BMW opened Frankfurt with its Vision EfficientDynamics concept, a 2+2 seat plug-in hybrid sports car that set the overall tone for a show where green technology and low emissions were the dominant focus. At the heart of the car is a small, 3-cylinder turbodiesel engine, positioned directly in front of the rear axle and working in tandem with a spine of lithium-polymer batteries powering electric motors.
Led by Mario Majdanzic (exterior) and Jochen Paesen (interior) the design of the four-seat, 4.6m long, 1.24m high sports car is very powerful design proportionally, with asymmetric surfacing communicating emotion and minimalism in a futuristic way. The ‘layering' of surfaces is immediately apparent both inside and out: thin surfaces fit on top of one another, reducing total component count and overall vehicle weight.
The exterior design is particularly successful at the front, with a powerful DRG referencing the M1 Homage concept. Sinister-looking, deep-set twin lamps flank the kidney grille, whose insides are blanked off and backlit with blue - a color picked up on the rocker cover, A-pillars and elsewhere, in places highlighting channels to improve aero-efficiency. Large, leaf-shaped gullwing doors, hinging from aft of the front wheels, reveal more layering inside, with materials wrapping into and over one another on the driver-oriented IP and center ‘spine'. The presence of the latter is reinforced by the seat bases, extended on their inner edges to flow towards - but never touch - the central tunnel.
The concept was well received by many of the designers we spoke with on the show floor. BMW believes premium brand values, performance and sustainability can go hand in hand - judged by this concept, they might just be right. Post Chris Bangle, there's still a strong desire for experimental, visionary concept cars within the firm.
The Zoe Z.E. is one of four electric concepts that Renault revealed in Frankfurt and the one with the most daring design ideas. Z.E. is Renault-speak for ‘Zero Emissions'. It will be the new nomenclature for all models featuring an electric or hybrid powertrain. At the unveiling CEO Carlos Ghosn stunned his audience by declaring that the Renault-Nissan Alliance will become a world leader in offering a full line-up of Z.E. models and that all four concepts would be put into production in the next three years.
The Zoe is a four-meter B-segment car with a soft surface language to express aerodynamic efficiency. Huge butterfly doors open from the A-pillar as on a McLaren, while the split rear tailgate is hinged on a center spine that also carries the rear seat headrests. The roof has been designed as an intelligent protective membrane that can recover energy via its honeycomb photovoltaic cells. These also cast an interesting pattern over the entire interior. Batteries are cooled via the large air intakes on either side of the car.
At front and rear, a shield of polyurethane gel protects the lights which feature electroluminescent diodes set in a snowflake clusters that emit a blue-tinted light. This second skin protects vulnerable components from small knocks in town, while underlining this electric concept car's hi-tech feel and providing a benign facial expression, not overly cute nor caricatured.
The interior is dominated by a huge white driver's seat looking somewhat like a maternity birthing cushion, with seatbacks suspended from the roof. Driver information is presented by an avatar that appears on a TFT screen that can be personalized (male or female) and provides information about traffic conditions, the route and remaining range. The air-con system features various active scent and detox functions, developed in association with L'Oréal.
It will be interesting to see how this concept is translated to a production version in due course.
This was the first time people outside of Aston Martin's Gaydon studios have seen the production Rapide, and the result remains impressively faithful to the concept seen at Detroit in 2006. The Rapide concept was Marek Reichmann's first Aston design and was a fundamental part of the deal to lure him away from Lincoln. Although based on the DB9 with a 70mm stretch to the wheelbase, it doesn't actually share any exterior panels with its sibling despite first appearances. It's slightly more glitzy, with a little more brightwork but that totally fits for its target markets in Dubai and Shanghai.
Its key asset is that it's the only four-door limousine derived directly from a supercar and that gives it a unique balance of drama and elegance. The drama is provided by the proportions and frameless doors that open slightly uphill; the elegance is within the surfaces and details. Sure, for rear passengers, access is tight and once inside, there's a very high beltline - but it's still a practical proposition for a businessman and there's a useful trunk that can be divided by a neat flip-up shield.
The dark blue and ivory interior on the showcar showed some exquisite detailing: note the unusual magnetic grab handles on the B-pillar and the milled aluminium phone holder.
Reaction to the car seemed overwhelmingly positive. Some observers made comparisons to the Panamera, although the similarities are misplaced: at €180,000, it's nearly twice the price of the Porsche and a far more exclusive offering. Talking to CEO Ulrich Bez, he revealed the Rapide is becoming a very significant model in Aston Martin's plans now: the production projections have been ramped up to around 2000 units/year, which is far higher than the original target of 600 units/year. Production will be outsourced to Magna in Austria.
Related Articles:
Aston Martin Rapide concept - Detroit 2006
BMW opened Frankfurt with its Vision EfficientDynamics concept, a 2+2 seat plug-in hybrid sports car that set the overall tone for a show where green technology and low emissions were the dominant focus. At the heart of the car is a small, 3-cylinder turbodiesel engine, positioned directly in front of the rear axle and working in tandem with a spine of lithium-polymer batteries powering electric motors.
Led by Mario Majdanzic (exterior) and Jochen Paesen (interior) the design of the four-seat, 4.6m long, 1.24m high sports car is very powerful design proportionally, with asymmetric surfacing communicating emotion and minimalism in a futuristic way. The ‘layering' of surfaces is immediately apparent both inside and out: thin surfaces fit on top of one another, reducing total component count and overall vehicle weight.
The exterior design is particularly successful at the front, with a powerful DRG referencing the M1 Homage concept. Sinister-looking, deep-set twin lamps flank the kidney grille, whose insides are blanked off and backlit with blue - a color picked up on the rocker cover, A-pillars and elsewhere, in places highlighting channels to improve aero-efficiency. Large, leaf-shaped gullwing doors, hinging from aft of the front wheels, reveal more layering inside, with materials wrapping into and over one another on the driver-oriented IP and center ‘spine'. The presence of the latter is reinforced by the seat bases, extended on their inner edges to flow towards - but never touch - the central tunnel.
The concept was well received by many of the designers we spoke with on the show floor. BMW believes premium brand values, performance and sustainability can go hand in hand - judged by this concept, they might just be right. Post Chris Bangle, there's still a strong desire for experimental, visionary concept cars within the firm.
The Zoe Z.E. is one of four electric concepts that Renault revealed in Frankfurt and the one with the most daring design ideas. Z.E. is Renault-speak for ‘Zero Emissions'. It will be the new nomenclature for all models featuring an electric or hybrid powertrain. At the unveiling CEO Carlos Ghosn stunned his audience by declaring that the Renault-Nissan Alliance will become a world leader in offering a full line-up of Z.E. models and that all four concepts would be put into production in the next three years.
The Zoe is a four-meter B-segment car with a soft surface language to express aerodynamic efficiency. Huge butterfly doors open from the A-pillar as on a McLaren, while the split rear tailgate is hinged on a center spine that also carries the rear seat headrests. The roof has been designed as an intelligent protective membrane that can recover energy via its honeycomb photovoltaic cells. These also cast an interesting pattern over the entire interior. Batteries are cooled via the large air intakes on either side of the car.
At front and rear, a shield of polyurethane gel protects the lights which feature electroluminescent diodes set in a snowflake clusters that emit a blue-tinted light. This second skin protects vulnerable components from small knocks in town, while underlining this electric concept car's hi-tech feel and providing a benign facial expression, not overly cute nor caricatured.
The interior is dominated by a huge white driver's seat looking somewhat like a maternity birthing cushion, with seatbacks suspended from the roof. Driver information is presented by an avatar that appears on a TFT screen that can be personalized (male or female) and provides information about traffic conditions, the route and remaining range. The air-con system features various active scent and detox functions, developed in association with L'Oréal.
It will be interesting to see how this concept is translated to a production version in due course.
This was the first time people outside of Aston Martin's Gaydon studios have seen the production Rapide, and the result remains impressively faithful to the concept seen at Detroit in 2006. The Rapide concept was Marek Reichmann's first Aston design and was a fundamental part of the deal to lure him away from Lincoln. Although based on the DB9 with a 70mm stretch to the wheelbase, it doesn't actually share any exterior panels with its sibling despite first appearances. It's slightly more glitzy, with a little more brightwork but that totally fits for its target markets in Dubai and Shanghai.
Its key asset is that it's the only four-door limousine derived directly from a supercar and that gives it a unique balance of drama and elegance. The drama is provided by the proportions and frameless doors that open slightly uphill; the elegance is within the surfaces and details. Sure, for rear passengers, access is tight and once inside, there's a very high beltline - but it's still a practical proposition for a businessman and there's a useful trunk that can be divided by a neat flip-up shield.
The dark blue and ivory interior on the showcar showed some exquisite detailing: note the unusual magnetic grab handles on the B-pillar and the milled aluminium phone holder.
Reaction to the car seemed overwhelmingly positive. Some observers made comparisons to the Panamera, although the similarities are misplaced: at €180,000, it's nearly twice the price of the Porsche and a far more exclusive offering. Talking to CEO Ulrich Bez, he revealed the Rapide is becoming a very significant model in Aston Martin's plans now: the production projections have been ramped up to around 2000 units/year, which is far higher than the original target of 600 units/year. Production will be outsourced to Magna in Austria.
Related Articles:
Aston Martin Rapide concept - Detroit 2006
After day one of the Frankfurt motor show it was hard not to be confident that this is the car design of the show. Everyone here is talking about the 458, and almost all the designers we spoke to agreed that it was truly a beautiful 21st century Ferrari.
In the flesh the most striking element of the design is the lithe, agile and modern identity. The 458 connects thematically to its immediate predecessor but innovates with fresh solutions. One of the most innovative areas is in the body side treatment where relatively large blown volumes along the side are kept taught with sharp but shallow body side creases; one defines the rocker area and slims the side profile in a way similar to the Lotus Evora, while the other dives down and fades out below the door handle before re-emerging delicately above it. This is a totally fresh solution, but one that is flamboyant and successfully resolved.
Other innovative details include the base line of the DLO changes that direction to echo the swell of the rear fender, finishing at a very sharp point; the prancing horse that is suspended ahead of the blacked out lower front valance; and the smooth integration of the Enzo-style trumpet taillights into the surrounding rear deck. And yet this new design also has some of the delicate aesthetic qualities that we've not seen since the very first mid-engine Ferraris: deep side windows, visually slim pillars and a form language that is almost feline.
Inside, the design theme is more conventional Ferrari, but there are major innovations in the HMI design. As we reported in our New Car piece, column stalks are replaced by steering wheel buttons and there is a center stack-mounted controller for other secondary controls. Two TFT displays flank the large yellow-backed central speedometer, which remains analogue.
Related Article:
New Car: Ferrari 458 Italia
One of the more relevant concepts of the show came in the form of the diminutive 2.5m long Peugeot BB1. The electric vehicle is a thoroughly modern proposition for the future, integrating Peugeot's history and knowledge of the two-wheeled motorbike sector to develop a highly functional four-seat vehicle.
"The brief was to do a car that measured 2.5m and still fit four people inside," Gilles Vidal, Chief Designer of Peugeot concept cars, told us. "We had to compress the mechanicals, but also compress people and find ways to optimize the interior."
While the exterior design features interesting details such as a forward-canted A-pillar, boomerang shaped taillamps that protrude out of the main body and integrated solar cells on the double bubble roof that power a filtration device found in the air vents aft of the front wheels, it's the BB1's interior packaging that we found most interesting.
Compressing the mechanicals meant the compact package would employ Michelin hub-mounted electric motors, while the driver controls the car through handlebars - as on a motorbike - and sits more upright. There are no foot pedals. "This is a hardened city vehicle, and the upright driving position makes users more alert and aware." Vidal said. Rear seat passengers are seated in motorbike-style, straddling the front seatbacks.
The interior also blends highly technical colors & materials with more conventional elements. "Its urban vintage vs. NASA", Vidal said. The door panels feature a flower pattern embossed in the door leather (a nod to Citroen's C-Cactus also created under Vidal's direction) and a smart phone integration cradle at the center of the handlebar steering wheel. The vehicle is then used as a monitor for music, navigation and connectivity relaying information to a head-up display. If recent concepts from Peugeot are any indication, we hope to see this truly remarkable city car in production form in the next two years.
Mini is celebrating its 50th birthday with the unveiling of the Coupe and Roadster concepts, cars that will make it onto the road next year. Up to the waistline, both are near identical to the three-door; above that the rake of the windscreen has increased 16 degrees, while the overall height has dropped 60mm. This tight cabin volume exaggerates the long wheelbase giving the car a great stance that is sure to look fantastic on the street.
As images of the coupe have circulated in the media already, the roadster was more of a surprise at the tandem unveiling. From the front, the low screen and full hood lend the design masculinity, while moving round the exterior penned by Markus Syrang, the rear fenders tip over the waist into a slight dip, adding sensuality that the coupe does without.
The Coupe is distinguished by the ‘reverse baseball cap' roof, which hugs the side glass before being cropped by the upper edge of the rear screen. In this way the design effectively shows the two-seat package while continuing the wraparound glass theme set by the three-door. The execution however seems loose compared to the rest of the body, the cantrail fattening as it moves from the A-pillar and the chamfer of the spoiler twists as it moves above the quarterlight.
Both cars however conform to a stylized interpretation of sporting that seems a reaction to the Peugeot RCZ, rather than visually draw from the rich sporting heritage of the brand. From innovative packaging to a premium small car, the change in value of Mini has been wholly embraced, but to not use this 50th anniversary to launch a more advanced product is a missed opportunity.
Related Article:
New Car: Mini Coupe concept
The Citroën Revolte concept was one of the highlights of the show and another concept that polarizes opinion. For some, the Revolte appears as a 21st century take on the legendary 2CV that's been slammed and customized as a hot rod. Of course, Citroën concepts are never that simple and talking to design manager Carlo Bonzanigo, it was clear there's a far deeper background to this car, which merits explanation. "We know the 2CV still has big following in Germany but the IAA is a difficult show for non-German brands" he explains. "We therefore like to provoke a bit, with something that's small, witty, tense and feminine".
The Revolte mixes Parisian city culture with specific 2CV references such as the rounded rear door line, a fabric roof, tailgate strakes and square tail lamps. The front end is the most controversial area, with its mix of baroque chrome grille and Hi-Tech eyebrows over the lamps that subtly suggest a rounded lamp graphic. But there's a wealth of new ideas here that merit further inspection: the treatment of the A-pillar base and the way it intersects with the front fender and door shutline is but one example.
The interior references Parisian theatres with the use of plush red velvet on the rear lounge seat, contrasted with a masculine jet fighter driver's seat shell in silver. The accompanying rear-facing baby seat combines parts of both these elements, while the pedals are arranged in a clever ‘DS' logo: the Revolte has a role in introducing the new ‘DS' premium line too, by use of the amethyst, white and graphite body colors seen on the adjacent DS3 launched here too. Finally, check out the central screen in the IP that's supported on a web of red blood vessels that pulsate with light.
Watch this space for an in-depth Design Development article coming soon.
The Twizy is the smallest of Renault's four EV concepts. According to Patrick Lecharpy, VP of Advanced Design at Renault, it showcases two key aims: it defines a new design language around electric propulsion and yet still feels car-like - despite occupying a footprint only 2.3m long and 1.13m wide.
That Renault has largely achieved these goals is to the design team's great credit. The four wheels sit outboard of a central driver unit, framed by two outer rings. Doors bars, which recall the Smart Crossblade, pivot open from the end of the dashboard and do not fully enclose the driver compartment. They do, however, house the side airbags, contributing to the sense of security.
The face of the concept is formed from a large hexagonal display matrix, which is used not only for lighting and turn signals, but to communicate greetings and messages. The motif is repeated throughout the interior, with certain hexagonal forms, providing the driver with vehicle information through the use of rear-projection.
The interior is remarkable for its sense of space, born out of expansive glazing stretched over the driver's head and the open sides, but also the bulbous form of the IP that visually fades away at either side to increase the perceived width of the interior.
Of note is the lotus flower sitting atop the IP. Its petals close to inform the driver of remaining battery charge and vehicle range. It represents the design team's aims to find new ways of communicating to the driver, without creating anxiety.
The overall language of the vehicle arguably sits more within the realm of product design rather than traditional vehicle design, but for that it is no less successful. We will be intrigued to see how this concept translates into the production version Renault is promising for 2011.
Although the A5 Sportback is being shown for the first time at Frankfurt, the development program for this vehicle ran concurrently with the A5 coupe and cabriolet. Having worked on creating a design that feels like a true four-door coupe rather than a hatchback (which vehicles in this new segment are often unflatteringly compared to) the Sportback is a well-resolved addition to the range.
While the front of the vehicle and most of the interior are exactly the same as that seen on the A5 Coupe, the extra door, and increased length of the Sportback has been managed well. The beltline, which some designers consider lacks tension on the A5 coupe, is less pronounced here - the extra door and length of the Sportback helping to create a slightly less pronounced feel to the line.
The surface resolution around the rear of the vehicle is particularly successful; the point where the base of the C-pillar meets with the broad shoulders and flows into the short deck lid is especially elegant. Note also the faint bone line, which begins in the A-pillar and runs over the top of the DLO, increasing in radius before bleeding into the rear deck surface. It runs parallel to the trunk-lid shut line and fades to nothing at the rear of the car.
Lending further credence to the impression of a premium coupe are the frameless doors and the tapering, coupe-like profile of the roofline. Although this compromises the rear headroom in the pair of rear seats, we suspect most Sportback buyers won't be unduly concerned. Elsewhere, the interior is the same as in the A5 coupe, and typical Audi attention to detail is apparent - note the cleverly split load cover, part of which stays in place and part of which lifts with the trunk lid, and the slivers of satin inlay highlights around the wood trim in the doors.
Opinions were quite divided on this new Mercedes-Benz flagship model. While some saw it as a faithful update of the 1950s 300SL, the majority of designers CDN spoke to saw it as too simplistically retro, with its abundance of references to the original car. While it maintains the cab-rearwards proportions of the outgoing SLR and clothes it in a less baroque style, there's a certain heaviness to the design that appears quite dated.
Given that the exterior had tight design heritage roots to respect, it's especially disappointing that the interior design isn't more adventurous. The design theme is said to be inspired by aviation, with four round vents looking like jet engines. It's a perfectly competent piece of work but the result feels disappointing, given this kind of supercar has presented an opportunity to create something far more dramatic.
This was a project started under Professor Pfeiffer's tenure as design chief, but maybe current chief Gorden Wagener would have approached it slightly differently. Production will be in AMG, the first time they've been given a unique model to produce in their entire history.
The SLS features an aluminum spaceframe chassis with aluminum panels - a first for Mercedes, and a far cheaper solution than the previous carbon fiber SLR. Indeed, there are two surprises with the launch of this car: first is how much more affordable the SLS is than the SLR (at mere €150k) and second, the rumored all-electric drive version confirmed by Mercedes (it will be built with development partners) is also poised to make production - an alternative to the 6.3-liter V8 that powers the standard car.
Related Article:
New Car: Mercedes SLS AMG
The iX-Metro is a concept that gives us a taste of a forthcoming production Hyundai B-sector crossover, much as the Qazana concept in Geneva previewed a forthcoming small Nissan crossover. Like the Qazana, the iX-Metro is a funky white car that looks larger in the flesh than one would expect thanks to its high ground clearance, large wheels and long wheelbase. It's also reminiscent of the Nissan in some of its window graphics, but the Hyundai appears taller and has more mono-space MPV in its genes than the sporty Nissan.
For a Hyundai concept the iX-Metro is refreshing simple. Its exterior is defined by a handsome side feature crease that echoes the base line of the DLO before tipping down subtly as it fades out to the rear. Hyundai has also innovated in the front treatment, which sees the grille wrapping around within its aperture - a device that we're picking up in other recent designs. Another interesting detail is the way a slim flat surface runs around the wheelarches and then, unlike a similar feature on the Peugeot 207 and 308, runs into the surface of the rear bumper.
Inside the two most notable aspects of the design are the hub-less steering wheel and the delicate pattern etched on the underside of a thick transparent plastic layer covering the curvaceous instrument panel.
The small crossover is one of the emergent new niches in the European market, and the iX-Metro shows that the Korean automaker is likely to be at the forefront of its development. If they can preserve some of this show car's form language and design details we think they'll have a winner on their hands.
The Mulsanne is significant for Bentley as it is the company's first in-house designed 'big Bentley', directly replacing the Arnage, a design inherited from Rolls-Royce. Ironically, it was interesting to compare it to the new 'baby Rolls' that was also making its production debut in Frankfurt and with which it will compete head to head. While Rolls-Royce has chosen to translate the Phantom theme directly onto the Ghost, Bentley has designed the Mulsanne to be distinctly different in character to its smaller sibling, the Continental Flying Spur.
Conceptually, the Mulsanne is an evolution of its predecessor; but notably it introduces a prominent single headlamp on each side DRG, a lower roof line and a shallower DLO to make it more dynamic. The exterior, by Raul Piers, also has some interesting features, such as the concave shoulder that successfully forms a peak on the front fenders and integrates with the outboard lower front lamps. The subtle looping theme around the upper deck of the trunklid, the rear of the trunk, and at the trailing edge of the rear fender are also noteworthy design elements.
The interior, unveiled for the first time since the vehicle's exterior design was presented at the Pebble Beach Concours d'Elegance in August, was designed by Robin Page. Its design is most notable for its extensive use of veneer. A large surface area in the instrument panel is given over to veneer that then connects to the door cappings before unusually running all the way around the back of the rear seats. The use of veneer is also unique within the industry in the way it is set onto thick pieces of wood, which can be seen at the edges of the picnic tables in the front seat backs and at the sides of the instrument panel.
Related Articles:
New Car: Bentley Mulsanne
A reiteration of the 2002 1-Litre prototype, Volkswagen's L1 concept retains the same 3.8m long, 1.2m wide tandem layout as its predecessor. Exterior designer Maximillian Missoni says the project is still very much driven by engineering, so a pure aesthetic inspired by aeronautics reflects the integrity of this ultra-lightweight vehicle.
A thin front grille and headlights sit behind a transparent plastic panel, creating a visual contrast with the 2002 car. Bulbous headlights have been replaced by LED units, creating a graphic that adds visual width at the front of the car and is reminiscent of the Scirocco and other vehicles in the Volkswagen range.
The remarkably flat, purely surfaced body sides fair-in the rear wheels and taper inwards to a kamm-tail rear end. Here a set of intricately-detailed rear lights add a design flourish that Missoni likens to the crescendo of a piece of music.
The wheels now sit flush with the body sides, creating a more purposeful, car-like stance, while a thin body-colored plastic strip is used along the wheelarch outer edge, allowing front wheel travel while maintaining aero efficiency around it. Note also the long air intakes in the lower body side, which mimic bionics by using the flex in the surface (rather than a crude hinge) to open at their rear ends.
The concept is remarkable for its lightness and pursuit of efficiency, the entire carbon-fiber reinforced monocoque weighing just 65kg. A side-hinged roof canopy creates a cockpit-like interior, with the wrap around screen and IP creating the impression that one pilots, rather than drives this vehicle. It would be a fitting way to travel for the pioneering individuals Missoni says he had in mind when working on the car.
Seen last year in concept form, the X1 is BMW's offering in the emerging ‘pre-shrunk' SUV sector that will include the Audi Q3 and Land-Rover LRX in future, while the Ford Kuga, VW Tiguan and Peugeot 3008 are already on sale. The X1 will also share its platform and running gear with the Mini Crossover, so there's no shortage of competition in this emerging market.
Changes from the concept are minimal and the whimsical ‘Hoffmeister kink' line from the C-pillar looping into the lower doors seems barely noticeable in the production steel panels, depending on body color, particularly the new olive green launch color. As on other X models, the square-contoured wheel arches have black lips that connect to the black rocker covers and the optional X Line package includes silver skid plates in the rockers, larger skid plates in the rear bumper and a silver bar in the lower grille. Headlamps feature a daytime running lamp in the top eyelid, similar to that on the new 7 Series.
Two drivetrains are offered: a standard SDrive with rear-wheel drive only and the xDrive 4x4 as an option. BMW also showed a Cool Elegance design package that incorporates highlights such as sports seats in Oyster-colored leather upholstery.
Distinguishing between the X1 and X3 on the road and at a glance won't be easy, but the overall surfacing and graphics such as the DLO and lamps are much softer on the X1, even if the size is not so different. The big difference is in the driving position and the interior: the X1 is lot more car-like than the larger X3, with no step up into the cabin. Interior quality is on a par with the 1 Series, with some use of hard plastics around the center console and on doors. It's not premium BMW quality but perfectly acceptable amongst current competitors.
Related Article:
BMW X1 concept - Paris 2008
Previewed as the 200EX concept in Geneva this year, the Ghost has changed little in its metamorphosis to final production form. As we said at the time, any dilution of that design for production would surely disappoint, and the good news here is that absolutely nothing has been altered, except the use of the black R-R logo rather than red. "We simply spent our time fine-tuning a lot of areas, tightening up details everywhere" explained designer Alan Sheppard, who worked on the interior with fellow designer Charlie Coldham. The exterior design was the work of Andreas Thurner, under the direction of Ian Cameron.
The car on the stand was finished in a warm mushroom beige with satin silver hood that not only looked even more elegant than the dark tungsten chosen for the 200EX but allowed the subtle creases in the bodywork to be appreciated to the full. Not only that, but the interior color combination was beautifully matched, with a high contrast theme using a dark chestnut leather environment with pale ivory accents.
Indeed, it's the combination of bold new ideas on the exterior such as the two-tone hood treatment and the all-LED front face together with exquisite textures on the interior such as chrome and crystal to suggest elegance in new ways that is so impressive. Comparisons to the new Bentley Mulsanne are inevitable and in this respect the Ghost appears to move the game further forwards in terms of new ideas and materials to define British luxury than does the Bentley.
Finally, note one small detail that indicates the intended customer for the Ghost: the standard umbrella is the stowed in the front doors rather the rears as on the Phantom.
Lexus chose the Frankfurt Motor Show to preview their entry to the premium C-segment, the LF-Ch. The five-door body style clearly benchmarks the BMW 1-Series, though 20mm lower and 61mm longer and with the rear axle pushed rearwards. But while the 1-Series offers a complex bodyside with simple graphics, here that approached is reversed: the body section is a smooth ‘S' with complexity given to the corners.
In profile, the thrust of the hood apes the IS-F, leading to a low and wide DRG, with the lower valance wrapping up the sides of the bumper. The pinched shape of the graphics lends to appealingly distorted lamp shapes, though the theme also gives the grille fangs. Nevertheless the expression effectively references the LS while introducing a more menacing demeanor.
Walking to the side-glass, the shape is fuller than a 1-Series with a broader radius as it turns down the C-pillar. The stretched chrome trim is also attractive, but it is the rear corner that seems less well thought out. Although the basic shape of the taillamps is dynamic, the shape seems a series of flats as the eye moves round, above which an awkward separation of surfaces need more time in the model room.
Inside the Lexus uses fluid forms that pull from the main IP to leave negative space above the console. The asymmetry of the arrangement brings the controls to the driver, the balance of mass and movement in stark contrast to the austere interiors of German rivals.
The premium C-segment is diversely represented: a front-drive hatchback (Audi A3), rear-drive hatchback (BMW 1-Series) and premium MPV (Mercedes B-Class). Although Lexus offers clear vindication of BMW's direction, it does without rear-wheel drive: it will be interesting to see the value of this to the customer.
Saab is arguably the most underperforming car brand in the world. It has strong international recognition, values that are ripe for connecting to the 21st century car buyer and a rich back catalogue of distinctive but not polarizing design signatures. But despite this it struggles to sell 100k cars per annum and seems to be perpetually lacking internal corporate conviction. Depressingly, this lack of conviction seems evident in the new 9-5: it is yet another disappointingly average new Saab design that looks about five years old at launch.
Speaking to CDN, Design Chief Simon Padian told us that the car had actually been finalized for 18 months and conceded that Saab designs have been cautious and understated in the past. That, he assured us, will soon change under the Swedish brand's new ownership.
From a distance the first thing that struck us about the new 9-5 was how its short hood, long trunk and forward leaning proportions are more akin to those of a lower medium sedan than a large luxury car. Its Aero-X derived DRG give it some large car presence and the resolution of surfaces is faultless, but overall the design lacks the strength of theme expected of a Saab and needed in this sector.
Inside it's a similar story: a gentle evolution of previous Saab design themes, notably in the core architecture of the instrument panel and the way the unique air vents are integrated into this. But overall there is less progression from its predecessor than most designers we spoke to felt was needed.
The commercial and design potential of this brand is immense, and the new 9-5 is a competent if slightly dated bit of design. Fundamentally it is the design's lack of gravitas that shows how General Motors, from the beginning to the end of their ownership of Saab, have failed to really 'get' this great Swedish brand. Let's hope Koenigsegg has a bit more conviction.
Like the Galaxy and S-Max, the new Ford C-Max and Grand C-Max are two vehicles produced for one segment, yet aimed at different demographics of buyer.
The exterior styling of both vehicles is a development of Ford's familiar ‘Kinetic Design' language and features elements previewed in the Iosis Max showcar from Geneva. The six-point lower trapezoidal and slim upper grille together with rising waistline and shallow DLO has made production relatively unscathed in the smaller, five-seat C-Max.
The seven-seat Grand C-Max - Ford's first European-designed vehicle to make its way to North America - features the same frontal treatment as its smaller sibling, with the exception of a three, rather than single-bar upper grille. The flanks of both cars feature pronounced wheelarches, and a light catcher swage in the lower door area to take away some of the vehicles' visual height.
Aimed at young families, the Grand C-Max features twin, sliding rear doors, which the design team has worked hard to integrate into the design in an attempt to minimize any van connotations. The shoulder-line broadens towards the rear of the vehicle creating pronounced rear haunches, which flow into the rear lamps.
Both the five-and seven-seat versions follow the same interior theme. The IP develops the theme first seen in the Fiesta - HMI and HVAC controls split, with the upper IP volume projecting into the vehicle, featuring stereo and navigation controls on a piano black gloss panel, which is surrounded by a mixture of polished and satin-finish bright-work around the air vents and center console, creating an interior with a high-level of perceived quality. Notable also in the Grand C-Max interior is an innovative center middle seat design, which tumbles and then folds into the squab of the outer middle seat, creating a clear and easy access route to the far rear row of seats for children.
This is the car Peugeot needs: a desirable car that compounds the styling found across the rest of the range and stays faithful to the show car exhibited two years ago. Then, the RCZ was compared to the Audi TT, but it hardly needs be mentioned now. In the more expressive fenders, rail trim and double-bubble roof, the RCZ has an identity that is its own; the only comparison that may interest customers now is the €6000 separating the two.
CDN spoke with the designer, Boris Reinmoller, who pointed out the few changes over the concept. First of which is the roof volume, the trough between the bubbles is 15mm shallower owing to the glass mold - but how wonderful they kept them at all. The front, too, is close to the concept and features an impressively engineered hood that falls to the C-line; only at the rear are the differences clearer with a central fog lamp pushing the tailpipes to one side within a diffuser graphic.
Move to the side and the rocker section has lost its mass while the trunk deck has gained a retractable spoiler. Inside the unlocked car on the stand, stitched grey leather covered the upper IP and door graphic. The instrument panel also keeps the central clock inspired by Bell & Ross, with the numeral graphic carried over to the dials.
With Jean-Pierre Ploue assuming management of design at Peugeot as well as Citroen, the styling that has lead to the RCZ risks being at odds with his new direction, but for now the brand has the halo it has long deserved.
Related Articles:
New Car: Peugeot 308 RCZ (July 2007)
Driven: Peugeot 308 RCZ
The DS3 was presented as the DS Inside concept in Geneva this year and, as CDN predicted, there are few changes for the production model. Essentially a three-door version of the new C3 also launched at the 2009 IAA, Citroën's aim is to capitalize on the three-door format to market a sportier, higher quality fashion car to a younger buyer than the C3 and to muscle in on the Mini and Fiat 500 scene.
Changes from the C3 include a new front bumper with vertical LED running lamps, a faster windscreen and extensive use of chrome on the lower door protectors and mirrors. It wouldn't be a Citroën unless it did something quirky with the beltline and here it kicks up into a shark's fin that breaks up the side view. It's not unattractive as a device but, given that a large part of the exterior is the floating roof, it's a pity Citroën haven't invested in proper glossy polycarbonate finishers for the A-Pillar (as on the Mini) rather than cheap PVC film to complete the execution of the wraparound theme.
Examples displayed included a dark gray car with maroon roof; graphite gray with a white roof and a pearl white car with pale blue roof that incorporates a matt finish African safari pattern as well.
Inside, the basic IP is carried over from the C3 but makes extensive use of fashion materials and color inserts for individuality. Top versions even have a leather covered IP plus two-tone sports seats featuring a watch bracelet pattern first seen on the C5 Airscape concept in 2007. Note the interesting use of sub branding here for the DS Line: there's no Citroën logo at the rear of the car, just a stylized DS3 emblem, plus an abbreviated ‘S' logo used on the nose and steering wheel.
Related Article:
Citroen DS Inside concept - Geneva 2009
This is a new lower-medium SUV from Hyundai that replaces the Tuscon and shares its platform with the Kia Sorrento also debuting at the Frankfurt motor show.
The Korean automaker uses the term ‘fluidic' to describe the form language of the ix35, which is notable for the way it uses dynamic surfacing to add a sporty character to an otherwise orthodox SUV package, much like the Ford Kuga. The Hyundai has some similar graphics to the Ford too, notably its DRG. But there are several unique aspects to the ix35, such as the three separate bodyside creases that break up the surfacing of the flanks.
The prominent dark grey rocker area that kicks up behind the front wheel is also unique. This is a useful device to visually reduce the height of the car and it ingeniously uses the fog lights to reduce its depth as it wraps around into the rear.
The interior is a little more conventional but has some nice touches, such as the way the vertically orientated air vents sit in a high quality metal effect surround outside of the main center stack area.
The Hyundai ix35 does not particularly move the European market lower-medium SUV sector forwards, but it is a marked advancement over its predecessor and an impressive design in its own right. The one aspect we find hard to understand is why the design is so sporting relative to the new Sorrento when Kia purports to be a sportier brand than Hyundai.
Related Article:
Kia Sorrento - Frankfurt 2009
Although announced back in June, this was the first time CDN saw the new C3 in the metal. First impressions are good: it has a tauter profile than the rather ‘humpy' look of the outgoing C3 but keeps the signature flick-up in the beltline behind the rear door. There's a new chunkiness to the rear end that's appealing, with tail lamps that extend onto the tailgate and the new chevron logo used with ‘Citroën' script prominently displayed to add a quality touch. The car is much better surfaced too, one area where the old C3 was woefully poor.
Comparing to the new DS3, it keeps the same front end including the hood and lamps, and uses the same IP. The interior has lots of showroom appeal, and it's clear the budget has been focused on the upper IP, with judicious use of glossy inserts and chrome in the most visible tactile areas. Three heavily-cowled instruments are set beneath a novel floating binnacle hood and there are quality features such as a center armrest for front seats and a two-way adjustable sports steering wheel with a flattened base and silver inserts, like those found on Audi's S-line.
The pièce-de-resistance is the optional ‘Zenith' panorama windscreen, a unique feature on the C3. This is similar to that seen on the C4 Picasso and but flows further back to 80 degees over the front occupant's heads, with a full-width section of headlining sliding forward to a conventional header position, complete with sunvisors. Maybe it's useful for driving around, but it seems like a feature that's unlikely to be used in practice once driven out of the showroom.
With the C3 Picasso and DS3 derivatives, this new C3 range is looking like a very strong player in Europe's highly competitive B-segment market.
The first impression that the new Sorrento makes in the flesh is how impressively competent this design is. It's an orthodox SUV design that lacks the dynamic proportions of the Nissan Qashqai and the new wave of more crossover SUV vehicles in Europe, and it's not as expressive as its Hyundai ix35 sibling (which is also making its debut in Frankfurt), but the Sorrento has a newfound premium quality in its assured design theme and surfacing as well as a few distinct design elements.
At the front, the DRG integrates the head lamps with the grille aperture underneath a clam shell hood and, to the side and below this, are two smaller apertures inside of which neatly float the front fog lights.
Like the new Skoda Yeti but few other designs on the market, the wheelarches are slightly squared-off and, as on the BMW X-Series cars, they feature a dark grey plastic surround on the same surface as the metal part of the fender.
Along the lower side of the car is a slight depression that reduces the visual bulk of the car, gives it a little more dynamism and then subtly runs around the rear. Above this at the side is an equally subtle feature line that picks up off the front and rear of the DLO and then forms the car's shoulder surface.
The interior is similarly handsome, well-resolved but orthodox, giving a high quality perception. The center stack area in particular has been well executed, and it was impressive to see the rear facing camera display integrated in the interior mirror.
Related Article:
Hyundai ix35 - Frankfurt 2009
The Opel Astra is the most significant production car of the show for two reasons: design quality for a mainstream car in this segment and GM's sale of a controlling stake in Opel to Magna International. The deal with the Canadian auto-parts manufacturer and Russian partner OAO Sberbank leaves GM as 35% shareholder in Opel, and represents the final piece of the push by German Chancellor Angela Merkel to save the troubled automaker. Figures have rewarded by showing Opel's profitability helped by last year's Opel Insignia, and now the firm is aiming to repeat that success with the new Astra.
The production version shown here stays true to the hard model we saw in Russelsheim earlier this year, built on the compact Delta II platform that will also serve the Chevrolet Volt. The red Turbo model caught our eye on the stand first, the stance absolutely resolute on 19-inch rims. Their relationship to the body is fantastic, if leaving the Insignia looking an inch too high on the same size. This closeness to concept is repeated in the side indicators, requiring a unique molding rather than dredged from the parts bin.
Inside the design quality continues, though the plastic of the upper IP is slightly shiny and the mold edge is visible within the air-vents. One feature of the interior is the up-lighting that when illuminated lends the ambience of an S-Class; when off however there is a 5mm gap between center console and instrument stack that recalls poor tolerances. Despite appearances, however, the build-quality is excellent and the gate-surround rigid.
While the design of the previous Astra bettered the Vectra, the new model steers closer to the precedence set by the Insignia that leaves the range more closely gelled. It is a fine direction to be travelling, and we are pleased to see such a positive outcome rise from the ashes.
The E-Up! follows on where the 2007 Up! and Space Up! concepts left off, demonstrating a decisive move towards production of a new A-Segment car for VW. In a departure from its rear-engined predecessors, the E-Up! was shown with a conventional, electric front wheel drivetrain.
Developing the beautifully sheer surface treatment established by the BlueSport Roadster, the E-Up! has the hallmarks of what Volkswagen is referring to as the ‘new small family'. The smiling bumper outline, alert headlamps and large VW badge sitting proud of the hood surface imbue the car with a friendly, approachable familiarity that other urban vehicles at Frankfurt eschewed. Separation of the V-shaped hood from the fender surfaces also makes a subtle reference to the Beetle. At the rear, the front bumper line is echoed in the tailgate graphic while the tail lamps are an iteration of VW's distinctive hockey-stick-and-puck motif. The de-rigeur solar roof's surface area can be augmented thanks to the incorporation of solar cells into the rear surface of the interior sun visors.
The IP demonstrates a continued fascination with iPhone-inspired touch interfaces that enabled the overall IP form to be stripped back to an appealing minimum. In contrast to the high-tech HMI graphics, use of collapsing window winders and manual mirror adjusters make low-tech cool again. Elegant chromed elements contrasting with a yellow/black color scheme are lent interest by the juxtaposition of flocked, fabric, polyurethane and leather surfaces on the IP and doors.
Although not as extreme in concept nor as novel in execution as the other urban vehicles shown at Frankfurt, the E-Up! is nonetheless a successful concept and many designers we spoke to remarked on the depth of quality in its design and execution. Expect the production up! (or will it be L-up-o?) some time in 2011, with a fully electric version to follow in 2013.
Kia has unveiled the Venga, a new production model of the No3 concept shown in Geneva this year. The 4070mm body length puts this car squarely in the B-segment, a size smaller than the VW Golf Plus it otherwise resembles. And like the Plus, the Venga is a tall spacious hatchback with folding/sliding rear seats, though the conventionally located fuel tank prevents the added versatility afforded by the the similarly sized Honda Fit/Jazz.
Compared to the show car, the Venga is largely faithful with just detail changes in the front graphic, moving the Kia badge into the grille and smoothing the bow-tie silhouette. Moving to the side view, the Clio-esque motif is retained in an effect break-up of the mass, though sadly the white ceramic glass surround has been lost.
Getting into the car will cast two different impressions depending whether you open the front or rear door. Where the front door feels weighty with a well-damped handle, the rear handles snap close and the door feels too light on its hinges. We saw two trim versions at the show, the Beat and the Fuse, which showed some interesting options. Most notable was the fluorescent yellow vent surround picked up by fabric seat piping, but this is still far away from the innovative white and gold combination used in Geneva.
PR was reluctant to discuss pricing, but the Venga is predicted to start from around €13,000 when it goes on sale early next year, undercutting the Opel Meriva. But while the German continues to adopt its styling from the previous generation, so the Kia feels fresher even if the Opel's themes were more original. In this way the Kia succeeds in being a very reasonable product with well-resolved styling and a useful if not ground-breaking interior.
Related Article:
Kia No3 concept - Geneva 2009
The 5008 is a larger version of the recently launched 3008 crossover and revives the ‘5' nomenclature last seen affixed to the 505 wagon. Although there's no specific reference to the new 3008 in the launch material, closer inspection at the show reveals that they have a lot in common, including the basic IP architecture and front doors and even the door linings. In some ways the 5008 is Peugeot's version of the C4 Grand Picasso but in a more sober fashion, without the adventurous interior and panorama windscreen innovations of the Citroën, although a new Wi-Fi onboard feature is offered for the first time.
Of note is the new DRG, the first developed under the leadership of Jean-Pierre Ploue, with a more restrained face than current Peugeot models developed under predecessors Gerôme Gallix and Gerard Welter. This keeps the Peugeot emblem high up on the hood as before, with a supporting upper grille and single chrome bar that indexes with the headlamp finisher. The lower grille has three horizontal bars that visually extend through the surround to continue in the outer foglamp recess.
The interior features seven seats, the middle row being the usual three independent MPV type, with the two jump seats in the trunk folding out of the floor. The IP links down to the center console in a similar way to that on the old 505 too, although that theme has since used by Saab and Audi on recent models too. The center console ends directly behind the gearshift, with the electric handbrake neatly recessed beneath and a vast cubby between the front seats. However, whereas the 3008 is focused on a sporty interior and some novel features such as a split tailgate, the 5008 focuses more on family comfort with few innovations: as such, it feels a bit lackluster.
Related Article:
New Car: Peugeot 5008
0 ความคิดเห็น:
Post a Comment