 2.6-second stop and not a 2-second stop or a 1.8-second stop. So it’s down to marginal gains from that point.”

Another factor that can impact timings is the depth of the pit crew. In 2023, Wheatley said, Red Bull “faced immense challenges” with keeping a consistent first team because of the number of races, where they fell on the calendar, illness (a stomach bug floated around the Mexico City paddock, for example), and other life matters, like children being born. This is where the reserves come into play.

“Whilst it doesn’t mean you can do a 1.8-second pit stop every weekend, that’s not actually our target,” Wheatley said. “And so we need to have enough people trained and able to do 2.2-second pit stops every single time the car comes in the pits. And we’ve been lucky enough that we haven’t had such an illness that’s compromised that.”

At the heart of every pit stop are the people and the seamless teamwork. Each person’s routine is different, down to whether they watch the car come down pit lane or when they snap down their visor. Then comes the rhythm — stop, lift, wheels (and the loud whirring that comes with the guns), drop and release. Pit stops are a staple of an F1 grand prix weekend, yet each person describes the strategic event differently.

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Turner opted for “a massive adrenaline rush.” Adams described them as “exhilarating” while Harrison chose “rewarding.”

Truthfully, it’s an art.

(Graphics by Drew Jordan/The Athletic. Lead image: Bryn Lennon – Formula 1/Formula 1 via Getty Images; Design: Eamonn Dalton/The Athletic)

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Do You Recognize These Snappy Lines From Popular Crime Novels?

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Do You Recognize These Snappy Lines From Popular Crime Novels?

Welcome to Literary Quotable Quotes, a quiz that tests your recognition of classic lines. This week’s installment celebrates lines from popular crime novels. (As a hint, the correct books are all “firsts” in one category or another.) In the five multiple-choice questions below, tap or click on the answer you think is correct. After the last question, you’ll find links to the novels if you’re intrigued and inspired to read more.

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Xia De-hong, 94, Dies; Persecuted in China, She Starred in Daughter’s Memoir

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Xia De-hong, 94, Dies; Persecuted in China, She Starred in Daughter’s Memoir

Xia De-hong, who survived persecution and torture as an official in Mao Zedong’s China and was later the central figure in her daughter’s best-selling 1991 memoir, “Wild Swans: Three Daughters of China,” died on April 15 in Chengdu, China. She was 94.

Ms. Xia’s death, in a hospital, was confirmed by her daughter Jung Chang.

Ms. Chang’s memoir, which was banned in China, was a groundbreaking, intimate account of the country’s turbulent 20th century and the iron grip of Mao’s Communist Party, told through the lives of three generations of women: herself, her mother and her grandmother. An epic of imprisonment, suffering and family loyalty, it sold over 15 million copies in 40 languages.

The story of Ms. Chang’s stoic mother holding the family together while battling on behalf of her husband, a functionary who was tortured and imprisoned during Mao’s regime, was the focus of “Wild Swans,” which emerged out of hours of recordings that Ms. Chang made when Ms. Xia visited her in London in 1988.

Ms. Xia was inspired as a teenager to become an ardent Communist revolutionary because of the mistreatment of women in the Republic of China, as well as the corruption of the Kuomintang nationalists in power. (Her own mother had been forced into concubinage at 15 by a powerful warlord.)

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In 1947, in Ms. Xia’s home city of Jinzhou, the Communists were waging guerrilla war against the government. She joined the struggle by distributing pamphlets for Mao, rolling them up inside green peppers after they had been smuggled into the city in bundles of sorghum stalks.

Captured by the Kuomintang, she was forced to listen to “the screams of people being tortured in the rooms nearby,” her daughter later wrote. But that only stiffened her resolve.

She married Chang Shou-yu, an up-and-coming Communist civil servant and acolyte of Mao, in 1949.

It was then that disillusionment began to set in, according to her daughter. The newlyweds were ordered to travel a thousand miles to Sichuan, her husband’s home province. Because of Mr. Chang’s rank, he was allowed to ride in a jeep, but she had to walk, even though she was pregnant, and suffered a miscarriage as a result.

“She was vomiting all the time,” her daughter wrote. “Could he not let her travel in his jeep occasionally? He said he could not, because it would be taken as favoritism since my mother was not entitled to the car.”

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That was the first of many times that her husband would insist she bow to the rigid dictates of the party, despite the immense suffering it caused.

When she was a party official in the mid-1950s, Ms. Xia was investigated for her “bourgeois” background and imprisoned for months. She received little support from Mr. Chang.

“As my mother was leaving for detention,” Ms. Chang wrote, “my father advised her: ‘Be completely honest with the party, and have complete trust in it. It will give you the right verdict.’ A wave of aversion swept over her.”

Upon her release in 1957, she told her husband, “You are a good Communist, but a rotten husband.” Mr. Chang could only nod in agreement.

He became one of the top officials in Sichuan, entitled to a life of privilege. But by the late 1960s, he had become outraged by the injustices of the Cultural Revolution, Mao’s blood-soaked purge, and was determined to register a formal complaint.

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Ms. Xia was in despair; she knew what became of families who spoke out. “Why do you want to be a moth that throws itself into the fire?” she asked.

Mr. Chang’s career was over, and both he and his wife were subjected to physical abuse and imprisoned. Ms. Xia’s position was lower profile; she was in charge of resolving personal problems, such as housing, transfers and pensions, for people in her district. But that did not save her from brutal treatment.

Ms. Xia was made to kneel on broken glass; paraded through the streets of Chengdu wearing a dunce’s cap and a heavy placard with her name crossed out; and forced to bow to jeering crowds.

Still, she resisted pressure from the party to denounce her husband. And unlike many other women in her position, she refused to divorce him.

Twice she journeyed to Beijing to seek his release, the second time securing a meeting with the prime minister, Zhou Enlai, who was considered a moderate. Ms. Xia was “one of the very few spouses of victims who had the courage to go and appeal in Peking,” her daughter wrote in “Wild Swans.”

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But Ms. Xia and her husband never criticized the Cultural Revolution in front of their children, checked by the party’s absolute power and the fear it inspired.

“My parents never said anything to me or my siblings,” Ms. Chang wrote. “The restraints which had kept them silent about politics before still prevented them from opening their minds to us.”

She was held at Xichiang prison camp from 1969 to 1971 as a “class enemy,” made to do heavy labor and endure denunciation meetings.

The camp, though less harsh than her husband’s, was a bitter experience. “She reflected with remorse on the pointlessness of her devotion,” her daughter wrote. “She found she missed her children with a pain which was almost unbearable.”

Xia De-hong was born on May 4, 1931, in Yixian, the daughter of Yang Yu-fang and Gen. Xue Zhi-heng, the inspector general of the metropolitan police in the nationalist government.

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When she was an infant, her mother fled the house of the general, who was dying, and returned to her parents, eventually marrying a rich Manchurian doctor, Xia Rui-tang.

Ms. Xia grew up in Jinzhou, Manchuria, where she attended school before joining the Communist underground.

In the 1950s, when she began to have doubts about the Communist Party, she considered abandoning it and pursuing her dream of studying medicine, her daughter said. But the idea terrified her husband, Ms. Chang said in an interview, because it would have meant disavowing the Communists.

By the late 1950s, during the Mao-induced Great Famine that killed tens of millions, both of her parents had become “totally disillusioned,” Ms. Chang said, and “could no longer find excuses to forgive their party.”

Mr. Chang died in 1975, broken by years of imprisonment and ill treatment. Ms. Xia retired from her government service, as deputy head of the People’s Congress of the Eastern District of Chengdu, in 1983.

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Besides Ms. Chang, Ms. Xia is survived by another daughter, Xiao-hong Chang; three sons, Jin-ming, Xiao-hei and Xiao-fang; and two grandchildren.

Jung Chang saw her mother for the last time in 2018. Ms. Chang’s criticism of the regime, in her memoir and a subsequent biography, made returning to China unthinkable. She told the BBC in a recent interview that she never knew whether her mother had read “Wild Swans.”

But the advice her mother gave her and her brother Xiao-hei, a journalist who also lives in London, was firm: “She only wanted us to write truthfully, and accurately.”

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Why Is Everyone Obsessed With Bogs?

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Why Is Everyone Obsessed With Bogs?

In prehistoric northern Europe, peatlands — areas of waterlogged soil rich with decaying plant matter — were considered spiritual sites. Since then, swords, jewelry and even human bodies have been found fossilized in their sludgy depths. More recently, however, many of these bogs have been depleted by overharvesting, neglect and development. But as awareness of their important role in removing carbon dioxide from the atmosphere grows, more wetlands are being restored, while also serving as unlikely creative inspiration. Here’s how bogs are showing up in the culture.

At fall 2026 Paris Fashion Week, several houses — including Louis Vuitton (above left) and Hermès — staged shows amid mossy sets featuring spongy green structures and mounds of vegetation. And the Danish fashion brand Solitude Studios is distressing its eerie, grungy looks (above right) by submerging them in a local peat bog.

For her exhibition at California’s San José Museum of Art, on view through October, the Chalon Nation artist Christine Howard Sandoval is presenting sculptures, drawings and plant-dyed works (above) exploring how the state’s wetlands were once sites of Indigenous resistance and community. This month, at Storm King Art Center in New York’s Hudson Valley, the conceptual artist Anicka Yi will unveil an outdoor installation featuring six-foot-tall transparent columns holding algae-rich ecosystems cultivated from nearby pond water and soil.

The Bog Bothy (above), a mobile design project by the Dublin-based architecture practice 12th Field in collaboration with the Irish Architecture Foundation, was inspired by the makeshift huts once used by peat cutters who harvested the material for fuel. After debuting in the Irish Midlands last year, it’ll tour the region again this summer. In Edinburgh, the designer Oisín Gallagher is making doorstops from subfossilized bog-oak scraps carbon-dated to 3300 B.C.

At La Grenouillère on France’s north coast, the chef Alexandre Gauthier reflects the restaurant’s reedy, frog-filled river valley landscape with dishes like a “marsh bubble” of herbs encased in hardened sugar. This spring, Aponiente — the chef Ángel León’s restaurant inside a 19th-century tidal mill on Spain’s Bay of Cádiz — added an outdoor dining area on a pier above the neighboring marshland, serving local sea grasses and salt marsh flowers alongside seafood (above) from the estuary.

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Credit…Penguin Random House

The Irish British writer Maggie O’Farrell’s forthcoming novel, “Land,” about an Irish cartographer and his son surveying the island in 1865 after the Great Famine, depicts haunting encounters with the verdant landscape, including its plentiful oozing bogs.

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