mazda design story 08
TRANSCRIPT
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M{ZD{ PEOPLE – THE SPIRIT OF M{ZD{
M{ZD{ DESIGN world 4 - 5 >>> Mazda’s design DNA
6 - 8 >>> Mazda Car Design
9 - 12 >>> How to design a car: six steps to sketching a concept
13 - 15 >>> From Concept to Production: Mazda Design
16 - 17 >>> Advanced design at Mazda: four global studios in full ow
40 >>> Laurens van den Acker, General Manager, Design Division, Mazda Corporation
41 >>> Peter Birtwhistle, Chief Designer, Mazda Research & Development, Europe
42 >>> Franz von Holzhausen, Director of Design, Mazda North American Operations
43 >>> Atsuhiko Yamada, Chief Designer, Manager Advance Design Group,
Design Division, Yokohama
44 - 47 >>> Appendix: 25 years of Mazda Design
Mazda Design award list
NAGARE – A NEW DESIGN LANGUAGE
18 - 19 >>> Zoom-Zoom: the physical interpretation of Mazda’s brand heritage
20 - 21 >>> How to design a Mazda: the lines and elements that make a Mazda a Mazda
22 - 23 >>> Inside design: the future of interior design at Mazda
24 - 25 >>> Colour & Trim: driving developments with new materials
26 - 27 >>> Mazda’s design process: the fusion of art and science
28 - 29 >>> The story and importance of Flow: the Nagare generation
30 >>> ‘Flow’ – Nagare design series
31 >>> Mazda Nagare concept – Los Angeles Motor Show 2007 (October 2006)
32 - 33 >>> Mazda Ryuga concept – North American International Auto Show 2007
34 - 35 >>> Mazda Hakaze concept – Geneva Motor Show 2007
36 - 37 >>> Mazda Taiki concept – Tokyo Motor Show 2007
38 - 39 >>> Mazda Furai concept – North American International Auto Show 2008
>>> Mazda Senku“Most Beautiful Design Concept“
Festival Automobile International, Paris, 2005
>>> Mazda Kabura“Aesthetic and Innovation Award“
Detroit Motor Show, 2006
>>> Mazda Ryuga“Louis Vuitton Classic Concept Award“
Detroit Motor Show, 2008
>>> Mazda global design team“Grand Prix Du Design“
Festival Automobile International, Paris, 2008
18-39
Mazda Design 2008 Press Kit Content
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Mazda 2
Mazda 6 4 5
M{ZD{´s DESIGN DNA
To come up with a new design
identity for Mazda, Laurens van
den Acker and his design team had to
condense and rene important heritage
and brand identiers into future design
DNA. But what is design DNA?
As its name would suggest, it’s not so
different from a human genome. Design
DNA is a name for the basic building
blocks that makes a car recognisable. It’s
a design element that ensures a car sharesvisual characteristics with other vehicles
in the same family, while at the same time
distinguishing it from other brands and
other products. Essentially they are the
visual features that a family of cars has in
common – in this case the elements that
make a Mazda look like a Mazda. Usually
these elements include the look and shape
of the grille, the roof angle and the shape
of the headlights and even rear taillights.
It can also mean a crease in a body panel,
the shape of a window or even an unusual
wheel design that is visually identiable
with a car brand. If these are the essential
ingredients for a design language then
the combination of them together, crafted
expertly, and when well executed, shouldlead to a number of distinctive and brand-
unique new cars. In this case the goal is
to create a family of beautiful vehicles,
all uniquely different, yet recognizably
Mazda.
M { z d { D e s i g n W o r l d
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one integrated process from concept to creation
m{zd{ car design
6 7
Mazda MX-5 3rd Generation Design Project
At Mazda, concept car developmentplays a vital role in enhancing
consumer brand perception and represents
a vital opportunity to communicate good
ideas and assess consumer reaction.
But the origins of a concept vehicle rarely
– though sometimes – originate solely in
the design studio. In fact, concept vehicle
development begins with early Advanced
Product Strategy (APS) – strategic team
meetings comprising team members from
design, marketing and engineering.
This strategic planning starts with
research into emerging consumer lifestyle
and future automotive trends to determine
the market’s requirement and potential
acceptance of a concept vehicle.
Often, this early research involvesdocumenting the nature of consumers’
lifestyles through observation; by watching
how consumers use the vehicles they own
and documenting how they feel about
them. In combination with market data
– which indicates consumers’ buying habits
– the APS team is able to evaluate the
potential marketability of future vehicles.
At this point the APS team is able to create
a design and development strategy for any
given concept vehicle while ensuring that
any such development remains faithful to
the Mazda brand and fulls the strategic
goal for the concept.
With engineering, planning and design
professionals all working together as one
group, the design development process is
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enhanced. At this stage a comprehensive
design brief is created and full concept
development begins.
From here designers work with packaging
engineers to develop the vehicle concept,
ensuring it meets the needs of target
consumers. Designers begin to create
vehicle sketches for the possible concept
vehicle. This is called concept generation.
At this stage the design is considered
more ‘free’, sketches are inventive and
investigate a range of ideas involving
proportions and form, and even more
detailed explorations of face graphics
and surface texture. Designers take
into account packaging and platform
constraints and vehicle ‘hard points’ – the
underpinnings of the vehicle chassis and
powertrain – determined by engineers and
often from a ‘donor vehicle’.
Once a design is determined further
sketches are developed, comprising
different vehicle views and interiorand exterior details. From here three-
dimensional clay model development of
the concept vehicle begins. This continues
with digital modeling via the use of
computer-aided design techniques so
that different views of the vehicle – often
in different environments and differentlighting conditions – can be evaluated.
Interior designers begin in earnest to create
interior designs for the concept, working
closely with colour and trim specialists who
are developing mood boards and colour
palettes – including interesting textures
and materials. Once an interior design is
identied, digital modeling gets underway
to generate three-dimensional renderings
and ultimately modeling data.
From here interior and exterior prototype
components are developed for the nal
concept vehicle build. This is usually
assembled in the design studio, or may be
built off-site by a specialist concept vehicle
and prototype construction supplier.
This development process involves
hundreds of steps to successfully realizea full-size three-dimensional and faithful
iteration of the car design team’s original
sketches.
8
Six steps to sketching a concept
HOW TO DESIGN A CAR
Almost all car design begins with
design sketches. Though these are
approached from a number of perspectives,
the One-Point Perspective is the easiest to
master and the quickest to execute and is
where most designers’ ideation begins.
9 Mazda Taiki
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Step 1 – the foundations
Once you are happy with the general shape
and proportions of your vehicle, you can
begin to add details such as on the bumpers,
headlamps, wheels and surface textures.
Step 2 – adding detail
If you are happy with your design so far
then you can begin to add some shading
by shading the windows and wheels using
a marker.
Step 3 – adding shading,
suggesting light
Apply the colour marker or pastel of your
choice across the length of the bodywork,
centering just below the shoulder line.
Step 4 – adding colour
Using a pencil, start by drawing a ground
line, set two wheel positions and create
a shoulder line. It is important to try and
keep your lines light so that you can change
things easily and correct mistakes as the
design progresses without succumbing to
the desire to start again.
Mark out the rough proportions of the
vehicle, of what will become the vehicle’s
bodywork, using a centre line and the
window opening.
Your personal sketch - 1
Your personal sketch - 2
Your personal sketch - 3
Your personal sketch - 4
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To create a realistic and maximum shiny
feeling, put some designers Gouache on all
sunlight reecting and chrome surfaces.
Step 5 – highlighting
This is the nal step. Add a background
to your vehicle. You will achieve a nice 3D
Image and you can also emphasis more
movement in your drawing.
Step 6 – adding b ackground
from concept to
production
Your personal sketch - 5
Your personal sketch - 6
Mazda 2
M{zd{ Design
Mazda Sassou
In most cases, concept cars give a preview
of design cues of future mass production
models. Following are two examples of such
an evolution:
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Ibuki concept to M{zd{ MX-5 (3rd generation)
Inspired by the face and form of the
original 1990 MX-5 design, Mazda
launched the distinctive Ibuki concept at
the 2004 Tokyo Motor Show.
Meaning ‘breathing new energy into‘, the
Ibuki name suggested the concept car’s
secret – that it really was the new MX-5
– while the world’s press reported that any
link was merely theoretical.
In fact, the Ibuki’s ovular design motif –
which was apparent all over the car – really
would become the design motif of the next-
generation Mazda MX-5 when launched at
the Geneva Motor Show 2005. The ovular
headlights and pronounced arches and
the clean, uncluttered and clear surfaces
would all ultimately be seen in the nal
vehicle. Inside the production MX-5 kept
some elements from Ibuki’s design, such as
the three-point steering wheel and ovular
centre console, the strong centre tunnel
and rectangular door-pull handles.
What’s more, for the Ibuki concept, Mazda
moved the entire drivetrain rearwards
and downwards to make the centre of
gravity lower and closer to the center of
the car. The goal was to improve balance
and handling, and maintain the 50/50
weight distribution. The resulting concept
had unusually short overhangs and was
305 mm shorter than Mazda’s current
production MX-5.
By the time of the launch of the subsequent
MX-5, the production vehicle did indeed
exhibit shorter overhangs and improved
handling.
Sassou concept to M{zd{2 (2nd generation)
The Mazda Sassou concept suggested
what Mazda’s next-generation B-
segment product could look like when it
was introduced at the Frankfurt Motor
Show in 2005.
Designed at Mazda‘s design center in
Oberursel, Germany, the name Sassou is
a Japanese term that means having an
optimistic state of mind.
The concept was designed to appeal to
young, rst-time buyers and explored what
young people would want from a car in
terms of future technologies. As a result
of this research, Sassou’s interior was
based on a concept of ‘illumination’ and an
interactive connectivity ideal which saw the
car’s entertainment and personalisation
system uploaded to the vehicle’s hard drive
via a user-operated USB stick key.
Though the interior contributed much to
the concept’s success, it was the exterior
design that would prevail to the Mazda2
production vehicle. Sassou contained
many Mazda design features that would
ultimately be apparent in the later Mazda2
production model, including the overall
form, the surface creases and the front end
– with its large, sporty ve-point grille and
bonnet – itself an evolution of the Mazda
RX-8 front end.
14 15
Mazda Sassou
All-new Mazda2
Mazda Ibuki
3rd generation Mazda MX-5
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four global studios in full flow
Advanced design at M{zd{
16 17
The responsibility for the successful
worldwide introduction of Mazda
design falls to four global design studios
– located in Irvine, California, Oberursel,
near Frankfurt, Germany and Yokohama
and Hiroshima, Japan – all guided by
Laurens van den Acker.
This is an incredible challenge, not least in
communication terms alone. As Laurens
van den Acker is based at the rm’s global
Mazda’s headquarters in Hiroshima, Japan,it means he spends a lot of time traveling
between studios.
All four of Mazda’s studios are playing a
vital role in the supply of ideas for future
design directions. At its simplest, each
of the studios focus on the creation of
products for their local markets. In Irvine,
Mazda’s North American design studio
works on vehicles and concepts for North
America, under the daily direction of
Franz von Holzhausen. In Frankfurt, Peter
Birtwhistle’s studio focuses on vehicles for
Europe. While back in Japan, Yokohama
– under Atsuhiko Yamada – concentrates
its energy on products for Asia, together
with the design headquarters in Hiroshima
which guides overall global design strategy
and engineering integration.
The reality is rather more complex, with
product origination in one geographic
location via import from different global
design studios and often destined for
more than one market. The result is that
each of the studios is effectively globally
1
2
3
4
focused but with local expertise. This leads
to an incredibly healthy environment of
competition and rivalry in the global design
team, but still with openness that ensures
efcient working processes.
Each studio works in three different
areas, creating concept cars, crafting
production vehicles and evolving a better
understanding of how to improve future
Mazda vehicles. All are aspects that will
crucially affect design. But, arguably, it isthe third aspect that is the most important
as it asks ‘where are we headed and what
do we need to do to get there?’
It is usually this ‘third way’ that most
impacts vehicle architecture and
packaging. It starts with a philosophy and
then leads to questions as essential as
‘how will we build these cars and what will
we build them from?’
Usually it is the design studio located
geographically closest to production design
and advanced engineering and planning
that spends the most time focusing on how
and where to build a car. This leaves more
time available to generate concepts and
other ‘experimental’ work to secondary
studios. These studios are vital in thedevelopment of cars, simply because they
have more time to ask questions that their
‘client’, the design headquarters, may not
yet even has asked. Under van den Acker,
each of the studios are encouraged to
imagine ‘further out’, to explore future
ideas and concepts.
IRVINE, CALIFORNIA1
OBERURSeL, GERMANY 2
YOKOHAMA, JAPAN 3
HIROSHIMA, JAPAN 4
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the physical interpretation of M{zd{’s brand heritage
Zoom-Zoom
18 19
When Mazda unveiled the Nagare
concept car at the LA Motor Show
in 2006, it was unlike any concept car seen
before; due to its exterior form language
of textured surface lines and dramatic,
futuristic wedge-like shape.
At rst the car appeared to be a complete
visual change from the trio of concept
vehicles that had immediately preceded it
– Sassou, Senku and Kabura – and no one,
not even on Mazda’s design team, knew howbig an impact their new design philosophy
would make around the world.
The earlier trio of award-winning* concept
cars had all wowed audiences at the world’s
motor shows in 2005 and 2006 – exhibiting
a new and energetic commitment to
exciting and contemporary automotive
design at Mazda. But with the introduction
of the Nagare concept, everything shifted.
It was as dramatic an introduction as any
car company could hope for.
But why such a dramatic shift when the
latest concepts had been so successful?
Franz von Holzhausen, Director of Design
for Mazda North America, explains:
“Mazda has a strong line-up of productsbut we felt that, for the future of the
Mazda brand, we needed to create a design
language that reected an emotional
attachment to the cars, in a similar way
that Zoom-Zoom represented an emotional
attachment to the cars when in motion. The
three concepts explored ideas that would
become part of Flow design philosophy.
Nagare really evolved from these concepts
when Laurens suggested that we be
even bolder and go further than we had
before.”
Mazda‘s brand DNA – the component
philosophical parts from which a Mazda
vehicle is constructed – can be summarized
in a series of adjectives: ‘Zoom-Zoom’,
‘young’, ‘stylish’, ‘spirited’, ‘insightful’,
‘emotion in motion’, ‘innovative’, all are
adjectives that have, over the years,
become directly associated with the Mazda
brand. This is because Mazda cars have
long been heralded for their exceptional
functionality, responsive handling and
excellent driving performance.
“We looked at all of these adjectives andwondered whether they were really being
visually expressed through the design at
Mazda,” Franz von Holzhausen explains.
“Our cars were dynamically great and
proportionally they were good but visually
we felt that they needed work. It’s already
time to prepare the design evolution of
tomorrow. The Nagare concepts show the
way.”
The design team set out to discover
something new and fresh for Mazda design;
in terms of an aesthetic that would dene
Mazda, that visually communicated the
brand and which would become something
that Mazda could ‘own’ from a design
perspective.
Under Laurens van den Acker, the design
team was challenged to capture Mazda’s
driving spirit – embodied in Zoom-Zoom
– by trying to capture Mazda’s essential
brand characteristics visually in Mazda
vehicles, even when they were stationary.
The result was Nagare or Flow, a whole new
design language for Mazda cars.
*Mazda’s Senku concept car was awarded the
Grand Prix du Plus Beau Concept Car at the
XXIst Festival Automobile International in 2006
in Paris. Mazda’s Kabura concept won the Detroit
Motor Show’s Aesthetic and Inn ovation Award.
n a g a r e – a n e w d e s i g n l a n g u a g e
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Mazda Nagare Concept
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The lines and elements that make a M{zd{ a M{zd{
How to design a M{zd{
20 21
Under Mazda’s emerging Nagare (or
Flow) form language, there are many
design elements that dene a Mazda
vehicle.
The most apparent is the surface
treatment itself, which suggests air or
uid ow over the vehicles’ side surfaces.
This is apparent for all of the Nagare
concept vehicles. Their surface designs
are textured to play with light as if the car
is speeding through the air, suggesting thevehicles’ dynamic driving characteristics.
These surfaces vary in accordance with
the vehicle type and its individual shape
and characteristics, as seen in the concept
cars. Although different between each of
the vehicles, it is always appropriate.
A further clear and all-important element
is Mazda’s ve-point grille, which again
differs between vehicles but which has
a strong family resemblance. The exact
shape and nature of the grille is dependent
again on the appropriateness of the grille
(it’s size and shape) within the overall
‘face’ of the vehicle.
Other elements are apparent in the
bonnets, the RX-8-style wheel arches and
the head- and tail lamp treatments of eachof the concepts.
These elements – along with the concepts’
fast wedge shape – are essential building
blocks for Flow design.
Mazda Hakaze
Mazda6
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the future of interior design at M{zd{
Inside design
22 23
Until now the majority of Mazda’s
design focus has been in the evolution
of the Nagare exterior form language. This
has been seen in the design progression
apparent in the ve concept vehicles. But
as Laurens van den Acker explains, the
focus is shifting to how to translate Flow to
the interior of future Mazda vehicles.
“The interior is a different approach; it
is a collection of things. We are naturally
maturing this language, by approachinginterior development with the goal of
having a holistic philosophy.”
“Interior development is focusing on three
key areas – driver orientation, lightness
– which is very important to Mazda – and
Flow. The idea is that the combination of
these three aspects will make our interiors
unique and makes our cars uniquely Mazda.
You could argue that other brands have
driver orientation and they may be trying
to be light too. But only Nagare combined
with the other two can dene Mazda.”
The goal with the interior design is to
generate similar design DNA for the interior
that the design team has been identifying
for the outside of future Mazda vehicles, inorder to create consistent interiors across
Mazda’s future product range.
Driver orientation is a key focus because
the soul of all Mazdas should be the
essence of a sports car. This is a key brand
characteristic for Mazda. The second aspect
lies within the intellectual interpretation of
‘lightness’ as a future brand value.
According to Laurens van den Acker, there
are four aspects to this lightness: “The rst
aspect is to create a visual lightness: things
need to ‘look’ light. We can achieve this
through creating ‘oating surfaces’, thinlooking shapes, openings etc. The second
aspect is physical lightness: the interior
parts and pieces need to ‘be’ as light as
possible, in terms of weight. The third
aspect is the mental aspect of lightness
– this is the fun aspect because we don’t
want things to become too serious. With
Zoom-Zoom we are more young at heart
so I want us to make sure that we keep
a twinkle in the eye. The fourth aspect is
sustainable lightness: the environmental
aspect to this. ‘Don’t leave any footprints
behind, tread lightly, etc’. Of course, choice
of responsible materials and processes, re-
use etc plays an important role.”
This philosophy of lightness is extra-
ordinarily prescient. Van den Acker believes
that within an increasingly stressful world
our ability to enjoy driving a Mazda may
have as much to do with the purity and
serenity of its interior form as it does to its
driving dynamics.
In terms of lightness Nagare also meansless denseness, less emotional drain, less
visual static: “Flow is also about not being
bothered by too much information, about
being given information only when you
need it. We need less rather than more.
Our interiors will look very simple with just
a few areas of information and technology.
The ultimate goal is to have a interior,
created from Flow, which is calming and
peaceful.”
So Nagare – from an interior pe rspective – is
devoid of mental stress and anxiety. It is just
as central to Mazda’s new design approach
as the exterior surface textures.
Mazda Ryuga
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Mazda Taiki
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driving developments with new materials
Colour & Trim
24 25
The successful execution of creating
Flow interiors with the visual lightness
that Laurens van den Acker describes is
highly dependent on new and innovative
ways of using materials.
Here Mazda’s design team is working
hard to develop a revolutionary approach
to both exterior and interior form and
material choice.
Simple forms which ow in terms of bothshape and function across components will
require a sea of change in interior design
and may require complex manufacturing
techniques. The ideal of having
conventionally separate and distinct
interior components owing into one
another – such as the instrument panel
owing into the centre console and on into
the front seats, while combining functional
and technical elements such as climate
control and audio entertainment systems
– will require a revolution in form creation
and manufacturing.
Mazda is already developing advanced
materials that meet its environmental
responsibilities. Bioplastics which produce
less CO 2 in their manufacture thanconventional plastics, have already shaped
the interior of the Taiki concept and work
continues to bring these materials – and
others – to production vehicles. To do so
while maintaining functional simplicity and
ergonomic clarity and yet still maintain an
occupant friendly, sensual and calm interior
is a challenge that will depend upon such an
innovative approach to colour and materialuse. As Laurens van den Acker explains:
“By applying the thinking of Nagare then
Flow becomes how one object ows into
another; such as how an interior form like an
IP (instrument panel) could become a seat
– like in Taiki – or how driver information
systems ows into the car and how this is
managed. We are just starting to think thisway. Instead of being a typewriter – where
every button has a function – we are star ting
to link all these things. In reality everything
is linked anyway. Though with Nagare there
will be an emotional and visual link through
the use of colour and materials.”
Mazda Taiki
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the fusion of art and science
M{zd{´s design process
26 27
“The most interesting thing about Mazda
design, in terms of the technology used
to help create it, is that 20 years ago, it
wouldn’t have been possible,” explains
Peter Birtwhistle, chief of design, Mazda
Europe. “The complexity and the subtlety
of the surfaces would mean, even in the
hands of the most skilled clay modelers,
that it is virtually impossible to do by
hand.”
Traditionally, during the car designprocess, a car designer would sketch a car
and then make a small exterior clay model
before moving to larger clay models at the
green light stage. Highly skilled modelers
then work on the full-size clay to generate
a life-size, near-realistic ‘vehicle’. This
process has been used for generations of
cars, but in recent years the integration
of digital design processes has seen car
development change. Though the exact
methods used vary between automakers,
cars are increasingly created within the
computer (or transferred there from the
initial 2D sketches) using digital design
software. Ultimately this software allows
3D mathematical form data to be created
from a 2D drawing. This information is
combined with technical information, suchas the existing components including the
chassis and drive system, – known as the
‘hard points’ – to create a 3D ‘realistic
model’ before a time-consuming clay model
ever needs to be cut. At this stage, this
data can be exported to a multi-axis milling
machine, which can produce a life size clay
facsimile of the vehicle containing the
exact complexities of the original design.
Ultimately this data can be used to create
actual car components and production
tooling moulds for the manufacturing
process.
Today‘s complex surfaces could only have
been executed digitally. This is because
it is easier to design and produce clean,
clear surfaces than the complex texturedsurface language. This, combined with a
technological understanding that is rare
amongst car designers and the integration
of advanced computer-aided design and
engineering processes within Mazda,
means that Mazda has the technical ability
to bring design ideas to market.
“If you break it down to its simplest forms,
it is not that much more complicated to do
than current construction,“ says Franz von
Holzhausen, “but the manufacturability of
the textures will be crucial because these
textures are a signature design language
for Mazda.”
“Every concept car that we have done has
been a learning process,” explains Laurens
van den Acker. “We have worked with some
of the most adventurous engineers in theworld. There is a long history of this kind of
innovation at Mazda. It’s a designers dream
to have engineers that want, so much, to do
this. We do have to work very closely with
our engineers and our suppliers. Everyone
has to be onboard.”
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the Nagare generation
The story and importance of Flow
28 29
After lots of brain storming, sketching,
research and feasibility studies the
Nagare design language was born, in the
form of the Nagare concept car: but where
did it come from and how did it evolve?
The design team began by looking at
the dynamic qualities existent in Mazda
vehicles. Of these nothing summed up
Mazda better than ‘emotion in motion’;
Mazda’s commitment to engineering
vehicles that offered a purity of childlikeenjoyment through the sheer joy of
motoring.
Hours of discussion conrmed amongst
the design team that Mazda deserved the
same emotion in its cars when they were
static as it had earned when they were
moving.
“We turned to nature for inspiration,
focusing on images of motion created
by forces like wind and water,” explains
Laurens van den Acker. “Such natural ow
lines all lend an intuitive sense of motion.”
“We wanted to create cars that had a
‘snapshot feeling’ of this natural motion,”
explains Laurens van den Acker. “Werealised that the automotive industry is
one of the few industries that hadn’t yet
captured these amazing natural textures
from the landscape. Architecture, fashion
and product design have all looked at
these landscape elements. There was a
great opportunity for us to interpret this
for Mazda design.”
“Our new surface language is car-centric,”
adds Franz von Holzhausen. “After studying
the architectural approach, which tends to
be strictly rigid, and the organic approach,
which is highly uid, we created Nagare to
straddle those two disciplines. It is uid,
graceful, and dynamic. But the message it
registers on the beholder is ow-motion.”
From here Mazda’s designers began to
explore the possibility of textured surfacing
on cars: as if the cars’ surfaces had been
naturally sculptured by air or water.
Mazda’s design team began by developing a
surface language to visually describe their
Flow philosophy. Like the natural elements
that had inspired them, the team wanted
to communicate the sheer raw power ofMazda motion even when their cars were
still, as van den Acker explains:
“It was in making the transition from
observing motion in nature as an expression
of energy to applying it to a manmade
object such as a car that we discovered
what a thoroughly exciting and logical
creative approach the design concept
represented. This revelation allowed us to
proceed to create one dramatic and unique
design after another.”
Conventional automotive design dictates
that the panels of car bodies are comprised
of smooth, clean and clear surfaces. Yet
Flow is like a ripple or a wave effect across
the surface of the metal.
“The surface language of Nagare goes
against conventional design thinking of
clean, uncomplicated surfaces,” explains
Franz von Holzhausen. “This is what we
are all taught at college so it goes against
the grain.
“We are breaking the golden rule of design– which is to simplify,” explains Laurens
van den Acker. “Everybody will tell you to
remove lines until you have no more left to
remove. We are adding lines, which is kind
of counter intuitive, but if we do it well it
looks natural and creates beauty.”
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Los Angeles Motor Show 2006
M{zd{ Nagare
concept
30 31
According to Franz von Holzhausen,
who led Irvine’s design team in the
development of the Nagare concept,
Mazda’s rst public display of Nagare
design, the Nagare concept vehicle was
actually ‚a concept of a concept‘.
At the time, Mazda’s designers were simply
exploring potential surface language and
vehicle proportions that would began the
evolution of Flow. Nagare’s form had been
unconstrained by functional realities, it
was simply a visual blueprint of conceptual
intent.
Yet, despite coming – as it did – at the verybeginning of an intellectual process that
was evolving ‘on the y’, Nagare displayed
a number of Flow elements that would
remain. Its sleek and aerodynamic form
was to prove justiably robust and this
‘fast’ shape would later inform all of the
subsequent concepts, as would the wheels
planted rmly in all four corners to express
agility.
Most impressive of all was the two long
buttery doors that moved forward and up
to enable access to the four-seat interior.
With a centrally located driving seat and
wraparound lounge effect rear seating,
Nagare managed to combine driving
dynamics and interior function all in the
one innovative package.
“Our Irvine studio really pioneered the
design philosophy, the concept of Nagare.
It grew from the earlier Senku and Kaburaconcepts and Nagare evolved from there,”
explains Franz von Holzhausen. “As we
started to develop the Nagare concept we
realised that we were creating a design
philosophy that had a lot of light.”
Flow – Nagare
design series
”E ach concept displays a slightly
different interaction between
motion and ow in terms of its surfacing.
There is no right or wrong way to capture
the impression of motion, so with each
of the concepts we present a different
interpretation of our new surface
language.”
– Laurens van den Acker, General Manager
Design Division
The rst concept car created using Flow
was the Mazda Nagare, launched in
November 2006. As the rst of a series
of design concepts – some closer to actual
production vehicles than others – Nagare
was a pure exploration in Flow surfacing.
Mazda Ryuga followed soon after – in
January 2007 – and began to explore the
idea of combining the beauty of motion
with man-made structures – in this case,
the traditional Japanese rock garden.
By the time of the Mazda Hakaze design
concept – in April 2007 – Flow had begun to
investigate the different vehicle iterations
that the design philosophy could realize
practically.
The interior possibilities for Flow design
really began to take shape with the
introduction of the Taiki concept, in
October 2007.
Furai, of course, began to communicate
extremel sporty possibilities for Flow
design, when it was introduced in January
2008.
All of the Nagare concepts conrm
that far from being a design exercise in
experimental form, Mazda’s Flow strategyis evolving towards a true production
reality.
The Nagare concept car series is to be
continued with the introduction of further
vehicles in 2008.
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According to Franz von Holzhausen, who
led Irvine’s design team in the development
of the Nagare concept, Mazda’s rst public
display of Nagare design, the Nagare
concept vehicle was actually “a concept of
a concept”.
At the time Mazda’s designers were simply
exploring potential surface language and
vehicle proportions that would began the
evolution of Flow. Nagare’s form had been
unconstrained by functional realities, it
was simply a visual blueprint of conceptual
intent.
Yet, despite coming – as it did – at the very
beginning of an intellectual process that
was evolving ‘on the y’, Nagare displayeda number of Flow elements that would
remain. Its sleek and aerodynamic form
was to prove justiably robust and this
‘fast’ shape would later inform all of the
subsequent concepts, as would the wheels
planted rmly in all four corners to express
agility.
Most impressive of all was the two long
buttery doors that moved forward and up
to enable access to the four-seat interior.
With a centrally located driving seat and
wraparound lounge effect rear seating,
Nagare managed to combine driving
dynamics and interior function all in the
one innovative package.
“Our Irvine studio really pioneered the
design philosophy, the concept of Nagare.
It grew from the earlier Senku and Kabura
concepts and Nagare evolved from there,”
explains Franz von Holzhausen.
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North American International Auto Show 2007
M{zd{ ryuga concept
32 33
By the time the Ryuga concept followed
from Mazda’s Hiroshima DesignCenter, in Japan – led by Chief Designer
Yasushi Nakamuta – Mazda’s designers
had begun to ask ‘how would nature form
objects if articially controlled by man?’
The result was the hugely successful and
beautiful Ryuga concept (pronounced
ree-yoo-ga) which combined natural
beauty and man-made motion, thanks
to its stunning side surfaces inspired by
Japanese karesansui rock gardens.
As Laurens van den Acker put it Ryuga
“added denition” to the evolving Nagare
design philosophy, by adding powertrain
and interior design details that were absent
from the rst Nagare concept.
Again, the wedge shape added dynamicism
and movement with smaller volumes at thefront and larger volumes at the rear. The
design team placed large wheels far into
the corners of the concept. The wheels,
with their 21-inch slightly twisted wheel
spokes, added drama as if they too were
moving even when Ryuga was static – the
effect, like a powerful gas turbine, was
stunning.
Details such as a headlight shape inspired
by the ow of morning dew falling from
bamboo and rear tail lights, suggesting
lava ow, underlined how far the approach
had come.
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Geneva Motor Show 2007
M{zd{ Hakaze concept
34 35
Conceived at the Mazda Motor Europe
design centre near Frankfurt, Germany,the Hakaze concept (pronounced hah-kah-
zay) is a crossover coupe that feels like a
roadster, and represents a more practical
and functional iteration of Flow design.
Hakaze was developed for consumers
that wanted to drive an exciting coupe
or convertible but who – due to their
own lifestyle demands – required a more
practical vehicle. The resulting concept
is fun and agile like a coupe, yet has the
practicality and function of an SUV, while
a roadster feel was possible thanks to the
removable glass roof.
Most surprising of all was Hakaze’s
extremely compact proportions. Though
wider and taller than a Mazda3 hatchback,
it was just 15 mm longer.
The surface treatment for Hakaze took
its inspiration from a combination of
natural elements, like sand-dunes, plus
technological man-made objects such as
helicopters, speed boats and jetghters.
The result was a more muscular and taut
interpretation of Mazda‘s Nagare form
language, which was entirely appropriate
for a vehicle of its type.
Continuing from Mazda Europe’s earlier
Sassou concept, Hakaze displayed a unique
illumination system with light owing
directly into the lower rear window creating
an impression of oating light.
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Tokyo Motor Show 2007
M{zd{ taiki concept
36 37
Taiki (pronounced tie-kee) is a sports
car for a future sustainable society,that explores weight reduction and
aerodynamic technologies in pursuit of
improved fuel efciency and reduced CO 2
emissions.
With a form comprising complex, rippled
shapes, Taiki’s exterior was inspired by
the owing robes of a celestial maiden
in Japanese legend and by Japanese
koinobori ‘climbing carp streamers‘. The
result is an unusually non-aggressive and
responsible take on sports car design.
Using the koinobori theme, the design
team – led by Atsuhiko Yamada, chief
designer at Mazda’s Design Division in
Yokohama, Japan – created an air-tubeform for the concept. This stretched coupe
shape with its front-engine rear-wheel-
drive layout, short overhangs, and all-glass
canopy, visually expresses air ow and this
can be seen in everything from its surface
treatment to its complex but beautiful
wheel arches and wing-like tail.
The most advanced iteration yet of Flow
interior form language can be seen in
Taiki, with the ow of air literally shaping
the interior with its yin-yang split of
driver-focused cockpit and calm, relaxing
passenger space.
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North American International Auto Show 2008
M{zd{ furai concept
38 39
The Mazda Furai concept (pronounced
‘foo-rye’ – Japanese for ‘sound of the
wind’) is the latest in the Nagare concepts
and celebrates 40 years of Mazda
involvement in motorsport.
Created at the Mazda North American
Operations’ (MNAO) studio in Irvine,
California under the leadership of Franz
von Holzhausen, Director of Design, the
design team set out to create a car that
blurred the boundaries between road-car
and weekend racer to create a functionalrace car.
The design team began by taking the
successful Le Mans Courage C65 chassis
and adding a closed cockpit and Nagare
design elements. But while the four previous
concept cars explored Nagare’s emerging
design aesthetic, and featured core design
elements such as the aggressive headlamps
and unique ve-point grille, Furai has each
of its Nagare textures and details serving a
functional purpose.
Where Taiki had been a visual interpretation
of the ow of air, it fell to Furai to actually
channel it. On Furai, Nagare’s ‘ow lines’
actually enhance the vehicle’s aerodynamic
performance, by channelling and directing
the air ow over Furai’s body surface. Atthe front, the air-ow package takes air
moving under the car and directs it inside
the body to the engine-cooling radiators,
while the form of Furai’s side surfaces
feeds air to the rear brakes, the oil cooler
and the transmission cooler.
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Laurens van den Acker, general manager, Design Division, M{zd{ Corporation
40 41
Laurens van den Acker is general
manager of Mazda’a Design Division.
He is responsible for the overall design and
styling of all of Mazda‘s global products
including concept vehicles and it was his
initiative that introduced the new global
design identity of Nagare form language at
Mazda. Van den Acker is the driving force
that has established Mazda’s strong and
creative global design network.
Before joining Mazda, van den Acker was
chief designer of Strategic Design in the
Dearborn Advanced Studio at Ford Motor
Company, North America.
Laurens van den Acker says he is delighted
to be heading Mazda Design, particularlyat this time and for a company that is so
supportive of such innovation.
“By tuning up the visual volume this
way, we are creating a new generation of
Mazda vehicles and reinforcing Mazda’s
commitment to build sporty and passionate
vehicles. Ultimately this Nagare form
language – as applied on the Taiki and
Ryuga concepts – will be seen as similar
exterior textural elements on future Mazda
production vehicles.”
P eter Birtwhistle is chief of design for
Mazda Europe. He is responsible for
overseeing the design and development
of all vehicles for Mazda’s European
design operations and is based at Mazda‘s
European research and development
centre in Oberursel, Germany. Responsible
for creating vehicles in the world’s most
competitive and challenging car market,
Birtwhistle leads an international team of
designers.
Birtwhistle joined Mazda as a senior
designer in 1988 and has been leading
Mazda’s European design operations since
2000. Before joining Mazda, Birtwhistle
was assistant exterior studio chief designer
at Porsche, and a studio designer at Audiand Vauxhall. Before beginning his carreer,
Birtwhistle studied automotive design at
the Royal College of Art, London.
“With the new design philosophy we will
get more visual expression and excitement
into the bodies of Mazda cars beyond
conventional elements. It’s great to have
such a common goal and it is a very creative
time because there is such openness to
new ideas; to have designers able to create
so many elements and so many details. We
are creating forms and features that would
not have been possible before the new
Nagare form language.“
M{zd{ people – The spirit of M{zd{
Peter Birtwhistle, chief designer, M{zd{ Research & Development, Europe
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Franz von Holzhausen, director of design, M{zd{ North American Operations
42 43
F ranz von Holzhausen is director of
design at Mazda’s North American
Operations (MNAO).
He is responsible for overseeing the design
and development of all vehicles for Mazda
North American Operations and is based
at Mazda‘s North American design and
research and development centre in Irvine,
California, USA.
Von Holzhausen joined Mazda from General
Motors where he was design manager,
managing programs including the Pontiac
Solstice concept and production vehicles,
as well as Saturn derivatives. Prior to his
time at GM, von Holzhausen served as
assistant chief designer for Volkswagen.
At Volkswagen, he was a key designer
involved in the design development of the
Audi TT and Concept 1 New Beetle, working
under J Mays. Von Holzhausen led the
Nagare concept car development – the
rst concept to show Mazda’s Flow Design
philosophy – and which would later spawn
Ryuga. Under his day-to-day direction, he
and his Irvine design team helped design
and co-develop the Ryuga concept that
would later be nished and built in Japan.
Also, the latest Nagare concept – Furai
– was executed back in his Irvine studio.
Von Holzhausen says he is most inspired
when he is involved in projects that are truly
innovative: “I love breaking new ground,
whether just for the brand or generally. To a
certain extent we are simply providing the
design that people have been waiting for.
I think we are breaking some boundaries
in automotive design that needed to be
broken.
“It is pioneering design. It is forging a way
ahead for everyone in the industry. If you
think about the textured surfaces, the
surface language and manufacture, it is a
pioneer for change. It is so different from
anything else that is out there”.
Atsuhiko Yamada is chief designer and
manager of the Advance Design Group
in Mazda’s design division in Yokohama,
Japan. He is responsible for overseeing the
day-to-day design and development of all
vehicles for Mazda’s Japanese and Asian
operations.
In Yokohama, his team is engaged in the
development of designs for ve to ten
years from now. It was Yamada’s team that
developed the Ryuga and Taiki concepts. He
leads a team that investigates and studies
design trends in various areas such as pop
culture, architecture, product and fashion
design and synthesizes them into products
relevant to local markets. In recent years,
he has had lead involvement in the designdevelopment of the Mazda2, Mazda6, and
CX-9 projects.
“The philosophy of Nagare is very natural
to me for designing a car,” explains
Atsuhiko Yamada. “Japanese culture and
design, historically, are heavily inuenced
by nature and we see a lot of beautiful ow
design languages in architecture, garden,
art and fashion. I was brought up in such an
environment and I am excited that I have
the opportunity to translate the beauty of
nature into car design”.
“I think this language will appeal to many
people even if they have different cultural
backgrounds, because nature is so beautiful
to everyone. The journey could be endless
and there is potentially unlimited design
inspiration.”
Atsuhiko Yamada, chief designer,
Manager Advance Design Group, Design Division, Yokohama
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44 45
25 years of m{zd{ design
that came into our daily lives ...and some innovations
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46 47that came into our daily lives ...and some innovations
Mazda Furai
25 years oF m{zd{ design