car design thread | Page 400 | FerrariChat

car design thread

Discussion in 'Creative Arts' started by jm2, Oct 19, 2012.

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  1. F1tommy

    F1tommy F1 World Champ
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  2. NeuroBeaker

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    They're very clean and bold designs. I think Mazda are doing a great job on the design front.

    All the best,
    Andrew.
     
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  4. jm2

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    https://www.forbes.com/sites/billroberson/2020/05/07/interview-motorcycle-designer-jeremy-faraud-a-rising-star-at-ducati/#aefb965661f0



    Interview: Motorcycle Designer Jeremy Faraud, A Rising Star At Ducati

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    Bill RobersonContributor
    Cars & Bikes
    I cover cars, trucks, motorcycles and the evolution of modern mobility technologies.

    Designing cars and motorcycles is not for the timid. Choices around appearance, function and performance all influence what our motor toys look like, and billions of dollars, indeed the existence of whole companies, can ride on the choices of the men and women who spend long hours at drafting tables and computers, trying to piece together an enormous compromise between form and function.
    • get it wrong and you might want to think about another career. Perhaps no motorcycle company is as sensitive to the choices of designers as Italian motorcycle icon Ducati; the bikes need to unfailingly go fast while also visually stirring the souls of owners and onlookers.

      Ducati has a rich (and sometimes controversial) legacy of high-profile bike designers including Pierre Terblanche, Massimo Tamburini and Miguel Galluzzi to name a few. Currently, Andrea Ferraresi is the chief designer, but he doesn’t work alone in some corner office.

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      Jeremy Faraud, Ducati motorcycle designer.

      PHOTO: DUCATI
      He oversees a capable staff, including one Jeremy Faraud, 29, a rising star at Ducati who is responsible for breakaway bikes like the Scrambler Ducati Desert Sled, the Joker-faced Streetfighter V4 and the angular Desert X Scrambler concept bike which we’d wager will make it to production sooner than later. Forbes talked with Faraud about his design choices and inspirations.
      Forbes.com: The Desert X Scrambler prototype has been very well received, but it looks unlike most Ducatis in many ways. What was your primary inspiration for the design?

      Jeremy Faraud: This year we had the opportunity to work on two concepts and we brought them to EICMA. The aim of this stylish exercise was to propose a new design vision to our customers.





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      The Desert X Scrambler concept bike, designed by Jeremy Faraud

      PHOTO: DUCATI
      The Desert X is an interpretation of what could be the stylistic evolution of the Ducati Scrambler brand. Ducati Scrambler Design DNA has always been about authentic simplicity and modernity. Our objective was to push this minimalist aspect to its peak, while keeping the iconic and technical soul of the Rally Raid motorcycles from the early 1990s. The result is a retro-technologic bike that lives out of time and fashion.

      MORE FROM FORBES5 Of The Most Exciting Motorcycles Unveiled At EICMA 2019By Bryan Campbell
      You also spent time at Honda. What do you feel are the key differences in design expectations between Honda and Ducati? What does one brand emphasize that the other does not?

      Ducati is a different brand compared to all the others. While many brands do great mass production motorcycles, we are sport and premium oriented. And the design expectations from one brand are of course based on the brand DNA.

      I noticed that the V4 Streetfighter has a bit of a “face,” inspired by the Joker character from Batman. Is anthropomorphization something you often use in your design ideas? What do you feel it brings to the design language of a motorcycle or any object?

      Actually, the Joker was the inspiration for the overall Streetfighter V4 project and not only for the headlight.

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      Those glowing eyebrows are no accident. Faraud said the Joker from the Batman comics is an ... [+] PHOTO: DUCATI
      As motorcycle enthusiast I like to imagine a bike as an entity. According to me the soul of the bike has to match its appearance. As a designer I like to immerse myself in a proper mood by listening to music and watching movies according to the personality of the thing I have to draw. The Streetfighter V4 is an incredible performance motorcycle that can be ridden hard on track, but at the same time the bike is really nice to ride at low speeds, even into a city centre. It’s a bike with no compromises: the Streetfighter V4 excels in two really different tasks that normally don’t fit together. The Joker is a complex character, paradoxically happy and unkind at the same time. These two personalities, living in harmony in the same body, remind me a lot of what the Ducati Streetfighter V4 had to express.

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      Ducati Streetfighter V4, a 200hp velocity tool coming to a showroom near you.

      PHOTO: DUCATI
      What are your favorite design tools?

      I always loved hand drawing and I started practicing watercolors very early. I believe expressing your ideas with a minimum of filters makes it more human — so even if computers are much quicker and easier to use, I always start a new project by hand drawing.

      When you were in school, when did it become clear to you that you wanted to go into design? What was the first “thing” you designed professionally that came to market?

      Since childhood I always enjoyed disassembling stuff in order to understand how it was working to then try to modify it at my father’s cabinet-making company.

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      The Ducati Desert Sled Scrambler is an amped-up, off-road worthy version of the company's more ... [+] PHOTO: DUCATI
      So for me it was clear that I wanted to become a designer. Ducati is where my professional career started, so the first project I worked on that came to market was the Ducati Scrambler Desert Sled (above).

      What new features would you like to design into motorcycles, no matter how odd or ridiculous?

      In Ducati we have a precise and strict design code. Our design must be, among other things, distinctive, clean, simple, neat, and sensual. And above all, sporty and functional. Certainly not weird or ridiculous. Our bikes are sport tools. Quite rarely, in the motorcycle design field, disruptive events happen. We had it with aerodynamics. We were pioneers and are state of the art now. The challenge, for us as Ducati designers, is to integrate and not simply add aerodynamics devices to the design of our bikes.

      Do you think electric/EV platforms provide a sort of blank canvas for vehicle design, or are there rules that must be followed?

      For sure electric vehicles are opening exciting new opportunities in term of user experience as design explorations. The volume and the position of the technical elements are really different compare to an ICE platform. However, no matter the inboard technology, you will still have to deal with at least ergonomic and physical rules. Having no gas tank and exhaust systems, for instance, will free us from some constrains and we will be more focused on ergonomics, modularity, connectivity, and rideability.

      Which vehicle or motorcycle designers influenced you?

      How would it be possible to work at Ducati without being influenced by Massimo Tamburini! Also, John Britten’s story is a great inspiration for me. He was a mechanical engineer but he designed motorcycles that were functional beauties by himself in his workshop — he mastered technologies and techniques that were new at that time.

      Also, Walter de Silva. He was responsible for all of VW Design Group, was our “boss.” His visit into our studio has been always a great source of inspiration in term of discipline, process and design criteria.

      Which past motorcycle designs (from any make) influenced you or impressed you as you worked on building your portfolio?

      Wow! I have been in love with so many motorcycle designs from really different companies. But how can we avoid mentioning both the Ducati Monster and the 916?



     
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  5. jm2

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  8. Tenney

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    Peter Brock at the helm ...

     
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  9. jm2

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    Chrysler Concept Cars
    https://www.hemmings.com/stories/2020/02/12/in-search-of-a-flagship-chryslers-tom-gale-kept-re-imagining-classic-style-luxury-throughout-the-nineties?refer=news&utm_source=edaily&utm_medium=email&utm_campaign=2020-05-17&fbclid=IwAR3BfW23HZrjJdZ48Hmwg8pAjJ_DOhEn1WMTpiOG02PYsaRPQVN8ZlCf9Os
    In search of a flagship, Chrysler's Tom Gale kept re-imagining classic-style luxury throughout the Nineties
    By Daniel Strohl on Feb 12th, 2020 at 9:00 am
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    1995 Chrysler Atlantic. All photos courtesy FCA Media.

    Category: Dream cars, show cars and prototypes
    Make: Chrysler
    Dodge had the Viper. Plymouth the Prowler. It only made sense that Chrysler would gain its own retro-influenced concept-turned-production flagship in the Nineties under Tom Gale's design leadership. That it didn't is of course a shame, but it also meant that Chrysler spent the better part of a decade introducing some of the most compelling concepts of that decade in search of its own renaissance.

    Gale, who was promoted to the vice-presidency of design at Chrysler in 1985, joined Chrysler in 1967 and had a hand in the Eighties turnaround of the company after working on the design of the K-car project. As vice-president of design, however, he envisioned a company that would thrive rather than just survive, with distinct personalities for each Chrysler division beyond the minor trim differences that separated Chryslers from Dodges from Plymouths throughout the Eighties.

    Though the Lamborghini-based 1987 Portofino concept ended up influencing Chrysler product design for years afterward--particularly in the cab-forward LH-series sedans--the aforementioned 1989 Dodge Viper concept had far more impact on Gale's intended direction for the company. Not only did it show the world that Chrysler could think big and that it wouldn't let the K-car define it moving forward, it also demonstrated how the company could take risks by turning its concepts into standard-bearing production cars.

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    Gale's first attempt to apply that same magic to the Chrysler brand came two years later with the 1991 300 concept. Based on the Viper, it used the sports car's space frame--stretched nearly 30 inches to make it a four door--and a 385 hp V-10 taken from an early Viper mule and paired with a four-speed automatic transmission, according to Allpar. Though short on chrome and badging, the 300 resurrected a storied nameplate that had last been used in 1979, brought back touring-style suicide rear doors, and employed aggressively swoopy design.

    Unlike most concept cars, the 300 featured a number of production-ready elements. Its lighting was reportedly DOT-approved, and a great deal of engineering went into the sedan's body structure to not only make it strong enough to support the suicide doors but also capable of passing crash standards.

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    Similar to the 300, the 1993 Thunderbolt resurrected another legendary Chrysler nameplate, one that had the potential to serve as a halo car for the brand. It ran and drove, thanks to a 270 hp four-liter eight-cylinder engine (possibly a similar engine to the one that powered the Atlantic, below), but based on the limited additional information (like, where'd they stick that engine?) and the non-production-ready elements (lighting, double-bubble back window), it likely wasn't given the same consideration for production as the 300.

    It did, however, appear in the first episode of the Viper TV show, a show in which the 300 concept above and multiple other Chrysler concept vehicles made cameos.

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    Another two years and the 1995 Chrysler Atlantic bowed to considerable media attention and praise. Ostensibly inspired by a trip that Gale and Bob Lutz took to the Pebble Beach Concours d'Elegance, the Bob Hubbach-designed coupe intentionally evoked Bugattis, Delahayes, Talbot-Lagos, and other sultry French cars of the interwar period. According to Pete Hagenbuch's account at Allpar:

    The legend says that Lutz sketched his ideas on a napkin, which he gave to Gale. Gale gave his design staff the assignment — but without the sketches, explaining that he didn’t want to give his designers any preconceptions which would stifle their creativity. They were told to use ideas and features of the curvaceous French coupes of the thirties to come up with a knock-out design that would mix the best of the old with the newest of the new.As Chrysler described the Atlantic:

    Inside and out, Chrysler Atlantic concept vehicle is a pure-bred coupe borne of romantic fancy - a longing for the days when cars were conceived not in a wind tunnel, but on an artist's canvas. Atlantic is far more than a car. It is a fond tribute to a time when expressive coupes were created one at a time by a gifted craftsmen. It is a living, breathing example of automotive design as art, expressed in the technological expertise of Chrysler.For all of its classic inspiration, the Atlantic was thoroughly modern under the skin. A four-liter straight-eight built up from two Dodge Neon engine blocks put out 325 horsepower through an AutoStick transmission, it rode on massive 21-inch and 22-inch wheels, employed ABS brakes, and used neon lighting throughout. We see mention of Chrysler considering a possible run of 100 cars, but that could be mere rumor.
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    While a more futuristic take on the Chrysler flagship car than the other cars in this series, the 1996 Chrysler LHX did reintroduce the egg crate grill to Chrysler's design language and, if one looks at it long enough, one can see the Atlantic's egg-shaped side glass in the LHX, just elongated to fit a four-door sedan on a 125-inch wheelbase. Gale still described it as a heritage design, though its overall look (if not its size) went on to influence the 1999 Chrysler LHS. A 250 hp single-overhead-camshaft 3.5-liter powered the LHX.

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    In 1997, Chrysler showed off the Phaeton which, according to Chrysler, "capture(d) classic images from the... Chrysler Atlantic and translate(d) them into a convertible format." While there may be some Atlantic DNA here, far more inspiration came from its namesake, the 1941 Newport Phaeton, and from the subsequent Imperial parade phaetons.
    As with its predecessors, the Phaeton featured dual cowls and luxury appointments throughout. Unlike the two, however, the Phaeton had an ASC-developed power-actuated retractable hardtop that fit under its boattail-ish decklid. It also had a stout chassis - Allpar's writers questioned whether it may have come from a truck - with Viper-based suspension, 22-inch wheels, and a 60-degree 48-valve 5.4-liter 425 hp V-12 aluminum engine (which, speculatively, may have been built up from two 2.7-liter V-6 engines as used in the LH-series cars).

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    As finished as the Phaeton appeared to be, the market for such a car is limited, to say the least, but a year later, Gale's crew made one last bid for a luxury flagship with the 1998 Chronos, a car that leaned heavily on the Ghia-built Chrysler show cars of the Fifties for its distinct classic look.

    Specifically, Chrysler design studio chief Jack Crain cited the 1953 Chrysler D'Elegance, and it's easy to see that car's influence in the haunches and the character line that extends forward from them. There's also quite a bit of 1955 Chrysler Falcon in the crisp leading edges of the front fenders, the vaguely heart-shaped grille, and the horizontal headlamps.

    Under the skin, Allpar noted a largely Viper-derived suspension and a V-10, but not a Viper V-10. Rather, the Chronos used a 350 hp six-liter single-overhead-camshaft V-10 constructed from components of three different 4.7-liter V-8s.

    The Chronos displayed all the trim and fit and finish of a car eyeballed for production. Production would have smoothed out some of the concept car details, but (unlike, say, the Phaeton's retractable hardtop) little on the Chronos wasn't doable on a production basis, perhaps with a little more interior room, as Allpar noted.
    Like the CCV, the Chronos stood little chance of continuing on to production as-is after the DaimlerChrysler merger. However, it's not hard to see where the Chrysler 300C got its face from a few years later. Nor is it hard to argue that Gale laid the groundwork for striking concept vehicles like the Dodge Tomahawk and the Chrysler ME4-12 that came after his time at Chrysler.

    Gale retired a couple years after the Chronos came out and, while none of his flagship designs went on to production and to define the Chrysler brand during his time there, plenty of observers have credited him with jumpstarting an era of exciting, production-ready concepts. As Motor Trend noted, Gale "is the man who helped Motown find its mojo" and "changed the face of the U.S. auto industry." He's since been inducted into the Automotive Hall of Fame, in part for his highly visible concept vehicles.
     
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  10. G. Pepper

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  11. Jeff Kennedy

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    Gale led Chrysler Design into being a leader with great concepts and the entire LH series. They had the "magic' for that period.
     
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  13. G. Pepper

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    Yes, the second generation with the steeply raked glass fore and aft was just killer looking for an affordable family car.
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    Bentley design discussion

     
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  21. energy88

    energy88 Two Time F1 World Champ
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    To me, the video illustrates "evolution" rather than "revolution" in design although the narrator seems to argue that version 3.0 is a departure and designers should get back to their path in a future version 4.0.

    Although it may be a matter of taste, I don't like the "pointed oval" tail lights on version 3.0 since it strongly reminds me of old Chrysler designs. In a similar vein, I don't object to the chrome around the tail lights in version 3.0 and feel that the chrome treatment would have been an enhancement in version 2.0.

    Still, I like all three design versions and my nit picking is a matter of personal preference.
     
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  22. jm2

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    Or as a former colleague used to tell me: ask 10 designers for a design opinion and you’ll get 10 different answers!
    Only one rule..............there aren’t any rules.
     
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