Not super new, but I don't think I've seen these interviews with Ian Callum posted here before... Some interesting insights from one of the best - BTW, love the Deuce; who knew Ian & Murray grew up on hot rods on the brain.
https://gmauthority.com/blog/2020/10/gm-design-reveals-sketches-that-inspired-1951-buick-lesabre/ GM Design Reveals Sketches That Inspired 1951 Buick LeSabre We are currently looking for experienced automotive journalists and editors to join our team. Make $60k-$80k per year doing what you love. We are also looking for an experienced forum moderator to join our team. See details here. 7 BY JONATHAN LOPEZ — OCT 5, 2020 Image Unavailable, Please Login Sponsored Links The 1951 Buick LeSabre is considered one of the most influential show cars of the 1950s, introducing jaw-dropping styling inspired by the aerospace age. Now, General Motors is providing a look back at some of the design sketches that led to this pivotal moment in GM design. Image Unavailable, Please Login Recently posted to the official General Motors Design Instagram feed (@generalmotorsdesign), the sketches are done in black and white, drawn by hand in 1949. Each picture shows the Buick LeSabre concept from an exciting angle, while also focusing in on some of the more note-worthy design elements added across the body. The Buick LeSabre concept is credited to General Motors Art Department head Harley Earl, who sought to bring the streamlined look of jet aircraft down to the pavement. Also known for creating the Buick Y-Job, Earl started the tradition of creating one-off concept vehicles to gauge public reaction to styling cues and design direction, and unsurprisingly, the 1951 Buick LeSabre concept helped to usher in elements like wraparound windshields and tail fins, setting the stage for one of the most iconic periods of American automobile design history. Image Unavailable, Please Login Like the Y-job, the Buick LeSabre concept would later become Earl’s personal mode of transportation, and was powered by a supercharged 3.5L V8 engine. The LeSabre also came with a rear-mounted Buick Dynaflow automatic transmission, while electric lifting jacks were integrated into the chassis to make tire changes a breeze. The cabin was equipped with heated seats. Image Unavailable, Please Login While the imagination, technology, and engineering that went into creating the 1951 Buick LeSabre should not be discounted in any way, it’s far easier to appreciate this concept’s incredible design. Contemporary onlookers no doubt saw the LeSabre as a slice of motoring from the future, while these days, the vehicle harkens back to a legendary time in the history of the American automobile.
Jaguar Design http://autodesignmagazine.com/en/2020/11/jaguar-design-for-a-better-future/?fbclid=IwAR3siURE5as4IzNdHWu3V2OBIQ8XAQXkeJl3DL5cUE5dJIHeGu55_tkdFzU JAGUAR, DESIGN FOR A BETTER FUTURE Home/NEWS/JAGUAR, DESIGN FOR A BETTER FUTURE View Larger Image Image Unavailable, Please Login The events of the last few months have forced us to take a break, in which we have been able to take a step back from the chaos and frenzy of everyday life, thus being able to assess what is really special. I hope that my team will come back regenerated, with new ideas and greater clarity about what will be important in the world in the future”. Julian Thomson, Jaguar Design Director, reflects on the changes that the coronavirus pandemic is bringing globally without losing optimism. “During this extremely difficult period, each of us had to change our daily lives and felt the impact of the Covid-19 differently. This sense of uncertainty and upheaval has forced people to pause, take stock of what is really important and assess what really adds purpose and meaning to their lives”. Although extremely disruptive and difficult to deal with, times of crisis can often generate a major push for innovation and fuel the need for more creativity. Jaguar designers have produced several videos in which they tell us how they could contribute to a more positive vision for the future and, at the same time, they share their commitment to creating lasting change. Here is the first by Julian Thomson. By A&D|23 November 2020|NEWS
Image Unavailable, Please Login Corvette Design Competition at College for Creative Studies. The link will show the 1st place winner. https://www.prnewswire.com/news-releases/genovation-cars-announces-design-competition-winners-301133484.html?fbclid=IwAR1LPQaf64au-CZW9N7OO0UvC1fSf6vxxk2_Hgt19NQVHFi4MKOUdaUjmzA Genovation Cars Announces Design Competition Winners CCS Transportation Design Student Job Skandera Awarded Top Prize Image Unavailable, Please Login NEWS PROVIDED BY Genovation Cars Inc. Sep 17, 2020, 13:51 ET SHARE THIS ARTICLE https://dtw-files.centigrade.com/share.cgi?ssid=0tNGAGx JUDGING PARAMETERS The winning design were judged based on these criteria: Defines a unique American exotic supercar Avoids encumbering high performance aerodynamics Reflects Genovation's commitment to innovation, creativity, and cutting-edge electric vehicle technology JUDGES Andrew Saul, CEO of Genovation Cars, Inc. Julie Barnard, President of Centigrade Inc. Ken Lingenfelter, Owner and President of Lingenfelter Performance Engineering, Lingenfelter Motor Sports, and the Lingenfelter Collection Gordon Platto, Design Director, NA Ford Cars and CUV's Ed Welburn, General Motors Vice President of Global Design (retired), Movie Executive Producer, Member of the CCS Board of Trustees "I am honored to be a part of this extraordinary opportunity from Genovation Cars and The College for Creative Studies. This design challenge has helped me grow immensely, and I'm looking forward to learning more in continuing through development," said Job Skandera. "I want to thank Genovation and CCS for the scholarship and the recognition. All the glory belongs to God, who's hand gives every beautiful and perfect thing." “This CCS design competition brought together three of my favorite subjects, Corvette, Electrification, and developing the next generation of automobile designers,” said Ed Welburn, General Motors Vice President of Design (retired) and a Member of the CCS Board of Trustees. “I am so impressed by the research, theme development, and final designs created by the CCS students. Their work helps me feel confident in the next generation of car designers. I also must thank the people of Genovation for providing such a great platform for this design competition.” "The Genovation Team was extremely impressed with the submissions," said Andrew Saul, CEO of Genovation Cars, Inc. "The high level of creativity is a credit to the student's design sense and the role The College for Creative Studies played in mentoring these talented individuals. It was a great honor to be on a judging panel with such automotive luminaries. We very much look forward to future collaborations." "The College for Creative Studies Transportation Design Department wishes to extend their gratitude for this competition offered by Genovation. The brief, based on adherence to an existing platform, was a significant real-world experience for our students and recent graduates. I am proud to say they rose to the challenge. Also, many thanks go out to the panel of prestigious judges that brought so much richness to the experience. In addition to becoming a valuable portfolio piece for these rising stars, having the opportunity to present to you and receive your valuable feedback was an honor they will hold in their hearts as they transition into their professional careers." Paul Snyder, Paul & Helen Farago Chair of Transportation Design. About Genovation GXE The GXE was designed from the ground up to have a low center of gravity and near 50/50 weight distribution: a true driver's car. The GXE also comes equipped with a programmable active suspension, carbon ceramic Brembo® brakes, state-of-the-art carbon fiber wheels supplied by Carbon Revolution, ultra-high fidelity 10-speaker JBL stereo, a 10.4-inch custom high definition center console touchscreen and bespoke exterior and interior. The all-electric supercar comes available with either a 7-speed manual – an all-electric supercar category exclusive – or an 8-speed paddle shift automatic transmission. In normal driving operation, the Genovation GXE delivers a range of more than 175 miles on a full battery charge, imperative to ultra-high performance and efficient daily-driver convenience. The Genovation GXE will be produced in a limited-edition run of 75 units, with initial customer deliveries scheduled in 2021. About College for Creative Studies Located in the heart of Detroit and ranked third among U.S. art and design colleges by LinkedIn for alumni success, the College for Creative Studies (CCS) is a world-class institution that educates artists and designers to be leaders in the creative professions. A private, fully accredited college, CCS enrolls more than 1,400 students pursuing Bachelor of Fine Arts (BFA) and Master of Fine Arts (MFA) degrees. Students in the BFA program can major in Advertising Design, Communication Design, Crafts, Entertainment Arts, Fashion Accessories Design, Fine Arts, Illustration, Interior Design, Photography, Product Design, and Transportation Design, in addition to a dual major Art Education program. Students in the MFA program can major in Color and Materials Design, Interaction Design, Integrated Design, and Transportation Design. About Genovation Cars Genovation's long-term goal is to be a premier provider of high-performance sustainable automobiles. Genovation is committed to supporting the rapidly changing state-of-the-art EV technology with the knowledge that performance EVs will accelerate the delivery of sustainable products for future generations. The prototype Genovation GXE all-electric supercar has broken several significant world records on multiple occasions. Genovation is raising the bar in energy storage, propulsion, and composite and suspension technologies. We ask our customers to join us on this journey. www.genovationcars.com SOURCE Genovation Cars Inc.
Nice but nothing that is spectacular. Some nice enough renderings but not sure what happens when the cross section has to be applied to a real package. I would want to see all the other proposals before selecting this as the winner. That might be more telling on the opinions of the judges.
Have to agree. Judging on 'reach' vs. 'appeal', not so high on the former, higher on the latter. Tough crowd here. Besides, the winner & judges don't care what I may think.
Honestly, the first word that came to mind was "Banshee!" for which I had to check the date. 1964 - So judging on 'reach', I'm inclined to agree with you...
Not sure if non subscribers can access the content. Interesting discussion on the latest trend in design sketching. https://www.formtrends.com/unravelling-the-trend-of-unrealistic-design-sketches/?fbclid=IwAR0nzzdiVfI4hlbVq3AoP26ZKAAeto9VO2qdknVTZHA2V4qBXdD4Snet4yA
Guys in the industry, Im curious if when building engines, or even engine bays in general, how much, if any, consideration is given to aesthetics vs, practicality. Image Unavailable, Please Login
I can only speak from my personal experience, but we spent a great deal of time designing the 'under hood' appearance. Currently they created a separate studio to just handle underwood appearance, lighting and wheels. HOWEVER, with the advent of electrification just around the corner, it will be interesting to see what happens. Anyone interested in looking at electric motors???
Interesting review of the art installation at the Detroit Institute of Arts surrounding the "automotive style/design since 1950. https://detroitartreview.com/?fbclid=IwAR170wE9RstoRL7u4_gmetB1lq5fTMFfUwfVweZLLmMBk0bIWmZAImkPhnQ Car Design in the Motor City @ DIA November 25, 2020 by Dennis Nawrocki Detroit Style: Car Design in the Motor City, 1950 – 2020 at the Detroit Institute of Arts Image Unavailable, Please Login Installation: counterclockwise, Firebird III, General Motors, 1958; 300C, Chrysler Corporation, 1957; Le Sabre, General Motors, 1951 As a visitor arriving at the Farnsworth Street entrance of the Detroit Institute of Arts to take in “Detroit Style: Car Design in the Motor City, 1950 – 2020,” you’ve just begun your journey. After entering the Farnsworth doors of the South Wing of the building, one begins a colorful and eye-catching hike across the width of the museum. The tour passes through the hallowed halls and treasure laden galleries of the Institute until reaching the North Wing and the now deinstalled modern/contemporary galleries and the exhibition entrance. There, a wide doorway (definitely not a columned portal) leads into the first show-stopping gallery of “Detroit Style.” Unlike any other gallery in the DIA, arrayed before you is a breathtaking trio of sleek, shiny automobiles seemingly floating on an expansive white vinyl plinth: a silvery gray Firebird III (General Motors, 1958), a pristine white 300C (Chrysler Corporation, 1957), and a lush misty blue Le Sabre (General Motors,1951). Their elegantly understated hues allow the clean lines, crisp edges and creases, wings, fins, and upswept taillights to protrude and project into space. After all, as a curator once wittily claimed, “Automobiles are hollow, rolling sculptures.” This, the first and largest gallery, focuses on the 1950s in an exhibition that unfolds chronologically decade by decade. Organized and overseen by DIA curator Benjamin Colman, twelve cars in all are displayed, four from each of the Big Three manufacturers. (And, tactfully, a different car graces three distinct covers of the indispensable catalog–in red, silver, or blue, your choice.) Each of the sequential galleries showcases one or more concept and/or production vehicles. In addition to automobiles, the show offers design drawings, archival photos, paintings, a sculpture, and short videos in which designers discuss their works. (Access the videos at end of this text.) In the opening gallery, for instance, devoted to the 1950s and presenting the cars described above, a drawing by Art Miller, Rendering of Automobile Interior (1952), features a cutaway view of a gleaming red and black interior and the startling sight beyond the opposite window of a tiny, low flying jet zooming by in the distance, an apt reflection of the influence of aircraft forms on auto design then as well as of the au courant lingo of the 50s: “The Forward Look.” Image Unavailable, Please Login Installation: foreground, Corvette Stingray Racer, General Motors, 1959; background, Edward Ruscha, Standard Station, Amarillo, Texas, oil on canvas, 1963 In one of the subsequent galleries addressing the 1960s, a Corvette Stingray Racer (General Motors,1959) is backgrounded by Edward Ruscha’s Standard Station, Amarillo, Texas (1963). Sharp, crisp lines exaggerating length and emphasizing edges and creases earmark both objects. The iconic red, white, and blue gas station, defined by thrusting diagonals that recede into infinity, is silhouetted against a dark sky with criss crossing searchlights that highlight both the glowing filling station and silvery Stingray in the foreground. Image Unavailable, Please Login Installation: left, Mustang, Ford Motor Company, 1967; right, Plymouth Barracuda, Chrysler Corporation, 1970; middle, John Chamberlain, Coo Wha Zee, painted steel, 1962 Moving further along into the 60s, two so-called pony cars, the Mustang ((Ford, 1967) and Plymouth Barracuda (Chrysler, 1970), enter the scene. Viewed head on, as here, these sporty, youthful, and spirited vehicles present contrasting hues, one gutsy black, the other flaming red, each with a broad, mouthy grille suggestive of a tense, one-on-one confrontation. Nestled between them is John Chamberlain’s brawny black and white sculpture, Coo Wah Zee (1963). Fabricated from discarded car parts bent and contorted into a tall, rough-edged abstraction, it is, as the title intimates, one “crazy” sculpture. Two drawings, the rakishly tilted 71 Barracuda Front End Facelift Concept (1968) by Donald Hood and Howard Payne’s smoldering Ford Mustang(1965)–a ripe orange body profiled on red paper–attest to the visceral appeal of these feisty, automative rivals. Image Unavailable, Please Login Donald Hood, ’71 Barracuda Front End Facelift Concept, mixed media on vellum, 1968 Image Unavailable, Please Login Howard Payne, Ford Mustang, Prismacolor and gouache on red charcoal paper, 1965 Just beyond midpoint in the exhibition, rather like a palate refresher, the 4-door, aerodynamic Probe IV (Ford, 1983) comes into view. Its soft, pristine white hue, integrated forms, rounded corners, quiet, whispering demeanor, and four wheel covers minimizing the presence of tires and implicit speed, denote what one commentator described as a “wind cheating supercar.” Accompanying its calm presence are a number of fluid, ovoid renderings by Howard “Buck” Mook, Maurice Chandler, Taru Lahti, and Ken Okuyama (c. 1982 -1991). Image Unavailable, Please Login GT, Ford Motor Company, 2017 Image Unavailable, Please Login Kristin Baker, The Unfair Advantage, acrylic on PVC on board, 2003 The final gallery, sparely installed, is home to just two works: an electric blue, sinuous, teardrop shaped GT (Ford, 2017) and Kristin Baker’s large scale, mixed media composition The Unfair Advantage (2003). The swept-back lines of the low-slung GT, a reinterpretation of a racing car legend of 1966, telegraph power, speed, machismo. Baker, alternatively, presents a cautionary work, an updated Futurist scene (landscape, raceway?) that evokes jagged, colorful forms whizzing by AND, as a counterpoint, the blurred, roiling smoke and fire indicative of a catastrophic crash. Nothing like ending the show with a bang! Videos, accessible here, provide perspective on how Detroit’s iconic vehicles are created with this interview series featuring car designers Ralph Gilles, Emeline King, Craig Metros, and Ed Welburn. The four designers share their insights on favorite cars, the use of materials, and the collaboration between designers and engineers. “Detroit Style: Car Design in the Motor City, 1950 – 2020” is on display at the DIAthrough June 27, 2021. Keep in mind that to view the exhibition you will need to reserve in advance a specific day and time for your visit. Posted in: Design, Paintings, Photography, Sculpture
