Car Design News Reader Survey: Best current production car design is…

Car Design News Reader Survey: Best current production car design is…
Designer Henrik Fisker with the Aston Martin AMV8 concept. Click for larger images Aston Martin V8 Vantage Mercedes CLS Aston Martin DB9 Bugatti Veyron Ford GT	Mar 24, 2006 – As part of our recent survey, we asked Car Design News readers to vote for their favourite current production car design. The response produced some fascinating results, with the Aston Martin V8 Vantage being voted the clear favourite from over a thousand responses. While other 'Best Design' contests are largely made up of votes from journalists, the voters for this survey were mostly automotive designers and students of car design. The top ten rankings are: 1st: Aston Martin V8 Vantage 2nd: Mercedes CLS 3rd: Aston Martin DB9 4th: Bugatti Veyron 5th: Lamborghini Gallardo 6th: BMW 5 Series 7th: Audi TT 8th: Alfa Romeo Brera 9th: BMW 6-Series 10th: Lotus Elise This result represents an impressive result for Ford-owned Aston Martin, with first and third places for the V8 Vantage and DB9 respectively. It's also surprising because the two models are fairly similar in appearance which suggests that if one of these models did not exist, the remaining model would have won by an even greater margin. Indeed, the scores for all three models of Aston Martin (V8 Vantage, DB9 and Vanquish) were higher than for any other brand; Porsche, Mercedes, Lamborghini and BMW included. Lamborghini Gallardo BMW 5 Series Audi TT Honda Civic The second-placed Mercedes CLS is in some respects an even more impressive result, given that it is a large four door sedan – albeit one with some coupe DNA in its design. For it to score higher than its sports car siblings, the SLK, SL and SLR McLaren, is an impressive achievement. Similarly the high ranking of the BMW 5 Series, ahead of the sister 6-Series coupe and Z4 sports car, is a significant achievement. European models dominated the results, with relatively few nominations for American or Japanese designs, despite 52% of votes being from the North America or Asia-Pacific regions. While this might reflect the higher presence of premium brands and more exotic models, it also suggests there's an ongoing respect for European automotive design that appeals to designers' sense of 'beauty' regardless of their nationality. The top American score was for the Ford GT, followed by the Ford Mustang, whilst the best Japanese design was voted as the new Honda Civic 5-door ahead of the Infiniti G35 coupe and Nissan 350Z - and ahead of the Lamborghini Murcielago, Ferrari 430 and Bentley Continental GT – another exceptionally impressive result for such a mainstream practical car. Examining the results more closely by profession also throws up some revealing results. Looking solely at professional OEM automotive designers, the Mercedes CLS would have ranked first, followed by the Aston Martin V8 Vantage, with the BMW 5 Series and Aston Martin DB9 close behind. If we look only at design students however their clear preference for exotic sports cars is more marked with the Alfa Romeo Brera ranked in second place behind the Aston V8 and just ahead of the Mercedes CLS, and the wild Lamborghini Murcielago and Gallardo in fourth and fifth places respectively. Other surprises of the survey included the low rating of Renault, Chrysler and Mazda models, perhaps reflecting the relatively unglamorous nature of their brands and production car line-up as opposed to their strong reputation for concept car design.

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Art Center College of Design Fall Show 2005

Art Center College of Design Fall Show 2005 Page 1 of 2
Presentation by Michael Furst. Click for larger images 'Volkswagen Super' by Michael Furst 'Dino' by Mark Coletti Bentley SLV by Shawn Collins	Mar 15, 2006 - Students at Art Center College of Design in Pasadena presented their work in the Fall graduation show held in December. The show featured work from students in the Bachelor of Science - Transportation Design program. Photo Gallery 160 photos The transportation senior project is organized as an independent project, each student researches a company, and targeted buyer, to see if a new vehicle is needed or if a vehicle on the market needs to be improved. The students then work with the course instructors who are professional designers to refine their concepts and create exciting new design solutions for their chosen company. Michael Furst presented as his senior thesis project the Volkswagen Super – a rear-engined car embracing super punk, super sport and super surf themes. His Chrysler 300 Coupe also shown is defined by a diving belt-line theme, and targets 45-60 year old Empty Nesters. This proposed flagship model also aims to elevate Chrysler's brand image following Furst's research. He previously graduated from the Pratt Institute, New York. Following last year's impressive Dino by Sasha Salipanov is Marc Coletti's senior thesis project based on the same car. Chrysler 300 Coupe by Michael Furst Alfa Romeo by Mark Coletti It was developed as a proposal for the Fiat group from Pininfarina under the premise that sports cars have become too big and too fast for today's roads. Using Variable Architecture, Fiat would produce figureheads for its three iconic marques, Ferrari/Dino, Alfa Romeo, and Maserati. Coletti's Dino model is influenced by late 60's Ferraris, wrapping occupant and mechanicals in a purposeful, uncompromised form that oozes Italian romance. He also presented a well-judged Alfa Romeo spider. Shawn Collins' senior thesis continues the Bentley Continental family tree: his SLV (sport luxury vehicle) design puts Bentley at the top of the SUV market using the wheelbase of a Flying Spur and the drive train of the GT. The design uses a body-length shoulder with duelling light catchers over each wheel well. The front face has combine headlights that melt back into the body, along with a large grill with logo inset. Collins also presented a Cadillac V-series convertible, Chevrolet SSX Truck, Hummer H24, TVR Cerberus and a school bus project done in conjunction with Panasonic.

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Acura MDX concept

	Acura MDX concept Acura will present the MDX concept at the upcoming New York Auto Show. Scheduled to debut later this year, the 2007 Acura MDX will be the second generation of Acura's luxury SUV to be designed, developed and manufactured exclusively in North America. Later this year Acura will also introduce the RDX premium entry SUV, combining sport-utility function with sports sedan handling and performance. The new Acura Design Center is scheduled to open in the summer of 2007 in Torrance, California. Related Stories: Acura RDX concept - Detroit 2006
	Audi TT Audi has released a teaser photo of the next-generation TT. Full details will be unveiled on April 6 with the car being shown to the public at the Paris Motor Show in September. Based on an all-new platform, the new car is likely to be available in three body styles: coupe, cabrio and a new hatchback version, as previewed by the Shooting Brake concept in Tokyo. Related Stories: Audi Shooting Brake concept - Tokyo 2005
	Chrysler 300 Chrysler Group has announced the 2007 Chrysler 300 Long Wheelbase, to be be displayed at the upcoming New York International Auto Show. The new model is six inches longer than the current models, providing more than 46 inches of rear legroom, with optional personalized interior features. Available this fall, the lengthier Chrysler 300 is expected to attract sales from the livery/limousine industry, as well as retail customers.

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Los Angeles Auto Show 2008 - Highlights

Los Angeles Auto Show 2008 - Highlights

by CDN Team 20 Nov 2008

Honda FC Sport concept

The FC Sport was the only significant concept car debut at LA. According to Dave Marek, Chief Designer of the Advanced Design studio where the concept was designed, the decision to display the car in LA was a late one from Honda and the car was done on a very limited budget.

Though an exterior-only model was on show at the stand, Honda also had an animation showing the interior configuration, if not its detail design (see our New Cars section for the animation).

The designer of the car, Nicolas David (who now works for Jaguar and so was not credited by Honda), started the design by repackaging the Honda FCX Clarity fuel-cell powertrain at the rear, just behind a McLaren F1-style three-seat arrangement. The animation shows the scissor-doors raise up to access the cab-forward interior where the central driver's seat is a fixed extension of the rear bulkhead and the flanking passengers sit facing slightly outboard.

Notable aspects of the design are the long cab-forward proportions, which then unusually work with a very short front overhang and long tapering rear to give a strong dynamic imbalance. A similarly innovative device is the way the rocker area tapers forwards under the doors to counterbalance the cabin that tapers rearwards to the small, flat, hexagonally shaped rear of the car.

The form language of the FC Sport is also very distinctive with crisp faceted surfaces working well with the strongly graphical quality of the design - although it was hard to read in the white show car, which also disguised a lack of surface refinement.

Following the CRZ and the OSM, the FC Sport is the third white compact Honda sports car concept to debut in the last year. It is the most radical of the three and an impressive design, but it is let down by a lack of development or apparent relevance.

Related Articles:
Honda CR-Z concept - Tokyo 2007
Honda OSM concept - London 2008
Honda FCX Clarity - Los Angeles 2007

Mazda3

This new 3 is one of the most important production debuts in LA. It follows the 6 and 2 as the third of the new generation Mazdas launched under design director Laurens van den Acker, although it would have been designed mostly under his predecessor Moray Callum.

Based on the Ford Focus platform, the two sedans in LA will also be joined by a more European orientated hatchback variant in the near future. Unlike its predecessor, the rear aspect of the sedan looks like it was compromised by some of the hatchback variant's hard points, appearing slightly tall and truncated.

The design language is essentially a combination of themes introduced on the larger Mazda6 and the smaller Mazda2, but the new car doesn't introduce any significant new design elements bar the large front grille. This smiling aperture is filled with a mesh grille and slim bumper beam - which unusually pushes out forwards of the car - and is flanked by two prominent side air intakes that similarly stand away from the main front surface. The lamps also stand proud of the surface and have a subtle ‘Nagare' design detailing within them.

Inside, the car features a Civic-style split level instrument display and an overall appealing and contemporary aesthetic, undermined by cheap gray materials and some slightly old fashioned silver-painted plastic.

The previous generation 3 was a very successful global market design for Mazda that balanced distinction with a broad market acceptance. This new design follows a similar formula, but just fails to deliver the same level of appeal to today's market as its predecessor did five years ago.

Related Articles:
Designer Interview: Laurens Van den Acker
Mazda2 - Geneva 2007
Mazda6 - Frankfurt 2007
Mazda3 - Frankfurt 2003
New Car: Mazda3

Lexus RX

The new RX SUV was unveiled this week at the LA Auto Show, ten years after the first generation RX debuted in LA and 20 years after the Lexus brand was announced at the LA show.

A progressive evolution of its distinctive predecessors, which is significant as Lexus has been accused in the past of having derivative design. It is also unusual for an Asian company to evolve, and not to reinvent, with a vehicle replacement program. But beyond the core proportions and graphics of the RX, its surface and detail design is very innovative, extending the Lexus form language introduced in the current LS.

This carefully controlled and very distinctive design is defined by subtle wave-like surfaces and feature lines. The most prominent of these are the shut lines between lamps and fenders - as on the LS - but also in the body side, where a very slim convex shoulder surface rolls down into a concave undercut before pulling out into a more conventional lower body side. The grille also exhibits this innovative wave-like surfacing with flutes that fan out from the base, taper upwards and curve in, out, and in again.

The classic RX DLO continues with the odd slight kink above the rear window, above which is a feature line that takes the core arc of the DLO rearwards into the tailgate window. There is also an unusual recess at the bottom of the flanks that stops half way along the rear door.

Inside, the wave-like theme of the exterior is continued and emphasized, with an instrument panel that gently sweeps around and down before wrapping around the center stack - a theme also picked up on the door inners and steering wheel hub. Other core interior innovations are the ‘son-of i-Drive' secondary control interface Lexus calls 'remote touch' - a cross between a computer mouse and a joystick - which sits on the center console; and the handbag storage area below the center console.

Related Articles:
Lexus RX330 - Los Angeles 2003
Lexus LX570 - Los Angeles 2007

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Drive: Jaguar XF

Drive: Jaguar XF

by Sam Livingstone 07 Nov 2008

The seriously svelte Jaguar XF and its Mk2 ancestor. Click for larger images

Long DLO and rocker area works to reduce visual height

Two of the class leaders from Germany: the A6 and CLS

The XF would have been signed-off before the GS had been seen, but they do share a similar side aspect

The XF and its illustrious ancestor, the Mk2: the definitive compact luxury sedan of the 1960s

Passengers new to the car are wowed by the way it 'wakes up'

Jaguar X-Type and XJ sedans

Original 1968 XJ6: with designs as good as this it's no surprise Jaguar has taken four decades to escape their grasp

Photos: Eric Gallina

It is possibly harder to design a Jaguar than any other premium car brand. The essence of the firm's highly regarded design language is over 40 years old with the shadow of the 1961 E-type and 1968 XJ6 - and even the 1955 Mk1/1959 Mk2 - looming large. For decades the design group has taken cues from these old designs and reinterpreted them to appease the traditionalist Jaguar customer, but in doing so they have reinforced the 'old-man' image of Jaguar and pushed many customers to Audi, BMW and Mercedes-Benz.

XF replaced the 1998 S-Type (above)

Shallow headlamps of C-XF, which previewed XF

Calm surfacing graces XF flanks

XF and Roger Moore share quizzical raised eyebrow expression

Roger Moore

Upon ignition, gear selector raises from center console to stand proud (above)

With the XF, which replaced the S-type last year, Jaguar aims to change that stogy perception of the brand, and the company is taking a new strategy; one that rejects Jaguar classicism and creates a new meaning of 'Jaguarness'.

Competitor, but not a classic Jaguar

We showed our black XF on its 20-inch wheels to many people, and universally their first impression was that the XF is a seriously svelte 'executive' car: a new competitor to the Audi A6, BMW 5 series, Lexus GS and even the Mercedes CLS. Interestingly, no-one took issue with the car not being more like other Jaguars or the S-type it replaces.

Svelte, but slightly generic

The most critical response to the XF that we consistently heard was slight but significant; that it made rather a quiet statement. This stemmed mostly from its generic proportions (several designers mentioned the Lexus GS as having a similar profile) and, to a lesser extent, from its calm surfacing and lack of adornment.

Assured except for its expression

With a high shoulder, long DLO and cleverly managed rocker area to reduce its visual depth in elevation - and on our car's massive wheels that literally knobbled its ride - the Jaguar is effortlessly sleek and assured; except at the front. Its headlamps look slightly too tall (although this is perhaps because we can't forget its concept precursor, the C-XF) and look cheap up close. Fundamentally they have a 'Roger Moore raised eyebrow' graphic, a quizzical or surprised expression at odds with the rest of the car.

Without a hint of retro-design

The first medium-sized Jaguar was the MK1 of 1955, which ushered in new dynamic proportions for a luxury sedan. The 1998 S-type that the XF replaces borrowed heavily from the Mk1 née Mk2-based 1963 S-type in its aesthetic. But the XF emphatically does not reference old Jaguar designs. Instead it embraces the spirit of its 50 year old ancestor in having a progressive yet essentially Jaguar aesthetic.

Event quality, not total quality

Get in, push the gently pulsing starter button and the stumpy cylinder gear selector raises up from being flush with the center console to stand proud. At the same time the air vents roll open like eyes opening. Passengers new to the car are wowed by the way it wakes up.

At night, the cool blue illumination also emphasizes the handsome graphics of the controls on the center console and bathes the door recess in blue. This, however, then highlights how the door-mounted switches are inconsistent with those on the console.

The design of the main instrumentation area is also inconsistent with the center console, as well as being rather bare - particularly when compared to an A6. Slightly puckering leather at joins on the steering wheel, a few cheap feeling plastics, poorly fitting lids to the center console storage and the 'growler' logo mark on the steering wheel also knock the corners off the quality perception of the XF.

Step-ahead and stepping-stone

Without any doubt the XF is a huge step forward for Jaguar. Compared to its sibling sedans - the X-type and XJ6/8 - the XF is science fiction. But outside of Coventry, its audience sees it as a contemporary alternative to the German establishment, not an avant-garde design or a trend setter. Though it is a 'step-ahead' for Jaguar, perhaps it is also a 'stepping-stone' to future Jaguars, which are perceived as step-ahead designs that further progress the XF's new meaning of 'Jaguarness'.

Related Articles:
Review: Jaguar C-XF concept
Interview: Ian Callum, Design Director, Jaguar

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