It may be called the Skydeck for show’s sake, but underneath the concept car makeover is Honda’s next Stream, the brand’s mid-sized MPV for Japan and formerly the European market. Conversely to many MPVs, the overall styling theme is sleek and sensual, with softened radii that point to the brand moving on from the crispness of the Fit and Insight. Core to the read of the car is the black cab that leaves a fluid bodyside within quite short - if equal - overhangs. The B-line dip aft of the A-post makes the mass elastic rather than tense, exaggerated by arch motifs which seem symmetrical about the B-post pushing the front and rear masses apart.
Up front there is a clean sweep from the cantrail into the hood, separating it from the fenders to create a CRZ-like front-clip, though in attempting to add more volume, the grille garnish looks a little too beak-like. At the rear, volume is lightened by the underside resolved into a clean surface in an area that is usually invisible. This leads into a distinctive spoiler and is a satisfying development of the need to smooth the underbody to reduce drag.
Within the show car door mechanism that cuts into the rocker to aid rear access, one is immediately struck by the confident swath of wood rolled over the IP and dials. This would not look out of place in an Audi, though conversely to their solid structures Honda has followed a lightness concept that sees laminated wood used to make seats slim, so that the middle row can slide under the front. Rails for this are mounted on a pronounced center console that adds substance to the interior while innovatively housing the hybrid system.
Though details such as the cheap lighting and bumper areas clearly denounce the Skydeck's showcar status, there is an underlying attraction in bringing CRZ style to a six-seater that we hope to see more of.
The first FT-EV was based on the iQ, and now Toyota is previewing the production model due 2012. At 2730mm long, the FT-EV II undercuts the iQ by nearly 300mm and will no doubt infuriate rival packaging designers by still hosting four people. This is achieved by mounting lithium batteries beneath the floor and using a motor instead that gives a 90km range on just 7.5 hours charge.
The concept for the FT-EV II was to move away from the image of the car, highlighted by the fabulous IP designed in Toyota's Tokyo-based advanced studio by Stephane Etienne. In making the car light and less car-like, Etienne has done away with all conventional structures in a highly original manner, using the same drive system as the iReal. In place of dark masses there is the simple harmony of aluminum and PVC, each element deconstructed with dials held like a shaving mirror and airbags encased in balloons. The whole assembly is suspended by delicate wires and mounted on the bulkhead, with kimono-inspired lapels that fold over the supporting strut. Elsewhere there is extensive use of silicon, with triangles imprinted on the seats representing pressure exerted by the body, the lightness concept again expressed by the thin leaves supporting each seat.
The exterior was designed in Toyota's main studio in Nagoya and is notable for its extensive glazing, with see-through rear lamps and a glazed hood that leads to a new physiognomy with the low-mounted 'T' badge flanked by solar panels. In keeping with the iQ, the B-post is kept body-color with a tight corner in the side glass, while the front arch extends into a dynamic bodyside-feature that also contains the push-button door handle. However the exterior lacks the imagination of the interior and fails to achieve the same deconstruction of our image of how a car should be. Nevertheless, with the FT-EV II Toyota again defines a new vehicle segment that ably responds to increased urbanization while also respecting the limitations of electric drive.
Japan is the land that invented the boxcar, so it's entirely fitting that Daihatsu chose the 2009 Tokyo motor show to launch its latest and one of its tallest: the Deca Deca concept.
Billed by the firm as a 'super box', the Deca Deca features a flat floor and suicide doors on one side that open out to 135 degrees to allow superb access to the massive interior space (the cabin is 1400mm high). As it is also , is devoid of a B-pillar, the ease of access enables the pursuit of a diverse range of activities from mountainbiking to carrying disabled passengers. Simple seating folds away to the sides when not required and a built-in fold-down 35-inch LCD monitor envisages the car could also be used for business meetings or leisurely picture editing, viewing and uploading.
The car feels particularly tall and boxy due to large vertical windows, a low beltline and an even lower feature line that, after curving round the front wheel arch runs horizontally along the car's flank below its door handles. A large, horizontal convex section then separates this line from another parallel feature line above that runs all the way from the rear before turning up and back to form the A-pillar in a graphically clean and coordinated way. At the front, three thick grille strips help make the tall car seem wider and more planted on the road.
Other neat details on the exterior include a high horizontal slit window reminiscent of the 2005 Ford SYNus concept on the Deca Deca's non-opening side, and excellent rear access via a single huge side-hinged door. The only criticism of the chunky concept heard on the show floor during the day was aimed at its front face's 'up and over' front headlamps on its hood - which were deemed by some to be a little too similar to the Honda Mobilio production car. Still, a pleasing and suitably Japanese-feeling Tokyo concept.
The Nissan Land Glider is the latest in a recent flurry of tandem-style concept cars that propose a one-plus-one seating arrangement - think Renault Twizy and VW L1 - where a single passenger sits behind the driver in a narrow-bodied and low-slung vehicle.
Despite the compact four-wheeler's futuristic look - a world away from current conventional car packaging - Nissan design boss Shiro Nakamura is taking the concept idea very seriously, as he told Car Design News: "It's not just 'okay we made a nice show car now forget about it.' We've made some studies already on how to bring it to production."
The working prototype is only 3100mm long, 1100mm wide and 1415mm tall and is able to lean through corners like a motorbike up to an angle of 17 degrees, all controlled from a U-shaped video game-style drive-by-wire steering device. Complex tilting body panels move independently of the wheel arches to angle the cabin for better stability during cornering, which when in motion, give the car a strangely pleasing hermit crab-like gait and appearance.
Nakamura sees the model as an upmarket sporty and fun second car for urban environments rather than cheap everyman go-anywhere transport. Power comes from two electric motors in the rear tapping into lithium-ion batteries mounted beneath the floor to ensure zero-emission motoring and recharging is designed to be made wirelessly at induction plate refueling spots.
Exterior design inspiration came from Nissan's top-end GT-R sportscar as Nakamura continues: "It's totally different but some inspiration comes from there, it's a little bit robot-like, like the GT-R."
Right now there are no plans for production, but Nakamura says the technology is highly feasible and could be made reality in "a couple of years" if the green light was given.
Created in Subaru's advanced design studio in Mitaka, this hybrid concept plays heavily on its Grand Touring aspirations and less on its eco credentials.
With 21-inch wheels, a wide low body and a squat stance, the concept gives the impression of a powerful driver-oriented machine, in keeping with the company history and philosophy. Shown on CDN as a computer rendering, this concept works well on the show stand.
The Hybrid Tourer's rich, well-executed surfaces demonstrate a new level of refinement for Subaru, and many details move the brand forward. The DRG in particular is the strongest of recent Subaru designs and exudes a high level of confidence, although the inner headlight design lacks a unique identity. The large trapezoidal grill and wing style lower air intakes give the impression of being aero inspired and Subaru, like SAAB has this history to utilize to its advantage.
The large gull-wing doors are pure show-car, benefitting a clear view to the interior, which is one of the car's highlights. The impression is of a sophisticated and very well-executed business jet. The rear passengers have access to a myriad of entertainment options on their personal screens, and the sense of space and light is well considered. The light materials and constructed forms assist this functional ambience.
The technical sophistication of the interior is aided by the graphical use of green lighting and digital interfacing, with most controls being touch sensitive. This moves the impression away from a mechanical machine towards a more advanced electronic image.
This design demonstrates that hybrid technology can co-exist with the generally accepted positive attributes of car design.
The EV -N is a sub three-meter fully electric four-seat city car intended as part of a future Zero Emission system incorporating the U3-X personal mobility device, EV Cub and EV Monpal.
Designed in Honda's Waco studio, female designer Kanna Sumiyoshi's intention was to offer an approachable and non-intimidating appearance. Much of Honda's design is based around driving dynamics, but this concept is meant to be far more human friendly.
For inspiration, the design team took a 360 degree approach, looking at their back catalogue. The simplistic two-box exterior is consequently reminiscent of the Honda N360 (from 40 years ago) and brings little that is innovative in surface treatment or proportion. The relatively flat plan shape, subtle wheelhouse treatment and 13-inch wheel size give the impression of a gentle, faintly nostalgic design, however it is not without charm.
The main area for interest lies with the large round headlight detailing and interactive grill, which can communicate with flashing lights and messages. This system offers the users an opportunity to interact by sending messages via a communication device or mobile phone, however the level of interaction is demonstrated more thoroughly in the technology than the design.
The interior revolves around the concept of simplification. Unnecessary detailing has been removed and all of the main HVAC and infotainment controls have become digital. The impression is calm and uncluttered, especially in the use of the digital graphics, and although the concept has been created to be affordable the impression is sophisticated and intelligent. A strong feature of the interior are the door panels designed for carrying two Honda U3-X personal mobility devices, allowing these to be recharged whilst driving. The strong graphical element of the U3-X adds an interesting contrast to the general simplicity.
Having made a name for eco with the Prius, now Toyota looks set to define ego with its new 2+2 coupe, the FT-86. And it looks superb.
Early pictures suggest a typical three-box center-line with pronounced hood, but the reality is remarkably compact with an assured volume that carefully balances macho cues with a more useable feel. From the front there is richness to the hood that would befit a von Hooydonk BMW; below is a five element DRG, the grille dropped to the dam leaving a hood that comes straight into the bumper. Either side long, slit-like lamps with carbon-fiber detailing are pushed into the arch, straining at diagonal tendons. It promises to be one of the most distinctive sights on the road.
From the front rearwards, the originality slightly decreases if losing none of its appeal: the body-side uses Porsche Cayman elements, while the rear is the closest we'll get to an Acura NSX. The roof is also appealing for at last resurrecting the pagoda-style last seen on the R113 Mercedes-Benz SL, and the negative fillets correspond to the contours of the parcel-shelf below.
It is inside too that the FT-86 shines, with an intense zipper-theme penned by designer Jaromir Cech at Toyota's France-based ED2 studio. Twin-levels to the IP split as it nears the dials, the seam-line containing hexagonal vents and cute zippers. This theme is carried to the door-pockets and satisfyingly the CD-slot too. The rest of the doors are fitted with a slim white trim indexing the seats and finished with ribbed grey inserts (though these had been for interior lighting before budget cuts). Though the front seats are skeletal for lightweight, details such as knurled hinges retain a quality feel.
In design terms, then, the Toyota FT-86 betters the Lexus LFA displayed nearby. Apparently Toyota is currently discussing production; to judge by the response at the show the conclusion should be obvious.
The Nissan Leaf is probably the most significant car of the Tokyo Motor Show. This will be the world's first mass-produced fully-electric passenger vehicle and has been designed to be compliable for global markets, when it goes on sale in 2010. Nissan expects to be selling 50,000 per year by 2012.
Designed in Nissan's Technical Center in Hon Atsugi, under chief designer Inoue Masato, the car is intended to be Nissan's green icon.
In profile, the Leaf is essentially a semi mono-volume hatchback, characterized by a very short hood, low cowl, large cabin and high rear. Interior space - and especially rear headroom - was high priority in determining this proportion. The car rides on 17-inch wheels, and whilst there is a lot of movement in the lines and surfaces the overall impression is one of a practical and useable vehicle.
The philosophy of 'smart fluidity' was used to direct the design team, who looked to natural forms and aquatic animals for inspiration, especially for ways to move through the air cleanly. Evidence of this is in the fin like rear lights and sharp edged bodyside lines used to break the airflow to assist aerodynamics.
Although at first glance it is not obvious what the power source of this vehicle is there are a few subtle clues as to the lack of an IC engine. The most noticeable is the omission of a typical grill, with the lower intake the only aperture to the front of the vehicle. The flat underfloor and small rear diffuser of this pre-production prototype also demonstrate an aerodynamic efficiency.
The large DLO, fluid forms and light colors lend the interior a spacious ambience with interaction based around the concept of digital control. The contrasting flat information panel, use of touch sensitive switches, LCD readouts and a computer mouse like gear-shift add to the expression of being in an efficient electrically-powered car.
Forget the awkward iMiEV Cargo van that ruins the purity of the original city car from which it has mutated, Mitsubishi's most important concept at the Tokyo motor show from a design and technology perspective was its new PX-MiEV plug-in hybrid crossover concept.
Shorter and lower but a little wider than the current Outlander, the PX proposes a new type of off-roader powered by three modes: electric-only, electric with range extended by an efficient 1.6-liter gasoline engine topping up the battery, and for higher speeds, petrol/electric hybrid power in tandem.
In design terms, it's a much more cleanly and simply styled 4x4 than the brand better known for the bulky and bitty production Shogun. Despite its lack of stereotypical off-roader appendages, the PX still looks very solid, due in part to the very high rising beltline with a feature line running closely parallel to it. The distinctive turbine-like wheel design adds graphic interest to the side profile and also, says Mitsubishi, optimizes airflow over the brakes to improve heat dissipation and improve the vehicle's aerodynamic performance when driving faster.
The cabin is equally clean and pared down, with all the major instruments clustered around the driver and the center console within chrome-bordered panels floating in front of the smooth and sculpted one-piece purple IP. Neat metal-edged in-board vents help visually define the seat shapes and accent the off-white color scheme while another floating center console for the passengers in the back echoes the shallow ‘V' shape of the front version to create continuity.
Mitsubishi plans to put something influenced by this concept on the road by 2013 as part of its declared aim to make 20 percent of all its sales EVs of some description by 2020.
Small, affordable, and sportiness with heritage: the concept behind the CRZ is unarguable and here moves one step closer to production. First shown in Tokyo two years ago, this year's model is much better resolved and largely what we'll see on the streets in Spring, aside from the front-clip, there for continuity rather than production.
The overall look of the car is set by the high, almost shooting-brake-style centerline that has to clear four occupants and front structure borrowed from the Fit. Despite this the CRZ has a strong coupe feel aided by black A-posts and accentuated by an undercut body-side feature. The pitch of the C-line at first seems too high in pictures, but in reality allows a satisfying swell of the haunches that white does little to relay. More effective is how well it connects the front overhang to the C-pillar as one approaches the car, adding dynamism that is missing from dead-on profile.
At the rear the distinctive black T graphic of 2007 has been replaced with two pyramidal lamps, bridged by a half-set body-color panel supporting the H-mark. As with other Honda show cars, lighting is crude, but the overall expression is modest and appealing, adding a welcome feeling of stability. Of note also is how Honda has eschewed a visible exhaust pipe to communicate low emissions.
Inside the interior feels closer to the European five-door Civic, the layered design featuring vents wrapping the dials and spreading themselves in front of the passenger. It also features a manual gearbox and though a busy design, it is futuristic and should offer good value to the customer. But outside Honda is caught between satisfying those with memories of the old CRX and new buyers that do without. In light of the Toyota FT-86 and Hyundai Veloster, to us the CRZ could have been more ambitious.
This was one of the surprises of the show, an electric three-seater based on a golf-cart and styled as a conch by third year students at Tokyo Communication and Arts University (TCA). Under the guidance of Mazda-RX-8 designer Shigeo Hirata, students Daito Tokumori (exterior) and Kim Joon Sun (interior) took the concept from digital to the full-size mock-up on display.
The theme itself is interesting, as conch shells move from place to place according to environment. It also creates a unique body-shape that peaks rearwards at 1860mm tall. The front is particularly fresh, as a lightning-like zig-zag tears down the A-pillar into distorted arches: clearly this area is unresolved, but there is great appeal in seeing something this unique and with such a strong feeling of spontaneity.
Continue walking around the front, and the body-color draws attention for literally blurring the line between it and the dark-graphic, in this case imitating carbon-fiber. Perhaps unwittingly, this keys directly with recent leatherwear from Prada. Surprising then that we should see it here first rather than from established luxury brands.
Intelligently for a city car, there is only one door on the curb-side, which slides back to reveal the 1+2 layout. Sitting inside and the benefit of the high roof becomes apparent for ease of access and feeling of space, place space for feature mounting. A subtle detail lies in the floor also, with a pronounced spiral furthering the shell theme and helping to contain the space.
As car companies continue defining the role of electric cars, not all have pushed the opportunity to create a design that truly distinguishes them from their sooty brethren. It may not be resolved, but the P70t Conch is one of the freshest designs of the show, while the 1+2 seating promises to be widespread in future.
Another boxcar launch at Tokyo - this time a production model - was the skinny, tall and spacious four-seater Nissan Roox.
At 3395mm long but only 1475mm wide it's considerably shorter and narrower than its Cube big brother (3890mm long, 1695mm wide) but is 85mm taller, thus creating a very high-sided vehicle. This visual perspective is partly offset by a high and chunky front bumper and lower air intake section sitting below a shallow-smiled three-slit grille with wide-set front headlamps graphically integrated into the same upward curve.
The aforementioned proportions create a massive interior space that can be accessed via five doors - two conventional doors at the front, sliding side rear ones and a huge roof-hinged back door. Sliding rear seats allow for limousine-class legroom (with limo-beating head room) and if the rear needs to be converted to become a surrogate van, the rear seats can also fold completely flat to create a truly vast and usefully non-encroached cubic luggage space.
According to Nissan design boss Shiro Nakamura, despite the Roox's load-lugging potential its compact exterior proportions and tiny 0.66-liter engine still allow it to squeeze into the ‘kei' car class in Japan and thus qualify for useful tax and insurance breaks. The Roox is Nissan's version of the Suzuki Palette and goes on sale in Japan in December 2009.
After a remarkably long gestation period, Lexus finally presented the LFA in Tokyo. Unfortunately we were rather unimpressed by the brand's new 202mph supercar, which follows the concept first shown at the 2005 NAIAS.
Launching a V-10-powered supercar that will further distinguish the brand from Acura and the threat from Hyundai (all while more closely aligning the brand with Audi) is a bold move for Lexus, but the design regrettably falls short of its limited edition aspirations as the company's halo car.
Chief amongst our criticism of the new design is the car's low centerline, which frames a basic cubic volume defined by plain body-section and minimal wedge with meek arches, giving a strong stance with a slammed look; an aggressive direction for Lexus, but to us it looks a little too heavy. And while the original show car incorporated bodyside vent sculpting as an intrinsic part of the design, the additional volumes behind the door on this production version seem leaden - perhaps a necessity of increasing air-flow rate. The black glass graphic, meanwhile, flowing from between the C-pillars into the spoiler and stopping just short of the deck-lip, also seems lacking in resolution - it crosses three slightly offset surfaces before ending in a tight corner without the relief of a cutline to continue the flow.
The rear lamp graphic is more appealing, however, neatly combining with the air-outlets and kinked fender edge. The distinctive bowling-ball holed exhaust design has also been retained from the concept. Up front the lamps taper inboard, this outer line continued into a feature that separates the fenders from the hood -a good theme that emphasizes track width, diluted by resolution. This is disappointing as one expects the price ($375,000) to buy fewer compromises.
Related Articles:
New Car: Lexus LFA
Photo Gallery: Lexus LFA
The Daihatsu Basket concept makes a case for itself by targeting newly retired Tokyoites heading to the Japanese countryside to cultivate their own organic crops and engage in other ‘slow life' activities.
With Japanese having the highest longevity, and the government encouraging a ‘grow your own' mentality, creating vehicles for these users makes good commercial sense. Small vans and pickups are very popular with local farmers, allowing ease of access to the narrow roads, however they are normally based around commercial vehicles and ingress/egress can be difficult for an aging person. This concept addresses that problem with a high H-Point and low step over height.
Designed in Daihatsu's Tokyo studio, this Kei car-sized pickup is very square in plan-shape and has an almost flat bodyside, with relief only from the three extruded strakes, which give it an unsophisticated mechanical product appearance. This theme continues to the inner door panels which resemble stamped and painted steel, and combined with the square graphic elements give a functional if derivative feel.
The headlight detailing gives the impression of an eye and eyelashes and creates an open expression to the face, however this is the only intricate detail at the front of the car and the resulting DRG is non distinct.
The interior concept is based around natural and hardwearing materials and simple geometric shapes - with inspiration from coffee sacks - lending the cabin an impression of a working non-precious environment. The rear seat backs when folded down create a completely flat loading bay, but there is no consideration as to how carried items might be secured. The IP architecture is based on a simple large shelf that runs the width of the vehicle, perfect for ripening tomatoes, but typical HVAC controls slotted into this bring to mind 1980's Fiat styling.
Honda last week released the latest in their family MPV line, the Stepwagon, for the Japanese domestic market.
Originally launched in 1996, the first iteration of the Stepwagon featured a distinctive roof-rail that dropped into the rear pillar-lamps to frame the simple box form. This was continued into the second generation before it became stylized by a sharp wedge feature and impish expression for the third generation. Now, with the latest fourth-generation model, this element has been replaced by a return to the original theme, but regrettably sans the rail-lamp feature that made the first two generations so distinctive despite their plain shape. In so doing, the bodyside has been left with only a handle-height groove to relieve the surface. The front end of this keys with the inflection of the A-pillar base, while the groove contains the door sliding-rail at the rear.
The front is more memorable with a simple lap-joint between lamp and grille within a bar graphic; a similar theme to the latest Nissan Murano, in fact, but with greater emphasis on conveying a practical image. Replacing the rear lamp stacks are lower units capped by the run of the B-line, while the D-pillars are blackened here to communicate excellent visibility even from the third row seats. All of it is well resolved, but there is no underlying motif for fresh appeal.
Things improve inside, and the package is very impressive for the third row of seats can fold flat into the rear overhang, while the central seat of the middle row can tip sideways to create a gangway. Also of note is the wood-effect floor and deep seat bases that feel sofa- rather than car-like. Up front the IP structure is twin-layered as on Honda's smaller Freed MPV, and gives a durable domestic appeal, though the theme is broken slightly by the pale grey passenger-side vent that interrupts the upper volume. No doubt customers will appreciate the Stepwagon's versatility, but it seems incredible that despite being presumably benchmarked against rivals such as the Nissan Serena and Toyota Voxy, the Stepwagon should be so lackluster aesthetically.
It may not be a car, but Honda's U3-X was one of the most impressive concepts at the show. Designed in Honda's advanced design studio in the Roppongi district of central Tokyo, the U3-X is an electric unicycle that employs the gyroscopic system from Honda's Asimo humanoid. Though Asimo was not present, the U3-X was presented in various trims, including an attractive graffiti theme, while the EV-N concept showed how it could be stowed in the door lining of a car.
About the size of an upright skateboard, the U3-X's 'number 8' styling houses seat pads and a ring battery in the upper part, while the lower circle contains the wheel, motor and gyroscope. But it is the wheel that deserves mention here, for without it the U3-X could not be: in place of a single wheel that rotates about the vertical axis to steer, the 'tire' of the U3-X is made of many smaller casters strung like beads on a necklace, each separately powered. That means the device glides left or right according to body gesture, rather than rotating. But more surreal still is the self-righting gyroscope, meaning that it remains upright even when dismounted.
The technology on its own would impress, but what makes the U3-X so satisfying is how well wrought the styling is, and how directly it relates to the incredible package. The double 'O' motif is simple and clear, dividing the object into machine and user, and the manner in which the seats fold out recalls the Butterfly stool of Sori Yanagi. It is honest, and despite the advanced technology feels friendly and well-suited to the domestic context Honda foresees. It is also notable for being part of a new wave of electric self-mobility products (best expressed by the Segway and Toyota iReal) that point to a significant future market owing to downsizing and the propagation of pedestrianized streets. Honda is said to now be looking into feasibility for production, though to leave the U3-X as a research program appears too big an opportunity to miss.
The Tokyo show wouldn't normally be pertinent to the Infiniti brand - as it doesn't sell in Japan - but the new Nissan Fuga did inadvertently become the first full-car preview of the next Infiniti M due next year, as it is a straight re-badge of its upmarket sister model. Though the Infiniti M was previewed at an exclusive event in Pebble Beach in the summer of 2009, it showed no more than a model and a 3D presentation.
Consequently, the Fuga is significant on a number of levels and becomes possibly the plushest production Nissan ever made. The four-door sedan's exterior is akin to a BMW 5-Series in size - with near identical width - but a significant 96mm longer and 32mm taller. Visual interest to differentiate its three-box shape comes in the form of pleasingly pronounced front wheelarches that flank a curving sunken hood - just as on the Infiniti FX50 SUV. A wavy feature line, starting from the back of the front headlamps, runs parallel to this front wheelarch-echoing line before experiencing a pronounced under pinch below the wing mirror and then curves gently downwards through both door handle scoops before kicking up and round again at the rear wheelarch.
The interior is arguably even better. The IP wraps around into the doors on each side from a center console featuring a waterfall-style step section that merges into a high transmission tunnel. The dashboard and console utilize extensive high quality curved real wood veneers that fade from dark to light from the edges inwards - a treatment design boss Nakamura says comes from traditional Japanese Maki-e techniques using shiny lacquer tinted with silver powder. Elsewhere, an analogue clock, overt stitching around the driver dials binnacle and waxy soft-touch leatherette covering the center armrest help to engender a strong luxury feeling. All are clearly upmarket details designed for the Infiniti brand, but meanwhile Nissan's Japanese customers have never had it so good.
This is a significant concept, if not for its visual design then for its packaging and technological achievements. It is a 3.1m long Kei car that seats four adults, contains all of the safety and entertainment features you would expect and weighs in at just 700kg by the use of lightweight high tensile steels, plastics and a rethink of its interior components. The engine is an evolution of the current 3-cylinder 660cc KF powerplant with the ECO Idle stop start system. This achieves over 30km/liter (72 mpg) fuel economy and greatly reduced CO2 and will find its way into future Daihatsu products. In a world where cars have been increasing in weight for the past four decades this is a welcome and timely rethink.
As a concept demonstrating this forward thinking technology however it is a shame that the design of the vehicle is so comprehensively unadventurous. A blunt proportion, conservative surfacing and use of inexpensive production oriented light details lend this concept a dated production car image. Although generally well resolved the side surfaces and graphics tread a well worn path with a simple shoulder line and negative highlight catcher in the door lower. The rear of the vehicle uses a one-piece transparent hatch which reduces components, but which utilizes external hinging doing little to create a fresh image.
The interior fares little better with no originality in the architecture or unique visual language, the most interesting piece of design being the seating, which combines an intelligent use of netting and lightweight steel to massively reduce weight over a conventional system. All in all a step forward for weight reduction technology and recyclable manufacturing, but a bolder and more courageous design direction would be welcome.
0 ความคิดเห็น:
Post a Comment