Re*Move

A Date with Mr Muscle

Sometimes the best encounters are unexpected. It started as potentially the shortest meeting - Ford staffer: "Why would you want to talk about the Mustang? You guys are covering green." - but Rob Gelardi, senior designer on the new Mustang, charmed us a recent visit to Dearborn, Michigan.

But think about it for a minute.

Man walks into a bar.

Bartender: "What do you do?".

Man: "Oh I designed the Ford Mustang."

Cool.

And did I mention that the very first car he rode in as a baby was his mum's '69 gold Mustang?

Cool mum, too.

In the end, Rob gave us loads of his time - in a studio, then out on the road, top down. Even Peter Horbury, the Volvo design chief, came over and started chatting. And the whole thing finished with Mr Gelardi, Mr Simpson and Mr Horbury (hanging out of the window of his Flex) debating which colour we preferred the new Mustang in. Sold.

See our video below (watch for the great exchange at the end about Barbie). There's an in-depth discussion on the Mustang design here too. And pictures below that.

Here's our photoset from the interview:

Mark Charmer is founder of The Movement Design Bureau.

Mitch Altman on The Magic of Open Design

We've said before and we'll say again, open, networked forms of design and collaboration are going to change how we solve many problems. They'll also shape the future of our cities, towns and villages, how we work in them, the ways we move and interact in them, the vehicles we design and the way they fit together.

Some of this is about cost - build something once, openly and others can improve it. But much of it is about the culture of open source designers and problem solvers.

Here I talk with San Francisco-based virtual reality and hacker god Mitch Altman, inventor of, amongst other things TV-B-Gone, and Vinay Gupta, open source hardware guru and inventor of the Hexayurt open source refugee shelter.

I ask whether these new networks of designers – often in the form of hackers or open source communities - spend too much time focused on arguing about the need to break down existing structures. Is there more happening beyond that? What can those networks be doing now – to create real value? Do hackers and open source networks have an identity and meaning that can defined by what they are, rather than what they aren't?

I also ask whether the hacker scene has started to build its own financial infrastructure yet?

Design Museum, Butler's Wharf, London. 9 July 2009.

Posted by Mark Charmer.

There's a New Daddy in the Luxury Motor Market

The new Jaguar XJ, Saatchi gallery, Chelsea, London - July 10th 2009

Sticking with our Callum brothers theme today, Jaguar chose Chelsea in central London as the place to launch its new XJ last week. This big cat is what Jaguar's design boss Ian Callum calls a return to the values of Jaguar during the William Lyons era - to "produce the most exciting cars in the world". Callum, impressive and passionate, described the launch of this new car as a "tipping point for the Jaguar brand - one Britain should be proud of".

Tipping points are tricky to pinpoint and if I was asked what was tipping right now, I'd say it was luxury car sales - off a cliff. But Jaguar is buoyant and claims modest recent sales growth, while other makers universally tanked. 

But while the wealthy car buyer is feeling rather less flush, he or she now has something entirely new to angst about. Despite looking from assorted angles like a Maserati Quattroporte, an XF, a Lexus SC (ouch), a Citroen C6, Granada Scorpio, Hillman Avenger and a Morris Marina Coupe, the Jaguar XJ is a quite lovely thing. In a great BBC TV moment this April, writer Michael Smith's documentary "Me and My Car"  featured a scene where Smith sank into the passenger seat of a vintage Jag saloon and said "I'd like to get pissed in this car". Clearly Callum was listening. "People are gonna have a good time in a Jaguar" is his boast. I'd get pissed in the back of this car any day of the week.

The car's got some neat, really focused technology, too - without getting silly. As the great Jean Jennings said to us recently, "If it doesn't make me drive better, make it go away." All of the dash instruments on the XJ (the bit in front of the driver with the speedo, etc) are a screen, with the dials all digitally rendered. In demos it looked fantastic and it's a flexible place where info like where to turn left and what music is playing appears. It's also the place where prompts appear for the voice command features. This is infinitely preferable to putting that stuff in the centre console, as Joe and I had to endure recently in the nervous-breakdown-inducing Ford Sync system.

There's other cool stuff, too. A huge 'dual angle' video screen in the centre dash which can display two different images at the same time, with each appearing clearly to driver and passenger. Which is, well, just so much fun.

The body is aluminium, so is as light as its smaller, steel sister, the XF. The 3.0 V6 diesel is claimed to do more than 40 miles per gallon, gets to 60 mph in 6 seconds and emits 184 grams of CO2. Which is pretty impressive.

Jag has also focused on making the hi-fi sound really good. While recognising you will probably bring your iPod along. But it has a hard disc that rips CDs uncompressed and has a Gracenote database.

But back to those looks, which have thrown the cat amongst the pigeons. Although Jaguar has been saying for months that the new XJ was radical, no one was totally prepared for this long, fast-back look, complete with blacked-out D pillar and a rear end that marks a complete departure for Jaguar design.

Never before has an aspect of a Jaguar's design caused so much kerfuffle...

There's an old adage which says never judge a car's design purely from photos; wait until you've seen it in the flesh, and even then - make sure you see it moving, on the road, and in traffic before you make a true call on the design. This is truly a design to which this applies. I sat at the launch breakfast on Friday morning riveted to the thing rotating in front of me, trying to decide whether it was beautiful. I've concluded that the XJ is quite a looker - with much less of the heavy, lumpiness around the rear three quarters than seems in the photos and with a rear haunch that does, as Callum claims, make it very coupe-like. 

If you, too, fancy staring open mouthed at the thing revolving, you can watch this video I took. And below is a (car-nerd-level) outline by design director Ian Callum talking us through the design.

And if you still haven't made your mind up about whether that rump works or not, check out some of our detailed shots in this photoset (click anywhere on the photos to link through to the original flickr set):

Mark Charmer is a founder of The Movement Design Bureau, a think tank.

Big Brother's Little Brother

If you want to know what the future car’s going to look like, it’s worth having a chat with one of the Callum brothers. On Friday, Ian Callum unveiled Jaguar’s new XJ - which set tongues wagging around the world. But while big brother is grappling with the future of luxury cars, little brother has an even more interesting job – working out the future of mainstream, global car design. So a few weeks ago we spoke with Moray – man behind many recent Mazdas and the new Ford Taurus, and recently made executive director of Ford’s design Americas. Check the video, and then see our take on what he said below:

“What makes a car good is going to change”

Here in Europe, since the Focus I of 1998, Ford’s cars have stood out because they’re fantastic to drive. Ride and handling balance, steering feel, and control weights are all top of the class. It’s true that in the motoring press at least, a car will rarely be deemed “good” unless it drives dynamically well. But Moray believes that “the technologies that make a car good will change” - and he implies that the focus will move into vehicle interior functionality and connectivity. Today’s cars suffer from a problematic mis-match between their development lead times and the pace of technological change. Acknowledging something needs to be done about this, and tallying with what J Mays recently told us, Moray makes clear that Ford is lining up to position itself as top of the tree in this area too.

2009 Focus RS. Steers and handles like no 300bhp FWD car has any right to...

Yet while Ford rhetoric currently focuses on “Sync” and the Fiesta’s centre console (which apes the design of a mobile phone keypad), there’s clearly the potential for a car’s interior to change even more radically with implementation of touchscreens, and soft – rather than hard – ware. A radical vision might be that the vehicle interior becomes a blank, digital canvas. Removal of heavyweight hardware could reduce weight, improving overall vehicle efficiency. If interiors became endlessly reconfigurable, added to or subtracted from with software applications, then individualization and configurability increases massively - allowing users to tailor cars to their precise needs. It may sound strange, but such developments have the potential to make a vehicle more sustainable – by allowing them to be reconfigured for different drivers and usages.

As Moray suggests, what sofware based apps means is that "it doesn't mean to say you need to get a new car to get the new technology". Potentially, this means consumers get bored less quickly, and cars survive for longer. Whether a new 'model-upgrade' culture would be allowed to replace the model-change culture of today's industry, itself a product of the need to maintain mass production, is of course open to debate. But the idea of car companies making money from software services and upgrades, rather than just mechanical maintenance and vehicle sales, is fascinating.

“[Car sharing] gives us the chance to make cars more specific for specific tasks”

We know car sharing’s on the radar at Ford. Sue Cischke surprised us earlier this year when she talked about how the company had been looking at it. But if you ask car designers about such ideas, you’re often met with a blank response - the organisational structure meaning it isn’t what design departments do or think about. At first, Callum does the same, suggesting “it’s outside of the realms of the design side of things”. But as we talk more he seems interested in what the increasing popularity of models such as Zipcar might mean for future vehicle design. What excites him is the potential to design more targeted, specific (and by implication, efficient) cars – targeted at specific usages or users: “if you’re going to use one sort of car to do one sort of motoring, and another to do a different sort, you can really pinpoint the design to something that’s much more applicable to the task, but at the same time much more exciting.”

  A current Mustang Zipcar - but could car sharing allow Ford's designers to develop much more targeted, specific, efficient designs in the future?

What Ford’s designers should do next

As one of the big-name designers now brought together under the ‘One Ford’ umbrella (others that stand out are J Mays, Freeman Thomas and Martin Smith), Callum has both an enviable and unenviable task ahead of him. He’s with some of the best designers in the business, and Ford appears to be on the right track – yet the car industry is rapidly changing (just in case you’ve been living under a rock for the past year, and hadn’t noticed). The past fifteen years have seen an unrelenting march toward ‘prestige’ and a push up market by many car makers. Everyone has chased, but few have made inroads into, the dominance of the Germans - particularly BMW and Audi. The German’s are now ‘micro-nicheing’ - creating new vehicle segments, to questionable effect. Their brand cachet means they’ve got away with it to date, but this questionable nicheing (BMW 5 series GT anyone?) is an entire world away from the sorts of really useful, targetted 'niche' cars Moray mentions which could be developed for specific usage purposes as part of larger car share schemes. Such a policy would make much more sense for a brand such as Ford to be looking at, than some of the niches the Germans are pushing. Today, having sold off its premium lines, Ford is happily 'non-premium' and is instead focusing on a series of core models, creating ‘world vehicles’ or platforms.

Such consolidation looks smart right now. It saves money, and millions of brands probably aren’t that best thing to have today (ask GM). Yet creating cars that are all things to all people – across four continents, is a tough brief. On top of this, the Blue Oval’s core areas - mainstream hatchbacks in Europe, and trucks and Mustangs in the US - are likely to come under increased competitive pressure over the coming years, of the like never seen before. So is the ‘core-line’ approach enough to keep Ford’s head above water in the mid and longer term?

Maybe. Ford has a clear strategy for now, but it needs to go further and really utilize the talents of people like Callum, especially if it’s committed to being a sustainable leader. So while BMW ruminates on Project-I, which has somehow become a “premium” urban mobility solution for cities in 2014, and Toyota tinkers with the ‘I’ Series (iSwing, iReal) of personal mobility concepts chairs, there’s an opportunity for Ford to become the true world leader in the sub-car personal mobility sector. The market doesn’t exist right now, but it will – and this is what Ford needs to see. Not only does the brand carry exactly the right down-to-earth, ‘of the people’ image to suit such an area, but it would instantly give the company a jump on Toyota, positioning it close to the political decision makers and city leaders, and as the car company really thinking about a future generation’s mobility needs in the growing metropolises of the world.

Toyota's 'i' Series. Today people scoff at these vehicles, but Ford is missing a trick by not letting its designers loose on this space

We know that Ford is already looking at urban mobility issues, involved in research at places like MIT and Stanford, and we also know that while existing mobility projects from these teams are systematically and technically appealing and advanced, they hold little aesthetic appeal. So Ford is well placed to let its latent design talent off the leash, to allow them to define and develop a ‘Ford’ look for transportation in our 21st century cities. A Model T for the city of 2020? I’d love to see what Moray Callum thinks that would look like.

Posted by Joseph Simpson on 14th July 2009

Images: Focus RS - jonanamary, Zipcar Mustang - charmermrk, Toyota i family - Jedi.RC - all under creative commons via flickr.

Disclosure: Ford is sponsoring The Movement Design Bureau's design and research work throughout 2009

Moonlighting: Joe on the CDF podcast

I was honoured to be invited on Car Design Fetish's Podcast the other day. Along with Stephen Donald, a young car designer from north east England (who we hope to bring you more on shortly and who's just secured a role with MacMotorcycles), I chatted with Dali Dimovski, Dustin Shedlarski and Arvind Ramkrishna about car design today, design education and the perception of American Automobles from 'across the pond'.

They've got an interesting concept going here - producing weekly podcasts talking about issues pertinent to the industry at the time, and interviewing designers as they go. We're number 14 in the series to date, and some of the previous episodes are very well worth checking out. You should stay tuned too, because next week they've got Drew Smith on... so expect some fireworks! Check out Stephen and I, and episode 14 of the CDF podcast here.

Vehicle Designers of the future at the RCA

CCS, Art Center, Coventry, Pforzheim. To those in the car industry, and specifically the design part of it, these names will be well known. They represent the handful of educational establishments with dedicated automotive, or transportation design courses that exist around the world. It's likely that the person heading the team of designers who designed the car you're currently driving, attended one of these schools.

Perhaps most renowned of all the educational establishments teaching vehicle design though, is the Royal College of Art in London - whose graduates include Peter Stevens (McLaren F1), Peter Horbury (a multitude of Volvos), Peter Schreyer (TT), Marek Reichman (Aston Martin) and Martin Smith (recent European Fords). Which is why half of the auto design industry appears at Kensington Gore, every year, on one (typically hot and sweaty) night in late June, as the current year's crop of MA students graduate, showing off their final projects.

This year, their challenge of securing a job in one of the world's handful of automotive design studios is made all the more challenging by the economic meltdown - which has seen car makers go bankrupt, selling 30% fewer cars than a year ago, and shutting down design outposts. This year, two of the most interesting projects on show come from Magdalena Schmid and Hong Yeo - and we captured their projects, and the conceptual thinking behind them on video. They're well worth checking out... (yes I know we would say that) but these models are the result of many months of hard labour, and are quite beautiful objects in their own right. More than that though, what these designers have to say, and their respective attitudes towards the industry, gives hope that the flagging auto industry could still have a bright future. Oh, and if you know of a job going in a design studio near you, then they'd love to hear from you! (their email addresses are at the end of their respective videos).

Magdalena Schmid's BMW "Pixie" concept:

Hong Yeo's VW "Build your own car" concept:

Hopefully, we'll have some more coverage of other projects at the show before too long, so watch this space...

Posted by Joseph Simpson on 30th June 2009

Disclosure: Joseph Simpson is a visiting lecturer on the Vehicle Design course at the RCA, and graduated from the college with an MPhil in Vehicle Design in 2009.

Reinventing the dashboard: Ford's Smartgauge

Speak to most people, and they'll tell you that the real revolutionary area of car design in the next ten-to-fifteen years will be the interior - and more specifically, the interface. J Mays went to great lengths last month to emphasize how important the HMI would be in future, and just how quickly it's changing.

Ford wants to be a leader in this area - and the Lincoln C concept, with its all singing, all dancing future-format of Sync, complete with apps, avatars and assistants, is the company's statement of intent to this end. Ultimately though, digital convergence in vehicles has the potential to be problematic. As Jean Jennings suggested in our recent interview with her "I always say, 'if it doesn't make you drive better, make it go away'". This gives designers and engineers a potential conflict when it comes to a future pointing towards future hybrids, EVs and so forth.

Put simply, three main factors determine how efficient and economical a car will be. Its configuration (size, weight, drivetrain type). The conditions (traffic and meteorological) within which it is being driven. And the difficult one for designers - the person behind the wheel. How the driver physically inputs on the car's controls (accelerator, brake, steering) massively impacts upon its economy - which is why we often see huge disparity in fuel economy figures on a given car. Clubfoots Charmer and Simpson managed a rather pitiful combined figure of 38mpg from our week in a Honda Insight. But Honda have been running a hypermiling challenge which has seen people get up to 80mpg.

It was this issue that a Ford team set out to solve with their Smartgauge system - the instrument panel on the new Ford Fusion Hybrid. The question at hand, in its most basic format, was how to help people get the best possible economy from the vehicle, without distracting or annoying them - and without frightening away those new to hybrids. Jeff Greenberg, project leader on the Smartgauge programme, explained to us how the team developed two guiding principals based on this. The first was the notion of a journey - allowing a driver to progress, learn and develop their driving by growing with the system over time. The second was the idea of a coach - a positive encouragement to help drivers get the most out of their vehicle, as opposed to being lectured and bossed into how to drive more economically. Over to Jeff...

Ultimately, the key breakthrough Ford have made with Smartgauge feels similar to Apple with the iPhone. They have created something simple to look at, which by using just screens (rather than physical knobs, buttons or gauges) can display different information, which is (potentially) infinitely configurable and changeable via software updates. Using two, 5.5' TFT screens either side of the central speedometer, Jeff and his team were able to arrive at four different 'levels' of operation by which a driver could use Smartgauge and interact with the Fusion hybrid. All of which sounds a little daunting before you see it - so the car is set up to be quite simple, and welcoming upon your first acquaintance with it, as demonstrated to us in this video...

While other hybrids tend to feature either a basic setup to indicate how the drivetrain is working (Ford's own Escape Hybrid), or a complex set of show-off graphs and complex diagrams (Toyota Prius), the Smartgauge is designed to make the Fusion Hybrid appeal to all-comers - from those buying their first hybrid, to those who are committed hypermilers who've clocked 100,000 miles in their Prius(es). The driver can choose from four different levels of display, which, as they progress from one to the next, gradually adds extra layers of information to help inform on what the car is doing, and to help the driver extract the best economy. The levels are known as Inform (most basic), Enlighten, Engage and Empower (most advanced)...

But what's it actually like on the road? Having had Jeff walk us through the system at a standstill, we went out on the roads of Dearborn to experience it for ourselves...

What's impresses about the display is its clarity and functionality, regardless of which level you are in. It could clearly appeal to multiple different types of driver. Newbies won't be scared off, while those who enjoy showing off their Prius's fuel economy graphs will love the most advanced levels where you can do things like see how much power drain the vehicle's accessories are creating. Crucially, as it's on the dashboard and in the driver's line of site, Smartgauge really makes it easy to coax the car along in EV mode for long periods (therefore achieving better fuel economy) without taking your eyes off the road. The bright green glowing EV symbol that lights up in the more advanced modes is a great 'corner of the eye' tell-tale to this effect.

The project illustrates the clear benefits that come from new ways of thinking, and greater openness and collaboration in the auto industry. The Smartgauge team worked closely not only with designers and engineers within Ford, but with the most famous user-design/research guys of them all - IDEO, and conducted extensive, ethnographic research - not only with hybrid drivers, but with those who drove hummers, bicycles, and even professional athletes and their trainers. Ultimately, this advanced and comprehensive approach to research, coupled with a simple, but subtle, rethink of how to utilise TFT screens to make most appropriate use of available software - as opposed to hardware - results in a highly impressive, engaging vehicle.

That the car itself is really impressive, needing no excuses for being a hybrid, helps. However, this display is the car's piece-de-resistence, one that will not only help drivers to achieve greater fuel economy than they might on their own, but keep them engaged, surprised and delighted by the car in a way that many vehicles don't once that new car sheen has worn off. Not only does the system make the car more fun to drive, it makes those behind the wheel better drivers. In our view, that means the team behind it deserve the upmost praise and respect.

Posted by Joseph Simpson on 18th June 2009

Disclosure: Ford is sponsoring The Movement Design Bureau's design and research work throughout 2009. We have an independent brief - and want to hear from you if it doesn't seem that way.

Drew Smith on the car industry's failure to "do digital"

We spent a fine afternoon at the Angel pub in Rotherhithe, London on Friday, talking with one of our favourite design commentators - Drew Smith, aka @drewpasmith on Twitter, who edits the DownsideUpDesign blog. The conversation was, in several ways, atomic.

While in the 1950s and 60s cars stayed in tune with their age - the space rocket you could afford to buy - Drew argues that the auto industry has failed to connect with the digital age.

We talk too about the role that notions of ownership play, and how, as a result of social networking, they are perhaps starting to dissolve. Will digital networks and services fundamentally change how a new generation views cars? Can anyone harness this?

Mark Charmer talks with Drew Smith and Joseph Simpson. Angel at Rotherhithe, London, 29 May 2009.

Objectified - film review

The film Objectified takes a behind-the-scenes looks at the everyday objects that dominate our lives – providing rarely seen insight and interviews with the people who brought them in to the world. The film is a primer. It’s the sort of thing that every would-be designer and student should watch before embarking on a career in the profession – because although it’s wrapped in a rich layer of cinematic lovely-ness, it also hints at the sheer blood, sweat and compromise that sits behind every industrially designed product that surrounds us today.

Sitting and listening to relatively secretive people – like Jonathan Ive at Apple, talk about their products, and their own design philosophy is enjoyable whether you’re in the profession, or simply an interested observer – the products provide a lynch pin around which everyone can engage.

Objectified didn’t start life as a book, but one suspects that from the research and interviews conducted here, and on the video cutting-room floor, lies a much more interesting, in depth piece that would make a cracking book. Indeed, anyone already working in the profession may find a good book on design (I recommend Bill Moggridge’s Designing Interactions) a more insightful way to spend time and learn new things. This isn’t to say that the film is without merits, merely that the viewer is left wanting to find out more.

The first half of the film is largely concerned with the way things come into being, and what actually represents good design. It’s the sort of information that most are probably already aware of – designer’s sketching, thinking, prototyping, the mass production process. It’s quite compelling to watch – because it’s filmed in a sweet way and the designers provide good sound bites – but doesn’t really tell us anything new.

Above: a trailer for Objectified

Where the film gets both more interesting, but also more frustrating, is in its second half. Here it moves away from the basic building blocks of design, and on to some of the issues facing the world today. As one might expect, sustainability is brought up – and one gets a profound sense from guys like the founders of IDEO of how the issue has come from nowhere, to be top priority, within just a few decades. The most pertinent comment that stemmed from this was a question about how designers might challenge an oft-unmentioned fundamental behind design, which involves building obsolescence into products in order to create more and more crap, which the ten percent of the world’s population who already have way too much crap already, will go out and buy. It was pleasing that this led into a discussion about designing things that improve with age, and discussion of cradle-to-cradle design processes.

Yet I say the film frustrates, because points like this aren’t explored in enough depth. Perhaps this is the design nerd talking, but if we’re considering the future of the design of things, then the critical issues were only scratched at, without ever penetrating below the surface.

The perspective on how digital interaction and the microchip has the power to change the form of products – but how it doesn’t appear to be doing so in many cases (cameras as the example) – was thought provoking. Chris Bangle once again talked about the importance of the product as a personal avatar – asking the question of what the generation growing up today truly wants from its products. He wondered out loud as to whether it would be a service-based function, or a form-based desire.

I kept trying to work out who the film was aimed at. Its makers appear to be trying to walk a fine line between appealing to a mass, non-designer audience, and providing brain food for those already in the profession. By a hair’s width they get away with it, because overall it’s an appealing watch, and to a designer, much of what goes unsaid here is the interesting, thought-provoking part.

The burning issue is not simply how designers use their skills to make the world a better place (which is what everyone sets out to do, right?). But how they actually break out from within the secretive walls of the studio, to go and really see and understand what’s happening in real people’s lives in the real world, involving them in the design process along the way. At present, certain design disciplines (I’m looking especially at you, automotive world) do this extremely badly. As one of the designers in the film suggested, sometimes the most innovative, clever designs, aren’t designed at all. They’re just elegant, impromptu solutions that someone with no formal training has created to solve a specific problem. Objectified reminds us that we would all do well to remember that.

Joseph Simpson watched Objectifed at The Barbican Cinema in London on 26th May 2009 - you can find out where more showings will be taking place, around the World, at the Objectified website, here.

DownsideUpDesign reviews E-class: concludes "it's got a muffin top"

The E-class. It symbolises everything at the core of the Mercedes brand. The latest model, 'soft launched' at the Detroit Auto Show earlier this year, then properly unveiled together with its coupe twin in Geneva, is hugely important for the three-pointed star, and is it's most technologically advanced iteration ever. Its design, however, has been something of a moot point up until now. But having spent some time with the car recently, DownsideupDesigner - Drew Smith, gave the car a thorough once over from a design perspective. His thoughts are well worth reading... over to Drew...

Posted by Mark Charmer on 26th May 2009

Original Post on DownsideUpDesign - "E is for "Eh"?"