Re*Move

The debacle of Denmark Hill station

A few years ago I met the legendary designer John Maeda. "As social media links people and ideas together in unprecedented new ways, and as design tools become accessible to many", I asked him, "are we about to benefit from a world with a thousand times as many active designers?" "Great question!" he replied.

It's fair to say that very little design or engineering talent has been applied to my local station Denmark Hill since Queen Victoria was alive. I use this place a lot. It's the primary mass-transit feed to Kings College Hospital, one of London's most important hospitals, which is five minutes walk away. It's used for 3.1 million passenger journeys each year. So the equivalent of about a twentieth of the entire British population stumble through this little inner London railway station each year.

And stumble they must. Despite a refurbishment in the 1980s, it's been woefully inadequate for as long as most people can remember. All four rail platforms must be reached by steep wooden steps, all of which are in poor condition. Water pours through the roof during rain, directly onto these steps and all passengers are filtered through a narrow inner and outer doorway, via a 19th century booking hall. At peak times during the morning and evening, exacerbated by timetabling that means many of the half hourly train services arrive within minutes of each other, this Victorian grouping of steps gets badly overcrowded. Many of the users of the station are visiting hospital, so the demographic skew of passengers is towards the elderly or the physically impaired.

I wonder what the Victorian engineers who built the place would think about the reconstruction project that started to affect public access to the station this week.

Work is underway to provide much better access to the station - on paper the plans look great, or at least the reporting of them (plans are not easy to find online, nor made available at the station - if you find them let me know).

A lesson in poor design

Work has begun but the implementation hasn't been thought through. I'm particularly surprised by the lack of attention paid to access - the service experience for users - during the transition phase. It can only confuse passengers who use the station (many are occasional visitors, exacerbating this) and it provides even worse accessibility during the construction work, which seems expected to last about a year.

- On Wednesday the existing station access bridges and staircases, which have always channeled passengers through the booking hall, were closed. Now passengers use a temporary scaffolding-based bridge and network of staircases that is if anything more overcrowded than the old (deeply inadequate) arrangement.

- Passengers exit onto a side access road, Windsor Walk. However, this new entrance is very poorly signposted.

- Inexcusably, no Oyster card readers are installed at the new entrance, or on the platforms. London's Oyster card system requires all rail users to "touch in" and "touch out" on arrival and departure, and not doing so will lead to a daily cap fine being imposed of about £5 extra. Last night, in the warren-like confusion of the new exits, I completely forgot to touch out and had to call Oyster today to get my fine reversed. I am absolutely sure I'm not alone here.

- Now users are expected to walk right around the station into the old booking hall, to touch in or out after each journey, far from the new temporary entrance and exit. This imposition seems absolutely at odds with the project's goal, which is, a year from now, to provide dramatically improved accessibility.

- Communication about the changes is poor or non-existent. There are some basic posters but no detailed project plan is available online. Nor are progress updates being posted. I'm working with organisations who do far better updates building toilet blocks in Africa. There's a Wikipedia entry about the station and that would be a great place to link to formal plans and timelines. The lack of status updates reduces my confidence that the project is well-led. Or even led at all. I think the original Victorian designers would be amazed that with the advances in technology, we can't do better.

Some years ago I dipped once before into the planning of Camberwell's local infrastructure. A grim, vicious public meeting about the Camberwell Grove railway bridge (beautifully captured in all its misery by the Guardian's Peter Preston) left me disillusioned by the limited ambitions of those who are employed to improve London's public infrastructure.

As 21st century designers, we can do much better. Designing and redesigning stations is about more than just engineering work. Clearly, little thought has been applied to the interim needs and experience of the unique demographic that uses this station. There's an army of kids out there without jobs, and many have been trained in media, design and communication. With the right support, they could run rings around these efforts. Maybe, it's time we got them involved.

More about Mark Charmer here.

Post consumerism? A crisis in design, a crisis of ethics: a time for change

I just got married. Hence have been away for a while, and why the lack of posts. It's not unknown for such activities to cause people to reassess their priorities, and begin to question stuff they previously took for granted. So, this could just be me. Yet I sense something is in the air. Something feels different...

Take the election in the uk right now. The media-spun forgone conclusion we began the campaign with has been thrown open by a number of things, including a TV debate which shook-up the status quo. Every day, social media channels are exposing the bias and vested interests of traditional publications and big business. The entire event feel not only more open, but exciting, and 'different this time'. As Gordon Brown discovered yesterday, you are never 'off record' anymore. And in all of this, among the optimists such as your author, there's a sense that we - the people - can make a difference. Our say somehow feels like it 'matters more' this time.

Then take the auto show in Beijing last week. The western auto companies unveiled products that whispered of a sense of relief. The crisis is over, and now China's growing auto market will allow them to simply continue as they were, thanks very much. Ford, at least, showed a city car. Yet I haven't found many people who are impressed with Mercedes' vulgar - and dubiously dubbed - 'shooting brake concept'. Or anyone who actually needs, or cares about the BMW Gran Coupe concept. And while many were still busy laughing at Chinese 'copies' of western models, those who stood back saw a set of Chinese car designs that had a level of genuine credibility that was unthinkable just two years ago. Some even noticed the Chinese Government initiatives, and the impacts they are having on development of Chinese electric cars, which could have some interesting consequences for the old guard. Better Place gained a foothold in the world's largest country - despite being increasingly poo-pooed by some in the developed world, but Chinese firms are developing similar charging infrastructure plans of their own...

There's a sense that the more switched on people are looking, scrutinising, and questioning the status quo more than ever before. It's apparent in design and design criticism as much as anywhere else. Ultimately, the very role of the designer is being questioned. While this may be somewhat frightening, it at least means we may be moving to the next stage of the debate, beyond dubious tick-box, shiny apple-green sustainability. Rather than become all preachy, the main point of this piece therefore, is to draw your attention to a series of important articles and events reflective of this new, deeper line of questioning. If you're a designer, or design student, I'd argue they're required reading...

The underlying contention they all make, is that many designers are - far from making things in the world better - complicit in simply encouraging people to consume at an ever growing rate - messing up peoples' heads, and screwing the planet in the process. So what role for the designer?

Core 77's Allan Chochinov perhaps framed this most eloquently some time ago, in his 1000 word manifesto for sustainability in design. Now a couple of years old, it nonetheless still resonates and provides a useful starting point. More recently, Munich professor Peter Naumann's "Restarting car design" looks set to become a seminal piece, and is one all students of transport design need to read. Judging by the shock-waves it has generated, and the response to it from those I've spoken to in the auto, design and education sectors, he has hit the nail on the head. Because increasingly, it isn't just industry that's in the firing line, but design education institutions that are being questioned. For its part, the Royal College of Art is currently hosting the "Vehicle Design Sessions". There have been two so far, and both have touched on the areas I'm discussing. As Drew Smith's write-up chronicles, the panelists at the first - sustainability focused - debate, were unanimous in their view that vehicle design students should now look outside of the established industry if they were truly intent on using their design skills to have real impact in the world. Perhaps not what you'd expect from an event held at one of the world's leading vehicle design courses.

For those students of design interested in more than just the design of the next sports car, all of this raises a dilemma. How do you balance the necessity to find employment and money, without simply tramping up a well-trodden path, or falling into big-industry - pandering to whims and being emasculated from affecting meaningful change?

I doubt many will find that quandary any simpler after reading Carl Acampado's piece, but it's a necessary read nonetheless. Entitled  "The product designer's dilemma", it is bound to strike a chord with many of its readers. Acampado touches on the conflicts that the average designer - and indeed typical consumer - today faces in balancing personal desires, ambition and personal success, with the best way not to fuck up the planet. It's an impassioned piece, and just like your author here, Acampado has no real silver bullet solution to many of these problems. Yet his "dog for life/do it with love" message resonates loudly, and without wanting to sound all soppy, could be an interesting mantra to apply both as a consumer and in whatever area of design you practice. Please read the piece to see for yourself what I mean, if you haven't already. It echoes the voice of many of those I have mentioned above, and contrasts starkly with the PR-spun froth that consumers are (hopefully) growing increasingly sick off, yet which nonethelesss still dominates media 'opinion' that we are bombarded with every day. Stuff that I might add, is now the domain of much online green media, not just the likes of auto.

A final point. "Drive less. Save more" proclaims the title of the most recent email to land in my inbox, which is from the Energy Saving Trust - a UK Government sustainability body. In terms of missing the point completely, yet perfectly representing a very particular 'old way' of thinking that I'm taking issue with, I can't help thinking that it sums things up rather neatly. New approaches are needed. Thoughts on a postcard please... or alternately in the comments box below.

Image credit: "Consumption reflected" - Zohar Manor-Abel on flickr

Posted by Joseph Simpson on 29th April 2009. Full disclosure: Joseph Simpson is a visiting lecturer in Vehicle Design at The Royal College of Art. The thoughts expressed here are his own, and in no way necessarily reflect the views of the Vehicle Design Department or the wider College.

Geneva auto show 2010 - some things you might have missed...

By now, you'll no doubt have read all about the cars and concepts that you were interested in at last week's Geneva auto show. But if you've still apetite to digest and cogitate, Drew Smith - of the Downsideupdesign blog - and myself are producing a two part podcast with pics to cover all of the major production debuts and concepts, which you'll be able to see/hear in the next few days. For now though, you might be interested in some of the details, elements and irreverant bits and bats that I noticed in the Palexpo last week. So without further ado...

Citroen reimagined the ReVolt from Frankfurt as a racer for the road in the form of the SurVolt (above). Only Citroen could get away with painting it gloss blue, matte grey, pink and orange. But they did. Note these graphics - they were quite fun, a play on PCBs - used to signify the electric drivetrain.

Meanwhile over at Mercedes (above), they'd got wood... (sorry, couldn't resist). The use of wood laminates in this interior was fantastic - it vied with the Pegueot (see below) for concept interior of the show, and previews an altogether more 'light of touch' future Mercedes interior design language...

Peugeot marked its return to form with the SR1 (although special note to the glorious bike also on the stand) - which previews the brand's altogether more acceptable new face (thank god the rictus grin's gone). But it was the interior that really stood out in this car...great work Julien et al:

Speaking of gorgeous things, here's a shot of the superb little Pininfarina Alfa Duettotanta that makes me go a little bit weak at the knees...

New Jaguar XJ - The Designer Overview (with video)

The cat's eye - new XJ features slim, elongated headlights reminiscent of the C-XF

Pity Jaguar. More specifically, pity Jaguar’s design team. Working for one of the most evocative, well-loved car brands in the world, with a rich history of producing sporting, luxury – but most of all beautiful – cars, might seem like a dream job. Yet when every man and his dog has an opinion on what a Jaguar is, and should be, it’s a tricky task. But after the years of retro style mis-adventures (the X-Type and S-Type), Jaguar is returning to form. But while most commentators seem settled on the view that modern Jags are the equal of the German triumvirate for ride, handling, performance and quality; styling and design are somewhat thornier issues.

The last XJ - the best car in its class in many areas - was still more Bexhill Pavilion than White Cube in the style stakes. It was a shame, because this mis-matched terribly with the car underneath – one that was constructed largely out of aluminium, and out-rode, out-handled, and out-MPG’d most of the German opposition. Come the XF, Jag went modern, but then whispers about it being Lexus-like and even not Jaguar enough reared their ugly heads. The company can’t seem to win.

The XJ is the final chapter in repositioning the company in terms of design, completing a job that started with the XK, and continued with the XF. It’s also the most daring, and the most shocking piece of design of the three. No one’s been criticising Jaguar for overt-retro style references this time around. Mark came away from the Saatchi gallery launch in the summer highly impressed. And last week, I got an exclusive two hours with the car and its lead exterior and interior designers, Adam Hatton and Mark Phillips - see the two videos below the photo. 

The XJ, with interior design manager Mark Phillips (left) and exterior design manager Adam Hatton (right)

Watch Adam Hatton talk through the exterior design of the Jag XJ in the video below

Watch Mark Phillips talk through the interior deisgn of the Jag XJ in the video below

The car they – and the rest of Jaguar’s team – have conceived, is now altogether more befitting of the car’s high-tech, light-weight aluminium structure than its predecessor. It looks and feels modern – yet slightly quirky - in a way that sits well with Jaguar’s aspirations to be a dynamic, modern, but still quintessentially British sporting luxury brand.

The video interviews reveal a more in-depth, detailed overview of the design, as told by the designers.  Watch and see whether you think they've succeeded - we'd be interested to hear your comments. I'm not going to pass judgement on the design until I've seen the cars on the road and driven one. Only then will I be able to make up my mind on this car’s two most contentious elements – that blacked-out pillar, and the fully virtual TFT instrument display. Many will have already made up their minds on these aspects based on the pictures – in which there’s a heaviness around the rear three quarters, and over the wheel arches, that feels a tad un-Jaguar-like. Equally, many will dismiss the virtual screen, saying it’ll never match the classiness of a well detailed set of ‘real’ dials. Those doubters may be proved right. 

How my EOS 400D sees the XJ's virtual instrument panel

Yet in the flesh, there’s a presence to the XJ that sucks you in. No, that rear-pillar doesn’t truly work when the car's static, but this car grows on you, and keeps you attention by asking you questions. For all the Citroen C6 / Maserati Quattroporte references made post its summer launch, the cars that the XJ reminded me of most, after a few hours in its presence, were the Audi A5 and A7 Sportbacks. Maybe that sounds like damning with faint praise, but it’s meant more in relation to a sense of modernity - than style or surfacing - and as a compliment.

It’s a different, modern piece of work the XJ, and undoubtedly brave in a class that is probably the most conservative of all automotive segments. Yet in many ways it makes sense. It’s less clear than ever who the luxury car customer actually is. The sector has been shrinking faster than most, and is under great pressure for image and environmental reasons.

Rather than simply aping the S-class/A8 model, Jaguar’s done something different – and positioned this car slightly apart from that market, doing something that fits both with the brand, and the high-tech, green construction method. Whether this will prove to be a smart move, only time will tell. But that Jaguar has the confidence to do this at all, tells you all you need to know about the spring-in-the-step of this grand old marque as it prepares to celebrate its 75 birthday.

Published by Joseph Simpson on 2nd February 2010

"If I'd asked people what they wanted, they'd have said a faster horse." *

* Henry Ford - upon the introduction of the Model T

Dan Sturges is a transport visionary. For twenty years he’s foreseen and been tackling some of the transport-related problems the rest of the world is only just starting to grapple with. Sturges isn’t anti-car. He is simply pro shaking up mobility full stop, and believes that far from just moving people in to electric cars, we need to introduce people to a variety of vehicles - ones that are the right size for each journey they make.

A couple of months back, I chatted to him over skype about his current thoughts on his company Intrago, the future of mobility, and what the auto industry is up to. You can see an edited highlight of that video below, and then after the jump I’ve pulled out and discussed what I think are the key points he made.

Finding meaning in Frankfurt - 2009 auto show review

What will the 2009 Frankfurt auto show be remembered for? While you’ve probably read it was all about electric cars, that misses the bigger story from the Messe show floor. This was the moment the auto industry got its mojo back.

Whether this sense of optimism is misplaced (especially when you take into account that scrappage schemes across Europe seem likely to end soon), only time will tell. For now, it serves as an antidote to the damp-squib of Geneva 2009, which was sorely needed.

Carlos Ghosn says "the time for change is now", introducing four Renault EV (or Z.E.) concepts

Back at the turn of the year, people like Renault-Nissan’s Carlos Ghosn were saying things like “I can’t even predict what’s going to happen next month, so don’t ask me about plans for 2010”. In Frankfurt, he assuredly hung Renault’s future on EVs, saying “the time to act is now” before unveiling four electric car concepts, and promising they’d all land by 2012. Whether consumers want them is now the 64 billion dollar question. Should the answer be a full-on no, Renault’s on a very slippery slope. If yes, its alliance with Nissan is extremely well positioned, backed up by its infrastructure partner, Better Place – who placed an order for 100,000 electric Renault’s on the first day of the show.

Alongside Renault’s offerings, BMW was a shoe in for car of the show with the Vision Efficient Dynamics concept. Pictures leaking out prior to the show’s opening didn’t diminish its impact in the flesh, and no-one has missed its relevance to the future of BMW’s M Performance division – previewing a future for high-performance cars in a carbon-constrained world. It’s a great halo car for the Efficient Dynamics campaign, too (which incidentally, is much smarter than the cheesy, over-arching new brand slogan, “Joy”).

BMW's Vision Efficient Dynamics concept, looked terrific from this angle

Images of Frankfurt

I spent just one day at the 2009 Frankfurt Auto Show and barely covered more than a couple of halls. But here's the stuff I saw that interested me. Click on the collage below or here.

Press day. Frankfurt Auto Show. 15 September 2009.

Posted by Mark Charmer. Mark is managing director of The Movement Design Bureau.

User research on the Ford Fiesta: the view from some real life Antonellas

Ford is proud of the new Fiesta. It's been Europe's best selling car, pretty much every month since its launch. And having spent much of last weekend driving one, and clobbered through the 400 mile Newcastle to London journey in one, in one go - it's easy to see what all the hype is about. The car is good. It looks relatively fast, even when it's stood still. It drives like any contemporary European Ford (which is to say, extremely well), and Ford considers it good enough to be going on sale in the US next year. It's even full of so-called big car features - keyless entry, leather uphulstery, ipod integration - that sort of thing.

But back to that word 'hype'. Part of Ford's aggressive push around the new Fiesta has been to talk about the importance of utilising persona-based design techniques. A design persona is a completely fictional character, created by the marketing and design departments, to which everyone involved in the development of the car can refer. The persona 'personifies' many of the lifestyle attributes that the car's target customer would have. They behave, have the same types of job, same types of friends and like doing the same types of things that the real world customer will do. And in the case of the Fiesta, the persona's name is Antonella.

According to press quotes from Ford designer Moray Callum, who we interviewed earlier this year:

"Antonella is an attractive 28-year old woman who lives in Rome. Her life is focused on friends and fun, clubbing and parties. She is also completely imaginary. She was the guiding personality for the Ford Verve, a design study that served as the basis for the latest-generation Fiesta."

However, while Ford has been keen to play up the importance of design personae in its current processes, and especially the one behind the Fiesta, many others - including ourselves, are sceptical about their usefulness. As Ben Kraal suggested, in response to the New York Times piece on this subject:

"Are the personae the result of long study of buyers and owners, aggregates of hundreds of tiny specific observations of many real people or are they simply invented from thin air?"

He goes on to suggest that he suspects it's the later, based on the following statement, again from Callum:

"Antonella cares more about the design and function of her telephone than that of her car. Her priorities in the Fiesta are visible in the car’s central panel, where controls inspired by those of a cellphone operate the audio and air-conditioning systems. Designers working on the Fiesta referred to the shape framing the dashboard instruments as “Antonella’s glasses.”"

So when Ford lent us a Fiesta recently, we wanted to try to test this development methodology's success using some real people (among other things - watch this space for more Fiesta content). Believing that, in fact, one of the biggest 'problem areas' that exists in car design today centres around designers rarely getting to spend time with, nor being able to understand the real needs and desires of their customers, we carried out some research in the real world... which consisted of shoving a video camera in people's face, and asking them what they thought.

We don't suggest this is conclusive, nor is it particularly scientific, but this five minute video features eight young professional 25-35 year olds who live and work in London - all of whom are target market customers for the Fiesta. Specifically, we've edited this video around their views on that interior design, inspired by Antonella's phone keypad and sun glasses:

If you haven't watched the video above, then this is your 'spoiler alert' warning. The views we got were quite interesting. Specifically, boys, rather than girls, seem much more won over by the car's centre console design. And judging by our research, the women we spoke to are looking for something in a car's interior that is much more sophisticated and classy than the keypad of Antonella's (presumably now three year old) mobile phone.

Does this illustrate the pitfalls in using design personae, such as Antonella? Partially, yes. While it is easy to see the usefulness of one dreamt-up character around which everyone on the project can focus; a made up character who can't answer back is very different from real people, in the real world who have real lives. Understanding what those people want from their car, asking them the right questions, and then being able to filter the information they provide and turn it into something that they never dreamt was possible, is to me the definition of the role of a good designer.

As one of the people in the video later said, the problem with the Fiesta's interior, is that it feels like something that "was designed by a bunch of male designers, who think they know what women want in the interior of a car", and that "in three years times, it will look terribly dated". Which is a shame, because otherwise the Ford Fiesta is an (externally) good looking, grown up, but still very fun to drive small car.

Posted by Joseph Simpson on 26th Auguest 2009

Disclosure: Ford is sponsoing The Movement Design Bureau's design and research work in 2009, and the Ford Fiesta was lent to us by Ford UK's press department free of charge. We have an independent brief, and are free to say what we want. If you don't think that's the case, we want to hear from you.

The last 12 months of auto design - Joe's favourite things

I returned from France a few days ago to find Robb and Mark discussing the last 12 months of cars and car design, because they were thinking about which ones ought to be entered into the upcoming Spark design Awards.

While the auto industry’s been in the doldrums for some time now, Spark Awards provides an opportune moment to take a look at some of the more interesting cars, concepts and automotive details of recent times. So without further ado, here’s a scratch list of some Simpson favourites…

BMW Gina

Designed years ago, but then dumped in a secret hanger until such time when BMW needed an on-demand concept to unveil (the opening of BMW-Welt proved to be just such an occasion), BMW’s Gina is arguably the single most innovative thing to have happened in auto design for years. As its mastermind Chris Bangle remarked at unveiling “what do we need the skin of a car for anyway? What is it made out of? Does it have to be made of metal?” Too few ‘what if’ questions are asked in the auto world, and the moments that they do happen are typically hidden from public view – as this one was for so long. But we’re glad it finally saw the light of day, and that like all the best concepts it asks more questions than it answers.

Nissan Cube

In a world where even family hatchbacks are competing to set the fastest time in the class around the Nurburgring, Nissan offers a leftfield approach. The Cube has been around in Japan for years, but now Europe and the US are getting the second generation. Why? Nissan realise that most drivers aren’t interested in the minutae of cornering finesse, or top speed; they’re interested in something that manages to provide huge utility, but have personality at the same time. The Cube has both in spades. Essentially a box-on-wheels, it features a ‘sun and moon’ set of dials, ‘curvy wave’ seating, and asymmetric styling in the shape of one side rear window turning around the corner into the rear windshield. When he had one on test recently, Michael Banovsky noted “I feel awful leaving the cube downstairs at night. He looks so sad”. It’s the kind of car that elicits such feelings. Jean Jennings, Automobile Magazine and long-time Spark friend, raved about it to us recently, too.

 

Audi LED lights

They’re by no means universally loved, nor were Audi first to introduce LED headlight technology, but through smart design strategy and brilliant detailed execution, Audi have taken ownership of the LED headlight. Subtly different on the R8, A6, A5 and A4, the wavy bands of bright white lights, piercing through the daylight when in DRL mode, are now as much an Audi identification hallmark as the shield grille and four rings - leaving you in no doubt as to just which type of car is behind you, and would like you to move over, thank you very much…

Future Influence. When Amy met Drew.

While Ford is busy designing cars (questionably) around a mythical Italian female persona called Antonella, it and other companies need to be adapting themselves to interact with another group entirely.

They may seem virtual, but they're very real, and they come with loyal, influential followers. And they don't wait to be hired - they crave to be hired and have more useful insights along the way than most who already are.

Drew Smith is one of a new generation of commentators, driving conversations online about the future. Subject experts, independent of mind and building their careers around a portfolio - of experience, opinion, connections and commissions. He edits the Downsideupdesign blog.

Amy talks to him below. Listen carefully, because he's exactly the kind of person who is starting to influence how brands are perceived, design conversations happen, and connections are forged. In the past, people either got jobs in an industry or didn't. Once they were in, they got locked behind walls for years, until they got onto a press spokesperson list. Now they can dive into and across industry projects, often hired because they've already articulated problems publicly. They can build their own unique identity, online content and networks of supporters, share their ideas and work together more easily with others than many who work in siloed departments. Many are cross-discipline, combining understanding of product, service and interactive design.

Drew is a vehicle designer and expert in making sense of the future of the autombile and car brands. Check out his views from earlier this summer on the failure of car companies to interest the 'digital generation'. It's important stuff that doesn't usually get talked about.

Drew is unique, but of course he's not - he's one of an emerging group. You might be carving out a similar purpose - in urban planning, product design, social software, interactive design, service design, environment technologies or services. The sky's the limit. If so, we'd love to get to know you.

Amy Johannigman aka @amydoesdesign interviewed @drewpasmith from The Movement Design Bureau in London. Drew was in the Australian outback, on holiday. Monday, 3 August 2009. Want to know more about Amy? Then read her views about the future of design in this piece here.