mazda design story 08

8/8/2019 Mazda Design Story 08

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2 3

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

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Mazda Design 2008 Press Kit Content



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



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



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



10 11

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






12 13

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



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:



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



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



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



Mazda Nagare Concept



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



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



Mazda Taiki



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



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.”



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.”



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.



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.



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.



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.



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.



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.



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



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



44 45

25 years of m{zd{ design

that came into our daily lives ...and some innovations



46 47that came into our daily lives ...and some innovations

Mazda Furai

25 years oF m{zd{ design

mazda design story 08

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