Archives for : April2020

clay

Posted by : admin1 On : April 19, 2020
0

Category: Uncategorized

Archives for :
Clay


Clay Modelling

Posted by : CarDesignOnline On : January 30, 2006
0

Category:
Clay, Resources

Clay modelling is one of the oldest and most traditional methods used in car design. Studios are divided in their preferences relating to CAD or clay but many believe that it remains one of the best ways to visualise developing designs in three-dimensions.

GM modellers use renderings, sketches and tape drawings as reference to create a 1/4 scale half model. Using a mirror in this way enables modellers to produce results more quickly. With full proportioned models, substantial time is spent balancing one side with the other.In this view it is possible to see the rig beneath the clay. In the rear wheel arch the base can be seen along with the core of light blue modelling foam.

 

Clay has been used since the earliest stages of car design and emphasises the strong links between three-dimensional automotive styling and sculpture. Working on the form of a vehicle in clay is a very tight form of sculpture, reliant upon a expert eye and an advanced perception of form and proportion.
Clay modellers work on the Holden FJ many decades ago. This practice is still common today. The modellers shown here are using, amongst other things, gauges to measure height and depth (to balance both sides) and profile guides to ensure the model corresponds to the design.

 

The Principles

There are several stages to producing a clay model.

First, the scale of the model is determined. Using a package drawing or profile sketch, the vehicles dimensions are worked out and the scaled dimensions calculated.

Using the core dimensions, a rig is built. A rig is designed to be a solid working base for the model as it is built and developed. In the case of small scale models – such as 1/4 scale – the rig will be designed to be mounted on a bench where modellers can stand to work on the model. It is often preferable to position a model to create the most lifelike perspective. In addition to providing a base for the model, the rig is also a means of reducing the amount of clay used on a model. Rather than using expensive and heavy styling clay all the way through, an inner core of foam is often used on which the clay is applied.

Manual Method

With the rig configured, clay is applied. Using a system of ’10-lines’, reference points are transferred from the drawings to the model. Clay is built up to match the profile from the drawings and is then added to fill out all the proportions.

From here, designers can either rigidly follow their drawings, creating guides and templates to help develop the model from the package drawing, or they can begin to experiment and develop the form freely. The beauty of automotive styling clay is its ability to be reworked and continually adjusted. This freedom of form development is rarely matched by computer.
Chevrolet designers work on a full scale Corvette model. Dynoc has been applied to give the impression of real glass and upper body paintwork. Real wheels add to the effect whilst designers make final adjustments to the surfaces.

 

Automated Method

Instead of designers and modellers labouring over a clay for weeks, many car firms are now in the habit of sending a CAD model directly to a specialist milling machine. The machine can precisely mill out the form and proportions of the 3D computer design in a relatively short period of time, although humans may still be called in to finish the surfaces or make slight adjustments.Although most aspects of a design can be resolved on computer, especially with the aid of virtual reality evaluation, almost all companies will still produce a full size clay towards the end of the process. The cold light of day can produce suprises that manufacturers want to be aware of before a vehicle enters tooling and production phases.

Once a vehicle is completed, one of several next steps may be taken. If the vehicle is to be shown as a concept, it might be painted and detailed but will more likely become the template for ‘hard modellers’ to use to create a production look-a-like with individual panels, real glass and details as well as an interior.

If the vehicle is ready for production, it will usually be scanned using 3D digital equipment which will in turn create a new CAD wireframe model. This will be tweaked by CAD specialists to remove imperfections before being passed on to engineers who will begin the arduous process of creating panels, componentry, drivetrain and propulsion based on the design.

Of course, if a vehicle was simply an in-house research project, as many are, it may never be seen by the public; in fact the clay may be reused in later projects.

These Holden models give an idea of the processes involved and their purpose. Both vehicles are full-size clays that give an accurate representation of the proposed vehicles. Applying a neutral coloured paint and sitting the model outside in a typical working environment is about the most accurate way to assess a concept’s visual impact without actually building it.The vehicle in the upper image appears to be in the later stages of development. Details such as light graphics, shut lines and Dynoc to imitate glass allow designers to quickly and effectively evaluate the model.




interiors

Posted by : admin1 On : April 19, 2020
0

Category: Uncategorized

Archives for :
Interiors


Material World: How Ford Run Fabrics Through Their Paces

Posted by : CarDesignOnline On : January 25, 2016
0

Category:
Design, Interiors, Materials

At Ford, ensuring materials and upholstery are up to the mark is crucial for everything from the first impression all the way down the line to the perception of the vehicle after considerable use – and thus resale value and reputation. We knew about Ikea’s kitchen drawer tests, now Ford are shedding a little light on their processes for testing and selecting fabrics and materials.

In short..

  • Ford engineers scratch, snag and stretch all the different materials that go inside a vehicle to help ensure their durability and suitability to long-term customer use
  • Fabrics that are used inside Ford vehicles are stained with everyday substances like hot coffee, soda and dirt to evaluate how well they can be cleaned afterward, testing their overall stain resistance
  • A team of examiners smell various samples of materials used inside Ford vehicles and rank them to help the engineers achieve interiors with a perceptible but not disturbing odour

 

Throughout a vehicle’s lifetime, it’s inevitable that the materials inside a car show signs of wear and tear. Wear occurs in all contact areas from sitting on car seats, leaning on arm rests, gripping the steering wheel through to fiddling with the instruments.

So what does Ford do to ensure interiors will hold up?

To help guarantee the durability of these fabrics, leathers and plastics, Ford engineers subject every material used inside Ford vehicles to a series of meticulous and unrelenting tests where they are stretched, scratched, snagged, sniffed and even splashed with the likes of grease, dirt and hot coffee, to see how they will stand up against the test of time.

These tests are done to help ensure it takes a lot more than a spilled cup of coffee, the graze of a sharp edge or any accidental scrapes and scuffs to break down these materials. Some of the unusual ordeals Ford materials need to go through include:

  • The Five-Finger Scratch Test, which is used to scratch samples of different plastics to see how much abuse they can take
  • The Soil and ‘Cleanability’ Test, which splashes different substances on seat fabrics to evaluate how well they can be cleaned afterwards, testing their overall stain resistance
  • The Resistance to Dye Transfer Test, which rubs materials of different colors (i.e. those dreaded new blue jeans, long-term destroyer of white leather sofas around the world) against the leather used for car seats to see if any stains are left behind
  • The Mace Snagging Test, which spins seat fabrics on rotating rollers roughly 600 times while they’re repeatedly struck by a spikey iron ball to test how strong they are

In addition to the poking, prodding and scratching, a team of examiners smell various samples of materials used inside Ford vehicles and rank them to help the engineers achieve interiors that are free of disturbing odours.

The purpose of these tests is to create and maintain a level of quality in Ford vehicles that can be expected to last through the vast majority of scenarios of car usage for years to come.

Further watching..


Bentley EXP 10 Speed 6 Wins at German Design Awards

Posted by : CarDesignOnline On : October 26, 2015
0

Category:
Concepts, Design, Interiors

  • Concept named overall winner in transportation category
  • Design award recognises ‘perfect combination of aesthetics and precision’
  • EXP 10 Speed 6 is a statement in modern British luxury and a potential future model line
  • Flying Spur and Continental GT Speed both receive special mentions

Bentley’s EXP 10 Speed 6 concept car has been awarded Gold in the Transportation category of the German Design Awards – one of the most highly respected design competitions in the world.

The German Design Council selects a panel of international design experts to judge the entries. They selected the EXP 10 Speed 6 for the Gold award as a result of its timeless, iconic Bentley design, clever use of new materials and aesthetic dynamism.

Panel judge, Johannes Barckmann, commented: “The designers of the EXP 10 Speed 6 achieved a fantastic reinterpretation of the British legend. This is particularly apparent when looking at the interior. The door panels are not covered with leather, but instead with high-quality wood.

“The exterior inspires with a progressive, elegant design vocabulary that transports the classic car into the future. EXP 10 Speed 6 is an extraordinarily beautiful automobile that perfectly combines aesthetics and precision – and is unmistakably a Bentley. It couldn’t be done better.”

The EXP 10 Speed 6 is a British interpretation of a high-performance two-seater sportscar. It showcases the future direction of luxury and performance using the finest materials and advanced hybrid technology – a powerful, exquisite and individual concept.

Sangyup Lee, Head of Exterior and Advanced Design at Bentley, added: “EXP 10 Speed 6 dominated the conversation at Geneva earlier this year, and is one of the most talked about concept cars of recent times. Our progressive and innovative design – while retaining a classic British look – is also thoroughly modern and dynamic.”

The Bentley Flying Spur and Continental GT Speed – both refreshed in 2015 with a complement of new interior features and exterior styling cues – also received special mentions from the German Design Awards judging panels.


Renault Kwid – Design Process in Images

Posted by : CarDesignOnline On : June 6, 2015
0

Category:
Colour & Trim, Design, Interiors

The Kwid is Renault’s new product in the Indian and developing economy markets. Designed specifically for those markets in mind, but retaining all the visual characteristics of a small, modern Renault, the Kwid aims to be both practical and aspirational. It’s exterior appears to have been led from the principle design team in France whilst the interior is the product of the Renault Design Centre in Mumbai, India.

 

“At first glance, the KWID blends an emotional design with the need for

reassurance expressed by customers. Its SUV lines mirror its tough, robust

character and underpin its distinctive, modern look.“

Laurens van den Acker – Senior Vice President, Corporate Design

 

 

“The KWID is an entirely new car which offers a lot of surprises both inside

and out, including features from the next segment up.”

David Durand – Head of KWID Styling




events

Posted by : admin1 On : April 19, 2020
0

Category: Uncategorized

Archives for :
Events


Design Museum Talk: Is Beauty the Engine of Design?

Posted by : CarDesignOnline On : April 7, 2016
0

Category:
Design, Events

Aston Martin Chief Creative Officer Marek Reichman and Design Museum Director Deyan Sudjic, join in a talk presented by creative editor and writer Hermione Crawford, about how design evolves, beauty versus utility and the very future of cars to be held on 20th April in London.
How does Aston Martin create an iconic car? What is beauty, and is a mechanical structure like an automobile beautiful? What is the future relevance of an independent luxury sports car brand, and how will it evolve? These and many other questions will be discussed at this exclusive and unique event. – See more at: http://designmuseum.org/is-beauty-the-engine-of-design#sthash.VyTUlMkt.dpuf

Find out more/book tickets


Design Museum London: Apply for Designers in Residence 2016

Posted by : CarDesignOnline On : February 10, 2016
0

Category:
Design, Events

Now in its 9th year, the annual residency programme promotes new and emerging design talent. It’s open to all designers who have graduated from Higher Education within the last five years (in the academic year 2011/12 or more recently) and who have been working professionally (either paid or voluntarily) in some form of design or architecture practice for a minimum of one year.

This year the Design Museum opens the doors to its new home in Kensington. The Designers in Residence of 2016 will join the museum on this journey. Through a focused and rigorous proposal, the museum asks for designers to submit creative responses to this year’s theme OPEN.

Design is no longer exclusive but a process in which many voices can participate. The spirit of open design offers new and exciting ways to shape and experience the world around us. Design has become more inclusive. Tools that were once the preserve of professionals are now available to amateurs. Through hacking, co-creation, downloadable designs, and sharing of knowledge, more people than ever can take on the role of the designer.

[ Find out more & apply ]




ergonomics

Posted by : admin1 On : April 19, 2020
0

Category: Uncategorized

Archives for :
Ergonomics


Lexus Chief Designer & Engineer Talk About Finishes on the LC

Posted by : CarDesignOnline On : May 12, 2016
0

Category:
Design, Ergonomics, Materials

Chief Designer, Tadao Mori, and Chief Engineer, Koji Sato, explain how the Japanese traditions of fine quality finishing give the new LC coupe an added dimension of luxury and attention to detail.

Q: Where can we see the work of Lexus’ Takumi craftspeople in the new LC?

Tadao Mori: “I would highlight the exquisite stitching of the Alcantara upholstery, it gives the LC a sporty yet luxurious feeling. In fact, you won’t find any plastic parts in the interior, as we have covered almost everything in upholstery.
“I also love the creative stitching and the small perforations in the seat fabric, and the steering wheel is a piece of art.”

Q: What makes the steering wheel such a special feature?
Koji Sato: “A Takumi master driver helped define the best possible shape for the steering wheel. Driving the car and checking the details again and again, he constantly refined the profile to come up with an ideal elliptical grip that fits best in the driver’s hands when cornering with high G-forces.”
Tadao Mori: “Then our Takumi master driver created an amazingly complex cross-sectional drawing, with different profiles for every section of the wheel. It is an incredible piece of work.”
Koji Sato: “The same intensive process was applied to the paddle shifters to achieve the perfect fit and placing for the hands. The Takumi driver works exclusively on the development of the LC, making fine adjustments all the time. In fact this process will continue right up to the moment the car goes into production.”

Q: How have you been able to make use of the craftsmanship skills that were developed for the LFA?

Koji Sato: “The LC will be built at the Motomachi plant, the same factory where we produced the LFA and some of the Takumi who worked on that model are now working exclusively on the new coupe.
This way we have been able to tap into their knowledge and experience in areas such as the carbon fibre components, leatherwork and hand-finishing.”




2

Posted by : admin1 On : April 19, 2020
0

Category: Uncategorized

Archives for :
Design


Opel GT Concept: Evolution of Opel Experimental GT

Posted by : CarDesignOnline On : January 27, 2016
0

Category:
Concepts, Design

The Opel GT Concept will be unveiled to the World at the 86th Geneva International Motor Show (March 3 to 13, 2016). The GT Concept is a front mid-engine and rear-wheel drive is a direct descendant of the Opel GT and the Monza Concept and evolves Opel’s sculptural design philosophy. The car is very simplified and pure in form. The GT Concept has no door handles or exterior door mirrors.

“We are taking the next step towards even more emotion and driving pleasure with the Opel GT Concept. The GT Concept shows what Opel stands for now. We are confident, ambitious, innovative and we want win over more customers with every new car,” said Opel Group CEO Dr. Karl-Thomas Neumann who is already looking forward to the world premiere in Geneva.

 

The Opel GT Concept will follow in the footsteps of the famous Opel Experimental GT at the Geneva Motor Show. In 1965, only one year after the foundation of the first design studio run by a European car manufacturer, Opel presented this sleek and expressive coupé based on the technology of the Kadett B at the Frankfurt Motor Show. The GT incorporated innovations such as retracting headlamps and displayed a slim form along with perfect proportions without unnecessary decoration. The uncompromising concept by Erhard Schnell mainly wanted to be one thing – a design statement. The reactions from the public were so overwhelming that the series production Opel GT was at dealerships only three years later. The rest is history – a success story, an automotive icon.

The GT Concept incorporates a red signature line that splits the vehicle body horizontally. The distinctive red front tires – mounted on rims with a roller skate design – are reminiscent of the Opel motorbike Motoclub 500 that was also avant-garde at its time and was the proud owner of two red tires in 1928. Apart from that, the GT Concept does not have many links to the past. The long bonnet, the absence of a trunk lid, the central dual exhaust and of course, the name all refer to the original GT. Apart from that the Opel GT Concept is independent with no sign of retro-design.

“We created the GT Concept to capture the bold, emotional spirit of the Opel brand. It is dramatic, sculptural and full of innovations, which is our great tradition that we intend to continue. Back in 1965, Opel developed the Experimental GT, a thoroughly modern vehicle that also boasted a pure sculptural shape. It’s certainly difficult to reinvent an icon but just as the Experimental GT was avant-garde back then, so too is this GT Concept today – absolutely pure, minimalistic, yet bold and uncompromising. This coupé impressively demonstrates the continuous development of our Design philosophy – ‘Sculptural Artistry meets German precision’,” said Mark Adams, Vice President, Design Europe.

A key innovation of the Opel GT Concept are the large doors with the integrated side windows that show a seamless transition from glass to painted surfaces. Both the driver and the front passenger gain access to the unexpectedly spacious interior after pressing the touchpad for the electric doors that is integrated in the red signature line of the roof. Even tall drivers have enough room inside. The doors immerse considerably into the front wheel arches when opened. This space-saving and patented mounting allows a large opening angle – particularly in relatively tight parking spaces. The compact athlete is therefore optimized especially for urban areas. Two cameras mounted behind the wheel arches ensure a safe overview while driving in the city. They transmit their images to two monitors on the left and right-hand side of the cockpit – the days of exterior door mirrors and blind spots are therefore over. The windshield flows into a glass panorama roof enabling the occupants to enjoy a driving experience similar to that offered by a targa with a removable roof.

Power

The stretched bonnet reveals the powertrain concept of the GT Concept: Just like the first Opel GT and Corvette, also made by GM, it has a front mid-engine. The vehicle’s centre of gravity is therefore low and central – ideal for sporty handling and excellent cornering dynamics. The Opel GT Concept has a powerful 1.0-litre, three-cylinder turbocharged engine based on the ultra-modern all-aluminium engine used in ADAM, Corsa and Astra. The extremely efficient direct injection petrol unit develops 107 kW/145 hp and maximum torque of 205 Nm in its sporty trim (consumption values for the Opel GT Concept are not available yet). The turbo power is sent towards the rear axle with mechanical differential lock via a sequential six-speed transmission that is operated by shift paddles on the steering wheel. The low weight (below 1,000kg) allows the GT to accelerate from 0 to 100 km/h in less than eight seconds, with a top speed of 215 km/h.

A further highlight of the Opel GT Concept are the main headlamps with integrated indicators. Thanks to projection technology, these shine very three-dimensionally. The next generation adaptive full LED light is obviously the perfect match for this technology. The Opel IntelliLux LED® matrix light, which allows glare-free high beam driving, already made its debut in the new Astra in 2015 and won the SAFETYBEST Award. The Opel GT Concept sees the introduction of the next stage of development of the intelligent light system. The design of the lights is rounded off by the three-dimensional design of the tail lamps that make the new GT distinctive at night.


Material World: How Ford Run Fabrics Through Their Paces

Posted by : CarDesignOnline On : January 25, 2016
0

Category:
Design, Interiors, Materials

At Ford, ensuring materials and upholstery are up to the mark is crucial for everything from the first impression all the way down the line to the perception of the vehicle after considerable use – and thus resale value and reputation. We knew about Ikea’s kitchen drawer tests, now Ford are shedding a little light on their processes for testing and selecting fabrics and materials.

In short..

  • Ford engineers scratch, snag and stretch all the different materials that go inside a vehicle to help ensure their durability and suitability to long-term customer use
  • Fabrics that are used inside Ford vehicles are stained with everyday substances like hot coffee, soda and dirt to evaluate how well they can be cleaned afterward, testing their overall stain resistance
  • A team of examiners smell various samples of materials used inside Ford vehicles and rank them to help the engineers achieve interiors with a perceptible but not disturbing odour

 

Throughout a vehicle’s lifetime, it’s inevitable that the materials inside a car show signs of wear and tear. Wear occurs in all contact areas from sitting on car seats, leaning on arm rests, gripping the steering wheel through to fiddling with the instruments.

So what does Ford do to ensure interiors will hold up?

To help guarantee the durability of these fabrics, leathers and plastics, Ford engineers subject every material used inside Ford vehicles to a series of meticulous and unrelenting tests where they are stretched, scratched, snagged, sniffed and even splashed with the likes of grease, dirt and hot coffee, to see how they will stand up against the test of time.

These tests are done to help ensure it takes a lot more than a spilled cup of coffee, the graze of a sharp edge or any accidental scrapes and scuffs to break down these materials. Some of the unusual ordeals Ford materials need to go through include:

  • The Five-Finger Scratch Test, which is used to scratch samples of different plastics to see how much abuse they can take
  • The Soil and ‘Cleanability’ Test, which splashes different substances on seat fabrics to evaluate how well they can be cleaned afterwards, testing their overall stain resistance
  • The Resistance to Dye Transfer Test, which rubs materials of different colors (i.e. those dreaded new blue jeans, long-term destroyer of white leather sofas around the world) against the leather used for car seats to see if any stains are left behind
  • The Mace Snagging Test, which spins seat fabrics on rotating rollers roughly 600 times while they’re repeatedly struck by a spikey iron ball to test how strong they are

In addition to the poking, prodding and scratching, a team of examiners smell various samples of materials used inside Ford vehicles and rank them to help the engineers achieve interiors that are free of disturbing odours.

The purpose of these tests is to create and maintain a level of quality in Ford vehicles that can be expected to last through the vast majority of scenarios of car usage for years to come.

Further watching..


Nissan Titan Concept – Behind the Design

Posted by : CarDesignOnline On : January 21, 2016
0

Category:
Auto Shows, Concepts, Design, SUV

 

Nissan put an exclamation point on the start of sales of its all-new 2016 TITAN XD by unveiling a super-sized, off-road modified design study it calls the TITAN Warrior Concept. Nissan Design America (NDA) took the TITAN XD’s production design to new extremes with unapologetic, aggressive, athletic styling features that declare the concept’s off-road adventure intent and Nissan’s optimism for the truck market.

“Truck buyers have a seemingly insatiable appetite for more content and more unique offerings,” said José Muñoz, executive vice president, Nissan Motor Co., Ltd. and chairman, Nissan North America, Inc. “Even though our all-new 2016 TITAN XD just started arriving at Nissan dealers nationwide last month, we are already exploring new territory where TITAN might go in the future.”

Pushing the Boundaries

Just as the all-new TITAN XD with its Cummins® 5.0L V8 Turbo Diesel engine has bulked up the standards for customers shopping the light-duty pickup class, the TITAN Warrior Concept was created to take the production version to the extreme.

“Nissan has always pushed the boundaries of traditional automotive design and engineering, from our Nissan GT-R supercar to the new TITAN XD,” explained Muñoz. “We do this with a clear conviction that there are buyers out there who appreciate something everyone else does not have. A `work hard, play harder, get bigger’ TITAN XD certainly does the job.”

The TITAN Warrior Concept builds on the recent Project Titan, a crowd-sourced customization of an original-generation Titan that sent two U.S. military veterans representing Wounded Warrior Project® on a once-in-a-lifetime adventure in Alaska. The new concept truck also pays homage to Nissan’s heritage of off-road racing and adventuring, which goes back to the days of Baja “Hardbody” competition pickups and Paris-Dakar Rally treks.

“As we launch the all-new 2016 TITAN XD, the TITAN Warrior Concept was conceived to share our team’s pride and excitement to be back in the truck market in a big way,” added Muñoz. “The team delivered.”

A Warrior with a “Modern Armor” Exterior

The TITAN Warrior Concept creators had more than a strong foundation on which to build their vision of a bold and expanding future in the full-size pickup market, they had a familiar one.

As part of the group that brought the “American TITAN” to life – a group that ranged from Tennessee, Michigan, Mississippi, Indiana, Arizona and California – the design team imagined how their original TITAN design, inspired by warriors in ancient Greek mythology, might evolve to extreme levels of adventure duty.

First, while maintaining the TITAN XD Crew Cab’s standard wheelbase and length, they wanted to give the concept truck an even more powerful presence than the original. The height was raised nearly three inches, from 78.7 inches to 81.5 inches, to fit a quartet of 37-inch tall off-road tires mounted on custom 18×9.5-inch aluminum-alloy wheels. The wheels’ machined aluminum surfaces feature a dark matte finish and continue the production TITAN XD’s “precision tool” design theme.

To create clearance for the new oversize tires and accommodate the new, long-travel suspension, the TITAN Warrior Concept’s width was extended three inches on each side, from 80.6 inches total to 86.6 inches. Once the dimensions and imposing stance were mapped out, the extreme makeover began in earnest.

Building on the new second-generation TITAN’s warrior-inspired styling, the designers amplified the protective look of the production exterior. Designating the new look as “modern armor” – with a stealthy, robotic quality – they continued the anatomical feel of the production TITAN, but added a more machine-like, sharper-edge appearance.

The grille and signature TITAN headlights were enhanced to offer a more technical, menacing look. The front and rear fenders have been flared and offer an extremely muscular appearance. Functional hood vents were added for cooling the powerful diesel engine. The broad hoodline is balanced underneath by the large front skidplate, which interlocks into the powerful front bumper.

Custom LED lights, front and rear, add to the TITAN Warrior Concept’s stealthy presence. The headlights carry a sense of the new Nissan signature boomerang lights, but with a more precise, upright, robotic feel. In the rear, the integrated LED taillights take the form of a TITAN “T” logo, split by the wide tailgate. As a finishing touch, a quad-tipped exhaust system is integrated into the rear bumper.

Despite its massive bulk, TITAN Warrior Concept adds several aerodynamic elements, including carbon fiber rear cab spoiler and tailgate spoilers. Additional unique body elements include integrated, roof-mounted LED off-road lights.

The TITAN Warrior Concept is covered in a custom matte-gunmetal paint called “Thunder” and accented in special “Magma” orange and black color highlights.

“There’s a sense to the exterior design that the TITAN Warrior Concept could drive right off the auto show stage and retrace the historic route of Nissan’s off-road racing victories in the Baja Peninsula,” said Muñoz. “And given the high-torque Cummins 5.0L V8 Turbo Diesel, extensive suspension modifications and TITAN XD heavy-duty durability, it certainly could.”

A Polished, Premium Sport Interior

Inside the TITAN Warrior Concept’s rugged performance-focused exterior is an interior conceived to handle the abuse experienced on an extended off-road excursion in comfort and style.

“Today’s truck enthusiasts don’t just use their trucks for weekend adventures, they do double-duty as daily drivers,” explained Muñoz. “Therefore the TITAN Warrior Concept’s interior reflects a premium outdoor lifestyle, closer in look and content to a new TITAN XD Platinum Reserve model than a stripped-down pre-runner.”

The interior design team at Nissan Design America wanted to give the vehicle a unique polished “chronograph” look and feel, focusing on materials and detailing while remaining true to the TITAN Warrior Concept’s active performance theme. For example, the seats are covered in a carbon-colored high-strength seat fabric trimmed with “Magma” orange accents. Interior surfaces utilize material, such as carbon fiber, polished chrome finishes, leather with accented Magma orange stitching.

The TITAN Warrior Concept’s steering wheel is custom-built, continuing the technical adventure theme, milled from one block of aluminum. Other interior details include unique hot-and-cold drink containers integrated into the center console. Robust auxiliary toggle switches are integrated into the center stack for additional off-road accessories. Instrument panel-mounted auxiliary gauges are provided to easily monitor truck performance.

Performance Unleashed

As an extreme adventure version of the new 2016 TITAN XD, the TITAN Warrior Concept utilizes the factory fully boxed ladder frame and Cummins® 5.0L V8 Turbo Diesel engine and the standard heavy-duty 6-speed Aisin automatic transmission as its base.

Where the TITAN Warrior Concept departs from its production counterpart is in the full custom suspension design. In the front, the standard suspension has been replaced with custom upper and lower control arm with performance ball joints, along with racing-style internal bypass reservoir coil-over shocks with custom reservoir mounts and tie-rod extensions.

In the rear, the modifications include custom internal bypass reservoir shocks with custom reservoir mounts. Adjusted-length prototype axles were installed, along with a custom sway bar, relocated sway bar brackets and rear lift blocks and U-bolts. Hydraulic pressurized bump stops were also added front and rear.

Exploring New Boundaries

The debut of the TITAN Warrior Concept at the North American International Auto Show comes exactly one year since the debut of the production TITAN XD on the same stage. TITAN XD has been named “Truck of Texas” by the Texas Auto Writers Association (TAWA) in their annual Texas Truck Rodeo, which puts the industry’s best trucks, SUVs and CUVs through a grueling two-day evaluation. In addition to the competition’s top award, Truck of Texas, the TITAN XD won three other honors – Luxury Pickup Truck of Texas, Off-Road Pickup Truck of Texas and Best Powertrain for its standard Cummins® 5.0L V8 Turbo Diesel engine.

Now that TITAN XD Crew Cab with a Cummins 5.0L V8 Turbo Diesel engine is in Nissan showrooms, the rollout of new models continues. In December, Nissan announced that advanced gas-powered Endurance® V8 producing 390 horsepower and 401 lb-ft of torque will be available in both TITAN and TITAN XD models beginning in early spring 2016.

Ultimately, the new TITAN will be offered in three cab configurations, two frame sizes, three powertrain offerings and five grade levels (more information on the full lineup will be available at a later date).

“While Nissan still has many roads and trails to travel as we continue to launch additional production versions of our bold new TITAN, this new TITAN Warrior Concept gives an important signal to American truck enthusiasts that our vision for exploring new boundaries remains strong,” concluded Muñoz. “Truck lovers are never static and neither is TITAN.”


Gerry McGovern on his Design Inspirations

Posted by : CarDesignOnline On : December 15, 2015
0

Category:
Design, History, People

“The world would be a sad place for me, without great design” –

Gerry McGovern.

Modern automotive design is, by necessity, high-tech and computer-led – leading to the belief that the human touch has largely been lost. But it is no coincidence that the imaginative mind behind one of the most successful car marques in existence takes influence from beyond the computer screen in order to design cars that provoke thought, interest, emotion and affection.

The Range Rover is just such a car. Launched in its original guise in 1970, it truly deserves to be called a ‘design icon’ – a status it has achieved through four model generations, the latest of which has even been hailed as ‘possibly the best car ever made’.

And now, as Range Rover celebrates its 45th anniversary, Land Rover’s Design Director and Chief Creative Officer Gerry McGovern gives an insight into five objects that have inspired and influenced the way in which he approaches his work.

1. Round Café, Coventry

This cylindrical café, which opened in the late 1950s, was a symbol of the modernist design philosophy introduced by Coventry town planner Donald Gibson, and has been regarded as a city centre landmark ever since.

The building, like many built in Coventry at the time, stood as a symbol of post-war optimism. Gerry says: “During the 1960s, the whole city centre was really modern, with mosaic tiling and large expanses of glass – most of the buildings in the town centre were forward thinking.

“My mother worked in the café for a while and I used to sit in there as a child. It felt like being in a spaceship. So I was introduced to this world of modernism and futuring from a very young age, which is something that has always stayed with me.”

 

2. Eames lounge chair

The iconic Eames Lounge Chair was designed by Charles and Ray Eames for the Herman Miller furniture company in 1956. The chair’s unique shape, exposed structure and base materials of molded plywood and leather is said to be inspired by a baseball mitt.

The Eames chair has been a design favourite of Gerry’s for many years, representing a timeless piece that has both utility and purpose at its core. Gerry says: “It is perhaps an obvious choice for a designer to make, however it’s so good and continues to give me pleasure, which is what ultimately all good design should have the ability to do. For me, it’s a piece of design that is still relevant today.

“The Eames chair has certain values that are important to me as a designer. For example, being true to materials. The fact that, rather than covering up the structure, the designers chose to celebrate it. However, by continually refining and updating the materials and finishes, as well as improving the quality of construction with more contemporary materials, softer leathers and lighter woods, means that it’s still as relevant today as the day it was designed.”

 

3. Josef Albers – ‘Never Before I’ series

German-born Josef Albers was an artist and teacher who specialised in painting, printmaking, murals and architecture. After emigrating to America in the 1930s, Albers was regarded as an important influence on generations of younger artists and was credited as an innovator in the fields of Op art and Colour Field painting.

The clarity and precision of Alber’s work is of particular significance to Gerry, he says: “Albers is recognised as one of the world’s greatest modernist printmakers. To me, the beauty lies in the precision of each colour against the other. There is absolute clarity in his work.

“One of the reasons why I admire Albers so much is the precision that he achieved through silkscreen printing, which meant he could create perfect lines of connecting colour. The colours are so vibrant, so rich. I never tire of his work – I bought my first collection by Albers more than 15 years ago and while I’ve sold many other artists work over the years, I’ve always kept the Albers.

“When creating an initial vehicle design, you start with the fundamentals, which are optimized volume and proportions and followed on by surfacing and detail. There is a sense of graphic design and symbolism in a lot of my favourite art, Albers’ printmaking is a perfect example.”

 

4. Kaufmann Desert House, Palm Springs, California

Designed by Richard Neutra in 1946, the Kaufmann House is located in Palm Springs, California. It was created for the businessman and philanthropist Edgar Kaufmann and was purposefully designed to sit in juxtaposition with the surrounding mountains. It is seen as a prime example of modernist architecture.

The design aesthetic particularly resonated with Gerry, he says: “The Kaufmann House has that sense of bringing the outside in, which is something that we deliberately tried to incorporate with the inclusion of the panoramic roof on our Range Rovers.

“Many of our customers are being chauffeured through cities and want to look up and be able to take in their surroundings. We felt that it was important to introduce the large glass roof so we could bring a sense of the environment into the vehicle and thus create a sense of occasion.”

 

5. Patek Philippe Calatrava watch

Since 1851, Patek Philippe has produced some of the world’s greatest timepieces and its unpretentious, yet sophisticated designs have been a mainstay throughout its history. Gerry owns two examples of the Swiss ultra-luxury watch manufacturer’s work – the Nautilus and Calatrava. He says: “The Calatrava particularly represents, in my view, a masterclass in simplicity and sophistication. It’s as much about what it doesn’t say, as what it does say. It’s a beautiful thing – the notion of ‘less is more’ is a fundamental part of its design philosophy. Every detail on the watch is doing a job.”

Gerry concludes: “All five of these objects have the ability to connect on an emotional level. For me, emotional design has three key components. The first is visceral – when you look at it do you desire it. The second is behavioral – when you use it does it do what it’s meant to do. And finally, reflective – once you have experienced it, does it continue to excite. To me, Range Rover epitomizes all three of these components.”

 

Gerry McGovern is Design Director and Chief Creative Officer for Land Rover. After completing a degree in industrial design at Coventry University, McGovern studied for a Masters at the Royal College of Art in London, specialising in automotive design. His early career took in stints at Chrysler, Peugeot and Rover Group, where he was lead designer of the critically acclaimed MGF sports car, Land Rover Freelander and third generation Range Rover.

After a spell at Ford Motor Company heading up Lincoln-Mercury, McGovern returned to the UK to run a design consultancy in London before rejoining Land Rover in 2004 as Director, Advanced Design. He was appointed Land Rover Design Director in 2006 and his position has since grown to include the role of Chief Creative Officer and he is an Executive member of the Jaguar Land Rover Board.


Hyundai N 2025 Concept

Posted by : CarDesignOnline On : November 18, 2015
0

Category:
Concepts, Design

N 2025 Vision Gran Turismo Concept

Today, Hyundai débuted its N 2025 Vision Gran Turismo Concept for the North American market at the Los Angeles Auto Show. This concept demonstrates the Hyundai brand’s unique perspective on future performance characteristics and was developed as one of the latest additions to the Vision Gran Turismo. The Vision Gran Turismo project invites automakers, design houses and leading brands to design special concept vehicles that showcase the future of automotive design, exclusively for Gran Turismo®, one of the most popular video game franchises. The N 2025 Vision Gran Turismo boasts a hydrogen fuel cell powertrain capable of generating an impressive 884 PS (872 HP), using an additional super capacitor system.

N 2025 Vision Gran Turismo Concept


Bentley EXP 10 Speed 6 Wins at German Design Awards

Posted by : CarDesignOnline On : October 26, 2015
0

Category:
Concepts, Design, Interiors

  • Concept named overall winner in transportation category
  • Design award recognises ‘perfect combination of aesthetics and precision’
  • EXP 10 Speed 6 is a statement in modern British luxury and a potential future model line
  • Flying Spur and Continental GT Speed both receive special mentions

Bentley’s EXP 10 Speed 6 concept car has been awarded Gold in the Transportation category of the German Design Awards – one of the most highly respected design competitions in the world.

The German Design Council selects a panel of international design experts to judge the entries. They selected the EXP 10 Speed 6 for the Gold award as a result of its timeless, iconic Bentley design, clever use of new materials and aesthetic dynamism.

Panel judge, Johannes Barckmann, commented: “The designers of the EXP 10 Speed 6 achieved a fantastic reinterpretation of the British legend. This is particularly apparent when looking at the interior. The door panels are not covered with leather, but instead with high-quality wood.

“The exterior inspires with a progressive, elegant design vocabulary that transports the classic car into the future. EXP 10 Speed 6 is an extraordinarily beautiful automobile that perfectly combines aesthetics and precision – and is unmistakably a Bentley. It couldn’t be done better.”

The EXP 10 Speed 6 is a British interpretation of a high-performance two-seater sportscar. It showcases the future direction of luxury and performance using the finest materials and advanced hybrid technology – a powerful, exquisite and individual concept.

Sangyup Lee, Head of Exterior and Advanced Design at Bentley, added: “EXP 10 Speed 6 dominated the conversation at Geneva earlier this year, and is one of the most talked about concept cars of recent times. Our progressive and innovative design – while retaining a classic British look – is also thoroughly modern and dynamic.”

The Bentley Flying Spur and Continental GT Speed – both refreshed in 2015 with a complement of new interior features and exterior styling cues – also received special mentions from the German Design Awards judging panels.


JLR Wins 3 Awards from Auto Motor und Sport

Posted by : CarDesignOnline On : October 7, 2015
0

Category:
Design

  • Jaguar Land Rover voted winners of three categories by readers of Germany’s leading motoring magazine Auto Motor und Sport
  • Jaguar XF and XE top upper middle class and middle class categories
  • Range Rover Evoque wins SUV class by huge margin
  • Jaguar voted runner up in design brand of the year category

JLR_Autonis_Awards_Image_071015_05_(119610)

Jaguar Land Rover has been honoured with three trophies at the prestigious Autonis design awards, voted for by readers of Germany’s leading motoring magazine, Auto Motor und Sport.

In the 15th annual reader survey, 115 cars competed across ten categories with more than 17,500 votes cast. The Jaguar XF led the upper middle class category with 42 per cent share of votes, beating local competition from the Audi A6 (35 per cent) and BMW 7-series (30.5 per cent).

The all-new Jaguar XE scooped 36 percent of votes in the middle class group, relegating the Mercedes C-Class and BMW 3-series to second and third place with 29 and 28 per cent of the votes respectively. Jaguar also took home the silver medal in the design brand of the year class.

Land Rover celebrated success in the SUV class with the Range Rover Evoque winning by the biggest margin of all award entrants, receiving almost twice as many votes (45 per cent) than its closest rivals the Audi Q3 (23 per cent) and the BMW X1 (23 per cent).

Speaking at the awards, Adam Hatton said: “Having the XE and XF voted most attractive car by Auto Motor Und Sport readers is testament to the design philosophy and brand values of Jaguar. By accepting this award I’d like to thank the fantastic design team who I am privileged to work with every day who have incorporated aerodynamic design and aluminium materials to create the lightest, stiffest, most dynamic and most attractive Jaguars yet.”

JLR_Autonis_Awards_Image_071015_02_(119614)


Reinventing the Steering Wheel

Posted by : CarDesignOnline On : September 9, 2015
0

Category:
Design

  • With the addition of many tech and convenience features, the all-new Ford Mustang steering wheel is now the most advanced in pony car history
  • The all-new Mustang steering wheel is the most advanced ever – the addition of new technical features follow a long line of innovations
  • Mustang steering wheel has undergone many styling changes since its debut in 1964

When Mustang first debuted in 1964 it singlehandedly defined the Pony Car segment and has been setting the standard for design ever since. It has influenced trends in every aspect of vehicle styling including the steering wheel. The all-new Mustang carries on that leadership trend. From bare aluminum and resin, to Alcantara-wrapped with drive-mode and steering-effort control, Ford is reinventing the wheel.

 

1964: The first-generation Mustang was a worldwide sensation. An original design America couldn’t get enough of, it established the classic long nose, tight cabin, abrupt trunk proportion stance, which has become Mustang’s signature look. The Mustang interior had its own appeal, with a twin cockpit layout and what would become an iconic steering wheel with three bare-aluminum spokes and a simulated wood rim with a center horn ring. The wheel’s large 16-inch diameter allowed for easy turning, as power steering was optional equipment.

1967: As Mustang matured, new features were added to make it more functional and more convenient for enthusiast buyers. A tilt-away wheel with seven adjustments was available. This allowed drivers to choose the steering position that fit their preference, while also improving vehicle entry and exit without sacrificing looks or practicality. A new faster ratio (20.3:1) power steering system became available in 1967, making turn-in quicker for a sportier feel.

1968: Safety became a priority, and a collapsible steering column was added to Mustang to aid in reducing the possibility of injury in a crash. To bolster this feature, the redesigned two-spoke steering wheel featured a larger, cushioned center section. The center hub horn control was replaced with the small, metal half-circle on the bottom half.

1974: With the launch of the all-new second-generation Mustang II, design took a new, contemporary direction. The three-spoke wheel was replaced with a leather-wrapped two-spoke wheel. Mustang II introduced available power rack-and-pinion steering – allowing cars equipped with that feature to have a smaller 15-inch wheel as opposed to the standard 16-inch one.

1979: With introduction of the much-loved Fox Body Mustang, more European design language was adopted inside and out. The two-spoke wheel from Mustang II was replaced with a four-spoke wheel, which was later shared with other Ford products. Wiper and light controls moved to a steering column stalk. The Fox Mustang steering wheel was a harbinger, incorporating vehicle controls for the first time. Cruise control was offered on manual transmission-equipped cars, with the feature controlled by buttons on the steering wheel.

1984: Mustang was developed into a high-performance variant with the legendary Special Vehicle Operations Mustang. In addition to the high-output turbocharged four-cylinder engine, SVO Mustang’s performance upgrades included an aggressive tilting three-spoke steering wheel featuring a thicker rim and smaller outside diameter for a sportier look and feel. The Ford logo and “SVO” are embossed into the leather on the center of the wheel.

1990: Mustang received its first airbag as standard equipment. Because the airbag was located in the center of the steering wheel, the horn was moved from the center to two spoke-mounted buttons, easily accessible by the natural position of the driver’s thumbs. Cruise control buttons were also placed in a more ergonomic position.

1994: The launch of the fourth-generation Mustang included a nod to the original 1964 pony car, with a twin cockpit layout and sculpted modern styling for the steering wheel and airbag. Various buttons became easier to use, while allowing for the driver to keep eyes on the road and hands on the wheel. Horn buttons were replaced with a hinged airbag cover, acting as horn control at the wheel’s center.

2005: Based on the 1965-1967 Mustang design, this three-spoke wheel appeared on the fifth-generation Mustang. This wheel was available with standard urethane spokes, or optional aluminum spokes with the interior upgrade package. Unlike the steering wheels it was based on, this rim came wrapped in leather.

2010: Many buttons were added for SYNC voice control technology, including volume, phone, audio input selections and track/station selectors. The center badge changed from over-molded acrylic to high-quality spun aluminum with a polished aluminum horse, or snake in the case of Shelby GT500. Aluminum spokes hooking into the leather mimicked design elements of the center stack to impart a universal theme throughout the cabin. Contrast stitching in the steering wheel was available with the interior upgrade package.

2013: In further refinement of the Mustang steering wheel as the in-car tech control center, the wheel was revised to include a four-way control button, plus an “OK” button for instrument cluster screen control. Boss 302 and Shelby GT500 Mustangs got a race-inspired Alcantara-wrapped steering wheel.

2015: A totally redesigned steering wheel for the all-new 50th anniversary Mustang incorporates more controls than ever. Up to 20 buttons can be found on the wheel of the sixth-generation pony car, controlling everything from adaptive cruise control to SYNC functionality. Buttons on the right side of the wheel control SYNC and the radio, while buttons on the left deal with the driving controls and gauge cluster screen. Paddle shifters are available with automatic transmission-equipped Mustang for the first time – mounted on the rear of the steering wheel. The circle airbag in this wheel had to be specially designed to keep with Mustang heritage, as it’s the only steering wheel in Ford’s lineup with a circle airbag. It is also the company’s smallest diameter wheel, at just 14 inches. The aluminum spokes are trimmed back from the rim so the driver’s hands only touch leather when holding the wheel.

GT350: The Shelby GT350 and GT350R Mustangs represent the most track-capable street-legal Mustangs to date, and feature a race-inspired flat-bottom steering wheel with additional driver controls. Shelby drivers can make myriad adjustments to the car without taking their hands from the wheel. Wheel-adjustable features include electric power steering effort, MagneRide suspension settings, advanced drive mode selections and exhaust tuning. As with race car steering wheels, the rim is wrapped in Alcantara, and GT350R includes a stripe on the center at the top, which is designed to let the driver know when the wheel is at true center. For Shelby Cobra, the logo appears on the center of the wheel – the only place inside the car where the logo can be found. Spokes are finished in a darker hue than on Mustang GT – complementing the aggressive nature of Shelby Mustang.


Ian Callum Inducted into Scottish Motoring Hall of Fame

Posted by : CarDesignOnline On : September 3, 2015
0

Category:
Design, People

  • Ian Callum joins Scottish Motoring Hall of Fame
  • Inaugural year also honours Sir Jackie Stewart and Jim Clark
  • Presented by Association of Scottish Motoring Writers

JAGUAR DESIGN TEAM AT JAGUAR HQ IN COVENTRY 10/7/14

Jaguar Director of Design Ian Callum has been named among the first inductees to the Scottish Motoring Hall of Fame at a prestigious ceremony held aboard the Royal Yacht Britannia and hosted by His Royal Highness Prince Michael of Kent.

The Association of Scottish Motoring Writers’ Scottish Motoring Hall of Fame, presented by Bridge of Weir Leather Company, was inaugurated as part of the opening celebrations of the Concours of Elegance, which opens at the Palace of Holyroodhouse in Edinburgh this weekend. Ian Callum joins motorsport legends Sir Jackie Stewart and Jim Clark as the first inductees.

Ian Callum said: “It’s a great honour, made even greater by the company I am in as an inaugural member of the Scottish Motoring Hall of Fame alongside Sir Jackie Stewart and Jim Clark. I am absolutely thrilled, and so proud.”

Ian Callum, 61, was born in Dumfries, Scotland, and became Jaguar’s Director of Design in 1999, following a series of high profile design roles in the automotive industry.

Aged 14, Callum penned his first attempt at a Jaguar car design, and sent it to the company in the hope of landing a job. He went on to study industrial design and graduated from the Glasgow School of Art, and subsequently from the Royal College of Art in London with a postgraduate Masters degree in vehicle design.

President of the Association of Scottish Motoring Writers, Alisdair Suttie, commenting on his presentation to Ian Callum, said: “There is a very strong contingent of Scots in the world automotive sector, in both racing and industry, some of whom have been absolutely fundamental in putting Scotland on the map when it comes to globally significant achievements on wheels. These are the people that the Scottish Motoring Hall of Fame was created to celebrate, and Ian Callum, was right up there at the top of our list of such individuals. From his early design work, through to the Jaguars we know and love today – XK, XJ, XF, C-X75, XE, F-TYPE, F-PACE – his creations are heralded as pieces of automotive art the world over. I am very proud to induct Ian into the Scottish Motoring Hall of Fame.”


Renault: A Journey Through Advertising

Posted by : CarDesignOnline On : June 30, 2015
0

Category:
Design, Graphic Design, History

The long and glorious passion story between Renault and the French can be told through advertising. By reflecting ̶ and sometimes anticipating ̶ social change, Renault adverts turn an amused and understanding eye on France and the lives of French people, mirroring their individual and collective unconscious.

 

1898: Advertising to promote the company name

Renault’s first advert was a real challenge: Louis Renault drove up the steep slope of rue Lepic in Montmartre Paris, with his Voiturette Type A. He was the first to achieve this feat, which won him his first orders. The company used motorsports as a way to promote its name. Renault won many city-to-city races, making a name for itself in both France and Europe. In the early 20th century, the adverts used by the company, which was first named “Renault Frères” and then just “Renault”, were a reflection of their times, with thick, elaborate lettering and drawings of cars to emphasize speed and aerodynamics. The adverts sought to showcase French prestige, expertise and the other major field of progress of the time: aviation. Renault linked its image with that of the pioneering aviator, Hélène Boucher.

 

To welcome its customers in style, Renault displayed its products on the Avenue des Champs-Elysées in Paris from 1910, one of the first vehicle manufacturers to do so. With this showroom at the heart of the French capital, the brand was able to showcase its range on the premises occupied today by l’Atelier Renault. In the Edwardian era and between the two world wars, Renault sold luxury cars, relying on its reputation and its name to attract new customers. Brand identity was nurtured by the reflected glory of the FT17 tank, which played a decisive role in the first world war, and expressed in the form of the so-called “alligator” bonnets. The first logo appeared only in 1923, with the brand adopting the diamond shape in 1925. In 1934, Renault adopted an advertising slogan that would remain famous, even after 1944: “L’Automobile de France”. The brand naturally associated itself with France. Today, for French people, Renault remains France’s leading company, as indicated by the latest survey from the Viavoice Institute.

 

1946: Advertising during the post-war boom

After the Liberation, Renault contributed to the rebuilding of France with a range of cars, commercial vehicles and buses suited to all types of use. Renault was now a state-owned company tasked with building popular, affordable cars. In 1946, it launched the 4CV, a car that marked the start of the post-war boom years. At the same time, cars became more affordable, reflecting a new sense of freedom. With the 4CV, celebrated in the well known poster by illustrator Raymond Savignac, the French could enjoy their paid holiday leave and head for the sun via the Nationale 7 road immortalized in a song by Charles Trenet.

French society underwent many changes in the post-war years, including the baby boom, the development of city suburbs and the women’s liberation movement. All these changes brought the brand new customers. The workforce also gained new social rights. Renault was the first company to offer a third week of paid holiday (1955), followed by a fourth (1962) before this became law.

 

 

In 1963, Renault signed a partnership with Publicis for advertising communications. That same year, the dealership on the Champs-Elysées became the “Pub Renault”, a warm and friendly place tasked with showcasing the brand. Advertising now used photographs to present the cars, rather than drawings. The long-serving Renault 4 kept pace with all these changes: the first campaign in 1961 highlighted its fuel economy, while the 1963 version celebrated the more feminine spirit of the “Parisienne” version. A decade later, Michel Fugain sang, “fais un tour en Renault 4, demande-lui beaucoup !” (“go for a drive in the Renault 4 and expect it to deliver the maximum”). In the 1980s, the Renault 4 became a car for young people and also for shopping malls, with the slogan, “Elle supermarche bien”, a play on “bien marcher” (to work well) and “supermarché” (supermarket). In this way, Renault advertising for the 4L accompanied the French public during thirty years of social change.

 

 

1972: Advertising in a time of crisis

The Renault 5 was an offbeat vehicle. Designed from its launch in 1972 for young people keen to break with the past: it was very much a product of the May 1968 demonstrations. The Renault 5 played on its bright colours to get itself noticed and this was reflected in the advertising, which focused on the car’s friendly, appealing looks and replaced the headlamps with big blue eyes. The “5” became a character in its own right, presented on TV in a joyous brightly coloured comic strip with a mischievous tone: “I am the Renault 5. In the city and on the road, they call me Supercar”. Following the oil shock, however, its other main advantage became the fuel economy of the GTL version (4.5l / 100 km). The Renault 5 became an anti-crisis vehicle expressing the social transition: its synthetic bumpers made it ideal for urban driving and awkward parking. At the same time, the customer base became younger (25% of owners under 30 at the moment of purchase) with a larger proportion of women (31%).

 

Renault_69773_global_en

 

In the 1970s, the Renault line-up included a vehicle for every budget, from the city car (Renault 4 and 5) to the executive saloon (Renault 16) via a vehicle for the mid-range budget (Renault 6), alongside LCVs, trucks and tractors. With a range designed to meet every need, the brand played a real social role in the marketing of products tailored to all.

In the 1970s/1980s, Renault opted for innovation in the shape of the turbocharger. Based on a patent filed by Louis Renault in 1902, this development made its debut in endurance racing at the Le Mans 24-hour event and then on the Formula 1 track, where Renault vehicles proudly sported yellow, the brand’s emblematic colour. With the success of these vehicles, Renault transferred this technology to the road, particularly with the 5 Turbo. This constant quest for speed was echoed in TV advertising campaigns, with the Renault 9 and 11 putting on a burst of speed to save a truck with failed brakes, and the Renault 21 Turbo being chased down a German motorway by the Polizei, who stop the driver before letting him go.

 

Renault_69774_global_en

 

1984: Renault, cars for living

Des voitures à vivre (cars for living) is the emblematic Renault slogan from the 1980s and the one that best reflects the brand’s thinking across the decades. The slogan was developed by Publicis and launched with the “Tranches de vie” (slices of life) film, to the backing of “Johnny and Mary” by Robert Palmer. This song could be heard in various forms in most Renault campaigns through to the 1990s. Des voitures à vivre further established Renault’s ability to reflect the needs and aspirations of men, women and families: from the Renault 16 to Twingo, via Espace, the first MPV, Renault is present alongside French men and women, at every moment in their lives.

A specialist in small cars, Renault renewed the genre in the early 1990s with Twingo and Clio. A small one-box vehicle with round, cheery features, Twingo encouraged customers to “invent a lifestyle to go with the car”, while Clio brought the qualities of upmarket vehicles within everybody’s reach, showing that “size matters”. At the same time, its price tag made it affordable on any budget. A few years later, Renault went public. This gave the company an opportunity to communicate on the almost physical ties between the brand and its customers. In 1997, Renault launched a celebrated campaign with the slogan “ça ne marchera jamais” (it will never work), aimed at the sceptics who remained unconvinced by the brand’s bold moves. To celebrate its success in Formula 1, Renault showed its mechanics in the guise of gangsters: after six world championship titles, “it’s not a sporting record, it’s a hold-up!”

 

Humour and a bold, creative approach are the hallmark of advertising at Renault. By taking risks and challenging received ideas through its campaigns, Renault can demonstrate the safety of brand models, with a ballet of cars crashing into each other for example, or maybe refer to the cultural and social realities of French people through blended families or gay marriage, or celebrate a break in the wall… of sound with its emblematic electric vehicle, the silent ZOE.

2015: Renault – Passion for life

In 2010, Renault adopted a new design strategy, starting with the concept car DeZir, a declaration of love for cars. Renault’s design renewal, based on a life cycle concept, took practical shape in 2012 with the launch of New Clio, a vehDesicle of sensual forms with Flame Red bodywork to revive the flame burning in the hearts of car fans everywhere. Following the launches of Captur, New Twingo and New Espace, it is time for Renault to support the renewal of the brand with a new advertising slogan: “Passion for life” and, more specifically for France “La vie, avec passion”. With this signature, Renault remains loyal to the values expressed by “cars for living”. “Passion for life” is a tribute to life, lived to the full, vibrant and exciting, warm and creative, bold and free, because people are at the heart of Renault’s DNA.

Renault has also decided to deploy a new tagline to support its promotional offers: the French Touch. Embodied by the actor Nicolas Carpentier, this series of films plays on received ideas, cultural stereotypes and humour. Sometimes featuring popular celebrities such as judoka Teddy Riner or basketball player Tony Parker, the “French Touch” adverts convey the image of a familiar brand that is close to people and understands them.

In 2015, Renault called on an international icon, actor Kevin Spacey, hero of “House of Cards”. At the wheel of New Espace, the man who spends his life playing other people, from a father going through a mid-life crisis to the President of the US via a disreputable crook… he can at last play his own role and enjoy the passing of time at the wheel of his Espace… Another original way to celebrate life, once more with passion!




clay

Posted by : admin1 On : April 19, 2020
0

Category: Uncategorized

Archives for :
Clay


Clay Modelling

Posted by : CarDesignOnline On : 30th January 2006
0

Category:
Clay, Resources

Clay modelling is one of the oldest and most traditional methods used in car design. Studios are divided in their preferences relating to CAD or clay but many believe that it remains one of the best ways to visualise developing designs in three-dimensions.

GM modellers use renderings, sketches and tape drawings as reference to create a 1/4 scale half model. Using a mirror in this way enables modellers to produce results more quickly. With full proportioned models, substantial time is spent balancing one side with the other.

In this view it is possible to see the rig beneath the clay. In the rear wheel arch the base can be seen along with the core of light blue modelling foam.

 

Clay has been used since the earliest stages of car design and emphasises the strong links between three-dimensional automotive styling and sculpture. Working on the form of a vehicle in clay is a very tight form of sculpture, reliant upon a expert eye and an advanced perception of form and proportion.
Clay modellers work on the Holden FJ many decades ago. This practice is still common today. The modellers shown here are using, amongst other things, gauges to measure height and depth (to balance both sides) and profile guides to ensure the model corresponds to the design.

 

The Principles

There are several stages to producing a clay model.

First, the scale of the model is determined. Using a package drawing or profile sketch, the vehicles dimensions are worked out and the scaled dimensions calculated.

Using the core dimensions, a rig is built. A rig is designed to be a solid working base for the model as it is built and developed. In the case of small scale models – such as 1/4 scale – the rig will be designed to be mounted on a bench where modellers can stand to work on the model. It is often preferable to position a model to create the most lifelike perspective. In addition to providing a base for the model, the rig is also a means of reducing the amount of clay used on a model. Rather than using expensive and heavy styling clay all the way through, an inner core of foam is often used on which the clay is applied.

Manual Method

With the rig configured, clay is applied. Using a system of ’10-lines’, reference points are transferred from the drawings to the model. Clay is built up to match the profile from the drawings and is then added to fill out all the proportions.

From here, designers can either rigidly follow their drawings, creating guides and templates to help develop the model from the package drawing, or they can begin to experiment and develop the form freely. The beauty of automotive styling clay is its ability to be reworked and continually adjusted. This freedom of form development is rarely matched by computer.
Chevrolet designers work on a full scale Corvette model. Dynoc has been applied to give the impression of real glass and upper body paintwork. Real wheels add to the effect whilst designers make final adjustments to the surfaces.

 

Automated Method

Instead of designers and modellers labouring over a clay for weeks, many car firms are now in the habit of sending a CAD model directly to a specialist milling machine. The machine can precisely mill out the form and proportions of the 3D computer design in a relatively short period of time, although humans may still be called in to finish the surfaces or make slight adjustments.Although most aspects of a design can be resolved on computer, especially with the aid of virtual reality evaluation, almost all companies will still produce a full size clay towards the end of the process. The cold light of day can produce suprises that manufacturers want to be aware of before a vehicle enters tooling and production phases.

Once a vehicle is completed, one of several next steps may be taken. If the vehicle is to be shown as a concept, it might be painted and detailed but will more likely become the template for ‘hard modellers’ to use to create a production look-a-like with individual panels, real glass and details as well as an interior.

If the vehicle is ready for production, it will usually be scanned using 3D digital equipment which will in turn create a new CAD wireframe model. This will be tweaked by CAD specialists to remove imperfections before being passed on to engineers who will begin the arduous process of creating panels, componentry, drivetrain and propulsion based on the design.

Of course, if a vehicle was simply an in-house research project, as many are, it may never be seen by the public; in fact the clay may be reused in later projects.

These Holden models give an idea of the processes involved and their purpose. Both vehicles are full-size clays that give an accurate representation of the proposed vehicles. Applying a neutral coloured paint and sitting the model outside in a typical working environment is about the most accurate way to assess a concept’s visual impact without actually building it.

The vehicle in the upper image appears to be in the later stages of development. Details such as light graphics, shut lines and Dynoc to imitate glass allow designers to quickly and effectively evaluate the model.




cad3d modelling

Posted by : admin1 On : April 19, 2020
0

Category: Uncategorized

Archives for :
CAD/3D Modelling


Advanced Digital Rendering for the Automotive Industry

Posted by : CarDesignOnline On : 7th February 2007
0

Category:
CAD/3D Modelling, Design, Technology

Advanced Digital Photography for the Automotive Industry

Taking the landscape to the car

“There’s no escaping our network of spy photographers – no matter where you go in the world, or how hard you try to keep a low profile.” David Johns, editor in chief, Auto Express – Issue 854.

There are many reasons why a car company may wish to avoid a photo-shoot of their latest, unreleased product. It may be to avoid the unwanted attentions of the media, as illustrated in the quote above, or it may be due a variety of other reasons. A vehicle may be slightly behind schedule with deadlines looming for marketing material, decision makers may want higher quality visualisations before commiting a car to production or simple cost factors may be an issue – there are a range of possibilities.

ARTVPS have taken the car out of the photo-shoot with their latest digital imaging system – HDRiMAGING. This new system is made possible by combining the latest technology with the necessary skills to create high quality finished ‘photographs’ indistinguishable from their traditional predecessors.

HDRiMAGING compliments the skill and eye of the professional photographer . Unfeasible assignments that would have carried huge expense and security risks suddenly become feasible. With no need to ship expensive vehicles or prototypes and fewer logistical issues, photographer s and automotive companies now have a considerable level of flexibility on location .

The professional photographer captures the digital backplate of the location , whilst the Spheron HDR Camera captures a 360 degree environment shot. This ‘High Dynamic Range’ (HDR) image contains up to 26 f-stops of exposure information. It is this image information that then reflects into the computer generated car and creates automatic lighting levels. This new approach gives exceptional results.

These location images are then combined with the 3D CAD engineering or scanned data and rendered using RenderDrive to produce an image which, as with traditional techniques, can then be finished by professional retouchers.

In this feature, the system is documented, step-by-step with images from photographer Nigel Harniman

The Spheron HDR Camera from ARTVPS

Step 1 – Background location photography

The photographer takes a shot of the location , using their knowledge to position the virtual car in the frame. The HDR camera is then set up where the car will be placed to record the 360º visual environment .

Step 2 – HDR environment capture

Utilising ARTVPS’s Spheron HDR camera it was possible to capture the 360º environment at 26 f-stop exposure range. This spherical image contains the complete lighting, reflection and shadow information for the location .

 

Step 3 – CAD Model Import and Material Application

The CAD model is imported into a suitable rendering package, (MAX, Maya, Viz or Catia) and the special ARTVPS materials are applied to the vehicle to give it that realistic appearance. The environment map and background image are then included and the job is submitted for rendering on RenderDrive.

Step 4 – Final rendering

Finally the image is produced.

Should a different car, different colour, different wheels, different angle, different lens length be required, it can all be achieved with the HDRiMAGING process.

With the background image and 360º environmental data captured, it is easy to make changes to the specification or design of the car and re-render.

 

Further Examples

Backplate and HDR Scan Finished Image

Backplate and HDR Scan Finished Image




auto shows

Posted by : admin1 On : April 19, 2020
0

Category: Uncategorized

Archives for :
Auto Shows


Stunning, Classic Audis on Display in Mobile Show

Posted by : CarDesignOnline On : April 26, 2016
0

Category:
Auto Shows, Design, History

Running from May 3 to September 18, the Audi ‘museum mobile’ is presenting 12 coupés from the 1930s to the present day, in an exhibition titled “Dynamic Sculpture – the Tradition of Sportiness and Elegance at Audi.”

 

When vehicles with the coupé body type first appeared on the scene, they were often known as “Les Désobligeantes” (the unobliging ones). The style takes its name from the idea to “cut” (“couper/coupé” in French) a four-seater coach body to create a two-seater. The result was a body type that aroused the interest of the elite set. And in the years that followed, the high-quality interior equipment and trim installed in coupes made them the favorite vehicles among the high society of major European cities.

With the initial attempts at streamlined design in the 1930s, the roof form sloping downward to the rear began to catch on. The criteria by which we define a coupé today emerged only gradually, however: a short, flattened roof resting on two posts, with a two-seat interior. The coupes really hit their stride in the 1950s and 1960s. A key factor behind this popularity was the long-distance races of the period, like the Mille Miglia, the Targa Florio, the Liège-Rome-Liège race and the “2000 km durch Deutschland” (2,000 kilometers though Germany), which almost seemed to have been conceived specifically for coupes. Typical of coupe design was the combination of a great looking exterior and the best technology. Still today, the coupe is seen as the jewel in the product lineup of every automaker.

At the show will be 12 coupés from Audi history. A particular highlight is a replica of the “Manuela,” a unique coupé version of the Horch 853. The car was specially built for Bernd Rosemeyer in 1937. The most successful and most popular Grand Prix driver for Auto Union back then, Rosemeyer loved this luxury automobile – a passion clearly captured in countless photographs. This and the fact that the motorsport star was killed while attempting a world record run just a few months after he got the car, exalted the Horch “Manuela” to its legendary status. It is believed the original coupe disappeared without a trace during World War II.

Other treasures from the annals of company history trace the body type through the 1950s: a rare DKW Meisterklasse Coupé with a body by the specialist company Hebmüller, a DKW Monza (1956), the Auto Union 1000 Sp (1958) and an NSU Sport Prinz (1959). Also included in the exhibition is the first Audi coupe of the post-war era, the Audi 100 Coupé S from 1970. Representing the historic return of the four rings to the premium segment are the Audi Coupé GT (1980), the Audi quattro (1981), the Audi Sport quattro (1983) and the Audi Coupé from 1988. Visitors will also have the opportunity to see the first edition of the style icon Audi TT from its debut year 1998. And finally, the path to the present culminates with the Audi A5 from 2007.


Istituto Europeo di Design MA Transport Design Students Unveil ‘Shiwa’

Posted by : CarDesignOnline On : March 8, 2016
0

Category:
Auto Shows, Concepts, Design

 

IED and Quattroruote in Geneva present the latest concept car by the Master in Transportation Design, a self-driving vehicle that focuses on the user experience. After an initial collaboration started in 2015, the two organisations have partnered again on the occasion of their anniversaries: in 2016 they celebrate 50 years since the first IED creative graduate and 60 years from the first issue of the magazine that would become an international leader in the automotive world.

Shiwa (4,700mm long, 2,000mm wide, 1,500 high and with a 3,660mm wheelbase) is a noiseless zero emissions self-driving vehicle with four seats and four electric motors integrated in the drivetrain. Shiwa – a Japanese word meaning “fold” – indicates the form/action able to transform a surface without resistance into a self-supporting object, as in origami: the fold gives form and function to a surface which otherwise would lack them. This is the initial concept from which the Korean student Youngjin SHIM drafted her project, which was then developed by a team composed of her and eleven other Master students, including the Italian Luca MENICACCI and the Indian Jaykishan Vithalbhai LAKHANI. The external structure of the concept is inspired by the fold/origami idea.

The concept car highlights a new idea of an object strong through its form, redefining the idea of chassis and of external structure, which in this case encloses the cabin shaped like a suspended “diamond”. The exterior origami protecting the diamond-cabin is made of metal composite material with an aluminium finish and is connected to a frame. The Shiwa cabin interior surfaces are designed to project multimedia contents towards the passengers, outdoors or to create an augmented reality. The cabin is designed to bring people together, thanks to the seats configuration disrupting the traditional passenger-driver hierarchy and delineating different spaces and uses and reinterpreting the concept of conversation and interaction inside the vehicle. Shiwa envelops the passengers both physically, in their sensory dimension and in all the relational aspects among themselves and with the outside world.

The vechicle uses an all wheel drive system with 4 brushless motors mounted directly on the wheels, a totally electric power unit. Shiwa is an IICV – Individual Identity Companion Vehicle: it learns the identity, interests and habits of its occupants, it recognises their features and adapts its behaviour to circumstances and to passengers. Among its features is a fingerprint keyless entry system. Shiwa also features full-LED headlights and a front OLED display indicating the charging level of the car and allowing the opening and the insertion of the charging plug-in.

“The automotive world is on the verge of a paradigm shift that will revolutionise processes and archetypes – says Gian Luca Pellegrini, director of Quattroruote. Shiwa wants to be a starting point on the road towards a future in which the role of manufacturers and motorists will undergo an ultimate transformation: a world where the self-driving vehicles will introduce a new way of intending private transport as well as a different interpretation of design”.

“Shiwa is a self-driving vehicle but talking about it today means facing obstacles that are more psychological and organizational than technological – declares Riccardo Balbo, Director of IED Turin. With Shiwa, IED and Quattroruote raise their eyes towards the horizon on a temporal space of the city spanning over the next 15 years. Shiwa proposes scenarios and solutions that automotive brands are starting to face today in order to address the industrial market of urban mobility towards 2030, in a world very different and certainly not predictable today, but where the comparison between mobility, habitat and society will require more radical answers. The concept car subverts the established approach of the automotive world: it is designed starting from the user experience and from the inside, imagining a micro-habitat for the individual. A space where the experience, time, information and quality of life become central and prevail over the exterior design, becoming direct expression of the internal design”.

The project is the result of a creative process involving students in a process replicating that of a contemporary automotive design centre. All Master students submitted an individual proposal; the projects better suited to answer the brief for the interior or exterior area were selected and combined for designing the final version. The class then created a core work team which completed the final full-scale concept design. The show car was constructed by Cecomp, for over 30 years the European leader in the production of models and prototypes, which has always cooperated with the Institute in the prototyping process. The SHIWA project was also supported by various technical partners including Newcast Services, Model Resine, OZ Racing and Pirelli.

About the Project & Course

Initial Brief

THE AUTONOMOUS DRIVING VEHICLE: NEW ENGINEERS COMPONENTS IN TRADITIONAL SOLUTIONS OR DESIGN SOLUTIONS FOR A MOBILITY FUTURE?

Design an autonomous car or vehicle. Imagine how many opportunities designers can bring in terms of concepts, solutions, philosophy and perception open in such a scenario, where lots of rules are changed or up to: interior layouts can drastically affect the main body concepts, technology can define different uses, fashion, even the inner sense of property of a vehicle. The challenge designers should tackle is jump a step ahead and imagine an autonomous car starting from design rather than technology.

Students on the two year course come from different design backgrounds. Admission to the course is restricted to professionals with at least two years work experience in the sector or graduates from IED or colleges in a similar field as well as other design graduates.

 

Credits

Shiwa is the brainchild of: Youngjin SHIM (Korea); Luca MENICACCI (Italy) and Jaykishan Vithalbhai LAKHANI (India)

Interior Design development: Jose Ignacio MARTINEZ FLORES (Ecuador)

Project contributors: Chen LUJIA (China); Charles Frederic Nestor CARRUPT (Switzerland); Mikhail D. SOUZA (India); Qichang LI (China); Kejin PAN (China); Alparslan TURHAN (Turkey); Gaurav UDAVANT (India) and Honghu ZHANG (China), students of the Master in Transportation Design IED Turin AY 2014/15.

Shiwa was realized under the coordination of Alessandro Cipolli, Master in Transportation Design Coordinator and Davide Tealdi, IED teacher. The project was carried out under the supervision of Fulvio Fantolino, Coordination of Transportation Design.


A Bit of Mercedes History at Retro Classics 2016

Posted by : CarDesignOnline On : March 8, 2016
0

Category:
Auto Shows, History

Mercedes-Benz will be attending the Retro Classics in Stuttgart, offering visitors a journey through time in the fascinating world of the brand’s cabriolets and roadsters. The exhibition covers everything from the 300 SL racing sports car (W 194) from 1952 and the classic sports car 300 SL Roadster (W 198) from 1957, the 190 E 2.6 Cabriolet prototype (W 201) from 1990, to the new SL (R 231) and the recently premiered C-Class Cabriolet (A 205).The 300 SL racing sports car (W 194) and the 300 SL Roadster (W 198) bear testimony to the successes of the 1950s and the SL legend. The racing sports car stands for the overwhelmingly successful return of Mercedes-Benz to motor racing in the 1952 season for the first time after the Second World War. The vehicle proved an outright winner, securing impressive double victories at the 24 Hours of Le Mans and the Carrera Panamericana in Mexico. The racing sports car also gave rise to the famous standard-production “Gullwing” 300 SL (W 198) from 1954, which made its debut in spring 1957 in the open-top variant, the 300 SL Roadster. Together with the 190 SL (W 121) launched in 1955, the 300 SL Roadster started the tradition of open-top Mercedes-Benz standard-production sports cars with the magical abbreviation SL, which the new generation of the SL (R 231) propels forward into the future.

A glance back at 1990 reveals how the Mercedes-Benz development department was toying with the idea of producing a cabriolet to join the compact saloon (W 201). The original prototype on display at the Retro Classics is the road-going result of these deliberations. Even if the open-top “Baby Benz” did not enter series production, the study was a key decision-making aid for the 124 series Cabriolet unveiled in 1991 and today ranks among the forebears of the new C-Class Cabriolet (A 205).

For those looking to buy..

The ‘All Time Stars‘ from Mercedes-Benz Classic have their own stand in Hall 7 at the Retro Classics. The line-up features all cars made by Mercedes-Benz and the predecessor brands. The focus is on classics that are suitable for everyday driving. Maximum transparency was the guiding principle behind their selection: the Mercedes-Benz Classic experts subjected each vehicle to a comprehensive 160-item checklist.

Cars exhibited by Mercedes-Benz Classic at theRetro Classics 2016

Großer Jubiläumspreis vom Nürburgring für Sportwagen, 3. August 1952. Fritz Rieß (Startnummer 22) belegte mit einem Mercedes-Benz Typ 300 SL Roadster (W 194, 1952) den 3. Platz.

Nürburgring, 3rd August 1952. Fritz Rieß in car 22, the Mercedes-Benz Type 300 SL Roadster (W 194, 1952) in 3rd place.

Mercedes-Benz 300 SL racing sports car (W 194, 1952)

300 SL was the designation of the competition racing car from Mercedes-Benz with which the brand returned to international motor racing in 1952 for the first time after the Second World War. Following the triumphant double victory in Le Mans and the previous double victory at the Bern Grand Prix, the 300 SL also won the two other races where it had lined up on the grid. The 300 SL took the top four places at the Nürburgring Great Jubilee Prize in the weight-reduced roadster version, while the Carrera Panamericana, a gruelling endurance race covering more than 3100 kilometres through Mexico, saw the car finish with a double victory. Karl Kling and Hans Klenk took first place in Mexico despite colliding with a vulture that smashed through the windscreen during the race. Even if the successful racing sports car was not sold to the public, it did light the fuse for the development of the subsequent Mercedes-Benz SL, which was launched at the end of 1953.

Produced: 1952

Cylinders: 6/in-line

Displacement: 2996 cc

Output: 125 kW (170 hp)

Top speed: 230 km/h

Mercedes-Benz Typ 300 SL Roadster (W 198 II, 1957 bis 1963), 1960.

Mercedes-Benz Typ 300 SL Roadster (W 198 II, 1957 bis 1963), 1960. Posing does not get better than this.

Mercedes-Benz 300 SL Roadster (W 198, 1957-1963)

Mercedes-Benz unveiled the 300 SL Roadster as the successor to the 300 SL Gullwing Coupé at the Geneva Motor Show in March 1957. On a technical level, the open-top sports car was very like the Coupé, although the modified space frame allowed the installation of conventionally attached doors, which were necessary for open-top driving. The suspension was likewise modified: the single-joint swing axle with lowered pivot point on the 300 SL Roadster was equipped with a compensating spring for the first time. From 1958 onwards, the Roadster was also available with a detachable coupé roof. It was from the standard-production 300 SL Roadster that the Mercedes-Benz engineers developed the 300 SLS racing variant with which Paul O’Shea won Category D of the American Sports Car Championship in 1957. Production of the 300 SL Roadster was discontinued after seven years in 1963, during which time precisely 1858 examples of the highly exclusive sports car were built.

Produced: 1957-1963

Cylinders: 6/in-line

Displacement: 2996 cc

Output: 158 kW (215 hp)

Top speed: up to 250 km/h

A94F860

Mercedes-Benz 190 E 2.6 Cabriolet prototype (W 201, 1990)

Following the facelift of the Mercedes-Benz W 201 series, which was unveiled in 1988, the brand turned its attention to a cabriolet. The result was a road-going prototype, which stood out with its four fully-fledged seats and enhanced body with subtly higher, slightly more angular rear where the large folding top was concealed under a metallic lid. The two-door cabriolet also boasted an elegant side line even with the roof closed. The car ultimately failed to make it into series production, yet the study served as a decision-making aid on the way to the larger 124 series Cabriolet, which was launched in 1992 and was among the forebears of the current E-Class Cabriolet. The compact cabriolet prototype features a 2.6-litre six-cylinder engine in tune with the sporty, exclusive aspirations of the open-top two-seater. This powerplant has been available in the 201 series since 1985, propelling the most powerful model in the compact class after the “V16 engine”.

Produced: 1990

Cylinders: 6/in-line

Displacement: 2597 ccO

utput: 122 kW (166 hp) at 5800 rpm

Mercedes-Benz C-Class Cabriolet (A 205, since 2016)

The new C-Class Cabriolet premiered at the 86th Geneva International Motor Show in early March 2016. It is the first standard-production cabriolet in the history of the Mercedes-Benz C-Class, which started with the W 201 (“190”) in 1982. The Cabriolet is closely related to the C-Class Coupé (C 205) whose silhouette it adopts along with the striking front end featuring a diamond radiator grille, LED High Performance headlamps, long bonnet and high beltline. The soft top with glass window transitions harmoniously into the distinctly styled rear end with its highly sporty look. With a capacity of 360 litres (285 litres with the roof open), the boot is capable of holding an exceptional amount of luggage for a cabriolet, thus offering high everyday practicality. Inside, the C-Class Cabriolet with its high-quality materials provides a fresh, sporty reinterpretation of the interior of the C-Class Saloon. Added to which are extensive assistance systems tailored to safety and comfort – through to solutions for semi-autonomous driving. The automatic AIRCAP draught-stop and the AIRSCARF neck-level heating are available as options. Altogether eight different engines are available for the market launch in July 2016, including two diesel models and the C 43 4MATIC Cabriolet as the top-of-the-line model.

Cylinders: 4/in-line to V6

Displacement: 1595 to 2996 cc

Output: 115 kW (156 hp) to 270 kW (367 hp)

Top speed: 250 km/h (governed)

Combined CO2 emissions: from 116 g/km

Mercedes-AMG SL 65, Brilliantblau Mercedes-AMG SL 65, brilliant blue

Mercedes-Benz SL Roadster (R 231, since 2016)

The R 231 series SL with its advanced technology and new styling was premiered at the Los Angeles Auto Show in November 2015. The facelifted Roadster is due to be launched in April 2016. It marks the continuation of Mercedes-Benz’s unique tradition of elegant sportiness, which began with the motorsport-inspired 300 SL in the 1950s. Compared with the first version of the R 231 unveiled in 2012, the new SL boasts an even more dynamic design and more powerful engines. Furthermore, the 9G-TRONIC automatic transmission, DYNAMIC SELECT with five transmission modes and Active Body Control with curve tilting function elevate the Roadster’s ride comfort and sportiness to new levels. The roof, which can now be operated at speeds of up to 40 km/h, and the automatic boot separator are further convenience features which make the luxury sports car even more of a pleasure to drive.

Cylinders: V6 (SL 400) to V12 (SL 65)

Displacement: 2996 to 5980 cc

Output: 270 kW (367 hp) to 463 kW (630 hp)

Top speed: 250 km/h (governed)

Combined CO2 emissions: from 175 g/km


Nissan Titan Concept – Behind the Design

Posted by : CarDesignOnline On : January 21, 2016
0

Category:
Auto Shows, Concepts, Design, SUV

 

Nissan put an exclamation point on the start of sales of its all-new 2016 TITAN XD by unveiling a super-sized, off-road modified design study it calls the TITAN Warrior Concept. Nissan Design America (NDA) took the TITAN XD’s production design to new extremes with unapologetic, aggressive, athletic styling features that declare the concept’s off-road adventure intent and Nissan’s optimism for the truck market.

“Truck buyers have a seemingly insatiable appetite for more content and more unique offerings,” said José Muñoz, executive vice president, Nissan Motor Co., Ltd. and chairman, Nissan North America, Inc. “Even though our all-new 2016 TITAN XD just started arriving at Nissan dealers nationwide last month, we are already exploring new territory where TITAN might go in the future.”

Pushing the Boundaries

Just as the all-new TITAN XD with its Cummins® 5.0L V8 Turbo Diesel engine has bulked up the standards for customers shopping the light-duty pickup class, the TITAN Warrior Concept was created to take the production version to the extreme.

“Nissan has always pushed the boundaries of traditional automotive design and engineering, from our Nissan GT-R supercar to the new TITAN XD,” explained Muñoz. “We do this with a clear conviction that there are buyers out there who appreciate something everyone else does not have. A `work hard, play harder, get bigger’ TITAN XD certainly does the job.”

The TITAN Warrior Concept builds on the recent Project Titan, a crowd-sourced customization of an original-generation Titan that sent two U.S. military veterans representing Wounded Warrior Project® on a once-in-a-lifetime adventure in Alaska. The new concept truck also pays homage to Nissan’s heritage of off-road racing and adventuring, which goes back to the days of Baja “Hardbody” competition pickups and Paris-Dakar Rally treks.

“As we launch the all-new 2016 TITAN XD, the TITAN Warrior Concept was conceived to share our team’s pride and excitement to be back in the truck market in a big way,” added Muñoz. “The team delivered.”

A Warrior with a “Modern Armor” Exterior

The TITAN Warrior Concept creators had more than a strong foundation on which to build their vision of a bold and expanding future in the full-size pickup market, they had a familiar one.

As part of the group that brought the “American TITAN” to life – a group that ranged from Tennessee, Michigan, Mississippi, Indiana, Arizona and California – the design team imagined how their original TITAN design, inspired by warriors in ancient Greek mythology, might evolve to extreme levels of adventure duty.

First, while maintaining the TITAN XD Crew Cab’s standard wheelbase and length, they wanted to give the concept truck an even more powerful presence than the original. The height was raised nearly three inches, from 78.7 inches to 81.5 inches, to fit a quartet of 37-inch tall off-road tires mounted on custom 18×9.5-inch aluminum-alloy wheels. The wheels’ machined aluminum surfaces feature a dark matte finish and continue the production TITAN XD’s “precision tool” design theme.

To create clearance for the new oversize tires and accommodate the new, long-travel suspension, the TITAN Warrior Concept’s width was extended three inches on each side, from 80.6 inches total to 86.6 inches. Once the dimensions and imposing stance were mapped out, the extreme makeover began in earnest.

Building on the new second-generation TITAN’s warrior-inspired styling, the designers amplified the protective look of the production exterior. Designating the new look as “modern armor” – with a stealthy, robotic quality – they continued the anatomical feel of the production TITAN, but added a more machine-like, sharper-edge appearance.

The grille and signature TITAN headlights were enhanced to offer a more technical, menacing look. The front and rear fenders have been flared and offer an extremely muscular appearance. Functional hood vents were added for cooling the powerful diesel engine. The broad hoodline is balanced underneath by the large front skidplate, which interlocks into the powerful front bumper.

Custom LED lights, front and rear, add to the TITAN Warrior Concept’s stealthy presence. The headlights carry a sense of the new Nissan signature boomerang lights, but with a more precise, upright, robotic feel. In the rear, the integrated LED taillights take the form of a TITAN “T” logo, split by the wide tailgate. As a finishing touch, a quad-tipped exhaust system is integrated into the rear bumper.

Despite its massive bulk, TITAN Warrior Concept adds several aerodynamic elements, including carbon fiber rear cab spoiler and tailgate spoilers. Additional unique body elements include integrated, roof-mounted LED off-road lights.

The TITAN Warrior Concept is covered in a custom matte-gunmetal paint called “Thunder” and accented in special “Magma” orange and black color highlights.

“There’s a sense to the exterior design that the TITAN Warrior Concept could drive right off the auto show stage and retrace the historic route of Nissan’s off-road racing victories in the Baja Peninsula,” said Muñoz. “And given the high-torque Cummins 5.0L V8 Turbo Diesel, extensive suspension modifications and TITAN XD heavy-duty durability, it certainly could.”

A Polished, Premium Sport Interior

Inside the TITAN Warrior Concept’s rugged performance-focused exterior is an interior conceived to handle the abuse experienced on an extended off-road excursion in comfort and style.

“Today’s truck enthusiasts don’t just use their trucks for weekend adventures, they do double-duty as daily drivers,” explained Muñoz. “Therefore the TITAN Warrior Concept’s interior reflects a premium outdoor lifestyle, closer in look and content to a new TITAN XD Platinum Reserve model than a stripped-down pre-runner.”

The interior design team at Nissan Design America wanted to give the vehicle a unique polished “chronograph” look and feel, focusing on materials and detailing while remaining true to the TITAN Warrior Concept’s active performance theme. For example, the seats are covered in a carbon-colored high-strength seat fabric trimmed with “Magma” orange accents. Interior surfaces utilize material, such as carbon fiber, polished chrome finishes, leather with accented Magma orange stitching.

The TITAN Warrior Concept’s steering wheel is custom-built, continuing the technical adventure theme, milled from one block of aluminum. Other interior details include unique hot-and-cold drink containers integrated into the center console. Robust auxiliary toggle switches are integrated into the center stack for additional off-road accessories. Instrument panel-mounted auxiliary gauges are provided to easily monitor truck performance.

Performance Unleashed

As an extreme adventure version of the new 2016 TITAN XD, the TITAN Warrior Concept utilizes the factory fully boxed ladder frame and Cummins® 5.0L V8 Turbo Diesel engine and the standard heavy-duty 6-speed Aisin automatic transmission as its base.

Where the TITAN Warrior Concept departs from its production counterpart is in the full custom suspension design. In the front, the standard suspension has been replaced with custom upper and lower control arm with performance ball joints, along with racing-style internal bypass reservoir coil-over shocks with custom reservoir mounts and tie-rod extensions.

In the rear, the modifications include custom internal bypass reservoir shocks with custom reservoir mounts. Adjusted-length prototype axles were installed, along with a custom sway bar, relocated sway bar brackets and rear lift blocks and U-bolts. Hydraulic pressurized bump stops were also added front and rear.

Exploring New Boundaries

The debut of the TITAN Warrior Concept at the North American International Auto Show comes exactly one year since the debut of the production TITAN XD on the same stage. TITAN XD has been named “Truck of Texas” by the Texas Auto Writers Association (TAWA) in their annual Texas Truck Rodeo, which puts the industry’s best trucks, SUVs and CUVs through a grueling two-day evaluation. In addition to the competition’s top award, Truck of Texas, the TITAN XD won three other honors – Luxury Pickup Truck of Texas, Off-Road Pickup Truck of Texas and Best Powertrain for its standard Cummins® 5.0L V8 Turbo Diesel engine.

Now that TITAN XD Crew Cab with a Cummins 5.0L V8 Turbo Diesel engine is in Nissan showrooms, the rollout of new models continues. In December, Nissan announced that advanced gas-powered Endurance® V8 producing 390 horsepower and 401 lb-ft of torque will be available in both TITAN and TITAN XD models beginning in early spring 2016.

Ultimately, the new TITAN will be offered in three cab configurations, two frame sizes, three powertrain offerings and five grade levels (more information on the full lineup will be available at a later date).

“While Nissan still has many roads and trails to travel as we continue to launch additional production versions of our bold new TITAN, this new TITAN Warrior Concept gives an important signal to American truck enthusiasts that our vision for exploring new boundaries remains strong,” concluded Muñoz. “Truck lovers are never static and neither is TITAN.”




aerodynamics

Posted by : admin1 On : April 19, 2020
0

Category: Uncategorized

Archives for :
Aerodynamics


Modern Car Wind Tunnel Testing

Posted by : CarDesignOnline On : 30th January 2015
0

Category:
Aerodynamics, Resources

Traditionally, wind tunnel testing was a sizeable trial and error process, ongoing throughout the development of a vehicle. Today, with the high level of CAD prediction and pre-production evaluation, coupled with a greater human understanding of aerodynamics, wind tunnel testing often comes into the design process later. The wind tunnel is the proving ground for the vehicle’s form and allows engineers to obtain considerable amounts of advanced information within a controlled environment.

Whilst advanced design processes can anticipate a large proportion of aerodynamic performance, it is still crucial to assess a vehicle in the wind tunnel. Many elements of a vehicle’s form only reveal their behaviour in air flow when carefully tested and cannot be anticipated on computer. The reality of production, tolerances in components and accuracy of build can all play a part in affecting the aerodynamic behaviour of a car.

Aside from engineering concerns, manufacturers are increasingly looking to see how to improve the customer-side of aerodynamics. For example, wind noise from door mirrors is considered very undesirable and can only really be evaluated in a wind tunnel. Other, less obvious issues can also be examined – such as whether air flow forces water through seals or dirt into door apertures.

Sophisticated sound equipment is used in the wind tunnel to compile data on wind noise.

In this photograph, a stream of smoke travels over the vehicle in the wind tunnel as air passes from right to left. It can be clearly seen that laminar air flow remains attached until the very rear of the vehicle, emphasising just how carefully aerodynamic performance has been considered.

All images courtesy & © Ford Motor Company




Stunning, Classic Audis on Display in Mobile Show

Posted by : admin1 On : April 19, 2020
0

Category: Design

Running from May 3 to September 18, the Audi ‘museum mobile’ is presenting 12 coupés from the 1930s to the present day, in an exhibition titled “Dynamic Sculpture – the Tradition of Sportiness and Elegance at Audi.”

When vehicles with the coupé body type first appeared on the scene, they were often known as “Les Désobligeantes” (the unobliging ones). The style takes its name from the idea to “cut” (“couper/coupé” in French) a four-seater coach body to create a two-seater. The result was a body type that aroused the interest of the elite set. And in the years that followed, the high-quality interior equipment and trim installed in coupes made them the favorite vehicles among the high society of major European cities.

With the initial attempts at streamlined design in the 1930s, the roof form sloping downward to the rear began to catch on. The criteria by which we define a coupé today emerged only gradually, however: a short, flattened roof resting on two posts, with a two-seat interior. The coupes really hit their stride in the 1950s and 1960s. A key factor behind this popularity was the long-distance races of the period, like the Mille Miglia, the Targa Florio, the Liège-Rome-Liège race and the “2000 km durch Deutschland” (2,000 kilometers though Germany), which almost seemed to have been conceived specifically for coupes. Typical of coupe design was the combination of a great looking exterior and the best technology. Still today, the coupe is seen as the jewel in the product lineup of every automaker.

At the show will be 12 coupés from Audi history. A particular highlight is a replica of the “Manuela,” a unique coupé version of the Horch 853. The car was specially built for Bernd Rosemeyer in 1937. The most successful and most popular Grand Prix driver for Auto Union back then, Rosemeyer loved this luxury automobile – a passion clearly captured in countless photographs. This and the fact that the motorsport star was killed while attempting a world record run just a few months after he got the car, exalted the Horch “Manuela” to its legendary status. It is believed the original coupe disappeared without a trace during World War II.

Other treasures from the annals of company history trace the body type through the 1950s: a rare DKW Meisterklasse Coupé with a body by the specialist company Hebmüller, a DKW Monza (1956), the Auto Union 1000 Sp (1958) and an NSU Sport Prinz (1959). Also included in the exhibition is the first Audi coupe of the post-war era, the Audi 100 Coupé S from 1970. Representing the historic return of the four rings to the premium segment are the Audi Coupé GT (1980), the Audi quattro (1981), the Audi Sport quattro (1983) and the Audi Coupé from 1988. Visitors will also have the opportunity to see the first edition of the style icon Audi TT from its debut year 1998. And finally, the path to the present culminates with the Audi A5 from 2007.