The All New BMW Roadster Variant, 328 Hommage Model

The new BMW variant called as 328 Hommage is introduced at the Villa d’Este Concours. This new car variant is a result of design research of a speedster which takes inspiration from 328 variant. The exterior of this 328 Hommage variant is accentuated with asymmetrical widescreen element and car body made of carbon fiber. 328 Hommage is a roadster variant which is designed with two seating units with car engine attached on the front side. At the front detail there are kidney grilles, the absence of doors and round headlights. These design elements connects visually to the former model. The lightness feeling within interior car is influenced by CFRP materials.

Official press release:

Exterior Design

The strong wedge shape accelerates the vehicle even when it is at a standstill, the scoops behind the seats take up the lines coming from the bonnet, guiding them dynamically into the rear end.

Precise lines run across all of the car body’s taut surfaces. As a result, a subtle contrast between the tense surfaces and the sharp edges is created within the flat, dynamic silhouette.

The structure of the CFRP mats gives the vehicle an appearance of depth, the diagonal lines of the woven CFRP additionally underscoring the dynamic design vocabulary.

The BMW 328 Hommage has no doors. Then as now, deep recesses allow access to the inside of the car.

The extremely wide and flat front end is strongly three-dimensional, generous surfaces and concise lines give the front end a powerful appearance. Viewed from the front, the CFRP hood appears to en- compass the vehicle from above. It embraces the vehicle, framing the slightly set back front end in a very distinctive downward sweep.

Due to the almost vertical, low-reaching sidewalls, it simultaneously emphasizes the BMW 328 Hommage’s excellent stability on the road. As a result, the vehicle appears to be even flatter and more dynamic as a whole.

Under the hood, further surfaces rise to embed the top and bottom of the distinctive kidney grille, whilst folding themselves around it to shape the adjacent air intakes. Openings and large air intakes create visual lightness at the front, simultaneously demonstrating the high air requirement of the three-litre, six-cylinder engine.

Three-dimensionally designed lattices inside the front vents form a connection between the headlamps and the kidney grille, with the three-dimensional lattice structure acting as an accentuating feature.

The vertically positioned double kidney grille imitates the slim, vertical kidney design of the early BMW models. In those days, the BMW 328 was one of the first BMWs to feature it, after which it became further established with later BMW models.

On the BMW 328 Hommage, the vertically mounted kidney grille is dynamically incorporated into the flat silhouette. It slants back roughly in the middle, thus blending in with the bonnet and the dynamic silhouette when viewed from the side. On the other hand, from the front it appears to be standing upright.

The kidney grille bars are more prominently curved than the kidney grille surround itself. The vehicle displays the extremely round and appealing design of the original BMW 328 kidney grille when viewed from the side. The kidney grille surround is also distinctively three-dimensional, appearing to continue in- side the vehicle. Its front surface is finished in polished high-gloss, whilst the side surfaces have a matt finish.

This detail gives the kidney grille a very high-class and up-to-date appearance. Behind the kidney grille bars, black horizontal fins obstruct the view into the engine compartment – just like on the 328 of

The rear end takes on the design vocabulary featured on the front of the vehicle. Similar to the front end, sections of the sidewall form the framework for the design elements that appear to protrude from the rear end. Between them, located far to the outside, are two clearly and concisely designed taillights sporting the characteristic BMW L shape.

Two filigree luminous elements reflect a strongly curved interpretation of the typical BMW L shape, whilst a concisely constructed bar fitted to the outside of the lamp is directed vertically downward, separating the lamps towards the outside.

The modern functional design of the taillights underlines the technical appeal of the vehicle.

The powerful sculpturing of the rear end also visually conveys the BMW 328 Hommage’s lightness. Large vents and openings characterize the rear end, giving it a light appearance. The distinctively horizontal section below the taillights forms a counterpoint to the intense sculpturing, emphasizing the width of the vehicle. Below that, the rear of the car is strongly arched, a concise line partitions the surface, thereby providing an air of lightness.

This large sculptural element adopts the form language of the front-end design surrounding the kidney grille. The wing-shaped element tapers both upward and downward, thus revealing two large latticed air outlets. The circular tailpipes are located inside these two openings.

They protrude prominently out of the lattice and, combined with the distinctively designed wing shape of the lower air intake edges, underscore the power of the straight six-cylinder engine.

The large, prominently designed individual round headlights of the BMW 328 Hommage are reminiscent of the headlamps featured on the BMW 328, which were integrated into the wings for the first time.

The three- dimensional interpretation of these round headlights is divided into four trans- parent, cylindrical elements, these being back-lit by LEDs. Between them, set- back black concave surfaces symbolize the typical tape cross used on headlights in motor racing. Around the four reflectors an illuminated ring emphasizes the circular design of each individual headlamp.

The two-part light alloy wheels are a modern interpretation of the characteristic hole pattern of the original rims. The extremely concave high-gloss black aluminum rim boasts a contrasting silver- grey cover made of glass fibre. The insides of the angular milled holes have a high-gloss finish and are distinctively accentuated by a matt overlay. A black chrome butterfly nut bearing the BMW emblem completes the contemporary version of the wheel.

Interior Design

The interior design of the BMW 328 Hommage comprises a number of details that are reminiscent of the successful motor racing history of the BMW 328.

For example, the slightly asymmetrically designed windscreen has a recess in the middle, similar to the windscreen design of earlier racing cars.

Simultaneously, it marks the areas in which the driver and co-driver sit.

Moreover, four wide leather straps run across the bonnet, which appear to dive under the side shoulder surfaces to be continued on the side. This detail, which used to be considered an extremely sporty attribute, is also featured on the BMW 328 Hommage.

Combined with the high-gloss aluminium safety buckles, the leather straps provide a touch of class in contrast to the very technical-looking carbon fibre.

The modern quick-release fasteners for securing the bonnet bring racing of the past into the present. On the driver’s scoop a large silver “75” as well as a small logo below it signify the reason for the BMW 328 Hommage.

Next to it, the integrated tank filler neck protruding from the right-hand side is a striking detail. Whilst it pr trudes prominently from the body of the BMW 328, the BMW 328 Hommage features a version that is integrated slightly more into the bodywork.

Through the use of CFRP inside the BMW 328, the “layering” design principle, with which shapes take on clear functions, adopts a completely new form of expression.

Due to its exceptional characteristics, CFRP is in itself robust and can be shaped into self-supporting structures. Hence, only two large surface areas – so-called layers – define the interior of the BMW 328 Hommage.

Both of them start at the hood and protrude into the interior. One of the layers extends to- wards the driver, reveals the entire driver’s workplace comprising steering wheel, control elements and scoop, thereby separating the driver and co-driver areas from each other.

This spatial separation is indicated by a further material: the elegant, brown leather interior extends from the entrance across the driver’s area, over the seats to the scoop, thus becoming an integral part of the design vocabulary of the first layer.

At the same time, the surrounding graphics comprising material and geometry create a link with the co-driver. On the driver’s scoop, a silver-colored logo bearing the number 75 also gives indication inside the car of the festive occasion in honor of the BMW 328 Hommage.

The second layer begins next to the scoop, making a sweep towards the co- driver, then to float freely in front of him. This gesture creates a sporty but light sense of spaciousness, opening out a functional area in front of the co-driver.

Between the driver and co-driver a multitude of recesses in the instrument panel and centre console create an airy and harmonious spatial experience, bringing the driver and the co-driver slightly closer to each other again in a sweeping gesture. The lines of the woven carbon fibers complement the interior design vocabulary perfectly.

Viewed from above, a slightly asymmetrical design of the bonnet and windscreen underscores the driver-orientated construction. The windscreen is larger within the driver’s area, so the lines of the powerdome are of different length. Behind the windscreen they continue in the inside of the car, so that at this point both the interior and the exterior appear to be intertwined.

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The All New Opel GTC

At the 2010 Paris Motor Show, Opel GTC has made its debut. Both the exterior and interior of this elegance car is designed in sporty styling. Both the sculpted shape and tension on the exterior of Opel GTC are achieved by three bold lines. The designer’s intention of this way by limiting the line influence to maximize drama. The vivid exterior look is influenced by vivid red color. Such as the exterior the interior of this car is alive indeed by presence of combination between red and black colors on the seat. For more detail read the official information below.

Official Press Release:

Exterior Design

In profile, the designers have maximized drama by limiting the amount of lines: three strong lines create tension and provide a sculpted shape.

The Opel signature blade is introduced in the same direction as first seen in the Insignia – a fine, crisp line that sweeps upward from the rocker at the beginning of the front door.

A second line encapsulates the door handle and sweeps to the rear, emphasizing the vehicle’s dramatic stance by spreading the surfaces to a fine undercut and a broad shoulder.

The third line following the silhouette of the roof is finished in finely brushed aluminum accentuating the window graphic, which guides the eye to the sharply accented integrated spoiler. The shoulder section is the most dramatic area of the Opel GTC Paris.

The broadest point pulls down to a wide athletic “bulldog stance,” giving the car a very purposeful road presence.

The line from the C-pillar slides into the tail and curls around into the rear spoiler, which is ingeniously integrated into the continuing roof line.

The clean frontal styling features Opel’s typical centerline crease.

It is further accented by intense, very slim eagle-eye shaped headlamps acting as parenthesis between the refined chrome emblem bar and the dramatic low trapezoidal grill which hints at its sporty character.

Opel typical wing-shaped signature LED daytime running lights get a new twist with finely sculptured chrome jewels that are seen easily behind clear glass. The trapezoidal grille is recognizably Opel, but separate from the chrome bar and placed lower, for a race track feel.

The wide stance is accentuated in the rear, where the proportion of the vehicle is most imposing due to the powerful shoulder design. This is further enhanced with the LED taillights and one long stretched “wing” motif, which make the new Opel vehicles distinguishable at night.

The aerodynamics of the dynamic 21-inch wheels is optimized with carbon-fiber inserts which enclose the center caps.

Interior Design

Echoing the flowing, sculpted forms of the bodywork, the hallmarks of the GTC Paris interior are sweeping lines and shapes as well as the bold use of fabric.

The interior is driver-focused, with a positive/negative use of color:

Whereas the driver’s seat is red with black trim, all other components in the interior are outfitted in a charcoal black with red stitching.

The car’s inspiration, a quote from Richard Bach’s novel, Jonathon Livingstone Seagull is laser-etched in calligraphy script into the seat … “and the speed was pure beauty.”

Sporty, bucket front seats have been specially designed for the GTC Paris.

Their aggressively shaped contours and graphics perfectly compliment the overall dynamic spirit of the car are outlined in titanium and filled in with black netting, repeating a design cue seen on the carbon fiber inserts on the wheels.

The small black leather racing steering wheel features metal inserts.

On the dashboard, the interior continues Opel’s recurring “wing” and “blade” motifs. In this execution, the blade theme is expressed in details like the shape of the polished chrome door grab handles and the trim for gearshift molding.

The wing design cue is immediately evident in the warm, inviting wraparound instrument panel that embraces front seat occupants. It arcs across the cabin into the top of the door moldings.

The Opel design team used leather and micro-fibers for the seats, plush carpeting on the flooring, and a textured black instrument panel. These classic materials have a contemporary twist, not only in the choice of hues but also in the positive/negative stitching.

Technical Features

The GTC Paris is powered by a 290 hp 2.0 liter, twin-scroll turbo-charged four-cylinder engine with direct injection, Start/Stop technology and equipped with a six-speed manual transmission.

The chassis has a special design with an extra-wide stance for best possible performance and handling. In addition to the front limited slip differential, it has a compound crank with an Watt’s Link in the rear, and a new execution of the adaptive mechatronic FlexRide suspension. AutoMild.com

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Design Concept of Volvo Trucks

Here is a truck variant from Volvo. This Volvo Truck is a work of a designer Tapio Alakörkkö together with Patrik Palovaara. Both of them are alumnus from Umeå Institute of Design. This commercial truck variant is intended to provide a vehicle that will cover customer’s need in transportation services. This sustainable vehicle can move on extreme media such as terrain, hilly area and much more. For more detail about this Volvo Truck, below we present to you official presentation from the designer.

From the official Press Release:

Trucks are typical commercial vehicles. In light of this, one might expect truck buyers’ purchasing decisions to be based entirely on rational factors such as fuel consumption, payload, service costs and transport kilometres per euro. Well, think again. Truck design is more important that you may imagine.

At Volvo’s design studio, around 60 people work with product design for different Volvo companies – Volvo Trucks, Volvo Buses, Volvo Construction Equipment and Volvo Penta. Patrik Palovaara specialises in truck design. His latest creation is Volvo Trucks’ new construction truck, the Volvo FMX.

“It’s true that truck design is largely about rational factors like aerodynamics and ergonomics,” he says.

“But there’s also an emotional dimension. The truck’s appearance is strongly linked to both its function and its identity and, by extension, to its brand.”

Details accentuate the truck’s characteristics

The Volvo FMX is an excellent example of this. Palovaara and his team based the truck’s design on its predecessor, the Volvo FM, but accentuated its robust, rugged characteristics by introducing external changes that clearly express certain qualities.

New functionality was also added in several key areas, including a completely new central towing device on the front with a stronger fastening point.

This resulted in a new front with a powerful lower section that clearly distinguishes the Volvo FMX from its predecessor.

“Volvo Trucks commissioned us to design a product that would appeal to construction customers,” says Palovaara. “The market’s response proves that we succeeded.”

Interpretation, vision and form

A truck designer’s first challenge in a new project is to interpret the client’s requirements and preferences and the results of user studies, and then create his or her own personal vision of the new truck.

The designer may draw inspiration from countless sources, for example the animal kingdom, film, fashion or extreme sports.

During this phase, countless sketches are produced.

The designer can give free rein to his or her imagination and challenge traditional concepts of how a truck should look – while always remaining realistic.

“When making strategic sketches, I often work with three themes,” says Palovaara. “An extreme visionary theme, a basic theme and a theme that falls somewhere in between the two.”

From drawing to full-scale model

Patrik Palovaara

After this initial period of sketching, the team chooses a design theme to develop further. Now they start producing CAD models to verify factors such as ergonomics, aerodynamics and functionality for the new truck.

“Air resistance is of strategic importance because it is critical to fuel consumption,” explains Palovaara.

The team includes surface modellers and studio engineers who are responsible for regularly reviewing the design process with Volvo Trucks’ production technicians and ergonomics, aerodynamics and technical design experts.

A team of clay modellers at the design studio build a full-scale clay model of the new truck that allows everyone involved to follow the verifications made with the CAD model.

“Many people only fully realise what the new truck will look like when they see the fullscale model,” says Palovaara.

“The model provides a reference point for everybody, from Volvo’s CEO to tool makers and subcontractors. And many people have their say before the shape, colour and surface of the design are finalised.”

A creative competitive factor

So everybody has an opinion about design. But is it possible to define what makes a good truck design? And how important is the design from a larger perspective?

Tapio Alakörkkö

The Umeå Institute of Design at Umeå University has collaborated closely with Volvo Trucks for many years, and is one of the world’s leading study institutes in this field.

Tapio Alakörkkö, Department Head at the Umeå Institute of Design, comments: “Design is a creative discipline that improves a company’s competitiveness. In

Scandinavia, we have a tradition of creating functional designs. For us, a good truck design is about focusing on the driver and finding out how we can make his working day easier and develop his work routines – not least so that more women will choose to become truck drivers.”

Arousing the desire to buy

Even if a design is primarily functional, its success also depends on arousing consumers’ desire to have it. Purchasing decisions are not only made by the logical left brain.

“Good design is to do with the dreams a product evokes in people, what they hope to get out of it,” explains Alakörkkö. “Design is what makes people tick”, it’s that simple. “Another factor that drives development forward is the link between concrete product design and visionary concept design.

“Concept design is important in getting people’s brains to think outside the box,” says Alakörkkö.

“By discussing the design on the basis of a common vision, we can move the goal posts forward. Concept design also serves as a sounding board for our views – do we like this vision or not?”

At the forefront of development

Needless to say, designers who work for a leading truck manufacturer must always remain at the forefront of development. They keep abreast by reading the industrial press and attending trade fairs, but it takes more than this to know how trucks will develop by the year 2020.

“Trends in truck design are driven by technical development,” explains Palovaara. “New fuels, new materials and logistics solutions influence the commercial vehicles of the future.

He should know. In the design studio, concealed behind long curtains, are models of future Volvo trucks that few human eyes have seen – yet. Automild.com

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