Newspapers are interesting. You can pick up a sheaf of pulped wood and read articles about all sorts of fascinating topics. Just the other day I read a small piece about driverless cars. This made me wonder about two things.
The article I read (in the International New York Times) reported how last Monday at the International CES, a large trade show themed on technology, Dieter Zetsche showed off Mercedes Benz’s vision of a driverless car. Zetsche described the car as a sort of “luxury carriage” that could provide a peaceful and pleasant space for its passengers. Continue reading “Customerless Car Companies”
Driven To Write attempts to decipher an aerodynamic staple but finds the going surprisingly turbulent.
In architectural terms, a buttress is defined as a structural member built against or projecting from a wall serving as a support or reinforcement. They were more prevalent at a period when structural engineering was more of a naive art, employed as a support against sideways forces. As architect’s skills developed, the need for buttressing decreased, latterly viewed as something of an admission of failure, much like an air dam or spoiler in automotive terms. There are several types of architectural buttresses, the most visually spectacular probably being the ‘flying buttress’, a structural device used in the design of many Gothic cathedrals.
Little credit goes to Toyota’s designers for their contribution to dashboard design. Let’s change that and reconsider the seventh generation of the Corolla, the E100, on sale from 1991 to 1995.
Toyota has always carefully controlled the extent to which the fashions of the times have influenced its dashboards’ appearance. Corolla customers are such that they want the car to be as unobtrusive as possible and perhaps they are even unaware of this powerful desire. For any designer to make a shape that meets this requirement is far from easy. It is like designing unspoken rules, design for the tacit. To do what designers often do, driven by ego, is to seek attention. Continue reading “Theme: Dashboards – Toyota’s Subtle Game”
Patrick Le Quément’s legacy of highly convincing, but unrealised Renault concepts begins here…
Renault seem to have been making attempts to crack the luxury car market for decades now. During the 1970’s they offered us the R30 hatchback – a kind of updated R16 with a V6 engine and luxury trim. It wasn’t a bad car – in fact contemporary reports suggest it was rather good. But success eluded it – although the smaller-engined R20 model sharing an identical bodyshell can’t have aided matters.
During the 1980’s Renault tried again with the more attractive looking Robert Opron-inspired R25. They got around the issue this time by offering the same model with a range of engines and while the car proved moderately successful outside of its home market, it too failed to make serious inroads upon rivals like the contemporary Audi 100 and Ford Scorpio.
During 1987, with Opron (and consultant, Marcello Gandini) gone, Renault appointed Partick Le Quément as Vice President of Corporate Design with a remit to shake up Renault’s styling and by dint, its position in the market. Le Quément got to work and one of the first fruits of this new regime was shown at the 1988 Paris Motor Show. The Megane concept was a three volume saloon with a drag coefficient of 0.21; Renault describing the Megane’s appearance as “plump yet not appearing so, a completely new form.” (Note the complete absence of the word ‘sporty’ – although one has to admit, ‘plump’ wouldn’t have been my choice of words)
Its huge sliding doors revealed an interior that resembled that of a private jet, the Megane in some ways anticipating the later Avantime in providing exceptional comfort for four occupants – Le Quément calling it “a supercar for living.” Some of the more outré features such as the two luggage compartments and its ability to switch from a three volume to a hatchback by sliding its frameless rear window aft were somewhat far fetched show car frippery, but there was within this concept, the bones of a convincing big Renault for the 1990’s – one that could have given the Citroën XM a bit of a fright. So how on earth they went from this to the 1992 Safrane is anyone’s guess. One can only assume it was an argument Le Quément lost to more risk-averse minds.
Certainly, it was one that served Renault poorly, given the Safrane’s lack of sales success and Renault’s continued inability to wrest even a decent proportion of their German rival’s market. The Safrane’s lack of appeal saw Renault’s share of the mainstream luxury car market shrink to levels that were frankly unsustainable by the time it was eventually replaced by the Avantime and Vel Satis. A matter that should be borne in mind when considering their eventual fate.
The Megane concept therefore marks the beginning of a generation of avant garde Renault concepts – visions of what would become an impossible future.
Further musings on Renault’s recent design history can be read here and here
This year, Bertone has joined the doleful list of recently deceased Italian styling houses, having held out against the inevitable longer than most. The quantity and quality of Bertone’s output had been in decline, particularly as commissions from major manufacturers began to dry up. The era of the great Italian styling houses is over and the centre of gravity has moved away from its traditional Italian heartland. Continue reading “Death of a Carrozzeria”