kilometer magazine

celebrating european cars and motorcycles

03ducati-916-header_1

ADVERTISEMENT

km : Icon

words:

23 April 2010

If you asked anyone in 1994 — motorcyclist or otherwise — if the number 916 held any significance, they’d have probably shrugged. At the time, it didn’t mean anything to anyone outside of the Sacramento area code. But later that year, Ducati announced its new superbike, and since then the number 916 has been synonymous with two-wheeled Italian perfection.



Following the first six seasons of racing in World Superbike — a series in which Ducati still holds 16 out of 22 championships — the tiny Bolognese manufacturer needed a new superbike that could fully realize its potential. The 851 and 888 were successful on the race circuit, but each bike’s styling — though decidedly Italian — was hard to distinguish from its Japanese contemporaries.



Power would come from an evolution of the Massimo Bordi-engineered four-valve-per-cylinder desmodromic 90-degree twin, which Ducati had already proven could win races in the 851 and 888 superbikes. The engine was so advanced that it would be years before any other manufacturer would offer features found on the 916-cc desmoquattro mill. It was the most powerful twin-cylinder engine in production with 108 hp at an astonishing 9,000 rpm. It featured liquid cooling with ram-air induction and used electronic fuel injection — something that would take Honda another six years and Kawasaki another decade to implement. The fully adjustable suspension included USD forks, brakes were from Brembo, and a hydraulic steering damper was fitted as standard. An updated version of the 851/888 Chromoly tubular steel trellis-style frame was produced, using fewer lateral braces and a shorter wheelbase. The steering head angle was also adjustable — a Ducati-exclusive feature — giving the rider a choice of 23.5-24.5 degrees of rake. By far, the 916 was the most technologically sophisticated motorcycle you could buy in 1994.



While performance alone may win races (see Ducati 999), a perfect balance of engineering and design is required to win fans. For that, Ducati, under the ownership of Cagiva, went to the Centro Ricerche Cagiva (CRC) design house in San Marino. Like Pinanfarina to Ferrari, CRC has been responsible for some of the best-looking and most memorable Italian exotics to date. Most of the designs destined to make CRC famous could be credited to Massimo Tamburini, head of the company and the man behind the 916. You may already know he’s also the master behind the Ducati Paso in 1988, and then later the Cagiva Mito (a nearly identical 8/10ths scale 125-cc version of the 916) and ultimately the first-generation MV Agusta F4. Quite the portfolio, no?



The Ducati 916, like MV’s F4 that Tamburini would design five years later, made no concessions for ergonomics. The clip-ons were so low that if one were to draw an imaginary horizontal line across the highest point of the rider’s seat, they’d fall below that. And the seat is just as firm as the race-ready suspension; most 916 owners likened it to straddling a park bench. The underseat mufflers absolutely roasted any rider’s nether regions at speeds slower than 45 mph, and the mirrors were only functional at full race tuck — something rarely achieved on the street. Practicality was also non-existent. While other manufacturers offered ample storage space and helmet hangers, Ducati gave riders barely enough room for paperwork and their wrap-around Oakleys.



The 916 also introduced the self-retracting side stand. Known colloquially as the “suicide stand,” it allowed new riders who mistakenly believed it to be down – when in fact they had accidentally retracted it by uprighting the bike – to keep many a dealership parts department busy with orders for left-hand fairings and mirrors.



Despite its larger-than-life reputation, the 916 was surprisingly small. The narrowness of the L-twin engine allowed the total package to have dimensions similar to a 250 Grand Prix bike. With a tall seat height, but rearsets that were both up and back, it was a bike for neither tall nor short riders. The first two years of the 916 were offered solely as one-seaters (monoposto), which was ultimately a blessing since passengers would later find their accommodations worse than the riders’.



Thankfully, it was so beautiful that nobody cared. From the sleek, narrow tail section to the steeply angled nose fairing, the 916 exuded mechanical sexuality. For the first year, gushing reviews of the motorcycle contained just as much praise for the beauty of the 916 as accolades to its engineering. Photographs of the bold new superbike graced the covers of everything from bike magazines to technical journals, and always in Ducati red — the only available color from 1995 to 1997.



Arguably the most copied motorcycle design in history, the 916 still looks modern today. After just a few years, the single-sided swingarm would become almost synonymous with Ducati, as would the twin underseat mufflers. Side-by-side headlights, one of which was an industry-first projector assembly, were mere slits in the bodywork compared to the huge single rectangular headlights on the Yamahas and twin round units of the Hondas.



Beyond the pretty face, the devil was in the Ducati’s details. Features like quarter-turn Dzus fasteners, mirrors that required just one small bolt to remove, and a rear suspension with independent ride-height adjustment hinted at the racebike lurking beneath street plastics.



To be certain, the 916 and its descendents certainly dominated the racetrack. From 1994 to 2002, a Ducati 916 variant won all but one Superbike Manufacturer’s Championships and had a rider on the podium over 90 percent of the time. Carl Fogarty’s standing record of 59 race wins and four world titles all came on a Ducati 916. But if all it takes is race wins and technological advancement to achieve historical significance, it was certainly the cultural impact of the 916 that elevates it to icon status.



A quick glance at the evolution of sportbike design over the past decade-and-a-half shows hints of the 916’s design in everything from Aprilia to Yamaha. Custom bike builders the world over would graft single-sided swingarms on their projects, and exhaust manufacturers clamored to produce an underseat retrofit kit to supply the growing consumer demand for that “Ducati-look.”



From Fled to The Italian Job-remake, the Ducati Superbike epitomized performance and style. By the turn of the millennium, Ducati superbikes were more common in P-Diddy videos than Biggie Smalls. And at least one Kilometer Magazine staffer had a poster of a 916 on his wall in high school.



Not to say that Ducati rested on its laurels, but eight years is an eternity for a motorcycle design. Through the years, subtle changes would make the 916 seem a bit more pedestrian as the Japanese finally started to catch up. The frames would go from a beautiful matte gold to a more sterile grey in 2000. The aluminum Brembo wheels, with “Ducati Racing” embossed around the center, were eventually replaced by race-replica five-spoke Marchesinis. Worst of all, the stunning gold fairing decals, noting both the displacement as well as the desmoquattro valvetrain, were axed for generic sans-serif block lettering, noting the change of ownership to Texas Pacific Group in 1998.



While a handful of 1994 models were built, the first year of standard production for the 916 was 1995. Special models such as the Sport Production (SP) would later be unveiled before ultimately offering SPS and R models built solely for the purpose of race homologation. There were even “privateer specials” with RS suffixes that gave customers the opportunity to ride race-prepped bikes with (almost) all the goodies typically reserved factory race teams.



In 1997 Ducati offered a middleweight version called the 748. It was identical to the 916 in every way save for a few millimeters of bore and stroke. For 1999, Ducati made the bike more compliant with SBK regulations by bumping the displacement to 996 cc and the 916 name was replaced in kind. In 2002, Tamburini’s design would have its farewell with the one-off 998 superbike, showcasing Ducati’s new testastretta engine design. This lead to the less attractive — but technologically superior — 999 design, paving the way for more practical and user-friendly superbikes. Ultimately Ducati would admit that it had perhaps strayed from the company’s roots a bit, refocusing on that heritage with the launch of the 1098 superbike in the fall of 2006. Though it was surely an homage to the 916, we were at once disappointed and oddly delighted to see that Tamburini’s original design, even when updated, cannot really be improved upon.



When it comes to sportbikes, the Ducati 916 is the epitome of the breed and a true icon. Whether it’s Troy Bayliss winning back-to-back superbike races at Imola or — sorry to get dorky here — Trinity racing between semi-trucks in The Matrix Reloaded, the Ducati superbike steals the show and proves that it’s just as important as who’s riding it. It has transcended the ranks of mere sportbikes to become almost the two-wheeled equivalent of Porsche’s 911 — instantly recognizable simply by its silhouette, or by just three digits.


Leave a Reply

Your email address will not be published. Required fields are marked *

You may use these HTML tags and attributes: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>