The race to produce the first production autonomous supercar is well and truely on, as many doomsayers mourn the passing of true driving – missed gearshifts and terrible lines around corners – Supercar manufacturers and their highly specialised engineers are more excited than ever. Why? ….
…. because they will at last see their cars perform at the maximum. Currently they resign themselves to the fact that the people who buy these ultimate performance vehicles are unable to exploit the full potential of the car.
Far from autonomous cars reducing us all to the lowest common denominator commuter speeds, the real benefit is for ‘B’ road experiences like never before.
With autonomous control, owners will choose their preferred setting, not suspension stiffness but style of driving, clicking the dial to their driver of choice. And it is here that McLaren and Mercedes have stolen a march on their competitors. Mercedes are now able to use the 2016 data of the current world champion Rosberg without giving away any advantage to their current F1 opposition, and McLaren have played a blinder, creating a scenario where they will have 2017 data from two world champions, Button racing in a one off at Monaco, and Alonso covering off the US market at Indy.
Moving to autonomy has relieved the need for a steering wheel, and this reduction in production costs for right and left hand drive, has allowed other manufacturers to contemplate entering the supercar market, and niche to compete on more even terms. With steering wheels, pedals and gear shifts now being additional cost options for those who wish to pretend to be driving, the commercial benefits are clear.
So with autonomous supercars using all the latest sophisticated positioning and sensoring technology, the passenger phrase “Slow down, you don’t know what’s around the corner” will at last be erased from the English language.
Coventry University held a ‘Future of Transport Design Debate’ at their Simulation Centre on the Coventry University Technology Park. This annual debate was taking a light-hearted but serious look at issues which will influence transport design in the future.
The debate was chaired by Steve Cropley, Editor in Chief of Autocar at Haymarket Media Group, with an expert panel of Andrew Everett, Chief Strategy Officer at the Transport Systems Catapult, David Hilton, Senior Design Director at NextEV, Dr Cyriel Diels, Human Factors Researcher at Coventry University and Dr George Gillespie OBE, CEO of Horiba MIRA.
This year the event concentrated on electric and autonomous vehicles, with the need for greater integration requiring the topics to touch on areas such as rail and freight. A huge subject to try and cover, but the discussion was moved along expertly by Steve Copley, through the death of ‘Car Culture’ as we know it, the car’s current status likened to that of the horse in the early 1900s and how do Local Authorities influence the debate?.
The audience came from engineering and design consultancies, OEM’s, research institutions and govermental departments and although everyone could see both opportunities and challenges through the speed of development of current technology, the over whelming feeling for the future was one of excitement in finding and designing solutions.
The event also gave attendees the chance to view ‘virtually’ The National Transport Design Centre (NTDC) whose construction has already started on Coventry University’s Technology Park. The centre is being funded through the Coventry and Warwickshire Local Enterprise Partnership and the government’s multimillion pound Local Growth Deal, with an initial £7 million contribution.
State-of-the-art features of the NTDC, which forms a key facility for the University’s existing Centre for Mobility and Transport, include:
• a 6m interactive power wall which allows users to explore detailed design and engineering concepts in virtual reality;
• advanced clay milling facilities for creating physical models of vehicles;
• a projection mapping system which can cast digital images onto 3D objects below, helping designers to assess how multiple options would appear on full-scale models.
The centre is set to address many of the Automotive Council report’s recommendations, with key areas of focus including undergraduate and postgraduate education in transport design, research projects in collaboration with industry, and support for the UK’s high-value manufacturing sector and its supply chain to improve design capability.
Drive has provided consultancy services to many low volume vehicle manufacturers and during that time has built up an understanding of the challenges that these businesses face in developing and establishing a successful vehicle in the market.
Niche vehicles have always provided opportunities for entrepreneurs to build successful businesses but now more than ever they are providing a solution to specific transportation problems. This is leading to opportunities for OEMs to use niche vehicles to expand the brand into new markets, become leaders by redefining a market or exploiting new technologies.
Low volume vehicles provide unique challenges in the product offering, manufacturing constraints and the commercial demands. Drive have been involved in numerous programmes and have built up experience of the various approaches to the business proposal, from designers wishing to produce their concept, technology led business opportunities and brand experience products. Spectre Cars, Delta Motorsport, Magna Styer, Zenos Cars, Caterham Cars and Lightning Car Company have all turned to Drive for support in delivering their projects.
Whilst the funding for niche vehicle projects is provided from varying sources depending on the circumstances, the necessary underlying business case has to be rigorously tested and proved just the same, before investing of valuable time, resources and money. Drive’s in depth experience can help build the background to the project, give crucial investor confidence in the participating parties and provide experience and guidance throughout project timeline.
Through the development and refinement of the design our experienced team maintain the initial design intent whilst answering the engineering and economic challenges posed by these unique projects.
Drive’s understanding of the difficulties facing niche vehicle manufacturers (NVMs) trying to establish a company or product make them ideal partners to be involved in the development of a robust product concept and commercial strategy, whilst helping identify design and manufacturing efficiencies through collaboration with strategic partners.
Not every venture can be the success that everyone is looking for but minimising the risk by being fully aware of the undertaking at the start, with suitable gateways mapped out so that owners and investors can make informed decisions before embarking on the next phase, help to increase the chances of a sustainable business.
In this months Top Gear magazine it is great to see Caterham Cars CEO Graham McDonald, showing off the C120 concept design that drive developed. This was destined to be the sister car to the future Alpine, had the Caterham / Renault joint venture lived on. A project that everyone at Drive is very proud to have been part of. For the full story you’ll need to get the magazine!
I often get reminded, here at Drive, that design is all about opinion, so here’s mine on the dark and scary world of job applications. So you can take some of it on board, all of it on board or none at all and prove me wrong.
It’s the age old and favourite past time of anyone seeking a career in the automotive industry, the application phase. From designers to alias modellers, we are all aware that our industry doesn’t tend to favour the conventional CV and cover letter with a careful placement of buzz words/phrases like ‘I can manage a team of people and take on individual responsibilities’. Although these are areas we all have to consider, at the end of the day, the dreaded ‘P’ word is what we are all thinking right now….your Portfolio. So let’s start with my do’s and don’ts of the most important aspect of an application.
First of all, know who you are applying to, if all you have is speed boats and lawn mowers in your portfolio then I would say it is quite rare that and automotive studio will consider you. Research the studio/brand and try your best to think of what they might look for in a candidate.
“You are only as good as your worst piece of work”. This cannot be said enough, and I wish someone had told me this at university too! As a designer especially, your portfolio will mainly be put under the eyes of other designers, we love looking at them, we want to be excited, we want to see that sketch or render that inspires us and then we will want you! So let‘s throw away lifeless package drawings of translucent, colour filled boxes that say “batteries” or “motors”, and the 97.5 percentile Dutch males that you’ve squashed into your vehicle, we can save all this for when we actually have to face reality, when designing a real car for manufacture (and you won’t really even have to worry about this).
Keep your projects to a minimum, we see 56 page portfolios with about 10 projects in. These are too big to keep/capture our attention for the period of time it would take to digest that amount of information/wade through it. We are designers ourselves and therefore have to design things and unfortunately you can’t spend all day every day looking at portfolios! Now this is the hard bit, discarding older projects as your skills have improved….nearly impossible to do sometimes as you probably hold emotions for each project as if they were your own child. They aren’t your children and they don’t have emotions, cut them out and be brutal. Do it, cut it down, get through it. Even if you are left with 3 projects, this will the make us think that you can do everything of this level.
From my own experience as a Coventry graduate, cut out the following 1. Clay head project 2. Any ergonomics based project with lights that reflect your mood. 3. An alias models or render which is then repeated in different colours to show colour choices up to 5-6 times (to pad out your portfolio).
Variations of design work. The tricky creative taboo topic, difficult to answer without causing a whole world of design debates and potential Ted talks animosity establishing what design is and how we should approach it. Try to mix it up, don’t just have 3 projects of space ships and fantastic speed painting art work, show that side of you by all means it’s great to see, however try and include some good old fashioned automotive design, displaying an understanding of surfacing, brand interpretation and proportion over 4 conventional wheels.
Your portfolio should be an extension of yourself, it should be presented in a way that you want it to be. Your style should be natural rather than something that is forced. Always be honest with the way that you work, whether you are all about hand sketching or a Photoshop wizard, show how you work as we all have different ways we do things.
A great way to stay sharp, get your name out there and they really keep you on your toes. Local motors, the Michelin design challenge and interiormotives to name but a few, the briefs are usually fun, and if it is not fun then you need to twist their brief to do so! No one wants to design something boring in their spare time. These usually have no engineering requirement, package constraints or a need to convince university tutors to what you are doing, go forth and have fun!
Keep it simple, if you don’t have that much experience it’s ok, we have all been in your shoes at some point and we don’t expect to see years of experience from a student. Whatever you do, please don’t write that you have been ‘freelancing’, it’s a term we all know, love and laugh about, and it means you are probably skint after uni, living at home with your parents with a remedial part time job doing your portfolio and design competitions of an evening whilst your parents tell you that you should start thinking about getting into a different career.
My last thought on this topic, which I could probably continue to preach about for another hour whilst I annoy my collegues by seemingly moaning endlessly is this….the self-rating skill charts!
Now I’m not sure what the universities have been preaching to the students of late, but here’s my number one pointless thing to put in your portfolio if you are applying to be a designer or alias modeller. Grading yourself out of 10, maybe out of 5 stars even, stating how good you are at alias, photoshop, design or sketching. It won’t be right, it will probably annoy someone in the studio that you have sent it to. The idea of your portfolio or data you send is that we will be working this out, and to what level we see you as and if we feel you are right for said particular studio position. Whatever you do, please don’t include ‘football’ as a skill set, to which you then score yourself higher on this than any other design skills. Makes me think you should be a professional footballer instead! Hobbies are acceptable to list, but its usually quite boring to do so, we would like to see your character in your work.
I hope this helps you in all your applications
Have an opinion
Get a photo of you applying a tape to a clay model
Drink green tea or a lot of coffee
Be protective over your pen
Talk about sketches with emotions and feelings
Moan about all cars on the road
Try as best possible to never mention Steve Jobs in a automotive studio
Never be truly happy with your work
Keep portfolios to no bigger than 5mb (if possible)
Drive look forward to seeing the results!