Land Rover One Life

land rover onelife

Design in the city

Acclaimed innovator M a rc N e w s o n ’s L o n d o n l i fe

Pe r fe c t p a r t n e r s

F ro m J o e B o n a m a s s a ’s ’59 L e s P a u l t o A t u l Ko c h h a r ’s fo l d e d s t e e l c h e f ’s k n i fe

N o t j u s t a p r e t t y fa ce

The Range Rover Evoque vs O m a n ’s t o u g h e s t t e rr a i n

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contents

On the cover

e d i t o r ’ s

Colour, just as much as smell or taste, is a powerful memory trigger.

We can instantly identify colours and colour combinations with periods in time: the psychedelia of the late 1960s; earthy naturals of the 1930s (think Frank Lloyd Wright); black, white and silver of Art Deco; Miami Vice pastels of the 1980s or the blinding day-glo fluoro colour combinations, currently enjoying a resurgence, of the late 1970s.

This issue’s cover shows just how our colour trends have changed over the last century, illustrated by key shades of the decades. Today’s palette “stars” are often blacks, silvers and the cleanliness of white (after a flirtation with the “candy” colours of the first iMac, Apple’s products, for example, now express a less playful and more premium palette). Where will our tastes be in 10, 20 or 100 years?

l e tt e r

Welcome to the new edition of ONELIFE, coming to you at a hugely exciting time for both the magazine and for Land Rover.

Following the acclaimed reinvention of the Range Rover last year and the recent launch of the all-new Range Rover Sport (see more of both vehicles inside) there is now a third evolution – ONELIFE itself.

We’re still travelling the world in search of the finest experiences and introducing you to some of the world’s most interesting and courageous people, and still giving you exclusive insights into the latest vehicles and thinking from Land Rover as it continues its journey to the future.

In the spirit of development, we’ve made big changes to the entire concept of the magazine, introducing a bold new look and feel, additional sections and features, and even more expert voices.

This is my first edition as editor of ONELIFE, and to come on board at such a transformative time in the life of Land Rover is both a joy and a privilege.

The all-new Range Rover in London, see page 50

vision

06 /From a magnificent jewel in the Gobi Desert to a world-changing fuel cell and the universe’s most spectacular hotel, we celebrate bold capability in the modern world

Enjoy the issue.

experience

16 /ALL IN THE DETAIL Land Rover’s Gerry McGovern on the inspiration behind his designs

Derek Harbinson

24 /colour THEORY The power, socialisation and culture of colour

The latest ONELIFE iPad app is available now.

Download it from the App Store.

32 /perfect partners From Jason Bell’s favourite Hasselblad to Joe Bonamassa’s Gibson Les Paul – the tools these experts cherish

insight

44 /What your watch says about you, how barefoot running gives the ultimate freedom and what is really controlling our world

drive

50 /DESIGN IN THE CIty In London with internationally renowned designer Marc Newson

editor derek harbinson • art director dan delaney • deputy editor helene dancer • production editor jane cloete• account manager emma childs • group account director sarah turner • production controller russell miller • executive creative director paul kurzeja • managing director gavin green • CEO sara cremer • with thanks to designers rob mellis and tan parmer LAND ROVER ONELIFE magazine is published by Redwood, 7 St Martin’s Place, London WC2N 4HA, on behalf of Land Rover UK, Abbey Road, Whitley, Coventry CV3 4LH. Colour origination by Rhapsody. Printed by The Westdale Press Limited. Copyright Redwood 2013.

All rights reserved. Reproduction in whole or part is prohibited without the written permission of the publisher.

Opinions expressed are those of the author and not Land Rover. While every care is taken compiling the contents of LAND ROVER ONELIFE magazine, specifications, features and equipment shown in this magazine are subject to change and may vary by country. All necessary permissions were obtained for film and photography in restricted access areas. For additional information, please contact your authorised Land Rover dealer. This magazine does not accept unsolicited manuscripts, photographs or illustrations, and cannot accept any responsibility for them. Drive responsibly on- and off-road.

58 /rock star Oman’s toughest terrain in the Range Rover Evoque 70 /FREEZE FRAME Exclusive access to the Range Rover Sport’s punishing test procedures

PEFC Certified This product is from sustainably managed forests and controlled sources

PEFC/16-33-376

www.pefc.org

74 /The JOURNEY CONTINUES Catch a glimpse of Land Rover’s future

Land Rover ONELIFE / 03

vision /bold capability in a modern

vision

Innovators, ideas and inspiration

06 / cultural desert Rising out of the Gobi, the Ordos Museum is a work of art 08 / immaculate timing Meet the British watch designer who wouldn’t take no for an answer 09 / PAPER WEIGHT From bespoke luxury to high-tech aircraft components, it’s all in the paper 10 / DANIEL CRAIG’S SPECIAL DELIVERY The all-new Range Rover Sport launches in New York 11 / NEW POWER GENERATION Electricity on the go – just add water 12 / Room with a view, now taking bookings Your next vacation destination is outer space

vision

cultural desert

One of world’s most talked about modern buildings is in the middle of nowhere

photography: Mad Architects

→

06 / Land Rover ONELIFE

Rising out of the Gobi Desert in Inner Mongolia, the Ordos Museum looks as out of place as it does at home.

This is exactly what Ma Yansong and MAD Architects envisioned when they first visited the desolate location, with a brief to design a museum for one of China’s newest cities.

Ma drew inspiration from the surrounding undulating Gobi dunes and Buckminster Fuller’s 1960s Manhattan Dome project to create a museum that is as much of a fascinating object as the contemporary art and prehistoric artefacts it houses.

The building’s bold and spaceship-like exterior, encased in highly polished copper-coloured louvres, gives the museum a surreal glow, but the boldest part of the design is actually inside, where the amorphous quality continues. Sinuous surfaces, diffused sunlight and a canyon-like hallway all contribute to a playful, dream-style interior. i-mad.com Land Rover ONELIFE / 07

vision

immaculate timing

A designer’s vision of the perfect timepiece becomes a reality – after 4,000 hours →

Naivety. That’s what drove Giles Ellis to create the Signalman. “I wanted to buy a watch – but I just couldn’t settle on an off-the-shelf one, so I decided to make one.”

Giles, a British graphic and product designer, set to work, applying his obsessive, meticulous standards to each aspect. “The design was quick and intuitive, but I insisted that all the engineering aspects were ‘just so’. However, I quickly learned why other watch manufacturers don’t make watches in the way I wanted to. In fact, 29 out of 30 engineers told me that in order to have, say, the watch case as I wanted it, I would need to compromise on another aspect.”

This was not an option. It took Giles four years – and 4,000 hours – but he finally found the right people to machine the case to tolerances not exceeding 0.01mm, to set the crystal at 0.5mm below the lip of the bezel, to create a pusher for setting a sub-dial through the lug assembly, to engineer a larger crown that breaks through the watch and, well, it goes on. The unwavering dedication to precision meant that the finished Signalman GMT PR (pictured) was one that Giles was happy to wear, and to put it to market. schofieldwatchcompany.com

PAPER WEIGHT

Heard the one about the British paper mill whose materials are used in US military aircraft?

photography: Craig Easton/sun lee

→

08 / Land Rover ONELIFE

Lose any assumptions that paper is just for printed products. There’s a bold new world for paper, and we’ve seen it. Take British paper mill James Cropper. Established in 1845 as a traditional paper mill, the company now produces a wide range of truly bespoke items: on the one hand, it manufactures a remarkable paper-like product that’s used in Sikorsky helicopters and in defibrillator pads; on the other, it produces luxury retail packaging that barely resembles paper.

According to chairman Mark Cropper (above), it all started “a generation ago, when our technicians adapted our paper-making technology to create materials from sources such as carbon fibre, and today its properties such as electromagnetic shielding are making it very useful in aerospace and automotive fields.” On the luxury paper side, it is just as innovative. When its client, fashion retailer Loewe, specified packaging the colour of Madrid’s soil and the texture of the brand’s signature leather handbags, “we were able to create a suede-like finish with a leathery emboss that doesn’t feel at all like paper”. jamescropper.com

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vision

DANIEL CRAIG’s SPECIAL DELIVERY New York gets its first sight of the all-new Range Rover Sport →

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New power generation

Just add water to this portable fuel cell and charger for an uninterrupted power supply wherever you are in the world → photography: sun lee

The all-new Range Rover Sport made its world debut on the streets of New York, and the man doing the driving was no stranger to Land Rover, to New York or to the limelight.

British actor Daniel Craig, who lives partly in New York, collected the car from a container terminal, where the vehicle had been shipped from its birthplace in Solihull, UK. He drove it over Manhattan Bridge and through a closed-off tunnel before navigating the streets of New York to the launch venue. There, at the bold new Moynihan Station – future hub of a high-speed rail network – he joined celebrity guests for the car’s unveiling.

His drive was filmed as part of a short film called The Delivery, directed

by Jonathan PB Taylor – lauded for his work on Iron Man 2, Die Hard 4.0, Independence Day and Captain America – which was broadcast live.

The following day, the new car, lighter, faster and more agile than its predecessor, was unveiled at the New York International Auto Show. newrangeroversport.com

Called the PowerTrekk, this lightweight device is both a portable battery pack and fuel cell, and relies on ordinary water to deliver power to electronic equipment such as mobile phones and cameras. This makes it a very reliable source of power, as it doesn’t need any sunlight to charge or need to be recharged in a power socket.

“Fuel cell power is reliable and quickly generated,” explains Björn Westerholm, CEO at myFC, the Swedish company behind the PowerTrekk.

“The speed of charging is not limited by weather or solar position.

Furthermore, there is no power degradation like there is with batteries.” powertrekk.com Land Rover onelife / 11

vision

Room WITH A VIEW The final frontier is becoming an increasingly viable holiday destination, as bold visionaries battle it out to provide a truly outof-this-world experience to intrepid travellers

awaiting image →

The International Space Station (ISS) was the first to open its airlocks to tourists – or touroids, as they like to be called – and has to date welcomed seven guests. More are imminent, including the renowned singer Sarah Brightman who is due to visit in autumn 2015.

But if the thought of having to take sponge baths doesn’t appeal – the ISS only has a limited water supply – the Russian company Orbital Technologies is upping the ante with this Commercial Space Station, due to open by 2016.

There’ll be showers here, along with microwave meals rather than freeze-dried nourishment, and jaw-dropping views of Earth through large portholes. orbitaltechnologies.ru 12 / Land Rover onelife

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experience

New perspectives on your world

16 / ALL IN THE DETAIL The magic behind Land Rover’s design innovations 24 / COLOUR THEORY Why do colours make us react in different ways?

32 / PERFECT PARTNERS From Kin Knives to Les Paul guitars, luminaries share their tools of the trade

experience

all in the detail Design Director and Chief Creative Officer Gerry McGovern talks inspiration, precision and the science of design words by Derek Harbinson — photography by Shamil Tanna

16 / Land Rover magazine

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This page and previous: close-up details of the all-new Range Rover Sport

18 / Land Rover magazine Gerry wearing his own bespoke three-piece Air force blue mohair suit by Henry Poole, 15 Savile row, London; handmade shirt in LEMON by Sean O’Flynn, 6 sackville street, london; Cufflinks and pocket square by Henry Poole. Rolex Submariner with emerald green face and bezel

experience

“ We put a great deal of store in creating high-quality surfaces that communicate a level of sophistication” Land Rover ONELIFE / 19

photography: alamy

experience

What was the spark that made design your passion and, ultimately, your career?

As a kid in the 1960s I was very aware of shapes and textures. My mother influenced me with her interest in art and fashion and I can remember really liking cars, especially because my parents never drove one. My dad reached 90 years old and never drove a car.

I must have been six years old when my uncle, an architect living in America, shipped over a car. I think it was a Chevy Bel Air, with the fins on it. I remember being wowed. It was like a spaceship. So, from an early age I was very visually aware. Some people would like to take things apart; I just liked to admire them.

But design wasn’t an immediate choice. At one point I wanted to be an artist, at another, a professional footballer.

When did car design start to feature in your life?

When I was 18, I knew. I went to college to study industrial design and became really interested in car design. I was fascinated by it – the volume, the proportions… I was also 20 / Land Rover onelife

deeply interested by architecture, particularly Modernism.

It was this sense of optimism, of looking forward.

So how do you feel now when you come into work?

I probably love this job more than ever, because I can see how relevant it is to a business. I like to know that I’m making a difference. The fact that the Range Rover Evoque was successful and boosted the company’s bottom line made people realise what design can do, and how it can affect the perceptions of a brand.

Design is a science. There’s a level of subjectivity when it comes to people’s preferences, but generally if you design a good-looking vehicle, people will respond to it positively. The new Range Rover Sport looks so desirable because there are certain design elements that are so correct, such as the volume and proportion, which are a fundamental part of its DNA. What about that DNA? Is it a difficult balancing act: facing the future and recognising the brand’s heritage?

Above: the all-new Range Rover Sport is crafted from aluminium, making it lighter, more agile and fuel efficient.

Above, right: A Richard Neutradesigned house in Palm Springs, a mid-century modern masterpiece (1946) and one of Gerry’s favourite designs

If you think about how our vehicles have evolved, you will see that they’ve all contributed to establishing the brand DNA. The challenge is to recognise our unique heritage, but not to be harnessed by it. We need to create vehicles that are relevant in a modern context. Yes, it is a balancing act. If you’re looking back to heritage too much you’re in danger of appearing too retrospective.

At the same time if you don’t acknowledge it at all, you risk appearing generic and losing your identity.

It’s a bit like having a set of ingredients, it’s all about the way you cook them up. For example, we are now designing a modern-day Defender and while people love the current one, including me, it would be wrong to replicate a vehicle that was designed 65 years ago. What we have to do is create a thoroughly modern Defender that captures the essence of the original.

Could you explain more about specific DNA elements?

Our flagship, the Range Rover, for example, will always have certain recognisable design elements, such as

“ The success of the Range Rover Evoque made people realise how design can affect the perception of a brand” the floating roof, continuous waistline and clamshell bonnet, together with an element of formality and visual robustness. Its deep grille talks to that formality. Conversely on a Range Rover Sport, the grille is shallower as are the lamps – these combine to create a stealth-like appearance that communicate the vehicle’s sporting characteristics.

There are many specific design cues when you look at our vehicles, some of them overt, others are quite subtle, all of them are designed to create a sense of family, but also to promote individuality from one vehicle to another.

Generally, every line and detail has a reason for being, whether aesthetic or functional.

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photography: getty/alamy

experience

I have to take a holistic view. Part of my role is to filter and consider how all these things relate in order to create a cohesive family of vehicles that at the same time have their own unique personalities. They all need to communicate what our brand represents while making sure they connect on an emotional level. Consequently at times I have to be quite prescriptive in my direction to the team. I want our customers to truly desire our vehicles. Design is the gateway to achieving this.

People think design is just about making something look good. What it’s really about is visualising elements and how they all relate to each other. Design is not something that can be applied, it has to be integral and it has to have integrity. You know good design when you see it and it should never be so rationalised that only the design literate understand it. Good design should make you smile, it should make you happy and enhance your life. Design leadership and engineering excellence is what our brand stands for. I constantly challenge and push our design teams to achieve these things.

How does that design leadership and engineering excellence come through in the new Range Rover Sport?

The new Range Rover Sport is better in every dimension than its predecessor. It’s significantly lighter, more aerodynamic and it drives and handles like a true sporting vehicle.

From a design perspective it has immense visual presence, it’s dramatic, modern, it has those all-important optimised volume and proportions, and of course the 22 / Land Rover onelife

vehicle is capable of doing what the design promises. It has a strong stance and sense of purpose.

I’m proud that we have been able to create a five-plustwo seat configuration inside such a sporting profile. Of course its Range Rover DNA is clear with its floating roof, continuous waist and short overhangs. This vehicle is drop-dead gorgeous, it’s got “drive me” written all over it.

How do you ensure a premium feel in your vehicles?

Luxury or premium execution is all about precision, precision, precision – the three ‘P’s as I like to call it. That, combined with the highest quality materials and finishes.

In terms of the exterior design, generally fuller sections give a more premium and robust feel, but this has to be countered by a level of tension in the surfaces. Surface development, as we call it, requires a high degree of craftsmanship, particularly between the designer and the model-maker. This is the most time- consuming part in the design development process. We put a great deal of store in creating high-quality surfaces that communicate a level of sophistication. Quality detailing is also very important, particularly on a luxury vehicle. Lamps, for example, are where you can really demonstrate a jewel-like quality – this, combined with signature graphics, help to create visual differentiation. Feature lines play a crucial role in suggesting movement and drama, as well as reducing visual mass.

While the exterior design has to evoke desire and be instantly recognisable as a Land Rover, so too does the interior. DNA comes into play again. Strong architectural elements of the main upper fascia, which is intersected

“Design longevity is vital,” says Gerry.

“The Tulip chair [above, centre] by Eero Saarinen, created in the 50s, looks just as modern today. It has a sense of humour and is beautifully balanced.”

Above left: a Flavio Poli vase from the 1950s

Gerry weaRS his own bespoke navy blue chalk-stripe suit by Henry Poole; handmade white shirt by Sean O’Flynn; blue silk tie by Tom Ford and white Charvet pocket square. addresses as before

“ A vehicle’s technical capability and technology have to be reflected in the way it looks, and, of course, in the way it moves” by the flowing console angled on a Range Rover Sport, to give a cocooning, sports-orientated ambience, as opposed to a more upright vertical angle on the Range Rover that has a more formal feel.

I’m an advocate of the modernist view that less is more.

I’m particularly pleased with this reductive approach that we’ve incorporated first in the new Range Rover interior, and now in the new Range Rover Sport. This paring back has increased the premium nature of the interior.

How does premium luxury in non-automotive design differ from what you create?

With luxury products in general, people like the notion of something that’s bespoke – however, handmade items generally contain irregularities. This is absolutely fine for certain products, for example, I used to collect hand-blown Italian glass from the 1950s and 1960s and their beauty is the irregularities in the glass and the highlights. There is no perfect symmetry, which is part of its charm.

However, with a vehicle it has to look accurate, it’s a machine, it’s about precision. Its technical capability and technology have to be reflected in the way it looks, and, of course in the way it moves, sometimes at considerable speed. It’s a moving object of desire and it has to deliver you to your destination safely.

How would you like customers to respond to this design?

There has to be a level of enjoyment. To me this means that if someone has a Range Rover Evoque or a Range Rover Sport, I want it to put a smile on their face every time they

look at it. That connection goes further when they drive the car, interact with it. There is a sense of achievement when consumers buy our vehicles. I want these vehicles to enrich and make their lives easier and more enjoyable.

I don’t think there’s anything wrong with that.

Can you give us a glimpse into the future of Land Rover?

It’s dangerous to plan further than 10 years ahead, you don’t know how the world is going to change. At the moment, our focus is on building the brand and creating vehicles that maintain their relevance, that are more sustainable, that are more fuel efficient, that enrich people’s lives. In terms of design, a well-proportioned car is always going to be a well-proportioned car.

What we have to consider are things like what technologies we’re going to use? How will we make the car more intuitive? etc. I believe personalisation is going to be a massive opportunity for expansion, where customers can potentially specify exactly what they want.

For example, people may want their car to feel more like a functional office or an extension of their luxurious home.

The one thing I am sure of, is that our cars will continue getting better and better. Higher levels of comfort, higher levels of intuitiveness, more efficient and lighter but doing it in a way that still maintains the essence of what this brand represents. But what really intrigues me are the white space opportunities to grow and give greater relevance by creating new products. Evoque was such an opportunity. What are the others we haven’t even thought of yet? Or perhaps we have!

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experience

Colour theory Why do colours make us react in different ways?

Advertising legend Rory Sutherland and persuasion consultant Steve J Martin chart a course through the psychology of colour, to understand how brands use shades and tones to affect perception and consumer behaviour. Plus we look at the current and future development of the Land Rover palette 1920

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experience

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STEVE J MARTIN

Author, columnist and speaker, Steve J Martin is the UK director of Influence At Work, a science-based training and consultancy company.

Steve considers the power of colour on our perceptions and behaviour

In 1979, noted psychiatrist Dr Alexander Schauss conducted a series of studies designed to measure the mental and physical strength of 150 men. Each man was shown one of two cardboard signs for one minute before taking part in a series of physical strength tests. Sometimes they were asked to raise their arms directly in front of their bodies while downward pressure was applied. On other occasions, a dynamometer test was used to give a more accurate measurement.

Regardless of the test, it was clear that the cardboard signs had a remarkable influence over their subsequent physical performance.

There were no words or images on these signs. They differed only in colour.

One was blue, the other pink. It’s easy to dismiss the results of Dr Schauss’s experiments as a fluke. And given the weakening effect the pink card had on the men’s physical strength even easier to label them a crude demonstration of stereotype. But to do so would be a mistake.

Since these experiments were conducted, behavioural scientists have developed increasingly sophisticated ways of studying how our environment shapes decisions and behaviours. Their results leave little room for doubt.

While we’d like to think that our decisions are the result of effortful cognition, the reality is somewhat different. Much of our behaviour is driven by unconscious cues present in our environment. One of these cues is colour, influencing a wide array of decisions and behaviours, from how competitive we are, to who we find attractive and even if we’ll have a second helping at this weekend’s dinner party.

Of course it is important to note that wearing red tipped the balance between winning and losing only in contests between individuals of similar ability. So no amount of red will make a poor performer a good one, but it might make a good one a bit better.

But why? A 2011 study published in the Journal of Sport & Exercise Psychology provides a potential answer. Wearing red primes our perceptions of dominance. Conversely, viewing an opponent in red enhances our perceptions of them as a threat.

Most of us will rarely find ourselves in any sort of combative situation where we could test this theory, but there are some common situations where it could provide a distinct advantage.

Data analysed from ebay online auctions show that red backgrounds generally result in high bid jumps compared to blue. Not only could red earn you more when selling those trinkets, it might also help when selling yourself.

Writing in the Journal of Experimental Social Psychology, Adam Pazda describes the seductive qualities of red. Men who saw

“ Wearing red primes our perceptions of dominance”

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Blue (or green) sky thinking If you prefer to present yourself as a more intellectual type, blue or green might be a better choice. Both have been shown to enhance our thinking and creative performance. They could help you at work, too. To avoid a bloody bidding war in that next negotiation, maybe choose the pastel blue meeting room.

Colour could even help you to shed weight.

People have a tendency to serve more food when it matches the colour of their plate, for example white rice on a white plate, but less when they are given a contrasting colour plate.

Whether that means your kids will eat more vegetables simply by serving them broccoli on a green plate remains to be seen. n

Steve J Martin (right) is co-author of the New York Times and international bestseller Yes! 50 Secrets from the Science of Persuasion

photography: phil fisk

How red might have helped win gold Even though her nominative connection to the colour green didn’t hinder Jade Jones from winning a gold medal in the women’s taekwondo at the London 2012 Olympics, one wonders if her red outfit might have helped. A study by Dr Russell Hill from Durham University, published in the journal Nature, suggests that it might well have. In reviewing the outcomes from four different Olympic combat sports where contestants were randomly assigned either red or blue outfits, Dr Hill found that those who wore red won significantly more often than those in blue.

photographs of women wearing a red top (compared to the same women in white or green) rated them as more attractive. But red has its downsides, too. Another study demonstrated how performance in an IQ test was impaired after being exposed to the colour.

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rory sutherland

Vice-chairman of Ogilvy & Mather UK, Rory Sutherland considers the intricate relationship between brand and colour

Debates around colour and colour choice are constant, and new research on the subject in the fields of neuroscience and behavioural psychology is happening all the time.

One debate is around the extent to which we use colour instinctively. It’s illustrated by the story of the dominant crisp manufacturer in the UK. Walkers, is based in the northern half of the country, has the practice where salt and vinegar flavour is in a green packet and cheese and onion in a blue one. To everybody who grew up in the south of England in the 1970s, where different brands predominated at the time, this caused dissonance because we’d grown up in a world where salt and vinegar was always blue and cheese and onion was green. We become very attached to what a colour means to us as consumers.

Nature and nurture There is also a big debate about whether or not our reactions to colour are culturally universal or whether they are social norms that have become accepted across cultures.

Traffic lights, for instance, are green for safe and red for danger. In the same way, if you want people to click a button on your

One of the characteristics of brands such as the airlines easyJet (orange) and jetBlue (blue), and the retail chains Target (red) and Ikea (blue) is that they tend to use one colour very heavily. In the case of Ikea, I suppose, it’s the yellow and blue of the Swedish flag, but the word “Ikea” appears in blue. And what that conveys is a minimal simplicity of design, which expresses “this brand is not elaborate or expensive. Our simplicity is achieved through design rather than skimping on basic product quality.” Used this way, colour can very quickly convey to someone the nature of a brand.

Similarly, it’s interesting that upmarket brands and darker colours like royal blue have, over the years, become bedfellows.

British Airways, for example, is a default upmarket player and unsurprisingly uses a lot of dark blue. British Airways in orange (regardless of the existence of easyJet) would feel very wrong.

Retail rationale Supermarket retailing is another area where the use of colour is used to great effect.

Supermarket’s luxury or top-end ranges often use metallic silver. Part of the reason it looks upmarket is that it has traditionally been an expensive colour to reproduce and therefore is a classic use of heuristic thinking, which goes “the packaging is expensive to print, ergo it is high-quality content”. The colour and packaging act as a proxy.

Traditional economists would regard this as irrational, but I don’t because you only spend money on the packaging when you’re not skimping on the contents. At the other end of the scale, with supermarkets’ value ranges, you have a really interesting case. The product is perfectly OK, much of it with barely detectable differences from other lines, but it is essential that it is designed in a way that stigmatises it for the middle class. Because what you absolutely don’t want is everybody trading down and cannibalising your main line or other brands that you sell.

Other brands use almost bad taste on purpose in order to signal their no-frills values. At big discount outlets you’ll find these dissonant colour combinations that say, “this is a place with no pretensions”.

And we react to those messages. It works. n

photography: stuart hall

“ Upmarket brands and darker colours like royal blue have, over the years, become bedfellows”

28 / Land Rover onelife

website, you get dramatically different results if the button is green – again, which is safe – against red, which stands for danger. Is that because of traffic lights or is it something in us that predates the traffic light?

We also tend to use colour to assist our decision-making process. We have limited cognitive capacity. Our consciousness can only think about one thing at a time, so freeing up our brain to think about the important things without demanding cognitive effort is very useful. In a car, for example, if a green light comes on – no need to worry. Oops, that one’s amber and “eek!” that one’s red.

Rory Sutherland, one of the marketing world’s most original thinkers, is a champion of behavioural economics

The science of simplicity Other conventions have evolved more recently. Someone at my agency, Ogilvy & Mather UK, did a paper on what they called “rational chic” brands; which are low cost through simplicity rather than low quality.

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experience

pick your favourite

The Land Rover colour palette now offers myriad options, including the truly bespoke Colour is hugely important to consumers, from purchasing a tie to selecting a new vehicle. Aside from practical considerations, the choice of colour is influenced by all manner of factors: the personality of the owner; the vagaries of fashion; and the customer’s cultural background.

In South America, for example, red is the colour of success, in Europe it is more likely to signify love, while in China it signifies luck. Staying with China, yellow is considered the colour of royalty, whereas in many Western countries, it signifies fun and happiness.

Then there are colours that have always had a special significance. A good example is blue, which has signified importance through the ages – dating back to 4,500BC in Mesopotamia. These days, deeper blue shades are linked to royalty and premium brands.

Customer choice is increasing all the time, and new pigment and application technologies allow a much broader range of exterior colours to be offered.

Land Rover has been researching and developing colours since the company started making vehicles 65 years ago, and now the team at the design centre in England uses intensive research and expertise in extending choice and predicting the colours customers will be demanding in years to come.

“Inspiration can come from anywhere – a sweet wrapper, bottle top, watch or even a building can all provide the spark

for the design team to start developing new colours,” says Land Rover’s principal colour designer, Mel McWhirter.

Land Rover’s colour palette has changed dramatically in the years since that first vehicle was launched. The legendary Huey (so-called because of its HUE 166 number plate), was painted the kind of green that pointed to its military inspiration. Since then, Land Rover vehicles have appeared in a huge number of colours and the current palette ranges across the spectrum, in both metallic and non-metallic finishes.

“Land Rover has traditionally named its colours geographically, after places, regions, towns and bodies of water. Blues are named after oceans or rivers, oranges and yellows after deserts. One of the latest is Corris Grey (see the new Range Rover Sport on pages 16-23), named after a slate-mining area in Wales,” says Mel. Currently there are over 45 exterior colour finishes available across the Land Rover vehicle range, not forgetting the extensive choice of interior colour options and combinations. And that’s not all. For customers who desire a truly individual experience, Land Rover’s Engineered To Order division can offer almost any colour imaginable as a bespoke exterior finish.

So, should you wish to match your all-new Range Rover Sport to your favourite suit, your Discovery to a field of lavender or your Defender to a glass of Château Petrus, the choice is yours. n

A Range Rover Sport Autobiography interior option.

Right: the Land Rover colour palette

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Land Rover onelife / 31

experience

PERFECT partners What is it in the world that you simply can’t live without? Five industry experts, from photographers to chefs, reveal their essential tools of the trade

“ When I bought my first digital Hasselblad, it was creatively liberating. It made me take more risks; with film, you’re limited” Jason Bell, photographer

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photography: jason bell

words by Simeon de la Torre

Jason Bell’s digital Hasselblad is not treated with kid gloves

experience

Jason Bell – photographer Hasselblad digital camera

Mark Champkin’s layout pad and pencils – both the Word Count and Pre-Chewed pencils were designed by Mark

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photography: arthur woodcroft

Jason’s photography features regularly in international publications including Vanity Fair and Vogue. He has shot numerous film posters, many of his photographs have been acquired by the National Portrait Gallery, and in 2011 Jason (44) was awarded an Honorary Fellowship of The Royal Photographic Society.

I’m a bit torn because, although they really are the tools of my trade, I don’t actually like cameras much. A camera is quite an annoying obstruction that stands between what I see in my head and the subject. The cameras I like are the ones that are less of an interruption. Many photography students obsess over their equipment, but I don’t do that; it’s not the equipment that creates the images, it’s the photographer.

Over time I’ve used a variety of cameras and for years I use an old Graflex plate camera, which was very imposing. People would really know that they were having their picture taken. It was unwieldy, difficult to use and later in its life I had to put an elastic band on the shutter to get it to function. It made you work for your results.

I took it on a couple of shoots for the Royal Opera House in China and Russia in sub-zero temperatures, and the elastic band snapped, making it all the more challenging. In fact, thinking about it, it was too cold for Polaroids to develop and we had to stick them down the crew’s pants to warm them up.

Inevitably at one point I decided to go digital. I was very late to “go over” and it was purely because I preferred the quality of film that much more. But then, eventually, I started seeing work that I truly couldn’t tell if it was digital or not and I knew it was time.

The camera I use – and I’ve always used throughout my career – is a Hasselblad. My dad first gave me one for my 21st birthday and when I bought my first digital version it was creatively liberating. It made me take more risks; with film you’re limited.

I remember I went to Bratislava to shoot Rupert Friend, and it was a nightmare getting over there with all the kit and the lights for the shoot. Finally there, we all went for a glass of red wine before the shoot and, sitting in a bar lit by candlelight, I decided to take a shot there and then. It turned out that it was the shot. I wouldn’t have dared do the shoot with just a candle, but as I say, it allows you to take risks.

“ By sketching you can examine the idea further, explore the forms and see what will work and what won’t” Mark Champkins, product designer

I don’t know all of the camera’s features – I just know how to make it do what I want it to do. I’m not interested in any of the automatic features, either. I don’t want the camera to define the focus or decide how light or dark it is, too. I never read the instruction manual and I’ve never had anyone show me how to use it. In a way it’s quite bespoke, there are a couple of buttons that let me control what I want it to do and I don’t bother about the rest. It makes it a nightmare when I have to borrow other people’s, of course…

Do I look after it? I am absolutely terrible with it. I have a camera bag on wheels that gets dragged over cobbled streets, thrown around airports and shaken all over the place. As I said, to me, it’s a tool.

Mark Champkins – product designer Layout pad and pencil One of Britain’s best-known product designers, Mark (36) is also the London Science Museum’s first Inventor in Residence. His quirky creations are often aimed at children and at encouraging them to focus in the classroom.

My background is in manufacturing engineering, which gives me a real understanding of how things are made.

I also attended the Royal College of Art, which taught me about aesthetics and visual appeal. This combination forms the foundation of how I approach design and invention, but I do find that I just have to make an effort to notice things and then the inspiration will come.

Every morning, at the museum, I walk past a lovely old gramophone and barely notice it. One day, however, the thought struck me that gramophone horns could also amplify the sound coming out of the small speaker in my phone. Time to reach for my layout pad.

I find that by sketching, you can examine the idea further, explore the forms and see what will and won’t work on paper. There’s only so much of an idea you can keep in your head and I have to get it down to make sense of it. There is a temptation to make it look good, but just the process of putting it on paper will move you on through the stages until you get to the right answer.

I’m not worried what it looks like if it serves a purpose.

I started sketching at school and I wasn’t top of my art class – I’m still not very good at drawing.

The thing about these layout pads is that they’re thin, so you can see through the sheets. You can trace and take measurements from the previous drawing and use what you’ve got as a starting point for the next drawing. I use pencil, which is much better than a pen because you can smudge, shade and work it. It’s why I tend not to sketch using a light pen on a computer – it looks slightly too perfect. Besides, there’s a purity about seeing your idea almost flow directly from your fingers; it’s not as if it’s gone into a black computer box where it’s been processed and translated first.

Sometimes the process is quicker than others, but I don’t draw what I see in my head as the finished product.

Land Rover onelife / 35

Joe Bonamassa’s 1959 Gibson Les Paul “Skinner Burst” complete with buckle rash – evidence of wear on the back of the guitar through years of contact with belt buckles

photography: jeremy danger

experience

Land Rover onelife / 37

experience

“ There is something about the sea and the coast that is positive; it brings a sense of expectation and hope”

“ It took me a while to play it with the same anger and intensity that I use with my other guitars.

You gotta own that guitar. It’s not giving any love back to you”

Wayne Hemingway, designer

If I already had the answers I wouldn’t draw; it’s very much a tool in the creative process. The sketching takes me so far and then I begin using 3D printers or making models. That’s when you can rotate it and focus on the details of the mechanism.

The most satisfying thing is to go from an idea that was purely in your head and then in six months to have it finally made real. I guess it’s like the equivalent of an artist producing a piece of work. Sometimes you get to see people actually using your creations, and that’s even better.

Joe Bonamassa – guitarist 1959 Gibson Les Paul “Skinner Burst” Joe (36) is one of this generation’s greatest blues guitarists, and a veteran of 15 solo albums. His tours takes in around 200 shows worldwide every year.

To some, they are regarded as the Holy Grail of solid body guitars. They would be like a Stradivarius violin; the perfect mix of materials and craftsmanship. I would agree with that, but it’s interesting that when these were first being made they weren’t trying to create perfection.

Gibson kind of didn’t know what they were doing, sales were slack and they were trying to save the business…

Then English blues guitarists like [Eric] Clapton and [Jimmy] Page started playing them and producing amazing pieces of music. It’s a killer guitar.

I have six in total, some would be perceived as mint condition, some have a patina, and they are all different – although none are broken or cracked – each has obviously had a different life. You can tell the ones where the music stores put them in the shop window originally because they fade to a lemon colour – they almost look gold when you’re on stage.

These guitars can be worth hundreds of thousands of dollars each and I wouldn’t spend all that money on them if I didn’t use them. I’d much rather take them on the road than leave them in a bank vault. In fact, they’re literally my travelling companions when I’m on the road. Airport baggage handlers aren’t always the most careful, so I buy a seat for the guitar and a seat for me; I enjoy ordering a gin and tonic for the guitar.

When I got my first ’59, for the first couple of weeks it dominated my life, and I was afraid of it because of the value. It took me a while to flick the switch in my brain that enabled me to play it with the same anger and intensity that I use with my other guitars. You gotta own that

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guitar. It’s not giving any love back to you. Don’t get me wrong, I don’t abuse these guitars, but I’m not shy with them either. I might have put a few nicks on them when I’ve played them in battle conditions, but I’m not overly concerned with it. My job is to be a curator for them, and in 100 years they’ll still be making music – whereas I won’t be!

These guitars enable me to do what I love best, and as you’ve possibly figured out, for me, it’s not just about the sound. However, let’s not downplay the sound for a second. In a big hall there’s projection with these things.

The tone is clean and clear. A guitar sounds best when it mimics a human voice and this makes a big, lush noise that’s not overly saturated.

Whatever you give the ‘59, it’ll give it back to you.

On stage, while I don’t know if the people in row G would be able to tell the difference in sound, they certainly bring out an extra 10 per cent in my playing.

Joe Bonamassa’s new album with Beth Hart, Seesaw, has just been release by Provogue Records. He’s currently on tour – for dates, visit jbonamassa.com

Wayne Hemingway MBE – designer The seaside Acclaimed designer, Wayne Hemingway (52), cofounded the fashion label Red or Dead that won the British Fashion Council’s Streetstyle Designer of the Year Award for three consecutive years. After selling the brand, he and his wife started HemingwayDesign, which specialises in affordable and social design.

I’d say the seaside is one of Britain’s greatest assets.

There is something about the sea and the coast that is positive; it brings with it a sense of expectation and hope. Our seaside is associated with bathing and sunshine, of holidays and days out. You get warmer seaside resorts in different parts of the world, but ours is a challenge almost, and I like that.

Nowadays, many resorts don’t have the financial returns that they did in the past. However, they are a massive asset. One place in particular I am inspired by is Margate. I was born in Morecambe in the northwest and it certainly has issues to overcome, which is why I’m working so closely with the town now.

Our [the HemingwayDesign team’s] philosophy is to be social designers and to improve things that matter in life. We’ve had offers to go all over the place for work,

photography: getty images

Joe Bonamassa, guitarist

Margate’s Turner Contemporary gallery, which is at the vanguard of the town’s creative revolution.

Wayne Hemingway’s reimagining of the Dreamland amusement park is part of this regeneration

but we prefer to stay somewhere a bit more grounded.

I like original work and the people of Margate are up for that. Having visited the place many times and seen the grass-roots creative revolution that is taking place, I was thrilled when we were asked to help revive one of the UK’s best-loved amusement parks, Dreamland.

We’re turning it into the world’s first amusement park of thrilling historic rides, with classic sideshows, themed festivals, perhaps, and special events.

We’ve only just started on this project, but it’s a big cog in a machine that is already starting to turn.

I can see it on the streets; people walking with a swagger, taking pride in their seaside town. And for me, that makes it all the more special.

Atul Kochhar – chef Kin Knives One of the world’s foremost Indian chefs, Atul (43) has won two Michelin stars – one each for restaurants Tamarind and Benares in London.

I’ve always been fascinated by knives and wherever I go in the world I end up buying one, as a type of souvenir.

I’ve collected so many, I’ve almost lost count. The thing

is, a chef can’t be a chef without one – it all comes back to fire and knives – and if you’re going to take your career seriously, you have to invest in some decent knives.

You get a kind of rivalry between chefs about the knives they’ve got. If I’m doing a TV show or a demonstration and there are other chefs there, you’ll often see them trying to catch a look at what you’re using. It’s strange, but it’s natural – kind of like comparing cars.

Personally, my knives of choice are made by Kin. They’re created out of steel that is built up, layer by layer, by beating and folding the metal. This is then placed around a core of high carbon steel, resulting in one of the strongest blades on the market with the thinnest, sharpest of edges. Plus, the knives are very light, which I find useful in the kitchen. I am fond of German knives too, but they are heavier and when you’re working with them all day…

As one of the tools of my trade, I have to take good care of my knives, some are made from raw steel so every now and then I have to smear them with oil, and of course sharpening them is an art in itself. But the effort I put into them is rewarded. One of my signature dishes is pan-roasted John Dory with oven-roasted tomatoes and it’s absolutely crucial that my blade is up to the job. It’s a tricky fish to fillet and it needs to be done properly when you’re working to the standards I’m trying to achieve.

I learned a lot of my knife skills at home in India.

My granddad was a baker, my dad a caterer, and then I had professional training in catering college in Southern India. You meet people along the way also; you watch; you learn.

Have I been cut? Of course I have! Many times. It’s just part of the job when you’re a chef and I’ve cut off nails here and there along the way. The “secret” is to remain focused when you’re using knives and even when you’re not, there is a skill to carrying them and almost an etiquette around knife-safety culture.

Similarly, I have to be careful when I’m taking them through airports (I wouldn’t dream of working anywhere without them). You don’t really get any trouble from security, but you have to declare them and show your ID. I’m still learning with these knives. They’ve been with me for over 12 years and even though I can use them for the basic, everyday tasks almost without thinking, I like it when I’m faced with a challenge and have to find a new way of achieving the result I’m looking for. They’re a long-term investment for me and they’re good to me – they continue to repay my faith in them.

Land Rover onelife / 39

photography: Steve Gallagher

experience

“ It all comes back to fire and knives – if you’re going to take your career seriously, you have to invest in some decent knives” Atul Kochhar, chef

40 / Land Rover onelife

The handmade Kin Takamura Santoku Knife – built up from 32 layers of Damascus steel Land Rover onelife / 41

insight

insight

Thought, opinion, conversation

44 / What your watch says about you Bonhams’s Paul Maudsley dissects the personality behind a timepiece 46 / bare essentials Robert Lane Greene heads into the urban jungle, barefoot 47 / CONTROL CENTRE Derek Harbinson on the power of maths

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Land Rover onelife / 43

insight

What your watch says about you A watch is not just for telling the time. Your choice of wristwear, whether a simple classic or a complex tourbillon, can also send signals about your personality

photography: sun lee

words by Paul Maudsley — photography by Sun Lee

I’ve met a great number of watch enthusiasts and collectors during my 15 years at Bonhams and I like to think I can read a man fairly well by his choice of watch. A wristwatch, after all, is often the only piece of jewellery worn by many men and as such is a signal (either subtle or, well, not so subtle) as to the wearer’s personality. From the tried and tested Rolex to the most complicated Patek Philippe, a little knowledge of horology can go a long way in garnering information about someone.

Those who lean towards the well-known brands of Rolex, Heuer, Breitling or Omega often have an appreciation for heritage and history. They will probably have more than one example of their passion, too. Many a great collection has started with one of these watches. Men in this category who gravitate towards very specific models – such as the Omega Speedmaster Moonwatch worn by astronauts on all six manned lunar landings or the Tag Heuer Carrera, as worn by racing greats such as Juan Manuel Fangio, tend to identify themselves with these iconic owners.

Those driven by a sense of personal adventure, adrenalin and old-fashioned grit often look to the Rolex Explorer as their timepiece of choice, no doubt inspired by Sir Edmund Hillary who took his Explorer to the top of Everest. These tool watches also serve to give the impression of a rugged adventurer who needs a hard-wearing timepiece to survive their expeditions, whether that be diving to the bottom of the Mariana Trench, driving through the jungle (urban or otherwise) or Sunday shopping on Sloane Street.

If you are more inclined towards understanding the mechanics of things (and have pockets deep enough to afford the associated price of entry) then

“ Those driven by a sense of personal adventure, adrenalin and old-fashioned grit often look to the Rolex Explorer as their timepiece of choice, no doubt inspired by Sir Edmund Hillary” Paul Maudsley, international watch director, Bonhams

grand complications such as a tourbillon, split second chronograph, minute repeater or perpetual calendar is probably more appropriate. With their perception of being more delicate than their rugged siblings, these high-priced mechanical marvels generally find their way onto the wrists of the first-class flying elite of CEOs, chairmen and other captains of industry, with Patek Philippe usually the brand of choice.

For those with a more ostentatious and decadent streak, they will probably be drawn towards timepieces in the more distinctive precious metals such as yellow and rose gold, often with diamond and other stone-set cases, bezels, dials and bracelets.

Striking examples from the big jewellery houses such as Cartier and Piaget certainly give the impression that the owner is not afraid to show what they have.

The choice of strap, too, is interesting. A leather strap can point to a more subtle, conservative and traditional approach, whereas a metal bracelet can be more masculine. As they say, first impressions count and your watch can certainly contribute towards that with the right choice.

Personally, one of the watches that I really love wearing is a 1953 Jaeger LeCoultre Futurematic.

It was the first 100 per cent automatic watch without a winding crown. Over 50 years old and still a wonderful and precise timekeeper. What does it say about me? Well, I’ll let you decide.

Land Rover onelife / 45

insight

bare essentials

CONTROL CENTRE

Forget the robots; here’s what’s really ruling our lives

Ditch the trainers and run through the city with nothing between your feet and the pavement? It's what nature intended, says one convert

words by Derek Harbinson

words by Robert Lane Greene — photography by Mark Read

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like I could run forever. I’ve even run a solo halfmarathon in my ballet slippers. This would have been unthinkable in my old trainers, when five miles felt like eternity.

Barefoot and minimally shod running focuses the runner on the body itself, on the need to use it in a light and energy-efficient way. I was no longer pounding the ground with my feet, but picking them up as quickly as I put them down. I still truly love barefoot runs the best. On my longest run, I ran five miles through the most densely populated part of Brooklyn's sidewalks and streets.

On my fully barefoot runs, people sometimes stare, clearly thinking that I am crazy or masochistic.

But as I tell anyone who asks, no, it doesn’t hurt, if you’re doing it right. Second, if you’re minimally aware, you can avoid any pebbles or broken bits of glass; I have never hurt myself on debris. Third, yes, you do want to start slowly and thicken the skin on the soles of your feet. Barefoot experts strongly urge a slow and gradual switch, with runs of just a quarter-mile to start, very gradually building distance. The muscles in your feet and calves need a long transition period – even more than the skin on your feet.

So if you hate running the old, shoe-clad way, take off the trainers, do some research on good form, and give the really old way a shot.

“ I took quick, short strides, making sure to land lightly on my forefeet beneath my hips, rather than on my heel out in front of me. It felt fantastic” Robert Lane Greene, correspondent for The Economist, author and barefoot runner

photography: mark read

I’d always assumed I was just a terrible runner. I was slow and awkward. I tired faster than anyone I ran with and after runs I felt beaten – not “beaten” defeated, but “beaten” as in by Mike Tyson. The man in the shoe shop who watched me run on a treadmill told me I have flat feet. (I don’t.)

Then a friend lent me Born to Run by Christopher McDougall. On one level, it’s a tale of a tribe of running-mad indigenous Mexicans and a motley crew of other ultramarathon runners. But on another, it’s a book-length indictment of the shoe industry.

Christopher's point: the human foot was evolved for running. Why do we swaddle it in thickly padded running shoes, and still get injuries when we do?

I am not a fad person, so I looked for serious research – and found it. Daniel Lieberman, an evolutionary biologist at Harvard, has argued that the human foot was exquisitely designed by evolution for distance running. The explanations and videos on his website convinced me to give it a try. I kicked off my shoes, and ran around my block in Brooklyn.

As I did, I took quick, short strides, making sure to land lightly on my forefeet beneath my hips, rather than on my heel out in front of me.

It felt fantastic. The foot is full of nerve endings much like the hand, designed to help the foot navigate almost any terrain and the stimulation was enjoyable.

Soon I wore a pair of minimal shoes. Several manufacturers now make ultralight, flexible shoes (I call them my ballet slippers) with no cushioning.

These allow runners to feel the ground beneath them and run naturally, but provide a little protection for the skin.

After the switch, I was a bit faster than I had been before, but the real difference was that I felt

During the Cold War, a common theme in science fiction was the rise of the robots.

These metal men – slaves to their programmed view of the world, from Asimov's I Robot to Dr Who’s foil-wrapped enemies, the Cybermen – were a handy metaphor for the West's fear of the perceived Soviet threat.

In reality, the robots haven't taken over (although they did help build your vehicle) but while we were all watching them with suspicion, something else did. Maths. Algorithms (basically step-by-step mathematical flow charts) are now at the heart of our lives. We interact with them dozens of times a day as they influence everything from the global economy to our shopping and what we see on the internet.

Once designed, they need no human interaction to get on with their work. They are (much) faster than humans at making decisions, more accurate, dispassionate and they are all around us. Of course they're not plotting to enslave humanity – just to make our lives easier. And they do it incredibly well.

The most powerful algorithm is Google's PageRank (named after founder Larry Page), the company's “secret recipe” that files the internet and gives you what you've searched for in the most relevant order. But there are other examples. In February this year, the Los Angeles Times carried a report of a small earthquake. The article was grammatically correct, factually accurate and unremarkable in every way save one. No human being had been involved in its writing. An algorithm took the data and wrote the story automatically.

Algorithms are used to determine the profitability of Hollywood movies before they are made, to send us individualised communications, to recommend strategy to sports teams and more.

Of course, an algorithm cannot work in a vacuum – to it, data is everything. The more data, the more accurate the algorithm, the more accurate the algorithm, the more it gets used, the more data it can gather and the better it can be refined. This circle is why algorithms are so useful as the age of technology becomes the age of data.

The robots may not be taking over any time soon, but away from their metal suits, their brains are changing the world.

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drive/London

drive

The journey starts here

50 / DESIGN IN THE CITY Marc Newson on the changing face of London 58 / ROCK STAR The Range Rover Evoque takes on Oman’s toughest terrain 70 / FREEZE FRAME How the all-new Range Rover Sport was tested to the limits

48 / Land Rover magazine

Land Rover magazine / 49

drive

design IN THE CITY The changing face of London is a source of continued inspiration for its inhabitants – in particular, the renowned designer Marc Newson

aerial photograph: jason hawkes

words by Helene Dancer — photography by Alex Howe

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drive

“There are synchronicities and similarities between all sorts of design” – Marc Newson A collection of Marc’s designs, clockwise from top left: Event Horizon Table (1992); Atmos 561 Clock for Jaeger LeCoultre (2008); Lockheed Lounge (1986); Hemipode Watch (2006); Voronol Shelf in white Carrara marble for the Gagosian Gallery (2007); Sintered Damask Knife (2007); MN Bicycle for Biomega (1999); Iittala drinking glasses (1998).

Left: the City of London is experiencing an architectural revolution. The all-new Range Rover outside The Broadgate Tower on Primrose Street

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drive

“ For a creative person like me, London is one of the best places to be. It has a level of dynamism that simply doesn’t exist in any other place”

Why have you chosen to live in London?

It’s unique, it’s a city that really embraces change.

Culturally, ethnically, socially it’s incredibly diverse, and for a creative person like me, it’s one of the best places to be. It has a level of dynamism that simply doesn’t exist in other places.

Is this the reason you chose London over your home town of Sydney?

It’s part of the reason. Like many Australians I travelled widely and ended up in London in 1997. My wife is from here, as are my children, and my business is based here.

It’s a great place to have a business because it is very international and it really does offer a level of creative immersion that no other city does.

How does this dynamism inform your work?

I’m always looking to understand more about new processes, materials and technologies, simply because these are the kinds of things that really inspire change.

This informs the way I think about solving problems and finding solutions.

What are you working on at the moment?

I’m working on a variety of projects – as usual – all at different stages, with many different types of clients. On one side, I’ve carved a niche in the world of aviation. I am the creative director of Qantas, which means I design a lot of aircraft interiors for them, and I also design a lot of private jets. Then on the other side, I’ve started working with European companies such as Dom Perignon and Hermès. Separate to all of this, I have a relationship with the Gagosian Gallery and I am creating exhibitions of a type of furniture that really borders on sculpture. Most

54 / Land Rover onelife

jobs in my world tend to take two, three, even four years to complete, so I’m always working on a different stage of a particular project.

You’re clearly a very versatile designer…

I do a bit of everything, but that’s what design is. If you’re an industrial designer you need to be able to do it all. It’s a certain philosophy or logic that you apply to any object, it doesn’t matter if it’s a wristwatch, the interior of a private jet, a boat or a car. It’s really the same thought process, the same métier you apply to all these items. It’s ultimately a problem-solving exercise and you’re just applying it to a different type of object, using different materials and technologies. So for me there’s really no fundamental difference between these items.

Right: Heron Tower, at 230 metres high it is currently the third tallest building in London

Are there any new materials or processes you are interested in at the moment?

In the world of material sciences there are lots of innovations in processes. But it’s not necessarily about simply discovering new materials, technologies or processes; it’s often about cross-referencing elements from one industry to another. That’s one of the reasons I find it interesting to work simultaneously on, say, designing a boat and a sneaker or a piece of luggage.

That I can bring a certain technology that exists in the world of footwear design – and this might be a particular type of injection moulding, or a type of rubber, a polymer that’s used particularly in that industry – and apply it to the design of a piece of luggage or a boat interior is what appeals to me. If you think laterally there are many similarities between footwear and luggage and it’s an association that most people wouldn’t necessarily make, but as a designer that’s what I do.

Land Rover onelife / 55

drive

So a broad perspective helps?

There are synchronicities and similarities between all sorts of different areas, and originality is really about using things in a context that they haven’t been used in before. Obviously, creating a new material is very exciting, however, using a material in a really completely different context is potentially very new, too.

Clockwise from left: the all-new Range Rover outside One New Change, next to St Paul’s Cathedral; view from the Barbican, one of Marc’s favourite London buildings; Marc recommends the galleries in Mayfair

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You need imagination to do that Well I think you have to have imagination, but you also have to be seeking a solution.

How do you find cohesion in your design, across all these subjects and processes?

As a designer one of the most important things is integrity.

You need to be honest to yourself, the materials and processes you are using. In many ways I think London is a really appropriate place to be embracing those qualities, because it is a very honest city. There are a lot of really beautiful things but there are also a lot of really ugly things, and that’s what I find reassuring about it in the context of what I do as a job – this balance, reality if you will, is incredibly important.

And be very practical…

The reality is that my job is about solving problems. People come to me with a brief and a particular reason to do something that they cannot solve themselves. So I’m troubleshooting for them. I’m a gun for hire.

My solution may not necessarily be the exact answer my client is looking for, but inevitably it always ends up challenging people.

As I’m here to provide solutions, the only way that you can really do that is to not only think outside the box, but also to force yourself to visualise all the possible permutations of your concept before you arrive at a final conclusion.

London has changed a great deal recently. How do you think it should continue to advance while keeping this integrity?

London should attempt to maintain its identity by commissioning quality architects and work. Quality is vitally important and, if we focus on architecture, we need to be building things that have integrity and will hopefully stand the test of time. It is very encouraging that good architects like Renzo Piano [who designed The Shard] are having an opportunity to work in London, because until recently London was unfortunately one of the cities that hadn’t really benefitted much from wonderful contemporary architecture.

Are you still very hands on?

I used to be very hands on at a really fundamental level.

I trained as a silversmith – I never studied design. I think this is a very important aspect that informs the way that I approach problems now.

While I am not actually making the items these days, it’s still incredibly important for me to understand exactly how things are made.

So much of what we do right now is done digitally, so the basic understanding of construction is a very important part of the whole process.

Do you find this changing face of London inspiring?

My inspiration is very subliminal. It’s very hard to put my finger on exactly what it is that inspires me from one day to the next. Suffice to say if I wasn’t here, I may not be as inspired. I don’t really analyse what I do in that context, but I know that being in London is a great place to be.

On many levels it’s having the knowledge that you’re living in a city that can meet your creative needs – even if you don’t actively seek them out. However, you know that they’re all there and that you’re in the best place to be able to do what you need to do.

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ROCK STAR The award-winning (120 and counting) Range Rover Evoque has proved itself on the city streets and before design judges – but what about off-road? Verifying its Land Rover credentials, the Range Rover Evoque takes seasoned off-road expert Liam Wilson across Oman’s toughest terrains words by Liam Wilson — photography by John Wycherley

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My foot is flat on the floor and the steering wheel is straight – but I’m going sideways across the orange dune. The sand is so incredibly soft, and all the time I’m thinking about the car. If I accelerate too hard, I could spin the rim inside the tyre, and if I turn too aggressively, the tyre could climb right off the rim. But, hell, this is amazing. I want to scream with excitement.

I fly into Muscat, Oman, a city that feels so foreign to a Jo’burg boy like me, with its low white buildings and taller, grander mosques. The first thing that hits you is the heat – the moment you step off the plane, it smacks you hard.

The plan is to drive down from Muscat to Ibra, where I can put a Range Rover Evoque through its paces over the dunes of Wahiba Sands and, if that isn’t enough, then head north to Jebel Shams to test the car in the rocky Al Hajar Mountains.

This kind of driving is why I work as an instructor at Johannesburg’s Kyalami Land Rover Experience Centre. With them, I’ve travelled all over South Africa, to Angola, Zimbabwe, Zambia and I’ve just been driving the all-new Range Rover through the Atlas Mountains in Morocco. But up to now, my sand driving was mostly in Mozambique, so when the opportunity to visit Oman came through, I couldn’t say yes fast enough.

The opportunity to do it in a Range Rover Evoque was also a big pull. It’s a great car. To date it has collected 120 awards, including the 2012 World Design Car of the Year. On-road, the Range Rover Evoque is really comfortable, has great sportiness around bends and you feel absolutely confident in it. The suspension design on this car is excellent, it feels incredibly solid. But off-road?

Well that’s what I’m here to see, and I hope I’m going to show everyone that you can go off-road in style.

I spend a night in Muscat, where once you get used to the heat you can pay attention to the regular calls to prayer and eat really tasty food – probably the best chicken kebabs and hummus I’ve ever had. But, truthfully, I am champing at the bit, I’m here to drive.

“ All the time I am thinking about the car.

If I accelerate too hard, I could spin the rim inside the tyre”

Previous page: slowly does it down Jebel Shams. This page, from left: driving through Wahiba Sands; Liam Wilson behind the wheel

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Muscat’s Muttrah Corniche lit up at night; one of the city’s most picturesque destinations

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Early the next morning, I wake up to the sound of loud rain. According to the locals, it’s the heaviest in years.

All this way to the desert – and it rains. The Range Rover Evoque, of course, is undaunted and we set off for Wahiba Sands. Driving west towards Nizwa, Oman’s original capital, I hit really heavy traffic. We are at a standstill and ahead I can see the jam stretching for miles. There are obviously kindred spirits here, because a few 4x4s ahead of me start turning off the road, heading on to a very rugged track. I don’t need a second prompt. I follow them over a mountain pass that I swear I have seen on an old Star Trek episode.

When we finally meet tar again, I see the cause of the snarl up: the road is flooded by an overflowing river. You can’t be completely gung-ho when it comes to driving through water, you just never know if you’ll hit sharp rocks or an even deeper patch. So I inch forward, with the water flowing strongly against the Range Rover Evoque’s wheels. I know that we have 215mm clearance, so we’ll be fine if we are careful, but usually I advise anyone in this situation to get out of your car first and test the water level with a stick.

Once through, I can finally pay attention to the surroundings and the huge number of locals who have made a day trip to see the flooding from the freak weather. Some have even brought a picnic.

It takes seven long hours but we finally reach Wahiba Sands. The sky is enormous with such bright stars. I’m

not just impressed by the beauty of it – the clear sky also means a dry day for the dunes.

At 8am the next day, I check the Range Rover Evoque’s thermometer: 35ºC. This is going to be interesting.

Dune driving requires a lot of planning, otherwise you can damage your car, no matter how good it is. You need to deflate your tyres before you hit the sand, though remember, low-profile tyres need less deflation. This is a careful balancing act because you can’t go too soft on the tyres, this might cause the rims to spin.

“ You can’t be completely gungho when it comes to driving through water, you just never know if you’ll hit sharp rocks”

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That’s it, I’m ready. I shift Terrain Response into the sand programme, and slowly head out into the dunes. It is beautiful. It feels untouched, as if nobody’s been here before. Soon, the sun above me is the only reference point I have. According to the satnav, I’m on an unnamed road, so I drop a waypoint to trace my journey. Waypoints act like breadcrumbs, so you can find your way back, very useful when venturing off-road.

Driving on Mozambique’s beaches taught me the benefit of switching off Dynamic Stability Control, which

Above: heavy rain means Liam can wade through rivers in the Range Rover Evoque as well as do the expected dune driving

I do here. I really rely on the paddle manual shift, too – staying in first gear as long as I need to, before shifting to the next gear. This means maximum control as I tackle the enormous dunes around me.

The first lesson comes quickly. I spot fresh tracks heading up one particularly impressive dune, and obviously, if they can do it, I can too. So to gather momentum, I head for the tracks and floor it. Big mistake.

Because the sand in the tracks has already been churned up, it is incredibly soft. Soon I’m sliding sideways, so I quickly aim for unmarked sand to gain traction. And up I go. The nose of the Range Rover Evoque is so high I can’t see the ground beneath me. The cabin hears a few loud shrieks of excitement.

And now I start to really enjoy myself. I throw the Range Rover Evoque across the dunes, totally carving them up, and the beauty of it all is that when you return 15 minutes later, the wind has covered your tracks.

The Hill Descent comes into its own down the steepest dunes and the day flies past. The sun is already setting when I realise I need to head back to camp.

The next day, well before dawn, I pack the car, ready for the Al Hajar Mountains. With Dynamic Stability Control back on, it’s a smooth ride. Once we hit gravel, I start to see the enormous wadis – valleys – that the area is known for. Dark grey rocks and very high outcrops, I’m sure that the Star Trek set designers were here, too.

Thanks to the earlier rainfall, water still flows through the wadis, and I have to check a few path options before

I choose to drive into Wadi Khabbah. I need all my concentration here as the wheels sink into the soft riverbed. This is much harder than driving in the dunes.

To gain sufficient traction, I accelerate hard and the Range Rover Evoque takes me deeper into the wadi, and closer to the rocky Jebel Shams mountain.

Out of the valley, I hit tar again and drive past more families en route to their picnics, hundreds of date palms and clusters of identical square cream-coloured buildings.

It isn’t long before these signs of civilisation fall away and the jagged limestone height of Jebel Shams come into view – all 3,000 metres of it.

The incline comes quickly, but you need to drive very slowly over these types of rocks. This is pure technical driving. There’s a good chance you’re going to get the wheels up in the air, which is always fun, and remember to keep an eye out for sharp rocks – they might not look too threatening, but if they cut the sidewall, your tyre’s finished.

For any rock driving, it’s always best to get out of the car and see what you’re going to be heading over. A gap of about five centimetres can make a huge difference when you’re manoeuvring over rocks. And if you ever need more clearance, grab a rock and place it underneath one of the front wheels. You’ll get a lot more lift like this.

Loose rocks are one of the trickiest terrains. You’ll be tempted to hit the accelerator to gain traction, but don’t. You could flick rocks up that might damage the undercarriage of your car – or hit the vehicles behind you.

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“ Loose rocks are one of the trickiest terrains. You’ll be tempted to hit the accelerator to gain traction, but don’t”

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“ The back wheels take a different route from the front, so if you turn too early, you could damage the side skirts”

From left: wading through Wadi Khabbah; the magnificent Royal Opera House in Muscat

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Like sand driving, tyre pressure is important here. Too hard and you might puncture the tyre; too soft and the weight of the car will be on the rim, and you might pinch the sidewall and the rim, which will cause a snakebite puncture. You need to underinflate just to the point that it has a bit of give, just a little leeway over those rocks.

However, unlike sand driving, this is not a terrain to tear around in. At every point, I have to be on top of my game. Driving up these rocks needs to done with complete concentration, attention given to all four wheels.

You need to remember that the back wheels sometimes take a different route from the front, so if you turn too early, you could damage the side skirts and the sensors.

To help me over the rocks, I choose a lower gear to give me lower speed control.

And that’s it. I have reached the peak of Jebel Shams.

From here, at one of the highest points in the Gulf, you can see steep rocky valleys and gorges that seem to stretch forever.

It’s magnificent – and the Range Rover Evoque has been fantastic. It wasn’t built to spend its entire life driving off-road, and yet it handled beautifully. Good thing too, I still need to get down the mountain…

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