Everrati Builds the Electric Porsche 911 of Your Dreams - Kanebridge News
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Everrati Builds the Electric Porsche 911 of Your Dreams

By Jim Motavalli
Tue, Apr 16, 2024 4:56pmGrey Clock 3 min

As any Porsche lover knows, the automaker produces an electric sports car, the Taycan, which in GT Weissach form (US$231,995) develops 1,019 peak horsepower and takes just 2.1 seconds to reach 60 miles per hour. But what Porsche doesn’t do is produce an electric version of its absolutely iconic 911.

At the moment, that’s a job for the British company Everrati, which installs electric power into examples of the 911 built between 1988 and 1994 (code named 964). Everatti also transforms Land and Range Rovers, as well as classic Mercedes-Benz SLs, and an interpretation of the Ford GT40. The 911s have carbon-fiber body panels for lightness and are built in California through a partnership with Aria. That company creates concept and pre-production vehicles for global automakers.

Everrati’s latest creation is the Porsche 911 Signature Wide Body. With the hard-to-miss ducktail, it resembles a 1980s Porsche Turbo—but handles better. For a price that starts at £290,000 (US$360,467) customers get a car with 500 horsepower and 368.78 pound-feet of torque. The car has a 62-kilowatt-hour battery pack from LG Chem, yielding in this lightweight configuration approximately 200 miles of range. A single motor is connected to a limited-slip differential.

Also available is a Legacy model with 247 horsepower and 228.64 pound-feet. These cars look like earlier 911s (without the wide body and ducktail, for instance) and are built in a time-consuming restoration process. Given the work required, the price is the same as the Signature.

The Everrati Porsche 911 Signature Wide Body offers 500 horsepower and 368.78 pound-feet of torque from an electric drivetrain.

Features on the Signature include electronically adjustable suspension, regenerative braking, a “Porsche inspired” five-gauge cluster, and DC fast-charging capability. Everrati is also offering a Signature Gulf Edition of the 911, painted in the iconic blue-and-orange livery of the Gulf racing team (as seen at Le Mans and other venues).

The first Everrati 911 to go to a U.S. customer this month is a Mexico Blue Signature model delivered to California resident Matt Rogers, who co-founded the smart thermostat company that eventually became Google Nest. Rogers said in a statement that his car “captures the zeitgeist perfectly, being sustainable and environmentally conscious while also keeping the character of [Porsche’s] air-cooled era.”

Justin Lunny, Everatti co-founder and CEO, tells Penta that the company “doesn’t ‘convert’ cars to electric; instead, we redefine them as electric vehicles, worrying about such factors as driving feel and weight distribution. We hire very-experienced EV engineers and use the highest level of electric components, such as batteries and motors you would see in EVs from OEM manufacturers such as Rimac or Lotus.”

The gauges look like Porsche items, but are altered to monitor battery performance

Lunny says that Everrati puts motor and batteries in the back, where Porsche located the engine and transmission on its 911s, with more batteries and power electronics up front, where the original gas tank resided.

U.K. customer cars will still make the trek to California. Lunny explains that right-hand-drive 911s are sourced in Britain and shipped to the U.S., where they’re stripped to the chassis and slowly built up with the new carbon-fibre panels. They then go back to the U.K. for finishing.

“EV is not the only answer, but we do believe it will become the predominate powertrain,” Lunny says.

The company concentrates on a few models, but it’s willing to entertain bespoke one-off commissions, such as an electric Lamborghini for a customer in the Middle East. Such projects require a huge engineering commitment, and the resulting vehicle isn’t by any means inexpensive, costing US$500,000 or more. But it will be fully developed as an EV.

Porsche, too, is mostly going electric, with plans to have EVs make up more than 80% of new car sales by 2030. In 2021, more than 40% of the cars delivered in Europe were at least partly electric, either plug-in hybrids or full EVs. The 911 has no plans for full electrification, though a hybrid version appears likely. Lunny himself drives a battery-powered Porsche Taycan.


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I.M. Pei was the confident visionary behind such transformative structures as the Bank of China Tower in Hong Kong and the Louvre Pyramid in Paris, but he was also humble, and for years resisted a retrospective of his work.

Pei, a Chinese-American architect who died in 2019 at 102 , would always protest any suggestion of a major exhibition, saying, “why me,” noting, too, that he was still actively at work, recalls his youngest son, Li Chung “Sandi” Pei. A decade ago, when Pei was in his mid-to-late 90s, he relented, finally telling Aric Chen, a curator at the M+ museum in Hong Kong, “all right, if you want to do it, go ahead,” Sandi says.

A sweeping retrospective, “I.M. Pei: Life Is Architecture,” will open June 29 at M+ in the city’s West Kowloon Cultural District. The exhibition of more than 300 objects, including drawings, architectural models, photographs, films, and other archival documents, will feature Pei’s influential structures, but in dialogue with his “social, cultural, and biographical trajectories, showing architecture and life to be inseparable,” the museum said in a news release.

As a Chinese citizen who moved to the U.S. in 1935 to learn architecture, Pei—whose full first name was Ieoh Ming—brought a unique cultural perspective to his work.

“His life is what’s really interesting and separates him from many other architects,” Sandi says. “He brought with him so many sensibilities, cultural connections to China, and yet he was a man of America, the West.”

Facade of the Bank of China Tower in Hong Kong in a photograph commissioned by M+ in 2021.
© South Ho Siu Nam

Pei’s architectural work was significant particularly because of its emphasis on cultural institutions—from the East Building of the National Gallery of Art in Washington, D.C., to the Museum of Islamic Art in Doha, Qatar—“buildings that have a major impact in their communities,” Sandi says. But he also did several urban redevelopment projects, including Kips Bay Towers in Manhattan and Society Hill in Philadelphia.

“These are all places for people,” Sandi says. “He believed in the importance of architecture as a way to bring and celebrate life. Whether it was a housing development or museum or a tall building or whatever—he really felt a responsibility to try to bring something to wherever he was working that would uplift people.”

A critical juncture in Pei’s career was 1948, when he was recruited from the Harvard Graduate School of Design (where he received a master’s degree in architecture) by New York real estate developer William Zeckendorf.

With Zeckendorf, Pei traveled across the country, meeting politicians and other “movers and shakers” from Denver and Los Angeles, to Philadelphia, Washington D.C., Boston, and New York. “He became very adept at working in that environment, where you had to know how to persuade people,” Sandi says.

During the seven-year period Pei worked with Zeckendorf, the developer fostered the growth of his architecture practice, supporting an office that included urban, industrial, graphic, and interior designers, in addition to architects and other specialists, Sandi says.

When Pei started his own practice in 1955, “he had this wealth of a firm that could do anything almost anywhere,” Sandi says. “It was an incredible springboard for what became his own practice, which had no parallel in the profession.”

According to Sandi, Chinese culture, traditions, and art were inherent to his father’s life as he grew up, and “he brought that sensibility when he came into America and it always influenced his work.” This largely showed up in the way he thought of architecture as a “play of solids and voids,” or buildings and landscape.

“He always felt that they worked together in tandem—you can’t separate one from the other—and both of them are influenced by the play of light,” Sandi says.

View of the National Center for Atmospheric Research, on the mesa, in a photograph commissioned by M+ in 2021.
© Naho Kubota

Pei also often said that “architecture follows art,” and was particularly influenced by cubism, an artistic movement exploring time and space that was practiced in the early 20th century by Pablo Picasso, Georges Braque, and the sculptor Jacques Lipchitz, among others. This influence is apparent in the laboratory at the National Center for Atmospheric Research in Boulder, Colo., and at the Everson Museum of Art in Syracuse, N.Y. “Those two buildings, if you look at them, have a play of solid and void, which are very cubistic,” Sandi says.

Yet Sandi argues that his father didn’t have a specific architectural style. Geometry may have been a consistent feature to his work, but his projects always were designed in response to their intended site. The resulting structure emerged as almost inevitable, he says. “It just was the right solution.”

Pei also intended his buildings “not only to be themselves a magnet for life,” but also to influence the area where they existed. “He never felt that a building stood alone,” Sandi says. “Urban design, urban planning, was a very important part of his approach to architecture, always.”

After he closed his own firm to supposedly “retire” in the early 1990s, Pei worked alongside Sandi and his older brother, Chien Chung (Didi) Pei, who died late last year, at PEI Architects, formerly Pei Partnership Architects. Pei would work on his own projects, with their assistance, and would guide his sons, too. The firm had substantial involvement in the Museum of Islamic Art, among other initiatives, for instance, Sandi says.

Working with his father was fun, he says. In starting a project, Pei was often deliberately vague about his intentions. The structure would coalesce “through a process of dialogue and sketches and sometimes just having lunch over a bottle of wine,” Sandi says. “He was able to draw from each of us who was working on the project our best efforts to help to guide [it] to some kind of form.”

The M+ retrospective, which will run through Jan. 5, is divided into six areas of focus, from Pei’s upbringing and education through to his work in real estate and urban redevelopment, art and civic projects, to how he reinterpreted history through design.

Sandi, who will participate in a free public discussion moderated by exhibition co-curator Shirley Surya on the day it opens, is interested “in the opportunity to look at my father anew and to see his work in a different light now that it’s over, his last buildings are complete. You can take a full assessment of his career.”

And, he says, “I’m excited for other people to become familiar with his life.”