In the fourth quarter of year, Hyundai Motor displayed the Vision T concept, first revealed at the Los Angeles International Auto Show. The model gave a preview of some of the styling ideas that the Korean carmaker is exploring and recently, the Head of Hyundai Design, SangYup Lee, presented a deeper look at the concept.
In the video, he explains the key characteristics of the car’s design: dynamic architecture, sharp edges and straight lines, and geometric design features called ‘parametric dynamics’.
He first draws attention to Vision T’s sporty stance, which can be seen in its low bonnet, short front overhang and wide wheelbase. He then goes on to explain the parametric dynamics: a chiselled surface, a combination of soft surfaces and hard lines, and sharp, geometric edges. The car’s architecture is compared to a mineral or a crystal which has been struck by a hard object and then shattered.
Geometric patterns in the front grille, including hidden headlamps, give a jewel-like quality. When the car is in motion, the air intake flaps actually move, so the vehicle almost seems more like a living animal rather than a static machine.
The integrated architecture ensures a continuity throughout all elements of the vehicle, such as the hidden headlamp design which is repeated in the taillights.
“We really wanted to create Vision T as the most avant-garde, the sportiest, freshest CUV. The most dynamic CUV as a vision that we wanted to introduce,” he says.
Vision T represents one step in the evolution of Sensuous Sportiness, Hyundai’s signature design identity. Hyundai concept cars do not stand alone – they inform the design direction of future Hyundai models, which encompasses both concept and production cars.
Aspects of Vision T such as the sharp angles and straight lines can clearly be seen in 45, an earlier concept car. While the connection to Prophecy, the company’s most recent concept car, is less apparent, all three models are united under the Sensuous Sportiness design identity.
Proton has never had a convertible model in its range but 20 years ago, it built one as a concept study based on the Satria. The model was displayed in Germany as well as China, besides the 2001 KL International Motor Show. Although there was positive response, Proton did not go on to develop it as a production model.
When digital graphic displays were available for use in cars, they were inserted in the dashboard, usually in the middle section. Before long, interior designers began to bring the display ‘out’, giving it the form of a tablet like an iPad slotted onto the dashboard. Perhaps this made installation easier and users would also have appreciated the familiar tablet shape.
However, Nissan designers who work on next-generation vehicles consider other aspects as they attempt to balance design, technology and utility. For the Ariya Concept, they chose a different path when developing the display.
This prioritized design and vision over the latest trends. Instead of a tablet, the all-electric crossover has a curved, two-screen display reminiscent of a wave. It adds to the sense of a ‘horizon’ throughout the car, from elements in the door all the way to the rear of the cabin.
The layout reflects Nissan’s new ‘Timeless Japanese Futurism’ design language, also expressed in the Ariya Concept’s unique frontal ‘shield’. But the horizontal design wasn’t chosen for its good looks alone. In addition to conveying information better for the human eye, the layout does so from a safer location — in the line of sight, closer to the road.
By matching the cabin’s horizon aesthetic, it becomes a seamless part of the dashboard. Nissan’s design team calls this engawa – the undefined space between where you are, and where you are going.
“The human eye naturally looks from side to side when driving,” explained Tomomichi Uekuri, Senior Manager of the engineering team involved in HMI (Human-Machine Interface). “People can see and absorb more information if it’s laid out horizontally. Peripheral vision works this way as well.”
The Ariya Concept’s display keeps driving information in an instrument cluster location similar to that of a traditional car, while displaying entertainment information, comfort controls and system status in the centre screen. Both are wrapped together in a sleek panel that flows seamlessly between driver and passenger.
Even though there are two screens, information can move or be swiped between them to create the feeling of a single display. For example, if you want your route directions and map in front of the steering wheel, they can appear there. They can also move to the centre, or disappear when no longer needed.
“The display’s wave construction is innovative and utilizes an ergonomic layout for both the meter display and the centre display, not only for visibility, but also allows the driver to easily reach the touch screen,” Uekuri said.
It took the design team many tries to arrive at the innovative display. The team built similar displays into a large black ‘box’ that they affectionately named ‘the Monolith’, a nod to the movie ‘2001: A Space Odyssey’. They chipped away, figuratively speaking, at the housing until it became what’s seen in the final concept car.
As a result, the sleek, seamless display looks like a natural, integrated part of the interior design – not a slab out of time and place.
Sometime in early 1967, Alfa Romeo received a call from the organizers of Expo 67, a World Fair that was to be held in the Canadian city of Montreal. This event had a theme to show what could be expected in the future for ‘Man and his world’. One of them was dedicated to industrially manufactured products, including the automobile, under the topic of ‘Man the Producer’. The organizers invited Alfa Romeo to provide a concept car to highlight this area.
Honoured to be invited to participate, Alfa Romeo immediately commissioned Bertone, the design studio. At that time, designer Marcello Gandini was a rising star and not yet 30 years old, he had just created worldwide enthusiasm with the Lamborghini Miura. Later on, he also drew attention with this work on the Lancia Stratos and Fiat 132.
The Montreal concept car shown at Expo 67 in Canada and the production version that went on sale 3 years later (below).
Gandini came up with a coupe concept for Expo 67 which was unique and incorporated many interesting details. These included ‘optically fused’ B/C pillars and the double headlights half covered by a louvre grille. A vertical row of air inlets behind the doors and a large, glass tailgate suggested that the engine would be at the back. However, due to time constraints to produce two units, Alfa Romeo used the Giulia platform which had the engine at the front.
It had an overall length of 4.22 metres (slightly shorter than a first generation Mazda RX-7), within which there were seats for two occupants at the front and the possibility of two more ‘emergency seats’ at the rear.
At the Montreal expo site, the concept cars were placed between mirrors in such a way that they appear to be multiplied to infinity. Although the concept cars, finished in white, did not have a name, they got the unofficial name of ‘Montreal’.
The response of visitors was enthusiastic and Alfa Romeo received many enquiries from North America and the rest of the world to find out when such a car would be in showrooms. This encouraged the company’s management to authorise production but the engineers had to moderate the costs involved.
The chassis was maintained as that of the Giulia while the body design was only changed in the details where manufacturing or regulations made them incompatible. The grille above the headlights was retained with a minor change and when the headlights were switched on, the two slats folded down mechanically and release all four lamps completely. The air inlets that signified a mid-engine layout were retained but as there was no engine at the back, the ducts were routed into the cabin to bring in fresh air.
The performance of the Montreal matched its looks with the V8 engine from the Tipo 33 sportscar. This engine has features from racing engines such as dry sump lubrication, allowing it to be set lower, and weight-saving aluminium construction.
The engine displacement was increased from 2 litres to 2.6 litres with fuel delivery by a mechanical injection system from SPICA. The V8 produced an impressive 200 bhp at 6,400 rpm and 235 Nm peaking at 4,750 rpm. A 5-speed manual transmission (with first gear position on the lower left) from ZF sent power to the rear axle which had a limited slip differential. Tests by Quattroruote magazine showed the car to be able to reach 224 km/h after reaching 100 km/h within 7.1 seconds.
The Montreal went on sale in early 1970 and would continue to be available until 1977. Its high price, however, meant that sales were limited and by the time production ceased, 3,925 units had been built. City Motors, the importer in Malaysia, brought in at least unit, if not a few more.
Although not officially included in the Vision Gran Turismo range, this Alfa Romeo Montreal Vision GT rendering attracted a lot of attention last year.
Skoda, the Czech carmaker has been training and developing talent for more than 90 years at its Vocational School in Mlada Boleslav. In the first year, 58 students began their training in three different specialist areas. Today, more than 900 students (13% female) are enrolled in 13 full-time courses and three postgraduate programmes at the Skoda Academy.
The quality of training will be put to the test in the seventh Skoda student concept car project. 20 students from the academy are involved in the ambitious project this year. They have decided to design and build an open-top Spider version of the new compact Scala model.
Watching and learning from the professionals
At a workshop in the Skoda Design department, the participants met the company’s Head Designer, Oliver Stefani, and put their first ideas down on paper with him and his team. The still-unnamed project car, which the students will be constructing according to the design, will be presented to the public in early June.
During the visit, they were allowed to watch Stefani and his team in their day-to-day work and to create their own drawings. “Despite the increasing use of computers and simulations, drawing is still an essential part of automotive designers’ work. With every stroke, an idea turns into something real. A sketch is the first of many steps on the long and exciting path to a new car,” explained Stefani.
Support from engineers
Throughout this project, the up-and-coming talent will receive support from engineers and experienced employees from the areas of technical development, design and production within the company. The apprentices have expressed a wish to make the car’s clear lines and emotive shapes more prominent in the spider version to emphasize the vehicle’s overall dynamics.
“From the beginning, all the participants showed great enthusiasm and determination. Their sketches are very impressive, I really like the concept,” said Jiri Hadascok, exterior design coordinator at Skoda, adding that the professionals were impressed with their enthusiasm and receptiveness.
The Scala model which the students’ concept car is adapted from.
Designing a concept vehicle and then building it by hand is the highlight of all apprenticeships. “We are all delighted to be part of this project. As a student, where else do you get the chance to put your own ideas and vision into designing a car and then actually build it yourself? Drawing our first sketches was lots of fun, and we learned a lot from Oliver Stefani and his team,” said one of the participants, Vojtech Spitalsky.
RUF is well known to enthusiasts and Porsche fans for its custom creations that are not just original Porsches but can be considered independent designs which utilise only the Porsche chassis. In Fact, RUF Automobile is recognised as a vehicle manufacturer by the German government and its production models have their own identification numbers (VIN).
The company’s history goes back to 1939 although it is only from the late 1970s that it began to be noticed for its sportscars. As at other carmakers, RUF’s designers have many ideas but not all can be commercialised and sometimes, they start a project to build a concept car.
The latest is the Rodeo Concept, inspired by the Rodeo Drive Concours d’Elegance and its founder – and friend of RUF – Bruce Meyer, as well as by Ralph Lauren and his 2011 Western Collection as well as RUF enthusiast and collector Phillip Sarofim who has roots in Texas.
The car features the same carbonfibre monocoque chassis as the CTR Anniversary and the SCR, but with a 4-wheel drive system, larger all-terrain tyres, longer-travel suspension and other features for off-road use. The Rodeo Concept can accommodate either a normally-aspirated or turbocharged RUF flat-six engine.
“When we began building our own automobiles, it was all for the thrill of the drive,” said Estonia Ruf, Marketing Director of RUF Automobile GmbH. “The Rodeo Concept combines that passion for cars with the love of western culture – an appreciation I found while studying in Oklahoma, USA. This car is inspired by some of our favourite people and our love for the countryside.”
First production SCR
At the unveiling of the Rodeo Concept recently, the company also presented its first production RUF SCR. The 1,250-kg SCR uses a 4.0-litre normally-aspirated flat-six engine producing 510 bhp/470 Nm and is mated to a 6-speed manual gearbox. The rear spoiler generates high downforce to keeps the SCR stable at its claimed top speed of 320 km/h.
The SCR has had a place in the brand’s history for 42 years, having had its premiere in 1978. The original SCR was powered by a 6-cylinder engine with 3.2-litre displacement and its power output could be uprated to 217 bhp.
The MORPHOZ concept is Renault’s vision of personal, shareable, electric mobility of the future. Drawing on the Alliance’s new modular CMF-EV 100% electric platform, it offers a number of different configurations for power, capacity and range, as well as user options and boot space.
The concept is faithful to the brand’s DNA embodying Renault’s Family Petal design strategy and heralds a new family of electric models over the coming years. It represents changes in technology, society, the environment and also human behaviour. The MORPHOZ also supports the carmaker’s strategy is to become a supplier of smart mobility solutions for the cities and regions of the future.
Dual use of batteries
Being an electric vehicle (EV), batteries are naturally at the core and with the MORPHOZ concept, Renault is now looking at a different area: the dual use of batteries. When not being used for driving, the batteries remain in the car but can power appliances in the house or the local area via smart charging devices and V2G (Vehicle to Grid) bi-directional technology.
Batteries used in the extended Travel mode are taken out of the vehicle and stored in a charging station for use in other vehicles or to power equipment such as self-service bicycle charging stations or street lighting.
With such a battery-sharing system, there is no need to produce batteries with a nominal 90 kWh capacity for every vehicle. Limiting production in this way is thus good for the carbon footprint and the environment.
The new neighbourhood ecosystem
The MORPHOZ embodies the Me/We concept which says that what is one person’s can be shared. It challenges the idea of the car as private and instead encourages shared use. It meets all the family’s requirements, meaning they don’t have to buy a second or even a third vehicle when it’s not necessary or need a larger vehicle for occasional reasons.
It meets the needs of new kinds of community that are developing around digital infrastructures, regenerative resources and social well-being. As a single vehicle which can also serve the communal well-being, it suits new patterns of living in these urban communities, such as the co-living trend in housing.
The sharing capabilities of the MORPHOZ are central to this philosophy, with the removal of keys and starting cards, for example. It also anticipates regulations which will soon insist on car-sharing for all cars. Everything is accessed using the smartphone, which works as a digital key. This makes sharing with other people easier without the need to swap keys; drivers instead receive an unlocking code which allows access and use of the vehicle for a pre-determined period.
Smart City ecosystem
As a symbol of Groupe Renault’s vision of electric mobility in the years after 2025, the MORPHOZ is a key part of the transformation to Smart Cities, where connected technologies, smart and open data, IoT devices, smart networks, new materials and clean energies can be used to design and build a positive future.
Its Level 3 driving autonomy enhances the safety of everyone by removing human error behind almost 90% of road accidents. Its sensors also detect pedestrians and cyclists, actively alerting the driver to them in manual mode, in order to avoid accidents.
Its electric powertrain helps to improve air quality and means it can be used in areas that are out of bounds to vehicles with internal combustion engines. The shorter City version is ideal for city traffic, with a reduced footprint and less extensive vehicle facilities.
Connectivity and Artificial Intelligence
Artificial intelligence (AI) recognises the driver on approach, activating a light sequence on the doors to indicate recognition, and unlocks/opens the doors. The cabin is crossed by a raised centre console which represents the ‘brain’ of the MORPHOZ. There is a special holder for the driver’s smartphone, which is then drawn into the console’s wooden panel to serve as the main data source. The AI will then, if authorised, use data and information from the smartphone to perform its tasks.
The AI lets the driver see the surrounding area by processing real-time data from external sensors and images from the vehicle cameras, especially the set which replace the door mirrors. Light displays on the inner doors and windows signal the presence of a pedestrian or a cyclist in the blind spot.
The social role of the AI on board is clear by the shared screen located between the seats on the centre console. This is where passengers can scroll through the music library on one of their smartphones or where they can play video games against each other. This screen also lets the users control the comfort of the cabin through the MULTI SENSE settings.
Like the new ZOE’s seat fabric, the cabin in the MORPHOZ uses a selection of recycled materials: wood for the dashboard, plastic for the inner doors and fabric for the seats.
Dedicated and adaptable electric platform
Like the CMF-B platform launched last year on the all-new Clio and used on the latest Captur, the CMF-EV allows engineers to design, build, adjust, and fine-tune electric vehicles more efficiently. The innovative architecture features a long wheelbase, reduced overhangs and a flat floor. A streamlined battery pack means the vehicle can be designed closer to the ground and with a lower roof to deliver improvements to aerodynamic performance.
The configurable concept can transform into two different modes: from the shorter City form to the longer Travel version. It is fully adaptable to fit the needs of drivers and passengers, with City mode fitted with the right battery capacity for day-to-day commuting or shopping while in Travel, it is able to accommodate the added capacity needed for long-distance journeys. The Travel Extender battery pack offers an additional 50 kWh of power, for a total capacity of 90 kWh and a total range of up to 700 kms.
Polestar began as a racing team in 1996 and after showing what it could do to Volvos, the Swedish carmaker decided to commission the company to develop performance variants. The potential of such enhanced models led Volvo to acquire the company in 2015 and have a sub-brand which focussed on performance.
Two years later, Polestar’s mission changed as it was tasked to focus on electric cars. Volvo and its owner, the Zhejiang Geely Holding Group, provided 640 million euros (about RM2.94 billion) to support the initial phase of product, brand and industrial development.
As a fully consolidated Volvo Cars subsidiary, it would become a stand-alone electrified performance car company. Since then, besides being an advanced technology affiliate for the Volvo Car Group, Polestar has also started to build cars at a new factory in China.
Vision of future direction
Obviously a very forward-looking company, Polestar is looking ahead and its vision of the brand’s future direction is revealed in the Precept concept. A precept is a manifesto of things to come, a declaration. Hence the name chosen emphasises the car’s role in setting out Polestar’s intent as the contemporary electric performance brand.
“Precept is a declaration, a vision of what Polestar stands for and what makes the brand relevant,” said Thomas Ingenlath, CEO of Polestar. “The car is a response to the clear challenges our society and industry face. This is not a dream of a distant future; Polestar Precept previews future vehicles and shows how we will apply innovation to minimise our environmental impact.”
Minimalistic athleticism and restrained surfacing are evident in the aerodynamic sculpted form of the Precept with proportions that define its presence. A 3.1-metre wheelbase which accommodates a large battery pack gives the 4-door Grand Tourer a very low and sleek silhouette with an emphasis on legroom and headroom in the rear.
No grille needed
Not requiring a grille for cooling, the front end incorporates the Polestar SmartZone, representing a shift from ‘breathing’ to ‘seeing’. The area which once channelled air to radiators and the internal combustion engine now houses technology for safety sensors and driver assistance functions.
Purposefully gathered behind a transparent panel dedicated to intelligent hardware are two radar sensors and a high definition camera. The LiDAR pod, mounted atop the glass roof, is given optimal visibility as a next step towards increased driving assistance. The Thor’s Hammer LED headlight signature evolves with separated elements, taking on a dynamic, more robotic and brand-defining interpretation.
The Precept features an integrated front wing above the SmartZone which accelerates airflow over the long bonnet. This allows air to attach itself to the surface earlier, which improves aerodynamic efficiency and thus improves the car’s range.
At the rear, the wide light-blade spans the entire width of the car, extending into vertical aero-wings – another aerodynamic feature and a nod to lightweight design.
Conventional side mirrors are replaced by camera-based units, each of which extends outwards on an aerodynamic arm. Inside, the traditional rear-view mirror is replaced with a digital screen, the image collected by a wide-angle camera mounted at the rear of the car.
The absence of a conventional rear window means that the Precept’s single-volume glass roof extends behind the rear seats and the tailgate itself is designed with a larger opening and higher-mounted hinges improving access.
Best available technologies
Polestar continues to believe in collaborating with experts to accelerate development and provide customers with the best available technologies. The Precept’s interior is defined by sustainability and offered opportunity to work with new materials and processes. Similarly, the evolution of the HMI (Human-Machine Interface) builds on current partnerships which maximise the integration of expertise.
Sustainable new interior materials balance modern high-tech luxury with reduced environmental impact. For instance, flax-based composites for interior panels and seatbacks offer significant improvements over conventional materials, including up to 50% saving in weight and up to 80% reduction of plastic waste.
The seat surfaces are 3D-knitted from recycled PET bottles, while the bolsters and headrests are made from recycled cork vinyl and the carpets from reclaimed fishing nets. These elements, combined with digital artistry, define a new premium luxury that surpasses the conventions of leather, wood and chrome.
Android-powered connectivity
The next generation HMI, powered by Android, builds on Polestar’s close collaboration with Google. An enlarged, portrait-oriented 15-inch centre touch screen complements a 12.5-inch driver display, and the two are linked by an illuminated blade that encompasses the entire interior. In this execution, the unique Polestar emblem floats holographically inside a solid piece of Swedish crystal between the rear seat headrests.
Supporting the advancement of a personalised and dynamic digital interface, the instrument panel also hosts an array of smart sensors. Eye tracking will allow the car to monitor the driver’s gaze and adjust the content of the various screens accordingly. Proximity sensors also enhance the usability of the centre display when driving.
In the 1950s, carmakers envisioned sleek cars with advanced powertrains and autonomous operation on the roads of the 21st century while futurists and science fiction writers imagined flying cars. Well, we have the sleek designs with advanced powertrains due to make changes in this decade as electric motors take over from the internal combustion engine. But flying cars have yet to be available in showrooms although there have been developments in recent years with prototypes taking to the air.
UK’s Auto Trader takes a look at what vehicles might look like 30 years from now with concept designs based on the expertise of futurologist Tom Cheesewright, market trends, the rate of technological development and research into consumer demand.
“Tomorrow’s car takes you from A to B with minimum fuss and in maximum style. Future technologies will give designers free reign to create more space and comfort, so that we can get on with our lives while an AI assistant takes care of the driving. While our cars won’t be flying any time soon, we can all benefit from cleaner, quieter, safer roads. In just twenty years, the age of the combustion engine will be well and truly over,” predicts Cheesewright.
Past, present and future of the motorcar and motoring
Digital paint for different colours
Auto Trader’s 2050 concept car is a fully electric, colour-changing vehicle with space for passengers to make the most of the time they spend in the autonomous vehicle – by relaxing, doing yoga and even sleeping during the commute. Featuring ‘digital paint’, the car allows passengers to change the colour and style of the car from the tap of an app, depending on their mood, with advances in technology meaning this feature could be widely available as early as the year 2040.
Designed to be a home away from home, passengers can relax and unwind on the built-in mattress in the centre of the spacious cabin – a feature which 24% of motorists said they’d use for catching up on much-needed sleep and a cheeky 13% of men would use for some intimate time with a partner.
Reading or watching TV on the move
Drivers also said they’d like to reclaim their commute time by delving into a good book from the built-in library (22%) or watching their favourite Netflix shows and movies from the large in-built TV screen (19%).
Other popular recreational uses for the spacious design include beating friends and family at board games (16%), getting hair and make-up done on the way to an event (15% of women would do this), and 4% would even practice yoga whilst in transit.
AI assistant
Catering to the 10% of drivers who want cars to be fully voice-operated in future, the car welcomes passengers with a friendly AI (Artificial Intelligence) assistant that helps them set their preferred driving speed and style, whether out for a leisurely Sunday drive or rushing home for dinner. Given that the car is likely to be operating autonomously, rushing will not be done recklessly so an accident is unlikely to occur.
The 2050 car is fitted with windows that extend right over the roof in one large bubble, offering more head room to allow passengers to freely move around during transit. It also features 360-degree panoramic views for those wanting to sit back, relax and enjoy an autonomous ride, plus black-out functionality on the windows, which can be activated with a quick tap.
All images and Timeline provided by Auto Trader UK.
The Indian market has long received the attention of Korean carmakers who have seen its potential in the longer term. As such, they have been willing to make investments in production facilities as well as develop models just for the market since there is sufficient volume.
At India’s Auto Expo 2020 this week, Kia Motors India is not only showing off new products but also unveiled, for the first time ever, a concept model of a future global compact SUV. The concept will be developed further ahead of a launch in the Indian market in the second half of 2020.
The concept model is called the Sonet and is a preview of the third product offering from Kia Motors in India. Targeted at a demographic that is ‘always connected to the world in more ways than one, the Sonet is designed to exceed customers’ lifestyle and technology expectations’.
The Sonet has several first-in-class features, most of which are likely to be available in the production model. The dynamic and bold design incorporates Kia’s signature ‘tiger-nose’ grille, stepwell geometry within the grille mesh, ‘tiger-eyeline’ daytime running lights, and wide rear signature lighting.
The interior is designed to appeal to the young, social, connected, tech-savvy Indian customer. The cabin is fitted with a 10.25-inch infotainment and navigation system with UVO Connect and a Bose premium audio system Kia says the Sonet concept indicates best-in-class interior space.
From the pictures, the Sonet has compact dimensions so it would be taking on models like the Ford Ecosport. The engines would therefore be small, possible in the 1.0-litre to 1.5-litre range with both petrol and diesel options as well as turbocharging. An intelligent manual transmission will also be offered.
