Smriti Prasad Graduation project

Page 1

Diploma project A JOYFUL RIDE Color & Trim concepts for hatchbacks for the year 2020-2025 Sponsor : Renault Design India, Mumbai (Renault India Pvt. Ltd.)

Volume : 1/1 Student : SMRITI MUKESH PRASAD Programme : Graduate Diploma Programme in Design

Guide : VIPUL VINZUDA

2013 TEXTILE and APPAREL DESIGN (TEXTILE DESIGN)

National Institute of Design Ahmedabad



The Evaluation Jury recommends SMRITI MUKESH PRASAD for the

Diploma of the National Institute of Design IN TEXTILE and APPAREL DESIGN (TEXTILE DESIGN)

herewith, for the project titled “A JOYFUL RIDE” on fulfilling the further requirements by

Chairman Members :

*Subsequent remarks regarding fulfilling the requirements :

Registrar(Academics)

*




Copyright Š 2012-2013 Student document publication meant for private circulation only. All rights reserved. Graduate Diploma Programme in Design, Textile Design 2008-2013 National Institute of Design, Ahmedabad, India No part of this document will be reproduced or transmitted in any form or by any means, electronically or mechanically, including photocopying, xerography and videography recording without written permission from the author, Smriti Mukesh Prasad, Renault India Pvt. Ltd. and National Institute of Design. Disclaimer: All the images of any person/celebrity, dead or alive used in this document is just for the reference purpose. All illustrations and photographs in this document are copyright Š 2012-2013 by respective people/organisation. Edited and Designed by Smriti Mukesh Prasad email: smritiprasad07@gmail.com Processed at NID, Paldi, Ahmedabad- 380007 Gujarat, India www.nid.edu Digitally Printed at Ahmedabad, India April 2013.


Image Source: www.fromdezirtoreality.com


NATIONAL INSTITUTE OF DESIGN The National Institute of Design (NID) is internationally

The NID vision acknowledges that higher education in

acclaimed as one of the foremost multi- disciplinary

design will have greater responsibilities to meet the needs of

institutions in the field of design education and research.

society both in India and abroad. NID has taken five decades

The institute functions as an autonomous body under the

of pioneering hard work by the academic community at the

department of Industrial Policy and Promotion, Ministry

institute to develop a system of education, which lays more

of commerce and Industry, Government of India. The

emphasis on learning than on mere instructions.

Department of Scientific and Industrial Research (DSIR) under Ministry of Science and Technology, Government of

NID (Main Campus Paldi, PG campus Gandhinagar and

India, recognizes NID as a scientific and Industrial Design

R&D Campus Bangalore) offers professional education

research Institute.

programmes at Undergraduate and Post Graduate levels with five faculty streams and 17 diverse design domains. NID’s

Based on the recommendations made in the India Report

graduates have made a mark in key sectors of commerce,

by Charles Eames (On April 7, 1958), the Government of

industry and social development by taking role of catalysts

India with the assistance of the Ford Foundation and the

and through thought leadership.

Sarabhai family established the National Institute of Design, Ahmedabad, in September 1961 at Ahmedabad. NID has been a pioneer in industrial design education after Bauhaus and Ulm in Germany and is known for its pursuit of design

National Institute of Design, established since 1961, in Ahmedabad, Gujarat, INDIA 1

excellence to make Designed in India, Made for the World a reality. NID’s unique curriculum and revolutionary educational philosophy i.e. learning by doing remains a part of NID till date.

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

Exerpt source: http://www.nid.edu/institute/history-background


Main gate National Institute of Design, Ahmedabad

Students working on assignments in textile studio

Aquarium display area, NID, Ahmedabad


TEXTILE DESIGN

Textiles are one of human beings oldest creations. In a

specific design problems in lieu to Textile Design and its

layman’s language textiles can be mere a piece of cloth

applications. The Textile Design programme at NID, also

that is associated with the function of either clothing or

provides field exposure to craft and industrial production.

home decoration. But times have changed and Textiles has also evolved over the period of time. Today it finds a huge

As a student I was blessed be a part of the Textile Design

range of functions and applications in different fields like,

Programme at NID and to have received the knowledge

exhibitions, automobiles, airports, installation arts etc.

and inputs from all the eminent faculties at NID. The design education that I received at NID, shaped my design thinking

Textile design is the understanding and creation of textiles

and persona in a way that I was able to pursue this diploma

to solve design problems in various domains. It involves an

project to its fullest. From a determined Textile design

understanding of traditional textile techniques as well as

background to a domain like Automobiles, the transition

modern mass production methods.

has been crucial yet interesting. The learnings during these four years at NID and imbibing the design skills, knowledge

Textile design at NID, emphasizes on building a variety of skills, along with theoretical inputs and practical application. 3

Textile design at NID, emphasizes on building a variety of

of textiles, logical thinking, ability to question, presentation

skills, along with theoretical inputs and practical application.

skills etc. has truly helped me to take up a project in the field

The inputs include elementary ergonomics, textile fibres,

of automobiles.

colour, composition and basic textile design for printing and weaving. The learning also involves dyeing techniques, printing methods, sewing techniques, construction of fabrics and surface design. The courses include inputs in social sciences and technology. Classroom/design projects encourages the students to apply their abilities to solve

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

Exerpt source: www.nid.edu


An interesting textile installation


PREFACE

As a part of the NID curriculum, the end of the student’s

a Diploma project imbibes the real life experience to gain

academic tenure at National Institute of Design is

understanding of the role of a designer. Which is not only

marked by the conclusion of an extensive research and a

restricted to the design alone, but also includes the time

complete demonstration of independent client service at

management, communication, presentation skills, efficient

an organisational setup. He/ She is expected to generate

handling of practical constraints and proposing one’s design

professional design assignments with application and

concepts to the organisation. This project is an excellent

implementation capabilities, in the field of design and

platform to help students realize their strengths and

on a topic closely related to the respective disciplines of

weaknesses before entering into the professional Design

specialization/study of the student. This is known as the

world. This diploma document is the culmination of the

Diploma Project. The duration of the project is minimum

complete research and design proposals/ solutions of a

four to six months.

particular subject, within an industrial setup.

A jury comprising faculty members and external experts

This Diploma project was sponsored by Renault Design

evaluates the student’s performance in the diploma project,

India, Mumbai, India (Design studio under Renault India Pvt.

after which, students are awarded NID’s professional

Ltd.). The duration of this project was from 21st June 2012 to

education programme Diploma. The diploma project is an

18th January 2013.

opportunity for students to demonstrate their expertise as independent practitioners of design.

The duration of the project was from 21st June 2012 to 18th January 2013. 5

The diploma project exposes the student to a real life situation of working in the industry, function under the constraints and limitations of an organisation. A student undertaking

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

Exerpt source: NID Diploma Manual


Cars parked together in a row


ACKNOWLEDGEMENT

A strong foundation makes the building stand and sustain

Pankaj, Anthony, Nirmit Soni, Mishu Batra, Sandeep Dasari,

for the years to come. All those people who taught me and

Nahusha Jhingade, Mayank, Nagraj Shankar and Sridhar

helped me grow in these four years made my foundation

Walture, who made me feel as a family member at Renault

of design education, strong. I take this opportunity to

and extended their help whenever needed. I also thank

thank my Discipline Coordinator Ms. Romanie Jaitely, Mrs.

Mangesh and Santosh Chavan.

Aditi Ranjan and all my course faculties and technicians for guiding me during these four years at NID. I thank Mr.

This project would not have been possible without the help of

Rajendra Patel, for guiding me.

Sanjay at Motif graphics, Mr. Anuj Desai at Ideaworks, Babu Bhai, Ashraf Bhai who helped me with technical support.

I extend my gratitude towards my Guide Mr. Vipul Vinzuda,

I thank Akbar Bhai (Autorikshaw Driver, Ahmedabad) and

for guiding me throughout the project with his valuable

Ganesh (Driver in Mumbai) for their help.

inputs, time-to-time feedbacks and answering my silly questions. I thank Ms. Anupama Bhatt; Designer at BMD,

A special thanks to my dearest friends Zubair Ansari, Sujata

for taking the module of Automotive Jacquards that inspired

Verma, Souvik Choudhury, Dinesh Bharule, Sneha Ghosh,

me to do my Diploma Project in the field of Automobiles.

Mohit Madhukar, Prerna Sundaraman, Tanima Tomar, Niva Mehta, Alok Srivastava and the Batch of 2008 UG & PG for

“Knowledge is in the end based on acknowledgement” - Ludwig Wittgenstein 7

I extend my thanks to Jean-Philippe Salar, Head, Renault

being with me and extending their helping hands whenever

Design India Studio, Mumbai for giving me the opportunity

I was in need. Above all I thank my Parents for being by

to do my Diploma Project. I thank Sabuj Kanjilal, Senior

my side, supporting and helping me throughout my life.

Designer, Renault Design India and Mariesha Rego D’Souza,

Without their help and support I would have never achieved

Designer, Color and Trim, Renault Design India mentoring

what I have achieved till now. Thank you all.

me throughout my project tenure. Thanks to my colleagues

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


At RDI, Mumbai 1st row : Jean Philippe Salar, Sabuj Kanjilal, Mariesha Rego D’souza. 2nd row: Mishu Batra, Nagaraj Shankar, Nahusha Jhingade. 3rd row: A moment with RDI family. 4th row: Sandeep, Mayank, Shridhar Walture (bottom), Nirmit Soni (top),

NID & Family, 1st row: Vipul Vinzuda, Anupama Bhatt, Dinesh Bharule, Sujata Verma, Alok Srivastava. 2nd row: Batch of Textile Design UG 2008, My parents and sister with me. 3rd row: Mohit Madhukar, Sneha Ghosh, Souvik Choudhury, Prerna Sunderaman & Zubair Ansari.


OVERVIEW

Renault Design India Pvt. Ltd. Mumbai, sponsored this

methodology of work and the final deliverable. This phase

Color, Material and Finish, Student Diploma Project for the

was when I joined Renault Design India, Mumbai. In phase

duration of six months, later extended for a month.

three an extensive research was done on, the core theme, the client’s psychoanalysis and their lifestyle. Analysis/mapping

The project revolves around proposing Trends/design

of the collected data was also done during this phase. Along

directions, interior-exterior harmony and CMF design

with this a constant upgradation of knowledge about the

concepts for a women centric futuristic concept car, in the

Automobile industry, concept cars, materials, technologies

Indian context, based on the theme ‘Play’ from the “Cycle

etc. was done. Phase four solely dealt with the generation of

of life” proposed by Laurens van den Acker, SVP, Industrial

ideas and concepts for the three deliverable of the project. It

Design, Renault. The target consumer being young Indian

comprised of the material explorations, concept generation

women of the age group 25-30, single and working. The

through sketches and digital artworks.

first phase of the Diploma project comprises of proposing a

Renault Design India Pvt. Ltd. Mumbai sponsored this Color and Trim, Diploma Project for the duration of 7 months. 9

brief/proposal for the project of the concept car. This phase

In the final phase the selection and the execution of the final

allowed me to propose my own brief that I would like to

concepts and explorations took place. All the final execution

work upon for the project. This phase was before I joined

was to be done by me with the help of local vendors,

Renault Design India, Mumbai.

suppliers, in Mumbai and Ahmedabad.

Phase two was to know about Renault as a company and

From the beginning of my Diploma semester I was keen

study the automobile industry in India. This phase concluded

to do my final Diploma project in the Automobile sector.

on redefining my brief/proposal for the project based

This project gave me an opportunity to understand the

on the above research. In this phase I defined my client

Automotive industry, functioning of an organization, its

profile, market segmentation, core theme of the project,

environment and the work culture inside a design studio.

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Interior space of Renault R-space


PROJECT TIMELINE JUNE (2012) 21st - 30th

JULY (2012)

1. Introduction & Research •Introduction to Renault

1st - 15th

•Re-Structuring the brief

•Brainstorming Young Indian Wom-

•Brainstorming

en lifestyle,

Play

their psycoanalysis.

•1st Deliverable (Trends)

•Cross categorical research.

•Preparing 1st Presentation

AUGUST (2012) 1st - 22nd

•Preparing Information pool through words, visuals and materials

23rd 1st Presentation at Renault India

16th - 31st 24th - 31st

2. Analysis

SEPTEMBER (2012) 1st - 4th •Initial paper explorations, concept sketches. 5th - 12th

•Analysis of data pool in phase 1

3. Conceptualisation

•Guide Visit 1 (NID, Ahmedabad)

•Scenario development

•Freezing on a Trend (to generate

•Sourcing materials (Ahmedabad)

•1st Deliverable (Trends)

concepts) •Initial paper explorations, concept sketches.

13th - 30th •Paper explorations, sketches. •Material exploration (laser cutting, etching, sewing, digital printing)

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Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


JANUARY (2013) DECEMBER (2012) NOVEMBER (2012) OCTOBER (2012)

1st - 4th •First phase sampling 5th - 9th

ettching, sewing, digital printing),

•Guide Visit 2 (NID, Ahmedabad)

sketches

•Meeting vendors and suppliers (Ahmedabad)

5. Harmony generation •Deliverable 2 (Harmony development), finalizing samples

•Meeting vendors and suppliers •First phase sampling

15th 2nd Presentation at Renault India

11th - 17th 7. Design Proposals •Working on final presentation 18th Final Presentation at Renault India

16th - 31st 6. Prototyping

11th - 31st 4. Survey

•Final Sampling

1st - 14th

1st - 10th •Material exploration (laser cutting,

1st - 10th

10th - 30th •Revisiting the samples •Reworking and refining concepts

•Layouts for final samples •Finalizing Layouts

19th January - 15th April

•Final Sampling

Diploma Documentation

This is an overall timeline of the Diploma project for a period of 7 months in the Renault Design India Studio, Mumbai.

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

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CONTENTS

01 AUTOMOBILES

02 RENAULT

About Color, Material & Finish Passenger Vehicle: Inside Out

04 ABOUT THE PROJECT

039-072

085-100

Brief from Renault Design India India an Overview Understanding Youngistan Initial Project Brief Final Project Brief

05 PLAY

115 years of Legacy The Logo Story Renault Worldwide Renault Brands Renault’s Global Portfolio Renault Design DNA Re-designed Design Strategy Renault Design India

03 COLOR, MATERIAL AND FINISH

015-038

Evolution of Automobiles Automobile Design Automobile Industry in India Timeline: Companies in India Automakers in India Passenger Vehicle Segmentation: in India

101-108

Understanding Play

06 ALL ABOUT HER

109-154

I Am: User profile Its Me: A personality analysis I Like: A cross categorical study The Cosmopolitan Doll My Life: Building scenarios Scenarios 073-084

07 TRENDS

What is Trend? Trends: 2020-2025

155-178


08 MATERIALS & TECHNIQUES

179-196

Innovative Materials Available Materials Techniques

LOOKING BACK IN TIME

09 CONCEPTS & EXPLORATIONS

ABOUT THIS DOCUMENT BIBLIOGRAPHY 197-262

Understanding ‘tuned in’ Initial Concepts & Explorations Material Explorations Exterior body paints and finishes

10 HARMONY

263-276

11 DESIGN PROPOSALS

277-296

Proposal: Lighter interiors Proposal: Darker interiors Digital Visualisation Conclusion Project costing


01 AUTOMOBILES Wheels are one of the foremost and one of the most important inventions of our ancestors. It gave the human race ability to move from place to place. Later, a constant refinement in the mobility system gave birth to steam, fossil fuel and now electric,solar powered automobiles. The chapter deals with a brief evolution history of automobiles keeping the design aspect as the pivotal point. Proceeding further one can find an introduction about how an automobile is designed and its processes. Since this project is set in for the Indian context, a brief history about the evolution of the Indian automobile industry is also dealt with. Major automakers in the Indian market, the segmentation of cars in the Indian market along with the examples are some of the topics that one can read in this section of the document. This section was important for getting a clear understanding about automobiles and its positioning in the Indian market. It helped in setting up a background for the project to proceed further. Also, it helped in building and refining the brief for the project.

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Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Automobiles

AerialPrasad view of in parking lot, Sydney Airport, NSW,ofAustralia Smriti Mukesh • cars Textile Design 2013 • National Institute Design

23 1


Automobiles

Evolution of Automobiles The automobile as we know, was not invented in a single day by a single inventor. The history of the automobile reflects an evolution that took place worldwide. It is estimated that over 100,000 patents created the modern automobile. Several Italians recorded designs for wind driven vehicles. The first was Guido da Vigevano Vaturio in 1335 designed a similar vehicle, which was also never built. Later Leonardo da Vinci designed clockwork driven tricycle with tiller steering and a differential mechanism between the rear wheels. A Catholic priest named Father Ferdinand Verbiest has been said to have built a steam powered vehicle for the Chinese

“To be modern is not a fashion, it is a state. It is necessary to understand history, and he who understands history knows how to find continuity between that which was, that which is, and that which will be”. - Le Corbusier (Architect) 17

Emporer Chien Lung in about 1678. Following is the classification of automobiles in different era starting right from 1769. This classification is based on the design breakthroughs that took place in the evolution of automobile DNA.

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

Drawing of one of the foremost automobile design.


Automobiles

Before 1885: Embryonic Era Inventors were more concerned about function rather than form. All of the mechanics of the vehicle were exposed for easy access. Getting the machine to work properly was the first priority. In 1769, Paris, Nicolas Joseph Cugnot, builds a 3 wheeled a self propelled steam vehicle - the first on record. The vehicles were of a similar language, wooden frames on wheels with mere engines. The design aesthetic was missing during this era.

1769: Nicolas Joseph Cugnot’s vehicle, France.

1885-1895: Invention Era This era began with the invention of the Benz car in 1885. Before Benz introduced his motorized wagon, vehicles capable of human transport were mainly steam-powered. The Benz car was the first car to use a gas powered internal combustion engine. Karl Benz produced industrial machines and static gas engines. The success of the company gave Karl Benz the opportunity to indulge in his

1885: Benz Patent Motorwagen

1896: Henry Ford’s first car

1896: Leon Bollee’s first car

1893: Elwood Haynes first car

old passion for designing horseless carriages. He wanted to create an automobile that would run entirely on it’s own power. Using the same technology that was in his beloved bicycle, he introduced the Benz Patent Motorwagen in the year 1885.

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

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Automobiles

1896-1907: Innovation Era Throughout this widespread car use was still uncommon and the automobile was seen as more of a novelty than a genuinely useful device. The horse and carriage was the reliable method of transportation, but automobiles sparked people’s imaginations. Automobile designers knew that the carriage’s form, which had a relationship to the horse, was not appropriate for their new automobiles. They favoured the ornate Edwardian architecture style. Evolution of

1898: Ford Model A

1898: Renault Voiturette

1904: Ford Model C

1904: Rolls Royce

1908: Ford Model T

1910: Bugati Type 13

automobiles epitomized speed and freedom. Henry Ford was the first to bring his innovative design ideas to the New World.

1908-1919: Manufacturing Era This new industrial era reflected simpler, more affordable automobiles. Key developments included the electric ignition system, independent suspension and four-wheel brakes. Transmissions and throttle controls were widely adopted, allowing a variety of cruising speeds. With the high price of the car it was still only the hobbyist and enthusiast who could afford one. Henry Ford, established the Ford Motor Company in the U.S in 1903. One of the first adopters of mass production techniques, he introduced the automobile to the ordinary man. Ford introduced the Model T in October 1908.

1915: Ford Model T

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Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

1915: Fiat 505


Automobiles

1920-1929: Capsule Era Designers closed the body of the car. When designing a car interior, the value and semantic meaning can be manipulated by opening or closing the space. Simply changing the way the space is divided can change the emotional expression of the space for the consumer. The new closed body accentuated by curved glass and privacy

1921: Benz model

1925: Mecedes

1927: Ford Model A

1930: Cadillac V16

had intrinsic value for the consumer.

1930-1940: Classic Era This Era began with the Great Depression in 1930. The cars of this period were less rectangular and industrial. The new automobiles were sleek and beautiful. The new technology allowed designers to create luxurious aerodynamic cars with big curves and deep arches. The new salon/sedan

1936: Ford roadster

1936: BMW Model326

1940: Aston Martin “The Atom”

1940: Renault 4CV

body style was made for cruising and even incorporated a trunk or boot at the rear for storage. Automobile designers modelled their forms on aeroplanes and trains because these objects semantically carry the meaning of speed. The wheels, lights and fenders hugged the body and articulated the safety and strength of the frame. Tires were wider and thicker than in the Capsule era adding to the solidity of the vehicles. The old open-top runabouts, phaetons, and touring cars were phased out by the end of the Classic era as wings, running boards, and headlights were gradually integrated into the body of the car. Integrated fenders and fully closed bodies began to dominate sales.

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

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Automobiles

1949-1967: Integration Era Automobile design finally emerged from the shadows of World War II in 1949. This was the year that United States carmakers, General Motors, Oldsmobile and Cadillac introduced modern one-piece auto bodies. On the technology front, the biggest developments of this era focused on safety in the design of automobiles. Cadillac

1947: Cadillac Series 62

1953: Alfa Romeo 1900C

1958: Hindustan Motors Ambassador

1965: Peugeot 204

was the first company to successfully borrow the semantic frame of the V2 missile and apply it to its cars. In the late 1960’s General Motors, Chrysler, and Ford tried to market radical small cars, like the GM A bodies, but had little success. In America, performance became the prime focus of marketing, exemplified by pony cars and muscle cars like the Ford Mustang and the Plymouth Barracuda. Third world countries entered the automobile race in the late 1950’s. Indian and Iranian car design has been traced from 1959 onwards. The first Indian automobile produced in 1958 was similar to Germany’s 1953 Opel Capitan.

1968-present: Modern Era The Modern era began around 1968 and continues to the present day. Designers today take into account not only the functionality, but also consumer’s emotional reactions to their automobiles. Automobile designers no longer only borrow semantic meaning from planes and missiles.

1968: Lamborghini Islero

1990: Maruti 800

2000: Mercedes Benz CL55

2010: BMW Vision ED

Today, they are looking at more organic, bionic forms. Car Designers study the bio mimicry creatures, nature etc. and indirectly insert these semantic frame into the look and feel of the car. Body styles have changed in the Modern era. Three types dominate today’s market: the hatchback, the minivan, and the sport utility vehicle.

Source: http://www.improve2011.it/Full_Paper/132.pdf

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Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Automobiles

Observation

vehicle. The styling was secondary in the initial years. But in today’s modern times the designers are focussing a lot on the

There are few important points that were observed in these

aesthetics and styling of the vehicle. Apart from the comfort

eras:

and the luxury in a vehicle the consumers are also looking

1) As we see that in the Embryonic era there was much more

for the uniqueness that an automobile company provides

emphasis on the development of engine. The whole focus

in terms of the interior spaces. The overall ambience and

was to make the vehicle work well.

the spatial experience created by the designers is one of the

2) This continued in the later eras as well but along with

key factors in today’s automobile industry. An automobile

this there was new additions made to the vehicle. In the

is still a highly functional product but it is also very much

Invention era as well the focus was more on the invention of

associated with the lifestyle of an individual. It reflects his/

the engines. From steam powered to gas powered engines

her class and status. A step ahead of an utility product it can

were invented.

be considered as a lifestyle product.

3) These eras were more to do with the functionality of the vehicle. The outer design of the vehicle still remained

Apart from the experience that the automobile designers try

the same and there was very minor changes in it that had

to create there is a lot of emphasis and concern over the

happened.

use of smart and innovative materials that are eco-friendly,

4) The coming eras was the time period where actually

sustainable and reusable. The automobile designers, CMF

there was a realisation among the automobile designers that

designers and engineers are constantly looking for materials

along with the innovation in engines, there was an area that

and technologies that are futuristic and consumes less

was never looked upon. This was the styling of the overall

energy for its production. Due to environmental concerns

vehicle. During the Innovation era the styling of the vehicle

like global warming, depletion of fossil fuels etc there is

started happening.

a major focus on introducing vehicles that are Z.E (zero

5) During the Manufacturing era the emphasis of the designers

emission), electric vehicles. This condition also holds true

was to make the vehicle ‘mass friendly’. Affordability was

when it comes to designing the exteriors and interiors of the

the key factor along with new inventions and styling.

vehicle. Optimum utilisation of the resources is what has

6)The eras after this was dedicated to a holistic innovation

become a trend in last few decades.

of both the styling (interior/exterior) and the technical. The cars were bigger and luxurious. The overall forms were very

I think that in the coming decade the automobile industry

much inspired by the air planes, submarines, missiles etc.

will have to shift towards designing and producing electric

7) Later, a lot of safety measures were also taken into account

vehicles, majorly. Monochromatic color harmony, simple,

while designing a car. With this the third world countries

sleek and clean designs is what the future awaits.

joined in and started competing with the established players. While mapping the history of the automobiles one can see that right from the making of the first automobile there has been a constant innovation in terms of the working of the

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

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Automobiles

Automobile Design Automobile design involves the development of the

broadly; concept cars and production cars and hence

appearance and ergonomics of motor vehicles or more

constraints and approach may vary as per the project

specifically road vehicles. This most commonly refers to

requirements. In each of the design section, team of

automobiles but also refers to motorcycles, trucks, buses,

professional industrial designer works on given project brief.

coaches and vans. The functional design and development of a modern motor vehicle is typically done by a large team

Exterior designers creates new styling of exterior body of a

from many different disciplines. Automobile design in this

car based on the given brief/ specific platform. The designer

context is primarily concerned with developing the visual

does a through benchmarking of range of vehicle available

appearance or aesthetics of the vehicle. For this it conducts

in a specific segment, also understands the constraints of

research on understanding users lifestyle requirements/

technical package/ legislative norms if any. The exterior

changing preferences. It is also involved in the creation of

designers creates range of ideas through sketches and

the product concept.

creative 2D, 3D visualizations with markers/software (Autodesk Alias Studiotools) as medium to express. These

Three major teams in an Automobile design studio are Exterior, Interior and Color, material & finish. 23

The designing process is divided into three divisions:

range of ideas goes through series of presentations and short

Exterior design, Interior design and Color, material and finish

listing takes place of the most convincing/apt idea. The

design. Graphic design is an integral part of the process and

exterior styling which follows brand ethos and language,

it is considered at various stages, while designing interface,

further offers new character to vehicle body design which

decals, product graphics, packaging, promotional material,

gets selected for development stages.

etc. The detailed digital drawings are then developed into scaled

Exterior Design

down clay models. The data from these models are then

In an automobile industry there can be two kinds of project

used to create a full sized mock up of the final design (BIW

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Automobiles

in modelling studio of Automobile design studio sculpts clay

Color & Trim Design (Color, Material and Finish Design)

models with precise surfacing/sections based on final CAD

The color & trim (or color, material & finish) designer is

data. Physical model making is preferred in spite of the most

responsible for the research, design, and development of all

advanced virtual modelling & visualization options such as

interior and exterior colors and materials used on a vehicle.

Powerwall are available, as clay model with films offers the

These include paints, plastics, fabric designs, leather, grains,

most realistic and can be further used to make FRP model

carpet, headliner, wood trim, and so on. Color, contrast,

for display/exhibition.

texture, and pattern must be carefully combined to give

body in white). Latest 5-Axis CNC milling machines placed

Images from left to right: Interior designer sketching interior concepts for a passenger car. Clay modeller sculpting a scaled down model of a car. Color & Trim designers working on the colors for the car.

the vehicle a unique interior environment experience.

Interior design

CMF designers work closely with the exterior and interior

The designer responsible for the design of the vehicle

designers.

interior develops the proportions, shape, placement, and surfaces for the instrument panel, seats, door trim panels, headliner, pillar trims, etc. Here the emphasis is more on Automobile Product design, designing of space, storage, door trims, designing seatings, interface, controls etc. Here the design detailing becomes more important that offers comfort & Luxury. The procedure here is the same as with exterior design (sketch, digital model and clay model, scaled down and then milling).

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

24


Automobiles

From Sketch to reality Designing an automobile is not a days work. It takes a minimum of two years of hardships and concept refinements

Automobile Design Process

Exterior Design

Interior Design

CMF Design

to process the thought into a reality. There is a series of process involved, that is followed in the automotive industry

Project Brief (production car/concept car given by the head of design team)

to design the automobile. The following flowchart is a systematic representation of what goes into designing an

Understanding the brief, initial research, market scenario, target users, benchmarking

automobile. Cross categorical study, collection of images, materials, techniques User Persona development, Scenario development

Research, Inspirations/References/Themes, Moodboards, Material Boards.

Generating Design Directions (trends)

Initial Concept sketching

Proposals for interiors and exterior body

Generating range of exterior styling options/ Interior

color, graphics.

product or space design ideas. concepts & material Detailed 3D renedering using Alias, CAS modelling Mock up models for the final proposal (clay, PU foam, FRP inside the studio or with some vendor)

exploartions is done range of sample developments Scaled final sample

Class A surfacing (with vendors) Common to all three departments

Integration phase: Exterior, CMF and Interior design team work on final prototype process; RPD or 5-Axis milling machine full scale clay model and then FRP.

Specific to Color & Trim Department Common to exterior and interior design departments

25

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

developments

Engineering Development


Automobiles

Automobile Industry in India Like many other countries, the automobile industry is one

predicted increase in India’s working-age population is likely

of the largest industries in India. It is one of the key sectors

to help stimulate the burgeoning market for private vehicles.

of the economy. The industry comprises of automobile and

Rising prosperity, easier access to finance and increasing

the auto component sectors and encompasses commercial

affordability is expected to see four-wheelers gaining

vehicles, multi- utility vehicles, passenger cars, two-wheelers,

volumes, although two wheelers will remain the primary

three-wheelers, tractors and related auto components.

choice for the majority of purchasers, buoyed by greater appetite from rural areas, the youth market and women.

The industry has shown great advances since de licensing and opening up of the sector to foreign direct investment (FDI) in 1993. It has deep forward and backward linkages with the rest of the economy, and hence has a strong multiplier effect. The Indian car industry is witnessing a shift in demand going from two wheelers to cars due to rising availability of low cost cars and the car being a symbol of high prestige. According to recent reports, India overtook Brazil and

India overtook Brazil and became the sixth largest passenger vehicle producer in the world.

became the sixth largest passenger vehicle producer in the world (beating such old and new auto makers as Belgium, United Kingdom, Italy, Canada, Mexico, Russia, Spain, France, Brazil), grew 16 to 18 per cent to sell around three 1

million units in the course of 2011-12 . In recent times a

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

26


Automobiles

Timeline of Automobile Evolution 1840

1865

1898

Simpson & Co established . They

Col. Rookes Crompton introduced

First car brought in India by a princely

were the first to build a steam car

public transport wagons strapped to

ruler.

and a steam bus, to attempt motorcar

and pulled by imported steam road

manufacture, to build and operate petrol

rollers called streamers.

1919 At the end of the World War, I, a large number of military vehicles came on the roads.

driven passenger service and to import American Chassis in India.

1928

1930-31

1935

Assembly of CKD Trucks and Cars was

Assembly of CKD Trucks and

Proposals of Sir M Visvesvaraya to

started by the wholly owned

cars by Canadian Ford Motors in

set up an Automobile Industry were

Indian subsidiary of American

Madras, Bombay and Calcutta.

disallowed.

1947

1950

Premier Automobiles Ltd

PAL first vehicle made.

HML first vehicle was made.

incorporated.

The

1942 Hindustan Motors Ltd incorporated.

General Motors in Bombay.

1944

1953 The Government decreed that only firms

Bombay

having a manufacturing program should be

accepted a scheme of Bajaj Auto

allowed to operate and mere assemblers of

to replace the cycle rickshaw by

imported CKD units be asked to terminate

the auto and assembly started in

operations in three years. Only seven

a couple of years under a license

firms namely Hindustan Motors Limited,

from Piaggio.

Automobile Products of India Limited, Ashok

Government

of

Leyland Limited, Standard Motors Products of India Limited, Premier Automobiles Limited, Mahindra & Mahindra and TELCO received approval.

27

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Automobiles

1955

1956 Tempo

Ltd

1960’s the

Bajaj

Enfield India had already commenced the

Indian market with a program

(1965), SZUL Gwalior (1964) and Pearl

manufacture of scooters, motorcycles,

of

Scooters Ltd (1962) entered the arena.

mopeds

Vehicles.

Commercial

1971 Girnar Scooters Ltd entered into the market.

Era of 2 wheelers. Mopeds India Ltd

Automobile Products of India (API) and

manufacturing

entered

Entire scooter market was occupied by Bajaj Auto Ltd.

1972

1973

1975

1980’s

Scooter India established.

Oil Shock quickened the process

Kirloskar Ghatge Patil Auto Ltd,

Major Foreign collaborations took place.

Kinetic Engineering entered the Industry

of dieselization of the Commercial

Indian Automotive Ltd and Sen &

Andhra Pradesh Scooters with Piaggio for

with a licensed capacity of 100,000

Vehicle segment.

Pandit Engg products Ltd entered

manufacture of Vespa model. Hindustan

the market.

Motors Ltd. in with Isuzu of Japan introduced

units per annum.

the Isuzu truck. Government approved four new firms in the LCV market, namely, DCM, Eicher, Swaraj and Allwyn. They had collaborations with Japanese companies namely, Toyota, Mitsubishi, Mazda and Nissan respectively.

1983-84

1990’s

1991

2000’s till present

Maruti Udyog Ltd was started in

Mass Emission Norms were introduced,

It was the death of the License Raj and

Many multinationals like Daewoo,

collaboration with Suzuki, a Japanese

in 1991 for Petrol Vehicles and in 1992

the Automobile Industry was allowed

Peugeot, General Motors, Mercedes-

for Diesel Vehicles.

to expand.

Benz,

firm.

Honda,

Hyundai,

Toyota,

into

Mitsubishi, Suzuki, Volvo, Ford and

collaboration with Daimler-Benz of

Fiat entered the market. Companies

Germany for manufacture of LCVs.

like GM, Renault now has their design

1984: Kinetic Engineering Ltd. entered

studios along with production units.

Bajaj

Tempo

Ltd.

entered

into Financial & Technical collaboration with Honda Motor Co. of Japan for 100 cc scooters. Source: http://shodhganga.inflibnet.ac.in/bitstream/10603/3722/13/13_chapter%204.pdf Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

28


Automobiles

Timeline: Companies in India

Fiat India 1900

Decade

Hindustan Motors Premier Automobiles Tata Motors M&M General Motors India Standard Fiat India 1940 API

Fiat India General Motors India 1920

Motorcycle makers

Car makers

Source: http://www.kpmg.de/21604.htm

29

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

Other automobile makers

Ashok Leyland Force Motors Hindustan Motors Premier Automobiles Tata Motors M&M Standard 1950 Royal Enfield Bajaj Auto API

Only Scooter makers

Ashok Leyland Force Motors Hindustan Motors Premier Automobiles Tata Motors M&M Standard 1960 Ideal Java Mopeds Indias TVS Suzuki Escorts Group Royal Enfield Bajaj Auto API


Automobiles

Ashok Leyland Force Motors Hindustan Motors Premier Automobiles Tata Motors M&M Standard Sipani 1970 LML India Ideal Java Mopeds Indias TVS Suzuki Escorts Group Royal Enfield Bajaj Auto API Atul Auto Scooters India

Ashok Leyland Force Motors VE-CVs Eicher Swaraj Mazda JCBL Hindustan Motors Premier Automobiles Tata Motors M&M Maruti Suzuki India Sipani 1980 Kinetic Motor Company LML India Ideal Java Mopeds Indias Hero Honda Motors TVS Suzuki Escorts Group Royal Enfield Bajaj Auto API Atul Auto Scooters India

Ashok Leyland Force Motors VE-CVs Eicher Swaraj Mazda JCBL Hindustan Motors Premier Automobiles Tata Motors M&M Maruti Suzuki India Sipani Rover Mercedes-Benz India Ford India Honda Siel Cars India Hyndai Motors India Toyota Kirloskar Motors Fiat India Mitsubishi General Motors India 1990 HMSI Kinetic Motor Company LML India Ideal Java Mopeds Indias Hero Honda Motors TVS Suzuki Escorts Group Royal Enfield Bajaj Auto API Piaggio Vehicles Atul Auto Scooters India

Ashok Leyland Force Motors VE-CVs Eicher Swaraj Mazda JCBL Asia Motor Works Kamaz Vectra Motors Hindustan Motors Premier Automobiles Tata Motors M&M Maruti Suzuki India Volkswagen-Audi Skoda Auto India Mercedes-Benz India Ford India Honda Siel Cars India Hyndai Motors India Toyota Kirloskar Motors Fiat India BMW India Mitsubishi General Motors India Volkswagen India Renault India 2000 Electrotherm Suzuki Motorcycle India Yamaha M&M Hero Honda Motors HMSI TVS Motor Company Royal Enfield Bajaj Auto Piaggio Vehicles Atul Auto Scooters India

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

30


Automobiles

Automakers in India Indian automakers Following are few examples of the companies that were born and raised in India. These companies are highly established and they have huge networks for services, manufacturers- suppliers and the Indian customer connects to them very well.

Force motors was founded in 1958 by N.K.Firodia. It is

Hindustan Motors is an Indian automaker based in

a fully, vertically integrated automobile company, with

Kolkata, West Bengal, India. It is part of the Birla Technical

expertise in design, development and manufacture of the

Services industrial group. The company was the largest car

full spectrum of automotive components, aggregates and

manufacturer in India before the rise of Maruti Udyog.

vehicles. Its range includes Small Commercial Vehicles,

It is the producer of the Ambassador car, widely used as a

MUV, LCV, SUV and Agricultural Tractors. Force provides

taxicab and as a government limousine. One of the original

appropriate solutions for transport – both goods as well as

three car manufacturers in India, founded in 1942 by Mr. B.

passenger – rugged, reliable and efficient transport solutions

M. Birla, it was a leader in car sales until the 1980s, when

for every need- Rural or urban, long distance or local, over

the industry was opened up from protection.

good roads or bad tracks.

Source: http://www.forcemotors.com Source: http://www.hindmotor.com

31

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Automobiles

Mahindra & Mahindra Limited (M&M) is an Indian

Tata Motors Limited is an Indian multinational automotive

Maruti Suzuki India Limited, is an automobile manufacturer

multinational

manufacturing

automobile

manufacturing

corporation

Mumbai,

in India. It is a subsidiary of Japanese automobile and

headquartered in Mumbai, Maharashtra, India. It is one

Maharashtra, India. Its products include passenger cars,

motorcycle manufacturer Suzuki. As of November 2012,

of the largest vehicle manufacturers by production in the

trucks, vans, coaches, buses and military vehicles. It is

it had a market share of 37% of the Indian passenger car

Republic of India. The company was founded in 1945 in

the world’s 18

largest motor vehicle manufacturing

market. Maruti Suzuki manufactures and sells a complete

Ludhiana by brothers K.C. Mahindra and J.C. Mahindra

company, 4 largest truck manufacturer and 2

largest bus

range of cars from the entry level 800, Esteem and Alto,

and Malik Ghulam Mohammed. M&M is growing in the

manufacturer by volume. Founded in 1945 as a manufacturer

to hatchback Ritz, A-Star, Swift, Wagon R, Zen and sedans

recent times. Its increased sales has built trust factors within

of locomotives, the company is among the top three in

DZire, Kizashi and SX4, in the ‘C’ segment Eeco, Omni,

employees and in customers. Its recent best selling models

passenger vehicles in India. According to the latest Brand

Multi Purpose vehicle Suzuki Ertiga and Sports Utility

are: Scorpio, XUV, XYLO and Qunto.

Trust Report, it is one of the most trusted companies in India.

vehicle Grand Vitara. According to the latest Brand Trust

Nano being a breakthrough in the companies portfolio, its

Report, it is one of the most trusted companies in India.

company

th

th

headquartered

in

nd

other models are: Aria, Manza, Indica. Source: http://www.cardekho.com/cars Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

32


Automobiles

Foreign automakers in India The following are some of the examples of the foreign automakers who saw potential in the Indian automotive market and established their subsideries in India. Here, one can find the major players in the Indian market at present. The automaker’s portfolio range from hatchbacks to the luxury cars for the Indian consumers. They are the major competitors in the current scenario along with Renault India.

Ford India Private Limited is a wholly owned subsidiary of the

BMW India is a 100% subsidiary of the BMW Group

Chevrolet came to India in 1928. An office was set up in

Ford Motor Company in India. Ford India Private Limited’s

headquartered at Gurgaon in the National Capital Region.

Mumbai with an assembly plant constructed in Sewree.

head quarters are located in Chengalpattu, Chennai, Tamil

BMW India also has its own manufacturing facility in

General Motors was the first automobile company to open

Nadu. It currently is the 6th largest car maker in India after

Chennai. Current range of BMW cars in India:

an assembly plant in India. It is the 5

BMW 3 Series (BMW 320i, BMW 320d,

current models are:

BMW 320d Dynamic, BMW 320d Exclusive), Ford Endeavour (2003)

BMW 5 Series (BMW 523i, BMW 520d, BMW 525d, BMW

Chevrolet Spark (Upgraded in 2012)

Ford Classic (2005)

530d),

Chevrolet Beat (2010)

All New Ford Fiesta (2011)

BMW X1 (BMW X1 sDrive18i,

Chevrolet Beat Diesel (2011)

Ford Figo (2010)

BMW X1 sDrive20d,

Chevrolet Sail U-VA (2012)

Ford Ecosport (2012)

BMW X1 sDrive20d Exclusive),

Chevrolet Sail (2013)

BMW X3 (X3 xDrive30d, X3 xDrive20d)

Source: http://www.cardekho.com/cars

33

largest car maker in

India after Maruti Suzuki, Hyundai, Tata and Mahindra. The

Maruti Suzuki, Hyundai, Tata, Mahindra and Chevrolet. Their current models in India are:

th

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Automobiles

Honda Cars India Limited (HCIL) is a subsidiary of the Honda

Hyundai Motor India Limited is a wholly owned subsidiary

Volkswagen India Private Limited is a subsidiary of

Motor Company of Japan for the production, marketing and

of the Hyundai Motor Company in India. It is the 2nd largest

Volkswagen Group Sales India Private Limited that assembles,

export of passenger cars in India. Formerly known as Honda

automobile manufacturer in India. Hyundai Motor India

manufactures and distributes Volkswagen vehicles in India.

Siel Cars India Ltd, it began operations in December 1995 as

Limited was formed in 6 May 1996 by the Hyundai Motor

It was established in 2007. Volkswagen India Private Limited

a joint venture between Honda Motor Company and Usha

Company of South Korea. The current models are:

operates a manufacturing plant in Chakan, Maharashtra

International of Siddharth Shriram Group. Current models of the cars are:

which is capable of producing 110,000 vehicles per annum. Hyundai Accent Executive (2011)

The current models are:

Hyundai Santro Xing (2003) Honda City (1998)

Hyundai Uber Cool i20 (2008)

Volkswagen Passat (2007)

Honda Accord (2001)

Hyundai Next Gen i10 (2010)

Volkswagen Jetta (2008)

Honda Civic (2006)

Hyundai Fluidic Verna (2011)

Volkswagen Polo (2010)

Honda Jazz (2009)

Hyundai EON (2011)

Volkswagen Vento (2010)

Honda Brio (2011)

Hyundai Neo Fluidic Elantra (2012)

Honda CR-V (Imported since 2003; 2013 model locally assembled)

Source: http://www.cardekho.com/cars Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

34


Automobiles

Passenger Vehicle Segmentation: In India There are different parameters taken into consideration

4) ESTATE/STATION WAGON: Its a sedan whose roof is

to do the automobile segmentations e.g: vehicle length

extended till the rear to create more boot space. eg. Indigo

wheelbase, curb weight, type of fuel and emissions, as well

Marina, Octavia Combi, etc.

as the purpose for which they are used. 5) SUV (Sports Utility Vehicle): These vehicles have large The Indian automotive fraternity also follows a classification

tyres, higher seating, higher ground clearance. The engine

which has been defined by the Society of Indian Automobile

area is separate, but the passenger & luggage area are

Manufacturers (SIAM). The following classification is done

enclosed together. Most of these vehicles are equipped with

on the basis of body styles:

either 4 wheel drive system. eg. CRV, Safari, Grand Vitara, Pajero etc.

1) ONE BOX (VAN/MPV): The engine area, passenger area & luggage area all in one box. There wont be separate

6) SPORTS COUPE: It is a two door car which can only

compartment. eg. Omni, Ace Magic, Versa.

accommodate two people. These cars are specially for weekend drives. It is more of a sports car rather than a

2) TWO BOX (HATCHBACK): The engine has a separate cabin while passenger area and luggage area are together.

The Society of Indian Automobile Manufacturers (SIAM), has defined the segments in the Indian Automobile Market. 35

eg. Maruti 800, Alto, Santro, i10, Swift etc. 3) THREE BOX (SEDAN/SALOON/NOTCHBACK): The engine area, passenger area & luggage area, all have separate cabin. eg. SX4, City, Fiesta, Dzire, Ambassador, Indigo CS etc.

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

commuter. eg. Audi S5, Audi TT.


Automobiles

1) ONE BOX (VAN/MPV): Maruti Omni

4) ESTATE/STATION WAGON: Skoda Octavia

2) TWO BOX (HATCHBACK): Hyundai i10

5) SUV: Mitsubishi Pajero

3) THREE BOX (SEDAN/SALOON/NOTCHBACK): Maruti SX4

6) Sports coupe: Audi TT

Source: http://www.indiamarks.com/car-segmentation-society-indian-automobile-manufacturers/ Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

36


Automobiles

Engine Size (cc)

Car Segmentation In Indian Market

≤ 1000 cc

≤ 1400 cc

≤ 1600 cc

≤ 1600 cc

≤ 2000 cc

≤ 3000 cc

≤ 5000 cc

≤ 800 cc

Mini

Compact

C1

C2

D

E

F

Micro

3200 to

3600 to

4000 to

4250 to

4500 to

4700 to

> 5000

≤ 3200 mm

3600 mm

4000 mm

4250 mm

4500 mm

4700 mm

5000 mm

mm

• Nano

• Santro

• Beat

• Accent

• Indigo

• VW

• Safari

• Jaguar XJ

• Spark

• Indica

• Ikon

• Manza

Passat

Dicor

Portfolio

• A star

• Jazz

• Logan

• Honda

• VW Jetta

• Fortuner

• Mercedes

• Wagon R

• Punto

• Etios

City

• Fluence

Benz G

• Audi A4

Class G63

According to the older classification the SIAM had

This classification is revised by SIAM and is effective

2) There is a high potential for various OEM’s to locate

categorised the automobiles into segments based on the

since July 2011, based on their engine capacities and

themselves in India which shall be economical for the

length of the vehicles viz.

sizes. According to this segmentation the automobiles are

automobile industry.

• A1 Segment: Mini: Up to 3400mm (M800, Nano)

classified as: Micro, Mini, Compact, C1, C2, D, E and F.

3) Many foreign companies are showing interest to open

• A2 Segment: Compact: 3401 to 4000mm (Alto, wagon

This segmentation is similar to the Euro Car segmentation.

establish their production plants in India and some of them

R, Zen,i10, A-star, Swift,i20, palio, indica etc.)

Apart from this there is an extended segment in the Indian

have also started opening the R&D, Design studios in India.

• A3 Segment – Midsize – 4001 to 4500mm (City, Sx4,

scenario: S, M and J.

4) India as a market gives a great opportunity to various vehicle segments to be sold. It has buyers from all classes.

Dzire, Logan, Accent, Fiesta, Verna etc.) • A4 Segment - Executive – 4501 to 4700mm (Corolla, civic,

The illustration above shows the new segmentation done by

5) A promising rise in the working class of India opens up its

C class, Optra, Octavia etc.)

SIAM, based on the parameters of engine size and length of

gates for more and more foreign companies to invest in India

• A5 Segment - Premiun – 4701 to 5000mm (Camry, E class,

the vehicle.

in the near future. 6) The youth in India is looking for both performance and

Accord, Sonata, Laura, Superb etc.) • A6 Segment – Luxury – Above 5000mm (Mercedes S

Observation

aesthetics, this gives an opportunity to the automobile designers to propose projects that are exclusively for India.

class, 5 series etc.)

37

Length (mm)

• B1 Segment - Van – Omni, Versa, Magic etc.

1) The Indian automobile market has proved to be a very

• B2 Segment - MUV/MPV – Innova, Tavera, Sumo etc

large market in the last few decades and it shall remain one

SUV Segment - CRV, Vitara etc.

in the coming decades.

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

Source: http://www.indiamarks.com/car-segmentation-societyindian-automobile-manufacturers/


Automobiles

D: Renault Fluence

MICRO: Tata Nano

C1: Toyota Etios

E: Toyota Fortuner

MINI: Maruti Suzuki Wagon R

C2: Honda Jazz

COMPACT: Honda Jazz

F: Mercedes Banz G Class G63 Source: http://www.indiamarks.com/car-segmentation-society-indian-automobile-manufacturers/ Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

38


02 RENAULT Renault, a French automaker is one of the very early companies that entered the world of automobile design and manufacturing. This chapter of the document gives an insight about Renault as a company. Its evolution since 1898 till today. There is a brief introduction about the evolution of the logo design of Renault followed by the organisational structure, its brands,its broad portfolio of vehicles. The later part of the chapter deals with Renault’s design ideologies and its birth and journey in the Indian automobile industry. This chapter gives an understanding about Renault and how its designs are so important when we talk about the automobile industry. It also sets up a context that is inescapable while framing the brief for the diploma project. A research about its background is helpful in understanding the design language of Renault.

39

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Renault Technocentre, Guyancourt, Paris


Renault

115 Years of Legacy 1898 - 1918

1919 - 1945

1945 - 1975

Louis Renault and his brothers, Fernand and Marcel,

Renault modernized its premises, starting up the first

A national corporation, Renault modernized its plants,

founded their company in 1898. They quickly made

production line at Billancourt in 1929. The firm tried to

as well as building and buying new production sites.

a name for themselves in motor racing notching up

keep the lid on costs in order to weather the economic

An attempt to conquer the US market failed but Renault

a string of wins with their voiturettes. The Renault

crisis. But social conditions deteriorated. Louis considered

nevertheless continued its international expansion.

factories adopted mass production techniques in 1905

the second world war and conflict with Germany as a

Success came with the 4CV, the first “small car for

and Taylorism in 1913. During the first world war, the

mistake, and he gave in to the demands of the German

everybody”, followed by the Renault 4 and Renault 5. The

company turned out trucks, stretchers, ambulances,

forces. As a result, Renault was nationalized in 1945,

company then launched an upmarket model, the Renault

shells and even the famous FT17 tanks that made a

becoming the Régie Nationale des Usines Renault

16, the first “voiture à vivre” (literally “car for living”). At

decisive contribution to the final victory.

(RNUR).

the same time, the firm continued to achieve impressive results in rally racing.

Renault A type

Renault FT17 Tank Renault 4CV

Régie Nationale des Usines Renault (RNUR).

41

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

Renault 16


Renault

Renault 25

Megane

Twizy

1975 - 1992

1992 - 2005

2005 - 2013

The company continued to grow up to the early 1980’s.

Renault considered a merger with Volvo, but the project

Carlos Ghosn, already President of Nissan succeeded

The renewal of the range gathered pace with the launch

was dropped in 1993. The privatisation of the company

Louis Schweitzer as the head of Renault. He implemented

of two upmarket models: Renault 25 and Espace. The

in July 1996 marked a milestone in its history. Taking

the Renault Commitment 2009 plan, which aims to

brand made its mark in motorsports and entered Formula

advantage of its newfound freedom, Renault took a

position the Group as Europe’s most profitable carmaker.

1. But the company was losing money heavily. By

stake in Nissan in 1999. The company continued to

Since then, the Logan has enjoyed unfailing success in

initiating a drastic cost-cutting policy and refocusing on

innovate and renew its range with vehicles including

emerging markets. In 2008, Renault pursued its product

its core skills, Renault was back in the black in 1987.

Mégane and Laguna. Success in Formula 1 raised the

offensive with the launch of New Mégane and rolled

Renault brand’s profile. The Renault-Nissan Alliance

out numerous initiatives regarding the electric vehicle,

consolidated its structure and continued to develop new

partnering with Better Place and electricity utility EDF

synergies. With the acquisition of Samsung Motors and

and presenting a prototype fuel-cell Scénic and the Z.E.

Dacia, Renault accelerated its international expansion.

Concept concept car. In 2011, the first electric vehicles

The launch of Logan was a key part of the strategy to

launched: Kangoo Z.E. and Fluence Z.E. followed by

win emerging markets.

Twizy. ZOE launches in 2013.

Source: http://www.renault.co.uk/about/historyofrenault.aspx Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

42


Renault

The Logo Story Over the decades the journey of the evolution of the Renault logo has strived to strengthen the brand identity of the company. In 1900, the Renault Brothers used their names

Louis,

Fernand and Marcel, interlaced in a medallion adorned with moustaches. This was like a jewel. It was a way to stand out among the other carmakers. This logo could be placed anywhere according to the customers choice. By, 1906 Renault was already famous in the designing of cabriolets, in innovation- transmission, direct drive and was a champion in automobile racing. The logo changed to become a cog, a gear, a mechanical part. After world war 1, its 3rd logo was a tank. The tank symbol represented that Renault enabled France to win the World

In 1900, the Renault Brothers used their names Louis, Fernand and Marcel, interlaced in a medallion adorned with moustaches. 43

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

war 1. The FT 17 was symbolic. In 1923 Its 4th logo shows a stylized, round radiator grill with ventilation slits. This was the “Alligator hood” . In 1925, in the Ile Seguin factory when the sedan and limousine had become standard cars the circle was replaced with the


Renault

diamond. This was an analogy to the shape of the Renault

generation composition, where a 3D diamond shines on a

hood. It appeared on the deluxe models, which sent out a

yellow background. This diamond is symbolises: Strength

message.

and therefore quality.

After World war 2, renault was nationalised and after

In 2007 the yellow rectangle changed into a square, with

hesitationg it was publicised. After the liberalisation the

the brand name under the logo which looks like it is in a

President of Renault considered changing “Renault” to

display case. The name appears, disappears, changes.But

“Renor”. The name remained the same. But on the proposal

the strength of the diamond remains the same. One can

of the then President Pierre Le Faucheaux, “Regie Nationale”

remove the name “Renault”, and the diamond alone would

was added to the logo. This logo was a symbol of the

convey Renault values that has evolved along with the logo.

Nationalised status of Renault. In 1959 , “Regie Nationale” was remove. In 1972, Renault 5 was born and Victor Vasarely created the new logo. Its identical, There is a play of light and shade, left and right, which changes thin lines into thick lines and vice-versa. Its like calligraphy, an analogy of modernity, a design of near perfect purity. In 1992, the Billancourt plant closed and a new president took over. The brand and the diamond became indissociable in black and white. But color returned in 2004 in a new

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

44


Renault

Evolution of Renault Logo

1900

1906

1919

1923

The first logo featured the

After getting their first

During World War 1 Renault

With the war having been

initials of the 3 founding

major contract the logo

manufactured tanks, and as

over for 5 years, Renault

brothers engraved on a

was changed to feature a

before updated its logo to

dropped the tank image

medallion.

car enclosed in a cog.

reflect its product.

in favour of a grill and its first use of the company name.

Source: http://logos.wikia.com/wiki/Renault

45

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Renault

1925 The

founding

of

the

diamond brand.

1946

1959

1972

The diamond is refined while the

Additional refinement to the

Designer

new brand name and colour is

diamond while the extended

redesigned the logo to make

added. Typeface Renault MN was

brand name is removed.

it a modernized, dynamic

developed by British firm Wolff

Victor

Vaserely

3-dimensional diamond logo.

Olins.

2007

2004

1992

The logo was updated, a square of

A more detailed logo is rendered

Made in relief to show

yellow and the word Renault was

with a new typeface, Renault

Renault’s drive for quality and

added to form a new logo for print

Identité and returned to a yellow

innovation

and web use.

background.

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

46


Renault

Organisational Structure of Renault (data 2013)

CARLOS GHOSN Chairman & CEO PATRIC PELATA Chief Operating Officer

Philippe Klein

Odie Desforges

EVP, Corporate Planning, Product Planning &

EVP, Engineering &Quality

Programs

EVP, Manufacturing &supply chain

Christian Deleplace

Serge Yoccoz

Christian Mardus

SVP, Expert Fellow

VP, Corporate Planning

AMD Global Logistics

Nadine Leclair

Alice de Brauer VP, Strategic Environmental Planning

Bruno Ancelin

SVP, Vehicle Engineering

SVP, Alliance Industrial Sourcing

Nadine Leclair

Beatrice Foucher

SVP, Vehicle Engineering

VP, Entry Range Programs Gerard Detourbet

Jean-Pierre Vallaude

VP, Entry Range Programs

SVP, Corporate Quality

Yves Caracatzanis VP, Supply chain worldwide Jean-Francois Bron VP, Powertrain Manufacturing

Francois Gras

Marc Henri Ambroise

VP, D & E Range Programs

Alain Gabillet

VP, Engineering International

VP, Industrial Performance

Operations

Ali Kassai VP, A& B Range Programs

Jose-Vicente de Los Mozos

Remi Bastein

Thierry Koskas

VP, Advanced Engineering,

VP, Electrical Vehicle Programs

research and materials

Marc Siellet

VP, Body Assembly Manufacturing F. Goupil de Bouille VP, Corporate Services

Charles Etinne Verdier

VP, C Range Programs

VP, Pre-Engineering Projects&

Marie-Francoise Damesin

Customer Requirements

SVP, Human Resources Group

Jean Loup Huet

Laurens van der Acker

Toshiaki Otani

VP, Pe-Dev. Syst. & External

SVP, Industrial Design

AMD Battery Business

technical Relationships

Hideaki Watanabe

Celso Guiotoko

Patrice Ratti VP, Renault Sport Technologies

AMD Zero Emission Business

EVP, EC Members

47

Gerard Leclercq

AMD (Alliance Managing Directors, MD

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

Christian Vandenhende AMD Global Purchasing, SVP, Purchasing & MD, RNPO

AMD IS/IT

SVP, Corporate Officers (CDR)

VP


Renault

Jerome Stoll

Katsumi Nakamura

Dominique Thormann

Laurence Dors

EVP, Sales and Marketing, LCV

EVP, Leader Asia-Africa

EVP, Chief Financial Officer

EVP, Corporate Security

RCI-Banque, MD

General

& Leader Europe Jean-Christophe Kugler SVP, LCV Division Stephane Cottin VP, Sales Performance Management Jacques Daniel VP, After Sales Uwe Hochgeschurtz VP, Corporate Sales Division Francois Ruppli VP, Sales Networks Development Bernard Cambier SVP, S & M France Jean-Piere Laurent VP, Spain MD Gilles Moncond’huy VP, S & M Europe G10 Roland Bouchara VP, S & M Europe G4 Gilles Messier VP, RRG MD

Emmanuel Levacher VP, S & M Asia-Africa

Christian Fray

Laurence Dors

VP, Corporate Control

Public Affairs

Xavier Gobille VP, South Africa MD Jean-Marie Hurtiger VP, CEO RSM Peyman Kargar VP, renault Pars Iran MD Marc Nassif VP, India MD Denis Barbier SVP, Leader Americas Olivier Murguet VP, S & M Americas Jean-Michel Jalinier VP, Brazil MD Dominique Maciet VP, Argentina MD Bruno Pasquet VP, Mexico MD German Calle VP, Colombia MD

Patrick Claude VP, Corporate Treasurer Farid Aractingi

Catherine Ragobert VP, Organization Anne Tran

VP, Audit

VP, Cross Functional Teams Coordiantion

Jacques Chauvet SVP, Leader Euromed

Claire Martin VP, Corporate Social

Michel Faivre-Duboz SVP, Morocco MD

Responsibility

Jerome Olive

Michel Gambier

VP, Romania & Dacia, MD

CEO, Renault Consulting

Anne Renaud-Abbound

Christian Husson

VP, S & M Euromed

SVP, Legal Affairs

Bruno Ancelin

Bernard Rey

SVP, Leader Eurasia

SVP, Renault Sport F1

MD, Renault in Russia Francois Provost VP, Russia Deputy MD Denis Le Vot VP, S & M Eurasia

Jean-Yves Coudriou VP Senior Executive Management Christian Pouillaude VP, Renault Brand Champion Mouna Sepheri

Stephen Norman

AMD,

SVP, Global Marketing & Communication

Alliance office MD Source: http://www.renault.com Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

48


Renault

Renault Worldwide The Renault group has always tried to set benchmarks in the

centers”, that keep a close eye on the latest technology,

world of Automobiles through its designs and innovations.

design trends and create vehicles for new markets. They are

Renault has been through different development phases

involved from the launch of a new project through to the

throughout its inception.

production of the final concept cars.

The first phase began in 1988, the search for conceptual

These centres are:

innovations that had marked Renault after the Second World

Renault Technocentre Guyancourt, Paris, France

War, with models like Renault 4, the first production hatch in

Renault Design Central Europe (Bucharest, Romania)

history, or later the R 16 featuring a polyvalent interior on an

Renault Design America latina (Sao Paulo, Brazil)

upper segment vehicle. The second phase of Renault design

Renault Samsung Design (South Korea)

began in 1995 and was related to developing Renault’s own

Renault Design India (Mumbai, India)

unmistakable identity. 2001 marked the beginning of the Third Phase, where the creation of a network of satellite studios was done. It began with the opening of a studio in Barcelona, then a little later in the Bastille area of Paris, followed by the acquisition of the former Samsung Motors design centre in Korea, then opening a studio in the former Swiss embassy in Bucarest,

Design is about change, NO change = NO progress. 49

followed by Mumbai in India and finally in Sao Paulo in Brazil. The design DNA of Renault is strengthened by this group of parallel networks known as the “satellite design

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

Source: http://nbry.wordpress.com/2012/08/29/leading-creativeunits-to-success-by-patrick-le-quement-renault-design-creator/


Renault

Renault Satellite Studios round the world

Renault set up Renault Technologie Roumanie (RTR) in 2006. And in 2007 Renault, also set up a styling office, Renault Design Central Europe (RDCE) to create the Logan vehicles of the future. With the bulk of market growth now taking place outside Western Europe, the opening of RDCE is strategic for the Group.

Renault Design Central Europe (Bucharest, Romania)

In 2008, the group opened Renault Design America Latina – in Sao Paulo. The centre made headlines with the Sand’Up Concept (2008), followed by the Sandero Stepway Concept unveiled at the Sao Paulo Motor Show (2010). It also worked on the design of Renault Duster.

Renault Design America latina (Sao Paulo, Brazil)

Renault has been present in South Korea since 2000, when it took over the automotive arm of the Samsung group and

Renault Technocentre Guyancourt, Paris, France

founded Renault Samsung Motors. Renault Samsung Motors

Renault Technocentre is a research and development centre

also has advanced technical and design facilities with the

in Guyancourt (France), established in 1998. It works to

Renault Samsung Technical Center and Creative Center,

drive innovation and reduce design and development costs.

both based in Giheung. Renault Samsung Motors renewed

The Technocentre works closely with decentralized

its range between 2009 and 2010 with the launch of two

engineering centers, in different markets and in different

new models, New SM3 and New SM5.

production sites. It drives projects with global reach.

Renault Samsung Design (South Korea)

An observational unit in India (2005), Renault Design India has played a key role in many high-profile projects, including the Logan Steppe concept and R&D into luxury textiles reflecting India’s heritage. In 2008, the unit became a fully fledged design centre. It will design vehicles for the Indian and regional markets. Renault Design India thus becomes the first European vehicle design centre to be set in India. Renault Design India (Mumbai, India) Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

50


Renault

Renault Brands RENAULT Renault is the Group’s historical, founding brand. Strongly present in Europe. Renault has always been a vector for innovation, with the invention of the MPV (multi-purpose vehicle). The Technocentre Engineering Centre: This research and development center in Guyancourt (France) works to drive innovation and reduce design and development costs. The Technocentre works closely with decentralized engineering centers, in different markets and in different production sites. It drives projects with global reach. The RTR (Renault Technologies Romania): Created in 2007, this regional centre handles development of vehicle and powertrain projects. Once the development stage is complete, vehicles are manufactured in the region’s plants

Renault’s marks its presence as Dacia in Europe and Renault Samsung Motors in South Korea. 51

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

and marketed in Central and Eastern Europe, Turkey, Russia and North Africa. RTR has offices in Bucharest (design offices), Pitesti (engineering services at body assembly and powertrain plants) and Titu (Test centre scheduled for startup in the second half of 2009).


Renault

DACIA 1966

1998

1999

The Romanian automotive industry

Gradual entry into the Renault

Extensive modernization

takes

state-owned

group. Privatization of Dacia –

The Renault group invests 489 million

Romanian company based in Pitesti,

Renault acquired a 51% equity stake

euros over a five-year period to upgrade

begins manufacturing Renault 8 under

Renault gradually increased its stake

Dacia, modernizing production facilities,

license in 1966 (renamed Dacia 1100)

and held 99.3% in 2004

improving quality, training personnel,

off.

Dacia,

a

and Renault 12 in 1969 (renamed Dacia

improving

1300).

renovating

working premises,

conditions, upgrading

IT

equipment and installing assembly lines for Renault engines and gearboxes.

2000

2004

2007

The “renaissance” of Dacia with the launch of

Introduction of Logan. This vehicle,

Creation of Renault Technologies

the SuperNova. It is the first car released after

at the heart of the strategy to conquer

Romania

Dacia signed with Renault. It was replaced by

emerging markets, is the result of close

engineering center is an offshoot of

the Solenza in 2003.

cooperation between Dacia and the

the Technocentre. Positioned close

engineering teams at the Technocentre.

to the local customers, the RTR will

Today Logan is also a Van, a Pick-up and

become the engineering hub for all

a MCV.

vehicles developed on the Logan

(RTR).

This

Renault

platform.

2009

2011

2012

Duster is revealed. Dacia Duster is the first

Duster in the headlines. Duster makes a

Lodgy, family friendly. A few weeks

SUV of the romanian automaker. It combines

splash in motor sports. Three feminine

after the presentation of Dacia

a robust design, a go-anywhere ability and

teams rely on the 4x4 for the Rallye Aïcha

Lodgy “Glace” (Andros Trophy),

low emissions, all this with an economical

des Gazelles (Morocco) and Alain Prost

the brand unveils the final design of

pricetag, as always!

finishes the ice racing Andros Trophy

the production car. This brand new

in 2nd position. Last but not least, a

MPV should be the star of the 2012

powerful version - 850hp - takes the 3rd

Geneva Motor Show.

2008 Sandero is launched. Dacia Sandero is presented during the Geneva Motor Show. This car offers an ample cabin space, a high load capacity and robust build. In addition, the brand, now present in 51 countries, reveals its new logo.

place at the Pikes Peak International Hill Climb.

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

52


Renault

RENAULT SAMSUNG MOTORS 1994

1995 - 1996

1998

Creation of Samsung Motors Inc. The

Construction of the Busan plant.

Launch of the brand’s first vehicle, the

Samsung Group creates Samsung Motors

The site is built in line with Nissan’s

SM5. At the same time, Korea faces an

Inc. (SMI) on the basis of a cooperation

technological

economic crisis. Samsung is contrived to

agreement with Nissan Motors.

Busan has a production capacity of

standards.

Today

seek a buyer.

300,000 vehicles per year.

2000

2002

2004

2007

Creation of Renault Samsung Motors. Renault

Successful return under the Renault

Launch of the SM7. The SM7 is

Launch of the QM5 cross-over in

becomes the first European constructor to

Samsung Motors brand. While the SM5

spacious luxury sedan. Its design

South Korea. Conceived and designed

establish operations in South Korea. Renault

enjoys a growing success, the SM3

took inspiration in Nissan Teana.

by Renault, developed by Nissan,

holds a 70% stake in the new company

(inspired on Nissan Bluebird Sylphy) is

the QM5 is manufactured by Renault

while the Samsung Group holds 20% and its

launched.

Samsung Motors and marketed under

creditor banks holds the remaining 10%. The

the Samsung brand in South Korea. In

activity is relaunched while Samsung Motors

the rest of the world, this vehicle has the

sells only 12,000 vehicles per year.

name Renault Koleos. Besides, the SM5 and SM7 appear newly-redesigned.

53

2009

2010

2011

2012

Event at the Seoul Motor Show.

Launch of the New SM5. A

New SM7 and QM5. The new version of the

A new business plan and mid- to long-term vision.

Renault

Motors

few days after its commercial

brand’s high-end sedan is introduced at the

1) The company announces its intention to drive

presents two vehicles: the first

launch in early 2010, the brand

Seoul Motor Show through the SM7 Concept

qualitative growth. 2) To increase its presence in

concept car fully created in

new SM5 sedan significantly

show car. Other announcements are: SM3

its local and global markets by maintaining its

the Kihueng center, eMX (for

exceeds sales targets with

Z.E. (a 100% electric sedan) and Twizy

leadership in the field of electric vehicles and by

eco-motoring experience), and

some 40,000 orders taken.

Concept (a 100% electric urban vehicle). In

expanding its product line-up. 3) To maintain the

the New SM3 compact sedan,

A guarantee to remain the

June, a new version of QM5, more powerful

customer satisfaction index lead. 4) To reinforce

launched on the market in July

second most popular model in

and sober than its predecessor, is released.

its status as the Renault-Nissan Alliance’s Asian

2009.

its segment (or even do better)!

New SM7 is also launched in the summer.

hub.

Samsung

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Renault

RENAULT

1990: Renault Clio

2009: Renault Megane Estate

2009: Renault Kangoo

2013: Renault Captur

DACIA

2004: Dacia Logan

2007: Dacia Sandero

2010: Dacia Duster

2012: Dacia Dokker

2012: Dacia Lodgy

RENAULT SAMSUNG MOTORS

2004: RSM SM7

2007: RSM QM5

2009: RSM SM5

2009: RSM SM3

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

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Renault

Vehicle Plants Passenger Cars LCV Powertrain Plants Chassis, engines, gearboxes Foundry Partner Plants Passenger Cars LCV Chassis Logistics Sites Logistics Platform Alliance Sites Renault-Nissan Plant Sites in Europe Batilly Choisy-Le-Roi Cleon Dieppe Douai Douvrin Flins Caudan Grand-Couronne Le Mans Maubeuge Ruitz Sandouville St-Andre-de-L’eure VilleurBanne

Sites in The Americas

Sites in Euromed-Africa

Sites in Asia-Pacific

Sites in Eurasia

Barcelona

Aguascalientes

Bursa

Busan

Moscow Togliatti

Cacia

Cordoba

Casablanca

Chennai

Luton

Curitiba

Pitesti

Nashik

Novo Mesto

Envigado

Tangier

Pune

Palencia

Los Andes

Rosslyn

Tehran

Seville Valladolid

55

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

Aci-Pars

Renault Production Sites

Source: http://www.renault.com/Pages/index.aspx


Renault

Renault’s Global Portfolio A brand is built through a strong portfolio of its products/

Apart from its production cars, it presents its remarkable

services. These products/services creates a strong impression

design concepts in the form of concept cars and show

in the minds of the consumer and thus a demand is created.

cars in various auto expo exhibitions round the world. The following are the examples of this strong image that Renault

It has been 115 years since when, Renault is showcasing

has built for itself through the years. One can find a range

automobiles with its finest design concepts and technologies.

of cars from each segment mentioned earlier, that are in

Over the years it has built up a strong portfolio with

production currently.

breakthrough models for the global automobile market and the design world, like the Renault 4, Renault 16, Avantime, Feugo etc. The Renault portfolio consists of a range of production cars in almost all automobile segments like hatchbacks, sedans, SUV, MUV etc. This portfolio can be broadly classified as passengers cars that include: hatchbacks, sedans, coupe/ roadster, SUV, MUV. The next category is the range of light commercial vehicles. Another range is of the zero emission electric cars, which promotes the idea of Sustainability, (Renault-Drive the Change 2016). One of the major sections of Renault is its sports cars. Renault is one of the pioneers in motor racing since its establishment. It has made a name for itself in the world of motor racing through these racing cars.

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

56


Renault

Sedan

Hatchback

1990: Renault Clio

2008: Renault Sandero

2007: Renault Twingo

2012: Renault Clio Estate

2007: Renault Megane Berline

2012: Renault Pulse

2004: Renault Logan

2009: Renault Megane Estate

2007: Renault Laguna Estate

2011: Renault Latitude

2008: Renault Symbol

2012: Renault Talisman

2009: Renault Fluence

2012: Renault Scala

Passenger Cars

Source: http://www.renault.com/en/vehicules/aujourdhui/renault-vehicules-particuliers/Pages/index.aspx

57

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Renault

Roadster/Coupe

2008: Renault Laguna Coupe

2008: Renault Megane Coupe

Multi Purpose Vehicle (MPV)

2010: Renault Megane Coupe Cabriolet 2009: Renault Scenic

2004: Renault Modus

2012: Renault Espace

2009: Renault Kangoo

2013: Renault Captur (crossover)

2010: Renault Wind

Sports Utility Vehicle (SUV)

2008: Renault Koleos

1981: Renault Trafic

2009: Renault Duster

Source: http://www.renault.com/Pages/index.aspx Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

58


Renault

Zero Emission Cars

2009: Renault Z.E. Fluence

2010: Renault Twizy

2011: Renault Z.E. Kangoo

2012: Renault Z.E. Zoe

Sports Cars

2009: Renault Megane Sports

2011: Renault Twingo Sports

2012: Renault Clio Sports

Light Commercial Vehicles

1981: Renault Trafic

59

1997: Renault Kangoo Express

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

2009: Renault Master


Renault

2006: Paris Motor Show

2007: Frankfurt Motor Show

2008: Geneva Motor Show

2010: Paris Motor Show

Renault Twingo Concept

Renault Kangoo Compact Concept

Renault Megane Coupe Concept

Renault Zoe Preview

Show Cars A show car, sometimes called a dream car, is a custom-made automobile created specifically for public display only. They are shown at auto shows and other exhibitions. Show cars generally fall into one or more of three categories: • Cars intended to preview an upcoming new production model or redesigned model, either to assess or to whet the public appetite. Such preview show cars may be thinly disguised Renault Koleos Concept

Renault Laguna Coupe Concept

or slightly retrimmed versions of the eventual production model, painted in bold or unusual colors or fitted with unusual trim to attract attention.

2007: Geneva Motor Show

• Cars intended to assess the public reaction to a type of model, or a particular styling theme or feature. Such cars typically are not intended for production themselves, but may become the basis of a production model if demand is high enough. • Styling exercises built to reward successful designers. Such exercises also serve to draw attention to the manufacturer’s more ordinary products. Alternatively, it could mean privately owned cars that have been extensively cared for by their owners for the purpose of entering car shows.

Renault Clio Grand Tour

Source: http://www.renault.com/Pages/index.aspx Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

60


Renault

Renault Design DNA During its early years, Renault only manufactured the cars’

3) Innovation in design and technology.

chassis. The first car with Renault’s optional bodywork was the “Taxi de la Marne” (1905). In 1961, designer Philippe

Concept Cars

Charbonneau (responsible for R8), created the Renault Styling as a department for design. In 1975, it was divided

Concept cars are to production vehicles what haute couture

into: Interior, Exterior and Advanced Design.

is to ready-to-wear: a wellspring of ideas and an impressive showcase of the latest trends. They are the spirit of

In 1988, Patrick le Quément chief designer, created the

innovation that is an essential part of Renault’s DNA. These

Industrial Design Department to replace Renault Styling. In

concept cars is the amalgamation of the invention, creativity

1995, Design and Quality were merged under his directions.

and technology of the human mind. They are the ‘Catalysts

Later, the new deparment was moved to Guyancourt’s

for Innovation’.

Technocentre. Design was divided into Automobile Design;

In 1961, designer Philippe Charbonneau (responsible for R8), created the Renault Styling as a department for design. 61

Truck, LCV and Bus Design; Concept Cars and Advanced

Since 1988 Renault has tried to make its DNA more stronger

Design. In 2010, le Quément was replaced by Laurens van

by releasing two to three concept cars every year. Later these

den Acker, who introduced the “cycle of life” concept to

concept cars tours at various Auto shows across the globe

Renault’s design. Renault has seen many changes over the

to gauge the attention of its audience. Concept cars needs

period of time but the most important quotient i.e ‘Renault

a lot of validation before the production has to be done.

Design DNA’ has remained the same. The key points in this

These cars are the examples of unbound imagination and

DNA are:

innovation. Right from fragile to non-fragile materials, are

1) Being a human centric company, all its designs reflects

used to make these cars. But when it comes to production

human emotions and are organic in nature.

these concepts are reviewed and re-evaluated to fit the

2) The designs are simple and inspired by sensual beauty.

genes- practicality, safety and cost, of production cars.

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Renault

1988: Renault Megane

1990: Renault Laguna

1991: Renault Scenic

1992: Renault Zoom

1993: Renault Racoon

1994: Renault Citadines

1994: Renault Argos

1995: Renault Initiale

1996: Renault Fiftie

1997: Renault Pangea

1998: Renault Zo

1998: Renault Vel Satis

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

62


Renault

63

1999: Renault Avantime

2000: Renault Koleos

2001: Renault Talisman

2002: Renault Kangoo

2002: Renault Ellypse

2003: Renault Be bop

2004: Renault Trafic deck up

2004: Renault Wind

2004: Renault Fluence

2004: Renault Zoe

2005: Renault Egeus

2006: Renault Altica

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Renault

2006: Renault Nepta

2008: Renault Ondelios

2008: Renault Z.E. Concept

2008: Renault Sand Up

2009: Renault Duster

2009: Renault Kangoo Z.E.

2009: Renault Twizy

2009: Renault Fluence

2009: Renault Zoe Z.E.

2012: Renault Alpine A110-50

Source: http://www.renault.com/Pages/index.aspx Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

64


Renault

New Design Strategy Renault’s launched its new design startegy in 2010 under

cars to be produced by Renault. Each step of the cycle of

Laurens van den Acker’s direction. It is centered around

life, symbolized by a “petal” in Laurens van den Acker’s

the idea of the cycle of life. Renault, with this strategy,

Design strategy, is illustrated by a concept car.

focuses on the human and follows its clients throughout life. Each concept car revealed, since Paris Motor show 2010, illustrates a phase of that cycle of life.

The cycle of life Inspired by Renault’s new signature – Drive the Change – and under Laurens van den Acker’s direction, Renault’s Design DNA is digging deeper into its roots. Renault’s identity, a truly people-centric company, is fully expressed in the new strategy based on the cycle of life. This vision connects the Brand to its customers by following them throughout life: when they fall in love, head off on a journey, start a family, work, play, and reach wisdom…

Renault’s identity, a truly people-centric company, is fully expressed in a new strategy based on the cycle of life. 65

Centered around life and the human, the new strategy defines a new stylistic language inspired by three keywords, reflecting Renault’s vision: simple, sensual and warm. These new formal codes is and will be reflected in the future

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

Laurens van den Acker’s, Vice President, Corporate Design


Renault

Drive the Change-2016

Emotional design

Carlos Ghosn, Chairman and CEO of Renault, on February

After paving the way with DeZir and revealing Captur and

10, 2011 introduced the Group’s new strategic plan. Renault

R-Space in Geneva, Renault continues to unveil its Design

2016 – Drive the Change is founded on Renault’s ambition

strategy, one of the levers of Renault 2016 - Drive the

to make sustainable mobility accessible to all, expressed in

Change. The following pages showcase the concept cars

the brand tagline, “Drive the Change”. This strategic plan

based on the cycle of life concept. Each conept car released

covers a six-year period with a mid-term review at the end

till date has a strong connection to the emotional aspect

of 2013. This will allow Renault to build a long-term strategic

of humans. The designs are derived in such a way that it

outlook to ensure continuity in operations and to establish

easily conveys the human emotions. Right from the exterior

precise, quantified priorities for the three years to come.

styling to the interior styling and color, material and finish the concept cars justifies the idea of emotional design. This

Carlos Ghosn, Chairman and CEO of Renault

Renault 2016 – Drive the Change has been built to meet two

new design strategy of Renault has definetly added a cutting

objectives:

edge to its portfolio.

1) Ensure the Group’s growth. 2) Generate free cash flow on a lasting basis.

“The success of Renault 2016 - Drive the Change relays on the mobilization and engagement of the men and women of Renault throughout the world. They are the key to the company’s future. It is their commitment that will contribute to building day after day the Renault of tomorrow. A more competitive Renault meeting stakeholders’ expectations. A strong Renault with a powerful brand image and a benchmark level of quality and services that will make all our employees proud. A Renault as established in its French roots and as at ease all over the world, making mobility affordable for all everywhere. A sustainable Renault in line with the energy and environmental challenges of the 21st century.”- Carlos Ghosn, Chairman and CEO of Renault,

The Renault group will work on seven key levers to meet these objectives: 1) Pursue the innovation policy. 2) Strengthen the product offer. 3) Reinforce the image of the Renault brand. 4) Ensure the excellence of the distribution network in customer relations. 5) Control investment and R&D expenditure. reduce costs. 6) Maintain positions in Europe and pursue growth internationally.

Source: http://www.renault.com/Pages/index.aspx Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

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Renault

D E Z I R

C A P T U R

R “DeZir was about our customers falling in love. With Captur, they explore the world and with R-Space, the time has come for them to start a family.” - Laurens van den Acker, Vice President, Corporate Design.

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Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

S P A C E

F R E N D Z Y


Renault

Revealed during the 2010 Paris Motor show, DeZir illustrates the “falling in love” phase of the cycle of life. With its blood red color, sporty and sensual profile, DeZir is a pure expression of passion for cars. Driven by an electric motor, DeZir reconciles environmental protection and automotive elegance.

Revealed in February 2011, Captur is more functional but still highly sensuous. When Renault 2016 - Drive the Change was announced, the concept car inaugurated the “Explore” phase of the new Design strategy.

R-Space brings together qualities long-considered as opposed, namely family friendliness and sportiness, functionality and sensuality. It answers the expectations of a large proportion of our modern society.

Frendzy symbolizes the work phase of the strategy. It is efficient and modern. Sporting and warmly welcoming for the family. It is 100% electric and features a 37-inch widescreen display, a roof made out of fabric that adapts to the shape of bulky objects and center opening doors.

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

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Renault

Renault Design India With an annual growth rate of around 20% in recent years,

Nissan Alliance production plants. The Pune site contributes

the Indian car market is one of the most buoyant in the

to Renault’s international development.

world and is expected to become the fourth biggest within three years. To win its share of the market, Renault has

A Patnership manufacturing plant in Chennai

acquired manufacturing facilities with the Renault-Nissan

Renault Nissan Automotive India Private Limited was

plant in Chennai, its own sales network, a logistics centre,

established in 2005. RNIPL have their manufacturing plant

an engineering centre shared with the Alliance and a design

in Chennai which was inauguarated in March, 2010. The

centre based in Mumbai.

plant has a capacity of 400,000 vehicles per annum. The capacity is divided equally between Renault India Private

India is the world’s 12th biggest economic power. Between

Limited and Nissan Motor India Private Limited. In 2011, the

2005 and 2007 it posted steady economic growth of over

plant started the production of Renault Koleos, Fluence and

9%, and GDP per capita has doubled in the space of ten

Pulse, all destined for the Indian market.

years. The car market is growing by around 20% a year, attracting the attention of many vehicle manufacturers. India’s middle classes total more than 350 million people, all of whom are potential buyers. MSIL is currently No. 1 on the small car market. Honda, GM Chevrolet and Fiat/Tata

The car market is growing by around 20% a year, attracting the attention of many vehicle manufacturers. 69

are building their presence. Renault is moving into position.

A logistics platform in Pune Renault opened a logistics site in Pune (Maharashtra) in 2008. This platform turns out components for all Renault-

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

Renault Nissan manufacturing plant, Chennai


Renault

Timeline of Renault India Evolution 2005

2007

2008

2009

In october, Renault India registered in

Launch of Logan through Mahindra

In June, establishment of the integrated

In May, inauguration of the Renault-Nissan

Mumbai.

and Mahindra, a joint venture.

logistics Network to facilitate the export

Technology and business centre in Chennai.

of automobile component to Renault plants around the world. In September, Renault Design Studio opened in Mumbai.

2010

2011

2012

In January, Renault particiapted in the New Delhi

In May, Renault launches its first car in India, Fluence.

In January, it crosses 40 dealerships across India and

Auto Expo, displaying its global portfolio of cars and

In June, RNA manufacturing rolls out its 100,00 car.

soon to hit 100 by the end of 2012. Renault launches

announced its plans to introduce a full range of cars

In september, All new Koleos is launched and it

the Pulse and unveils the Duster at the New Delhi

for the Indian market.

registers 120+ bookings in its launch month.

Auto Expo. It also displays 11 cars at the 2012 edition.

In Feburary, it announces the consolidation of its

In october, Renault powered Redbull takes Sebastian

In April, it launches the new Fluence E4 diesel with

presence in the Indian market (ends the JV with

Vettel to victory at the inaugural Indian Grand Prix.

the powerful dCi 110 engine.

M&M).

Renault Pulse is unveiled at the 2011 Indian Grand

In July, it launches Duster across 9 cities in India.

In March, inauguration of the Renault-Nissan Alliance

Prix by Mark Webber and Karan Chandok. Renault

In August, Renault India records the highest sales to

manufacturing facility in Chennnai.

takes the Lotus Renault GP Formula 1 car along with

date selling 4036 cars.

Fluence Black edition across the country.

In September, it launches Scala in New Delhi.

Fluence special festive edition is launched across India. Based on market demand Renault launches the Fluence Diesel variant.

Source: http://www.renault.co.in Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

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Renault

Design centre in Mumbai

eminent team of Exterior and Interior designers, color,

Set up as an observational unit in India in 2005, Renault

material and finish designers, modellers and quality control

Design India has played a key role in a number of high-

employees who work in synergy with the engineers and

profile projects, including the Logan Steppe concept and

managers at the Chennai plant. A design team of mere fifteen

R&D into luxury textiles reflecting India’s heritage. In 2008,

people, but it has an immense potential to strengthen the

the unit became a fully fledged design centre. It will design

Design DNA of Renault. Being the youngest of all the satellite

vehicles for the Indian and regional markets. Renault Design

studios it is making its identity internationally and fulfilling

India thus becomes the first vehicle design centre to be set

the needs of the Indian automobile market. Cars like Renault

up by a western manufacturer in India. An opportunity for

Pulse, Renault Scala that are totally designed inhouse and

Renault to reinforce its international design network.

manufactured in the Chennai plant are remarkable in the Indian Market. The designers are in constant touch with the

The objectives of Renault Design India are:

needs of the Indian market. In mere a time span of 4 years,

1) Assist with the current and future range development in

Renault has made a position for itself in the Indian market.

India. 2) Develop a perceived quality expertise. 3) Develop a range of Automobile accessories, from design through to production. 4) Integrate Renault Design India within the overall design process, meaning everything from initial design to the production of mock ups and prototypes, including the digital design phase. The Renault Design India team at Mumbai comprises an

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Images from left to right: Jean Philippe Salar with engineering team at Renault Design studio, Mumbai. Designers at work at the Renault Design Studio, Mumbai. 3D Modellers at work at the Renault Design Studio, Mumbai.


Renault

Renault India Portfolio Sedan

Sports Utility Vehicle

Hatchback

May 2011: Renault Fluence

Sep 2011: Renault Koleos

Jan 2012: Renault Pulse

Within a timeframe of 4 years, Renault came up with the promise of launching cars suitable for the Indian market, from its global portfolio. And it has till now lived up to its promise. Renault’s Indian Portfolio consists of a hatchback, two sedans and two SUV’s. Its upcoming car in 2013 is expected to be a multiutility hatchback called Sandero. The Duster is a hit in the SUV section among the Indian consumers (with sales of 3,554 units, in January 1

2013) . Cars like Duster, Pulse and Scala has been Sep 2012: Renault Scala

July 2012: Renault Duster

exclusively worked upon at RDI, Mumbai.

Source: http://www.renault.co.in Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

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03 COLOR, MATERIAL & FINISH Color, material and Finish (CMF) or Color and Trim is a specialised department in the Automobile Industry. This chapter introduces the domain of Color, material and finish (with respect to automobiles). It gives an overview about the history of the CMF department. The chapter also talks about the role of a CMF designer and how this department makes a difference in making a vehicle epic. The later section of the chapter is dedicated to the terminologies associated with the passenger vehicles. This chapter was necessary to introduce because it helps us to understand the importance of the Color and Trim department and the work of a Color and Trim designer. It establishes a link between the team of Color and trim with all other teams (Exterior/interior) and brings new dimensions/ final details to a design project for the given brief.

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Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Close up view of Renault Dezir interior


Color, material & finish

About Color, Material & Finish Design This project falls under the department of Color, material and

department (color and trim) at GM. Earl is considered to

finish, Renault Design India. So, it was really necessary for

be the “Father of Styling”, in the automobile industry. At that

me to know about the overall history of the department, its

time Americans wanted a package of comfort, convenience

functionality, its working, why is it so important to have this

and style which was offered by GM’s La Salle, styled by

section in the automobile industry etc. Color, Material and

Harley Earl. This newly styled car beat Model A by Ford.

Finish (CMF) or Color and Trim is a specialised department

Henry Ford said, “The customer can have it any color as

that is present in almost all the product design companies,

long as it is black”. This ideology of his was the reason that

whether it is automobiles, home appliances, gadgets etc.

GM’s sales started rising and the consumers welcomed the

An important aspect in the development of products is the

newly styled models of GM in market.

definition of color, material and effect. With the joining

“Color, Material and Finish or CMF is a specialized area of design that focuses on color, material and finish development. This involves trend research, materials and processes R&D, analysis, strategy and lots of creative thinking.” - Reiko Morrison, CMF consultant 75

of a diverse range of materials in harmony the final level

Right from 1927 the Color and Trim department has played

of finishing and detailing of a product with sensitivity is

a very important role to make a car so exclusive. The color,

achieved.

material and finish design follows the design language of the exterior and interior design of an automobile. There is no

During the late 1800’s and early 1900’s majority of the car

definition as such for the color and trim design but one can

makers were concerned about refining the engine quality

see it on the similar lines of how a fashion designer drapes

of the vehicle. So, how did the styling or color, material

a bare human body with the garments that he/she has

and finish started attracting their attention? The advent of

created to give a complete look. Color and Trim comprises

styling (color and trim) in the world of automobiles was due

of the research phase, design, and development phase of all

to Harley Earl, in June 1927. Earl (a custom coach builder

interior and exterior colors and materials used on a vehicle.

who built vanity vans for Hollywood stars) was employed by General Motors and he introduced the Art and styling

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

A car is like a sculpture. And the overall form of the sculpture


Color, material & finish

has to be enhanced in such a way that it gives an emotional

order to keep a track of design influences as they relate to

is what keeps a CMF designer motivating and challenging in

design experience to the consumer. A CMF designer works

the automotive industry. The designer uses this information

automobile design studio.

closely with the exterior and interior designers to get the

pool to develop themes and concepts which are then further

designs in synchronisation to each other. They develop

refined and tested on the vehicle models. The CMF at times

the exterior color paints, interior colors (including plastics,

also include the body graphics. The CMF designer is also,

headliners, etc.), fabrics, leathers, carpet, wood trims and

responsible to propose some kind of graphics for limited

so on. Contrast and patterns must be carefully combined to

edition vehicles. They are responsible to do the fonts for the

give the vehicle a unique interior environment experience.

names of the cars (if required).

Images clockwise from top to bottom: Harley Earl with his Art and styling team, 1927, GM. CMF Designers inspecting the color plaques for Twizy. A collection of trims for Alpine interiors. Body graphics for Renault R-space. Interior concepts for seats, Renault R-space.

Designers do a lot of cross categorical research (industrial design, home furnishing, etc.) to draw inspirations. Specific

In this competitive automobile industry, the CMF department

research is done into global trends, to design for projects in

of Renault group has a huge scope of bringing in the change

the future. Trend boards are created from this research in

that it talks about. Offering each vehicle an identity of its own

CMF Designers inspecting the trim finishes with fabrics to establish the color harmony.

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

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Color, material & finish

Car Interiors from Renault’s Portfolio

1990: Renault Clio

2012: Renault Scala

The interior of Renault Clio inspires

The interiors of Renault Scala are

strength and confidence. A wide

posh, lavish and premium. On the

range of colour options, a digital

inside, high quality fabric is used to

speedometer, comfortable seating

upholster the seats.

and chrome or gloss black trim for a modern, ergonomic design.

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Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Color, material & finish

2008: Renault Megane Coupe

2008: Renault Koleos

The brushed aluminum, leather, and

The car has leather upholstery and chrome inserts in the

tons of red plastic gives Megane

front cabin at various parts. The AC vents have chrome

coupe a sporty stylish look. The

surrounding. The three-spoke steering wheel of Koleos is

overall style of the interior is either

wrapped in leather; it has chrome inserts at the top as well.

incredibly cool or as 1980s as a Casio

The interiors are in premium beige and seats have all leather

calculator watch.

upholstery in order to enhance the sporty look of the car.

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

78


Color, material & finish

1997: Renault Kangoo Express

2013: Renault Captur

With a quality presentation and finish,

Its exclusive, colourful cabin is warm

a spacious interior and functionality

and relaxing, and this first impression

combined together makes Kangoo

is reinforced by a selection of interior

express comfortable.

customizing solutions founded on a choice of colours and motifs for the different trim features.

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Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Color, material & finish

2003: Renault Be bop

2009: RenaultZoe Z.E

Its chic look is derived from the black

The pure, relaxing ambience is underlined by the use

or white body colours, combined with

of pastel colour schemes in the cabin - on the Life

the red and black upholstery and dark

and Zen versions - and by the presence of advanced

charcoal dashboard. The fun-loving be

technology. The seats feature built-in headrests, with

bop comes in orange with silver, blue,

pale textile upholstery treated with Teflon® stain

and orange upholstery.

protection for easy cleaning.

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Color, material & finish

Passenger Vehicle: Inside out As mentioned earlier that Color, Material and Finish (CMF)

are some common terminologies that are used by the

or Color and Trim design involves both the exterior and

CMF, exterior and interior designers. Each and every part

interiors of a car. So, for a CMF designer it is very important

of the exterior and interior is important when it comes to

to understand all the visible parts of a car inside out, so that

defining the harmony of the overall sculptor (car). The forms

concepts for the colors, finishes, grains etc. can be proposed.

and the design language of the car has to compliment the

Being from a background of Textile design understanding

CMF proposals made by the CMF designer. Here, I have

the terminologies and the parts of the car was one of the

taken the Renault Pulse exterior and interior to denote the

very first and important things that was done by me. Also,

terminologies.

Sabuj Kanjilal, (Senior CMF designer, RDI, Mumbai) told me that all the visible parts of a car has to be taken into account while proposing the concepts. The color and pattern harmony has to be done for all these parts. These terminologies later helped me to visualize the surfaces and concepts proposed, in a holistic manner. The familiarity of the major components of the interior and exteriors of the car body helps define the harmony of the colors, patterns, textures. Also, scale of the textures and patterns is defined as per the scale of the car body components. In this section I have tried to address all the important and visible parts of the car: both exterior and interiors. There

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Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Color, material & finish

Exterior Parts of a Passenger Vehicle

A pillar trim B pillar trim (upper) C pillar trim B pillar trim (upper) Tailgates, Trunk lid Day light opening Mirror Shoulder line Hood/bonnet Fender Shutlines Grille Door

Side skirt Wheel whale

Bumper

Renault Pulse exterior Source: H-Point: The Fundamentals of Car Design & Packaging Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

82


Color, material & finish

Interior Parts of a Passenger Vehicle

A pillar trim A/C vents Dashboard Instrument cluster Steering wheel Horn pad Glove box

pull handle power window switch Gear knob Flooring

Floor console Hand break

Renault Pulse interior Co-passenger’s seat Driver’s seat

Source: H-Point: The Fundamentals of Car Design & Packaging

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Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Color, material & finish

Interior Parts of a Passenger Vehicle

Door Trim Grab handle Head rest

Sunwisers

IRVM

ORVM

Renault Pulse interior (buck)

Renault Pulse interior. Rear seats Front seats Source: H-Point: The Fundamentals of Car Design & Packaging Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

84


04 ABOUT THE PROJECT As it is said, everything has a beginning, a process and finally a result. The beginning of this Diploma project is the brief/introduction of the project that gave me a reason or a motive to come up with the end deliverable for Renault and for my academic project. This chapter is all about the introduction to the project brief, revisiting the brief. Setting the timeline for the project, the deliverable etc. This chapter gives a complete information about my thought process from the beginning, it sets a ground for me to move forward and delve into the design process. A brief is very important for any project, it is like a gist of the elaborate processes that are a part of the project. Setting and understanding a brief is a challenge in itself.

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Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Interiors of Renault Captur concept car


About the project

Brief from Renault Design India After the module of Jacquard design in my 6th semester at

At NID we always had to build upon a brief given by the

NID, taken by Anupama Bhatt and Vipul Vinzuda, I was

faculties. So, in the beginning there was a state of total

introduced to the color and trim section in the automotive

confusion in my mind. A lot of preconceptions started

industry. And I wanted to work on a project in this sector. An

pouring into my mind before even building my own brief.

interest in the field at that time became a reality for me when

However, these statements gave me a confidence to start

Renault Design India gave me the opportunity to do this CMF

this project on my own. It was a time to treat this project

Diploma project under their guidance and sponsorship.

as my own dream project. How and what would I like to design for Renault. Few points were made very clear from

I remember the first meeting with Sabuj and Mariesha at the

the Renault Design India before the starting of the project:

Renault Design India studio, Mumbai before commencing

87

the project. Sabuj said, “One has to love cars to be a part of

1) The Brief has to be my own, what I would like to do to add

this industry”. This statement was very vital throughout the

on to Renault’s design pool.

seven months. Later, to add on this he said, “We at Renault

2) The project had to reflect Renault’s design values and

do not give any design brief or a live design project to the

follow its design language, in Indian context.

Diploma project interns, the brief has to be your own, what

3) The deliverable has to be based on concepts that gives me

do you want to do at Renault?” So, the scenario was clear

the liberty to have as many explorations as possible.

in front of me-

4) All the prototypes had to be done by me with the help of vendors. (They were not responsible for the prototypes.)

“One has to love cars to be a part of this industry”.- Sabuj Kanjilal, Senior Designer, Renault Design India,

1) Being from a non-automotive background, knowing and

5) It was my responsibility to find the relevant vendors and

loving cars was something I had to learn and inculcate in

suppliers for the prototypes to be done.

me.

The next step was to setup a context for the project where I

Mumbai.

2) What would I like to do at Renault Design India?.

choose to focus on two keywords: India and Youth.

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


About the project

India an Overview At this stage there was a need to find opportunities in India

According to a 2011 Pricewaterhouse Coopers report,

and try to extract the factors that shall build up the brief for

India’s GDP at purchasing power parity could overtake that

the project.

of the United States by 2045. During the next four decades, Indian GDP is expected to grow at an annual average rate

Demographics

of 8%, making it potentially the world’s fastest-growing

An ancient country, with a diversity in its culture, people,

major economy until 2050. The report highlights key

regions, languages etc, India has evolved to make its own

growth factors: A young and rapidly growing working-age

identity in the 21st century. The largest democracy in the

population; growth in the manufacturing sector due to

world, India has a population of more than 1.2 billion

rising education and engineering skill levels; and sustained

people at present. More than 325 languages and dialects

growth of the consumer market driven by a rapidly

are spoken in this country alone. Being a secular country,

growing middle class. In area of transportation, India ranks

India has no state religion and people of all castes, class and

102 globally. The road network is the 3rd largest globally.

religion coexist. With her glorious tradition and culture she

The automobile industry in India is rapidly growing with

moves forward to shine in future.

an annual production of over 4.6 million vehicles. These are not just numbers but indicators that establish the fact

Economy

that India is moving ahead to become not just a developed

According to the World Bank, the Indian economy is the

nation but a superpower.

world’s tenth-largest by nominal GDP of US$1.848 trillion and third-largest by purchasing power parity of US$4.457

It is expected that, in 2020, the average age of an Indian will be 29 years.

trillion. With its average annual GDP growth rate of 5.8% over the past two decades, and reaching 6.1% during 2011– 12, India is one of the world’s fastest-growing economies.

Census 2011: India’s population 1.21 billion; 17.5 per cent of world ITGD Bureau New Delhi, March 31, 2011 | UPDATED 19:10 IST

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About the project

Left to right 1st row: 1) Wood carving 2) BSE stock exchange 3) A rural woman from Rajasthan 4) An Indian Bride 5) Glimpse of Manekchowk, Ahmedabad; 2nd row: 1) A glimpse of Varanasi Ghats 2) Gateway of India, Mumbai 3) A view of Jodhpur city; 3rd row: 1) A rickshaw puller in Kolkatta 2) Holi celebration 3) Non-stop Mumbai 4) Monorail, Mumbai.

unity in diversity world’s youngest population

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5th largest economy by 2020 rich culture

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

soft power 10% increase in transport demand

largest democracy in world future superpower


About the project

Understanding Youngistan The youth population of a country is one of the major driving forces that determine the strength of its economy and growth. The youth in India can be broadly determined as the population in the age group of 15-35 (this is the working population of the country who contributes to the growth of the country). According to many economists around the world the Indian economy is at tipping point and its youth population is referred to as the “demographic dividend” (or the deciding factor). As per the 2011 Census the youth population of India (under 35 years) is around 550 million i.e. around 50% of its total population and by the year 2020 it shall increase upto 60% of the total population. This predominance of youth in the population is expected to last until 2050. While the average age of an Indian in 2020 is expected to be 29 years.

The youth in India can be broadly categorised between the age group of 15-35.

India to become world’s 5th largest economy by 2020: Report PTI Dec 27, 2011, 07.05pm IST LONDON: Moving past the global economic powerhouses like the UK, Germany and France, the Indian economy would become the world’s fifth largest by 2020 -- a major jump from its 10th rank currently, a report has said. “India, the world’s 10th biggest economy in 2011, would become the fifth largest by 2020,” economic think-tank Centre for Economics and Business Research (CEBR) has said in its latest World Economic League Table report.

All these facts and figures suggest that India has a high

lead towards an increase in the buying capacity for the

potential to become one of the major markets for the western

youth. Also, this calls for a rise in the living standards of the

world to invest in. The rising economy and the youth power

people. A high expectancy in the lifestyle.

makes India a potential consumer of various goods. Due to a rise in the economy there is a major possibility for the young India to be more conscious about their lifestyle. This may

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

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About the project

Bharatiyas

Indians

• Least influence of globalization.

• Have moderate global influence.

• High traditional values.

• Well aware of the global trends

• Least economically privileged.

• Rooted to the Indian family values, customs and ethos.

Inglodians • Affluent and consume most of the trendy & luxury items. • Tech savvy.

• Most family oriented

• Believers of global-village.

• Bollywood influenced generation.

• Highly influenced by the western music, food, fashion & culture yet Indian at heart.

‘Bharatiyas’, ‘Indians’ and ‘Inglodians’

categories, the Inglodians and most Indians have consciously

As a result the females (age group 25-30) falling under

adopted a sophisticated, yet cool look and attitude that is

the “Inglodians” category shall be the target consumer to

not as young as the global perception of youth culture”. For

determine trends, and design solutions.

According to Kaustav Sengupta, Trend spotter and Prof.

example: India is an extremely colourful and decorative

NIFT Chennai, the Indian youth can be broadly classified

country with a variety of cultures, festivals, lifestyles and

as ‘Bhartiyas’, ‘Indians’ and ‘Inglodians’. The Bharatiyas is

decors. Naturally, black, white, gray and pastels are the

approximately the 67% of the young population who live

most awkward colour tones among this riot of colour. But

in the rural (R1, R2 to R4 SEC) areas. The Indians constitute

the youth in India, prefer these colours in order to stand out

31.5% (live in A, B,C, D & E SEC). The Inglodians are basically

and make a statement.

the creamy layers (A1,A SEC) and marginal (1.5% or roughly three million) in number, though they are strongly growing

Observation

(70% growth rate). This shows that in the near future the inglodians are the most apt consumers for the most of the

The above data determine that in the coming decades the

lifestyle products and followers of the trends, fashion.

Indian urban youth demography will have a major portion of the” Inglodians”. They shall form the major portion of the

“We are different”

working class and thus be the affluent buyers of products. There shall be a strong league of style statements made by

Kaustav

Sengupta

coins

a

term

called

“Adopted

Differentiation”. It says, “to distinguish and separate

the Inglodians. Defining trends, fashion etc shall be majorly targeted towards this lot of the population.

themselves from the mass culture of India and other youth

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Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


About the project

Left to right 1st row: 1) Today’s Youth 2) A glimpse from Lakme India Fashion Week 2011; 2nd row: 1) Dahi-Haandi festival, Mumbai 2) Youth Protest at India Gate 3) Nukkaad natak performed by youth.

Eco-cool Inglodian Dictionary Ethnic, organic

Being Desi

Show off Personalisation

Multitaskers

No to Politics Trendy

Raw energy

Fackoconciousness Confident

Experimantal

Glocal Adaptive

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About the project

Left to right: 1) A glimpse from Lakme India fashion week 2011; 2) diamond ring (top); 3) gemstone studded pumps (top); 4) Online shopping sites (bottom); 5) i phone 5; 6) A wrist watch from Armani.

Young Indians and their buying habits Consumer spending can be categorized into regular spends

products. • Availability of credit such as loans, mortgages and

the foreign brands like Gucci, Armani, Espirit etc. They spend

credit cards. • Rising aspiration levels. • Increased literacy.

alot on various vacation trips due to the global exposure.

•Growing brand consciousness and rapid urbanization.

The buying culture has increased in last few decades among

and lifestyle spends (Need and Want respectively). Regular

the Indian youth and its still increasing. Their emphasis has

spending includes the basic necessities of life, while lifestyle

This new consumer is:

changed from price consideration to design, quality and

spending includes spending on a car, cell phone, etc

• More discerning than ever. • He/she is ready to spend

trendiness. The desire to look and feel good is also guiding

(expensive things).

money on brands. • He/she is ready to explore new things.

factor for customers while making their purchase decisions.

• The quality and convenience factor has become very

Age is also a major factor that affects the spending decisions

important while buying the products.

of an individual. The urge for a better lifestyle can be very

India is the third most brand conscious countries in the world. With the advent of Mall culture and online shopping

93

well observed among the Youth population of India.

consumers find an ease in shopping and are ready to spend

The young consumer wants his/her purchases to reflect his/

for the various options that they get. In the coming decades

her lifestyle and status. They have started looking beyond

India is expected to be the biggest consumer in the world.

the utility aspects of a product to seek intangibles brand and

There are a number of factors affecting the consumer

lifestyle statements associated with the product. The buying

spending pattern in India:

habits is governed a lot by the ‘want factor’ of the Indian

• Growing income levels resulting in more disposable

youth. They spend a large amount of money on the beauty

income with individuals. • Changing attitudes towards

products, cosmetics, food, health parlours etc. Due to the

consumption.• Changes in prices. • Introduction of new

advent of Mall culture it is now easy for them to access all

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

Source: http://www.icmrindia.org/casestudies/catalogue/ Business%20Reports/BREP047.htm


About the project

Initial Project Brief In a state of utter confusion, I started research about Renault

Renault has a very strong design DNA of concept cars. So, I

in details. All the possible information that I could access

thought of taking up the genre of concept car to start with.

built up the information pool. A lot of interaction was done

Taking into consideration Renault’s new design directions-

with seniors (who have worked in this field before), students

“Drive the Change” and the “Cycle of Life”, I thought of

from Transportation and Automobile Design, Product

taking up one of the petals as my core theme of the project,

Design, Amole Singh Tomar (had just finished his diploma

for an Indian consumer in the Indian context.

project with Renault Design India) and with Mariesha and Sabuj. This continuous interaction and research about the

As, I approached further in my initial research process,

company helped me to put the foundation of my initial

my observation was that there is no car and thus a CMF

design brief proposal for Renault Design India.

proposal, in the Indian market which is exclusively women centric. There is a scope of design proposals in this sector.

Since early 1900, a car has been a product of desire. This

Taking these things into account the initiation of my design

is one product (among others) that defines the lifestyle and

brief begun.

status of a person, till now. Apart from the strong technical features, a consumer looks for comfort, convenience and style in a car. With an increase in the purchasing ability, the

Observation: There is no car specifically for women and thus a CMF proposal, in the Indian market which is exclusively women centric.

consumer is looking for the best he/she can get from these automobile companies. Life has become so mobile and busy that they spend quite some time inside their car. As a CMF intern my challenge would be, providing an experiential and comfortable environment to the target consumer.

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About the project

From Theme to Deliverable

In the process of finding the focus of the project, it was important to analyse

Deliverable

the Renault “cycle of life”. This was done in order to understand Renault’s design philosophy and design language. At this

At this stage the end deliverable of the

stage picking up one of the petals from

project is proposed. These deliverable

the flower was done. Since, Renault had

shall reflect the core theme of the

already launched concept cars for Love,

project, targeting to the consumer and

Explore, Family and Work, I thought to

her lifestyle, in the Indian scenario.

take up Play as the core theme for the project.

It was important to consider Renault’s corporate strategy “Drive the change”. Combination of Play and the idea of bringing in the “Change” would define the project brief further.

Taking all the previous points in account, an initial project brief is created, it is discussed analysed and worked upon.

Target Consumer At this stage the target consumer is taken into account. After analysis of the Indian car industry, a finding was that there is no car which is exclusively for women. So, I took up Indian women as my target consumer.

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Project Brief


About the project

Framework of Initial Project Brief

A Concept Car: A hatchback/mini vehicle. YEAR 2020-2025 Core theme PLAY Target consumer Females (Indian) Deliverable A new exterior colour proposal in coordination with the interiors for this segment. Explorations of textures for wovens and prints based on the theme board. I would like to work on different kinds of paint finishes and development of textures on glass, wood, plastics, acrylics etc.

This was the very first draft of the brief that was formed

Hatchback/mini vehicles: While I was going through

before joining the Renault Design India Studio, Mumbai.

the Renault India portfolio, I found that it has got just

The whole idea of proposing this initial brief was to build up

one hatchback car. And considering the rapid growth of

a foundation for the revisions, discussions and analysis, that

population in India and a space crunch, in the near future,

could be done with the mentors at Renault and my guide at

small cars shall be preferred more.

NID. Also, this brief gave them an idea about the thought process that I would apply in refining the final brief.

PLAY: Following the new design philosophy of the company play is the next stage in the “cycle of life”. This theme would

Talking about this brief, there were reasons behind the

add up to the concept cars that are already released in the

proposals of important elements:

past.

Concept Car: Renault has a very strong design DNA of concept cars. Also, it would follow league of the concept cars from the “cycle of life”. Most importantly a concept car gives the liberty to experiment with the concepts as stated in earlier chapters.

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About the project

Final Project Brief Revisiting Initial Project Brief

childhood days. We try to find ways to re-live/revive those days. A concept car that can make you re-live and admire

At this stage, it was essential to revisit the initial project

this feeling is the very reason for choosing Play as the key

brief that I had proposed. After a lot of discussions with my

theme for the Design project.

mentors at Renault and my guide a more concrete project brief came into being. The structure of this brief helped me

Essentials

to channelize my thought process further towards the design

A Concept for the interiors (colour and trim) of a future

process. The following is the revised project brief.

hatchback/mini vehicle . YEAR 2020-2025

Project Introduction Vander Acker explains, “ First we fall in love, then we begin to

User Profile

explore our boundaries as young couples who subsequently

Young Indian women of 25-30 years of age. Reason: In the

create a family and may enjoy wealth and want to play,

coming years one can see an increase in the number of

eventually to experience wisdom of life.” Keeping the above

females driving cars. Also, till now there is no car that is

statement in mind the next step in the flower of life would be

exclusively women centric so this is a promising segment to

PLAY that would be the core theme for the Design project

seek opportunities to design.

at Renault Design Studio. This will lead to the exploration of

Concepts for a concept car in the year 2020-2025, based on the theme PLAY, exclusively for young Indian women (25-30 years). 97

color suggestions, texture suggestions, surface developments

Deliverable

on different materials including textiles.

A minimum of one theme based on the brief that may include two or more stories.

Play?

a) Based on the above point a range of minimum 4-5

All of us finds a pleasure when we look back to our

samples has to be developed on textiles/new materials.

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


About the project

(it includes surfaces/textures)

User Profile

need of the project.

b) A colour harmony of the whole car from inside to

Young Indian women of 25-30 years of age. Reason: In the

g) Doing a thorough research on the cross categorical

outside has to be done.

coming years one can see an increase in the number of

objects that can give cues for the design directions.

c) minimum 2-3 body colour proposals.

females driving cars. Also, till now there is no car in India

h) Understanding about the concept of Harmony for a car

that is exclusively women centric so this is a promising

and later apply that knowledge to build up the required

segment to seek opportunities to design.

harmonies for the project.

While taking up a project it is very important to be clear

i) Gaining knowledge about different kinds of processes,

about the end result/deliverable. When, I joined the Renault

Deliverable

finishes etc. that are done to get the desired results for the

Design India Studio, Mumbai, there was another round of

a) Development of 2-3 Trends/ directions with the key theme

interiors.

discussion with my mentors Mariesha and Sabuj on the

play.

j) Dealing with different vendors and price targets.

project brief. Mariesha said, “A car takes minimum two

b) Interior and Exterior colour harmony of one of the trends.

k) Building a synchronisation between the research,

years to reach to its conclusion. A CMF designer has to

c) Surface/concept developments for the roof lining and for

concepts and the results for the given brief.

work on each and every visible component of the car to

the car seats. (Materials being majorly textile, coordinated

give it a final drape. So, it is very important to be focussed

with non-textile materials/innovative materials/futuristic

on the end result. What component of the car would you

materials)

like to work on? It would be very difficult to take up every component. As a CMF intern you have to zero down to one

(I choose roof lining because according to my observation the

or two components.” After getting a clear understanding, a

roof lining in cars does not have any surface embellishment

final and to the point list of deliverable was prepared, which

and it is left plain. This gives me a scope of work on surfaces/

finally shaped up the final project brief.

concepts for roof lining. And seat involves the use of a large amount of textiles, this will give me a scope to work on textiles and propose non-textile materials).

Final Project Brief Scope of the Project Project Brief

a) Understanding the brands and the product range of

All of us finds a pleasure when we look back to our

Renault and Renault India.

childhood days. We try to find out ways to re-live/revive

b) Understanding the brand image and the target consumers

those days. Concepts for a concept car that can make you

for the given brief.

re-live and admire this feeling is the very reason for choosing

c) Understanding the whole idea of a concept car.

Play as the key theme for the Design project.

d) Gaining knowledge of the interiors of a car, looking at it in a holistic approach.

Essentials

e) Learn, know and explore different materials/ future

A Concept for the interiors (colour and trim) of a future

materials apart from textiles that can contribute in the

hatchback/mini vehicle .

making of the interiors of the concept car according to the

YEAR 2020-2025

brief. f) Generating new and innovative concepts/ideas as per the

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About the project

Project Methodology (Phase 1: Research)

Methodology Chart (Presentated during 1st presentation at RDI)

After defining the final project brief, the next stage was to define the methodology or basically planning the processes that would be followed by me during the first phase (i.e pre conceptualisation and pre sampling phase) of the project. This Project Initiation phase involves the key points of the project brief, my clientèle, the initial brainstorming of the core theme PLAY, lifestyle of women (cross categorical

CONCEPT CAR (Hatchback)

research), psychoanalysis (women lifestyle) and the final deliverable for the project. This methodology chart was presented to the entire design team, during the introductory presentation at RDI, Mumbai. The aim was to introduce my diploma project brief and the design process methodology to Jean Philippe Salar (Chief Designer) and team of designers. And to have a discussion on the brief and get a feedback that can be helpful for me to improve on the project inclusions. During the discussion, the suggestion was to take up the young single (working) women as my focussed consumer group, reasons being: In the year 2020-2025, India will have a majority of Youth population. Secondly, the single (working) young women would be the

BRAINSTORMING PLAY

potential buyers. The other suggestions included, creating a rich information

words+visuals+tangible objects

pool that includes both visuals and key words which shall help me to deduce the end results.

games, food, emotions, etc.

After defining the methodology chart the next step was to

ANALYSIS

brainstorm the word play. Later define the user profile in detail, brainstorm the lifestyle that she leads and her thought process about herself and the environment around.

TRENDS (2 or more) FORMS, COLOR, TEXTURE 99

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


About the project

DIPLOMA PROJECT

Vander Acker explains, “ First we fall in love, then we begin to explore our boundaries as young couples who subsequently create a family and may enjoy wealth and want to play, eventually to experience wisdom of life.” Keeping the above statement in mind the next step in the flower of life is PLAY that would be the core theme for my Design project at Renault Design Studio. This will lead to the exploration of color suggestions, texture suggestions, surface developments on different materials including textiles.

Color & Trim

Young Indian women of 25-30 years of age. Reason: In the coming years one can see an increase in the number of females driving cars. Also, till now there is no car in India that is exclusively women centric so this is a promising segment to seek opportunities to design.

YEAR: 2020-2025 M

SI

EXCLUSIVELY for WOMEN

WARM

E PL

INDIAN (age: 25-30)

STUDENTS

SINGLE

MARRIED

(PG/Masters)

(working)

(working) (non-working)

UAL NS SE All of us finds a pleasure when we look back to our childhood days. We try to find out ways to re-live/revive those days. A concept that can make you re-live and admire this feeling is the very reason for choosing Play as the key theme for the Design project.

PLAY

BRAINSTORMING LIFESTYLE (women)

PSYCHOANALYSIS (women)

words+visuals+tangible objects

words+visuals+tangible objects

fashion, accessories, shoes etc.

thinking, general attitude etc.

DELIVERABLE

INTERIOR & EXTERIOR COLOR HARMONY (2 or more)

SURFACES FOR CAR INTERIORS (textiles+other materials)

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05 PLAY

Play literally can be associated with an action that engages you in an activity for enjoyment and recreation rather than a serious or practical purpose. But if you dig deeper, there are a lot of hidden meanings and elements that are associated with Play. This chapter gives a detailed view of all these hidden associations with the word play. The chapter shows the brainstorming that was done during the phase one of the project. This brainstorming was hepful in understanding the theme properly and thus building up an information pool.

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Renault’s Cycle of Life


Play

Understanding Play Brainstorming Play (stage 1: keywords)

across during the interaction with myself. There were very

Understanding the word play was something very essential

interesting answers that I came across. For some Play was

and crucial to build up an information pool for the

finger food, clouds, dragon fly, threads etc. Apart from

project. Renault’s “cycle of life” pays a lot of attention to

objects there were emotions that was also associated with

the emotional aspects of a human being. So, it was very

the word Play. Like, relaxation, excitement, exotic etc.

important for me to dig deep inside the theme play and

People associated the word play with places, objects, food,

extract out various emotions, thoughts, perceptions etc. that

emotions, architecture, celebrities etc.

a human being feels/expresses.

Observation Interaction with myself

The hidden layers of the word Play unravelled step by step

The very first thing was to do a quick brainstorming and

and one remarkable thing was the association of various

note down the words that come to my mind. There were

emotions that they perceived. Design has elements like

words like games, poetry, skit, music etc. These words can

forms, colors, textures, compositions. But emotions is also

be considered as the first layer of the word Play. After a point

an integral part of Design. During this exercise capturing

of time there was a saturation level attained where I could

various human emotions and stimulus was done.

not associate Play with anything else but the more obvious objects or emotions.

Renault’s “cycle of life” pays a lot of attention to the emotional aspects of a human being. 103

Interaction with people around me To get more direct and indirect meanings of the word Play, an interaction was done with people around me. This was done to break the very obvious associations that I came

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Play

The above images are the very first brainstorming that

Later as well, I have chosen the brainstorming way, to know

Images this page:

was done at RDI, Mumbai. This shows a branch out of

about the target consumer supported by a cross categorical

The initial brainstorming sheets showing the first level of

associations that was done while interpreting the word Play.

study of her likings. Design is everywhere and doing a cross

associations of emotions and objects with theme Play.

(All these brainstorming sheets are retained in their original

categorical study helps in linking the subject to a wider range

format). There can be various methods in which the word play

of design clues. Cross categorical study helped in extracting

could be understood and thus taken forward to derive the

all these various tangible and intangible attributes.

design clues and concepts. But I choose The Brainstorming way because it is an in-depth and non-superficial approach towards understanding the theme. This way I was able to unveil various layers of the theme.

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Play

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Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Play

Brainstorming Play (stage 2: visual reference)

Images Facing page: Brainstorming chart done at RDI, Mumbai to understand

This was a step further where the initial brainstorming

theme Play.

was taken forward. Here a second level of associations/

This page:

interpretations was done. Small doodles of games, food, etc.

Close up views of the brainstorming chart, emphasizing on

was drawn. Collections of newspaper visuals like crosswords,

each area.

animation movie posters, cartoon strips was introduced along with words. Doing this exercise gave a clear picture of the emotions and objects that was getting associated with the word play. Layer by layer the information pool built up.

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Play

Cross Categorical Brainstorming (stage 3: objects & visuals) This final stage of brainstorming was done in the most detailed way possible. Here at this stage, a detailed cross categorical study was done and associations were linked to the word Play. This brainstorm chart is a result of the previous brainstorming done at stage 1 and stage 2. The cross categorical study is important because it gives design clues and helps in understanding the theme in a better way. Here, the cross categories are: furniture, insects, candies and chocolates, music, masks, comic books, animation movies, rangoli, games (indoor and outdoor) etc. All these categories has various degree of playfulness in them. The attributes that was observed in each clearly associated the categories to play. In this brainstorming exercise along with words and visuals, there was attempt to bring in actual materials/objects that one can touch and feel. This layer of detail added another dimension to the whole activity. Also, doing this exercise had a fun element in it that helped me to dig into depths of the theme Play. (The brainstorming sheet has been retained in its original form).

Images this page: Cross categorical brainstorming chart of the word Play, showing visuals, words and materials. Facing Page: Close up views of the brainstorming chart, emphasizing on each area.

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Play

Attributes of Cross Categorical Brainstorming

Over here I tried to analyse each and every category in detail and found out few common attributes that are very close to ‘Play’. All these attributes are listed below. Out of these words there was another set of words that are common with those of the cross categorical study of the lifestyle of women in the next section. These common attributes are highlighted. In this process the whole idea was to find cues that shall later lead towards defining the target consumer, her scenarios and the final Trends.

structured

colorful

nostalgic

active

cute

energetic

volume

simple

theme based

presentation

desires

functional

space

geometry

forms/shapes

information

refresh

time

attention

experiences

abstract

exclusivity

taste

organised

fresh

organic

disguise

surprise

amusement

metamorphosis

innovative

soothing

want

collection

expressions

thoughtful

involvement

moods

need

graphics

acceptance

communication

relaxation

funny

dreamworld

pattern

humane

tangible

interaction

connections

texture

reflection

narrative

emotions

vibrant

favourite

amusement

inspiration

lovable

touch

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06 All About Her

In the early 1990s, it was quite a discovery to see women drive a car in India. It was completely a man’s domain, and women mostly used public transport or were led by chauffeur - driven cars. One of the limiting factors were the kind of cars that were available in the Indian market at that time; cars were often bulky and difficult to drive. But today’s young Indian woman has moved beyond her traditional roles. The transition from a humble homemaker to a tech savvy, independent, decision maker has happened and women in India today occupy an important place in the society. As, a result there is a scope of designing products/ services that are women centric and friendly. The chapter gives an in depth understanding about the sociopsychological conditions of the young women in India. This further introduces us to the various cross categorical elements that is associated with them. Later, in the chapter one can find a concrete personality definition of the Target consumer.

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A portrayal of today’s young Indian woman


All about her

I Am: User Profile Age: 25-30 years Nationality: Indian Sex: Female Profession: Software Engineer Relationship Status: Single Place: Mumbai Music: Fusion, Trance, Sufi, Rock,Retro Books: Fiction, spiritual, crime, no-fiction Movies: Sci-fi, experimental, art films Theater: Experimental Social Networking: Facebook, twitter, linkedin Causes: Green Peace, Eco-Interactive Religious views: Athiest, Spiritual Lifestyle: Modern and Traditional Technology: Techy, friends with gadgets Interests: Travelling, shopping, writing

Image courtesy: Dinesh Bharule

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Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


All about her

Its Me: A Personality Analysis As specified earlier, in past few years there has been an

created an information and visual pool that helped in

increase in the young women who are driving cars. And

defining the various personalities that a women possesses.

this increment in the numbers is unstable. Keeping this in mind there was a need to address this section of the society

Some of the observations were:

and propose design solutions that are exclusive for the target

Matured yet cool, Neat, organised, sophisticated, Old is

consumer. A design service or product is aimed to serve a

gold but new is exciting. Priority status:

particular audience/client. At this stage of the project it was

Money: 76%, Family: 35%, Children: 15%, Romantic

essential for me to get a clear understanding of the socio-

relationship: 2%, Spiritual experience: 1%. (Source:

psychological condition of the audience I was targeting to;

Marketing White Book 2011-2012)

Young urban women, Age: 25-30 years, Single and working.

There are very typical and inevitable traits of young women. These could be considered to be the defining factors of her

Priority status: Money: 76%, Family: 35%, Children: 15%, Romantic relationship: 2%, Spiritual experience: 1%.

A brainstorming was done to dissect various characteristics

personality. Like; being a shopoholic, health conscious, the

of the target consumer. This is termed as ‘Its me’, because

ability to camouflage according to the situation, sophisticated

this brainstorming revolves around understanding this

yet fun loving. This exercise later, was helpful in building

young woman (target consumer), in the age group of 25-

up the persona’s of the target consumer. The information

30, single and working. In this brainstorming a lot of articles

gathered at this stage channelized towards contrasting

from newspapers, magazines, internet etc. were read and

features of the young Indian women.

analysed to get some striking points that define the target consumer. This brainstorming chart is a collection of various reactions of the target consumer towards her day to day life. Like; society, media, priorities in life, social awareness, health, wealth, love, relationships etc. All these reactions

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All about her

Note: It takes minimum 2 years for a concept car/car to reach its climax. In automobile industry the planning of the product and spotting a trend is done 5-6 years in advance. Like if a concept car is to be released for the year 2020-2025, the research of consumer, technology etc is done in the present. So, here the research about the target consumer is done in today’s context which is later extrapolated and applied in the year 2020-2025. Images this page: Cross categorical brainstorming chart of the word Play, showing visuals, words and materials.

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All about her

ADAPTATION

FICKLE MINDED

‘JUGAAD’

POLITICS ENTERPRENURESHIP

LIBERAL

MATERIALISTIC HIGH SELF ESTEEM

AWARE

ACCEPTANCE

SURVIVOR

ASPIRATIONS

LUXURY

TRENDY ECO-CONCIOUS EMOTIONAL

ADDICTION

AD MAD

CONFIDENT HEALTH CONCIOUS

GLOCAL

O WOMANIYA!! INDIAN

SELF CENTERED REBELLIOUS MULTITASKING

TOLERANT

COOL

INNOVATIVE ROMANTIC OPTIMISTIC

MOOD SWINGS

EXPERIMENTAL TRADITIONAL

BREAKFREE

ENERGETIC

TRANSFORMATION POPULAR SOCIAL NETWORKING

The image above represents the many colors (attributes) of a women’s personality. While dissecting her personality I came across alot of words that well defines

EQUALITY + EXCLUSIVITY

MATURE

these traits. Here, in this excersice there is a attempt to list down all these words

FAMILY

that forms the pixels of her personality. These words are later analysed to come up

SELF OBSSESION

SHOPOHOLIC

with some concrete interpretations. DESI

FOODIE

LOVE & RELATIONSHIP

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All about her

Observation and Analysis

all outgoing, fun loving and childish in her behaviour or

brainstorming. This clearly defines the dual character of her

when she is in her own space. And on the other hand in

personality. Later, it shall help to dig into the depths of the

The young women is bold and dutiful. There are

the professional world she is totally dedicated to work and

two contrasts and unveil the hidden layers of the respective

contrasting features, opposite personalities, opposite

behaves a bit sophisticated. These contrasting characters

personalities.

lifestyles that she possesses. She travels between the

further became the deciding factors for building up the

traditional look to the modern look almost everyday. There

scenarios and the design concepts. Establishing these

is a key factor of self liking/obsession. On one end she is

contrasting attributes was very important at this stage of

LOVE

MY

I

SELF

BOLD AND THE DUTIFUL MODERN OUTGOING

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TRADITIONAL

CHILDISH

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

SOPHISTICATED

WORKCOHOLIC


All about her

I Like: A Cross Categorical study In the process of brainstorming, understanding the ‘I like’

visuals and tangible materials. The whole idea of bringing

part of this young woman’s life is very important. It gives

in the tangible materials was to take some clues for the

details of all the possible activities that she likes to do. As a

material research. What kind of materials are being used at

consumer what all lifestyle products she owns or would like

present? What are the prospects of new materials? Is there a

to own. Studying these topics can be treated as studying the

possibility of using such materials in the project?

cross categorical elements that are further helpful in spotting the trends. There is an attempt to address all the possible

Some of the categories that are taken into account are:

and vital activities/likings to be spotted and later understood

Television series, fragrances, food, hollywood, bollywood,

from both tangible and intangible prospects.

bags, shoes etc. In the following pages one can see the detailed brainstorming chart prepared during the research

Cross categorical research indicates a reflection of certain

phase at RDI, Mumbai. During this brainstorming process,

patterns across various domains and this research helps

some common attributes that were seen are listed as words.

in spotting those patterns which later serves as valuable

These attributes can possibly lead towards trend spotting. All

design cues to generate concepts. Various categories

these brainstorming sheets were later analysed in a holistic

when put together and analysed in a holistic manner gives

manner to spot the trends for the year 2020-2025. (All these

associations that are both tangible and intangible in nature.

brainstorming sheets preserved in its original form).

Such associations are very important while spotting trends. All these categories say furnitures, architecture, music, places etc. have elements of design that helps the designer to come up with trends. In all the brainstorming exercises, there has been an attempt to note down the tangibles and the intangibles. Here as well the study involves words,

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Images this page: Cross categorical brainstorming chart of the lifestyle of the young Indian women, showing visuals, words and materials.

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Attributes of Cross Categorical Brainstorming

Over here I tried to analyse each and every category in detail and found out few common attributes that are very close to ‘Play’. All these attributes are listed below. Out of these words there was another set of words that are common with those of the cross categorical study of the word playin the previous section. These common attributes are highlighted. In this process the whole idea was to find cues that shall later lead towards defining the target consumer, her scenarios and the final Trends. These common attributes which were filtered out from both the cross categorical studies shall be used to find out more about the two personas of the user.

classic

famous

nostalgic

adventure

cute

brand

desires

adventure

modern

presentation

traditional

cool

space

friendly

forms/shapes

information

emotions

time

love

experiences

trend setter

materialistic

identity

leisure

fresh

trans

beauty

surprise

mix & match

graphics

innovative

addictive

want

collection

expressions

money

exclusivity

moods

need

media

acceptance

communication

relaxation

statement

illusion

its mine

ornamentation

tangible

interaction

connections

texture

personality

narrative

refresh

style

favourite

its mine

inspiration

status

experiment

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Analysis of common attributes The next step was to filter the common attributes that have been listed down while doing the cross categorical study. This was a very challenging stage as, it was the deciding phase for spotting the trends. At this stage the two contrasting personas of the target consumer was already defined i.e the childish/outgoing and the sophisticated/workaholic. Again a method was devised called the ‘matrix way’, where I tried to map the common attributes with respect to these contrasting personas. The common attributes are: EXPERIENCES, FAVOURITES,

INTERACTIONS, FORMS/SHAPES,

PRESENTATIONS,

TEXTURES,

CONNECTIONS, MOODS,

NEEDS,

INFORMATIONS,

EXCLUSIVITY, COLLECTIONS, GRAPHICS, INSPIRATIONS, ASPIRATIONS, EMOTIONS, EXPRESSIONS, ACCEPTANCE, NARRATIVES, TIME. There were two different ways to map the common attributes: 1) Placing each attribute and treating/defining it as per the persona. eg: What things can be associated with the word experience if we talk from a childish persona’s perspective and from a mature persona’s perspective? The nature of associations would differ in the two cases. 2) Match the following: taking each attribute and trying to find out which attribute fits the best/defines a persona the best when put together. A brainstorming was again done in the initial phase to understand both the matrices and try to understand which of these ways is more apt for trend spotting.

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The method: matrix way

doll (she is a young women who is global in her thoughts, deeds and lifestyle). Termed the childish persona as Juvenile

This is a very common method in which one makes the

tone while the sophisticated persona as Mature tone. While

matrix of various elements. The constant values are kept

establishing a visual language for each attribute with respect

in the rows and the columns and later both these constant

to the personas, another set of tangible and intangible

values are made to interact with each other. The resultant is

attributes was explored. This was done to have a much

another element that in this case are the cues for defining

clearer association. The following pages show the slides that

the two contrasting personas of the user in details. Here

was a part of the presentation made to Jean Philippe Salar

the values; Child and mature are kept constant in the rows

and the entire design team during the second presentation.

(which are the two contrasting characters of the same user).

(The slides are retained in its original form that was presented

While in the colunm all the twenty common attributes that

during the second presentation).

were found out from the cross categorical studies is placed. And each attribute is looked at individually with respect to the two personas. Over here this method is very important because there is an attempt to know each of these personas in as much details as possible (as per the common attributes). This information will later help me to take forward the apt persona and thus define the relevent scenarios and thus design trends.

Observation While analysing the brainstorming done at this stage, the observation was that there is a scope of still getting a more in depth information/understanding of the two contrasting personas in details. This scope was more prominent in the first matrix as it defined all the possible associations and interpretations of both the personas. Through all these brainstorming exercises and thus analysis (right from the play to the matrix way) the idea was to find a pattern that shall further lead towards trend spotting. In the next few pages one can observe this matrix way is presented in a detailed way using appropriate visuals that defines the contrasting features of the target consumer. At this stage I defined the target consumer as a Cosmopolitan

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THE COSMOPOLITAN DOLL

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THE COSMOPOLITAN DOLL

PLAY+LIFESTYLE MATURE tone

JUVENILE tone

EXPERIENCES INTERACTIONS CONNECTIONS FAVOURITES FORMS/SHAPES MOODS NEEDS PRESENTATIONS TEXTURES INFORMATIONS EXCLUSIVITY COLLECTIONS GRAPHICS INSPIRATIONS ASPIRATIONS EMOTIONS EXPRESSIONS ACCEPTANCE NARRATIVES TIME These are the common words that I came across during my brainstorming for the Play and the lifestyle ca-

The Cosmopolitan Doll is a person who exhibits the two extreme personas in two different contexts, she is bold and dutiful in a formal context and like a cute child in an informal context. I have tried to establish the differences between these two extremes through the visuals and the words that are distinctive to these personas.

tegories. All these words are further elaborated with the help of visuals and words. I have tried to compare similar categories of visuals with different attributes to get a clear understanding of the mature and the juvenile tones. Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

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THE COSMOPOLITAN DOLL

PLAY+LIFESTYLE MATURE tone

JUVENILE tone

EXPERIENCES Through physical spaces, interiors, daily travel, activities.

TANGIBLE meetings, office, board rooms, busy, straight, blank, similar, dark, to-the-point, compact, short, collegues, boss, canteen, travel, perfection, fast life, formal

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INTANGIBLE monotonous, mandane, boring, meticulous, non-adventurous, calm, assurance, secure

TANGIBLE fun, friends, rollercoaster, bright, soft, insane, I own it, gardening, decorating my room, colourful, new, florals, informal,

INTANGIBLE cheerful, refresh, soothing, jovial, adventourous, innocent, nostalgic, sense of longing,


All about her

THE COSMOPOLITAN DOLL

PLAY+LIFESTYLE MATURE tone

JUVENILE tone

INTERACTIONS With gadgets, socialising with collegues, friends.

TANGIBLE mechanical, logistics, files, computer, gadgets, collegues, formal, to-the point, conferences, e-mails, engineered,

INTANGIBLE monotonous, rigid, sense of responsibility, secure, elegance, opportunity, optimism, pride

TANGIBLE games, engaging, do-it-yourself, innovative, colours, creation, fun, playful, exhaustive, sporty, friends, family,

INTANGIBLE fun, its different, excitment, amusement, joy, surprising,

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THE COSMOPOLITAN DOLL

PLAY+LIFESTYLE MATURE tone

JUVENILE tone

CONNECTIONS With past memories, certain patterns.

TANGIBLE straight lines, geometry, responsibilities, coffee table, organised, planning, neat, punctuality, traditions, patterns, progession, grace, culture, nudes, neutrals,

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INTANGIBLE confinement, serenity, calm, stillness, simplicity, lonliness, slow movement of time, satisfaction,

TANGIBLE outings, friends, illustrations, dressing up, unorganised, games, colours,circus,gardens, girlfriends, holidays, long drives, fashion,

INTANGIBLE fun, joy, free flowing, refresh, raw, I want more, chill, forget everything, affection, euphoria


All about her

THE COSMOPOLITAN DOLL

PLAY+LIFESTYLE MATURE tone

JUVENILE tone

FAVOURITES Objects that is collected or is used.

TANGIBLE diary, pen, watch, scarf, word, newspaper, quote, computer, hotel, airlines, coffee, work cabin, wine, colour,

INTANGIBLE setting a statement, identity, perfection, gravity, confidence, superiority, pride, excuisite

TANGIBLE coffee mug, soft toys, lounge, colour, restaurant, holiday destination, sun glasses, heels, sling bag,

INTANGIBLE fun, surprise, liking, gives me joy, unique, the best, cute

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THE COSMOPOLITAN DOLL

PLAY+LIFESTYLE MATURE tone

JUVENILE tone

FORMS/SHAPES Associations with certain kins of objects that falls under a genre.

TANGIBLE straight, simple, basic, definite, non-experimental, sleek, clean, rigid, lines, geometric, calculative, easy, uniform, neutrals, chrome, finished, flawless

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INTANGIBLE simplicity, pride, monotone, positive, logical

TANGIBLE curves, organic, fluid, abstract, experimental volume, twists, spirals, imaginative, raw, circles, dynamic, three dimensional, interactive,

INTANGIBLE strange, thought provoking, amazed, surprising, unimmaginable, happy, infatuation,


All about her

THE COSMOPOLITAN DOLL

PLAY+LIFESTYLE MATURE tone

JUVENILE tone

MOODS Reactions at a certain time. It can be jovial, surreal etc.

TANGIBLE still water, silverware, straight lines, walking slowy, snow, worplace, sacred place

INTANGIBLE calm, solitude, strict, lonely, angry, annoyed, anxious, bored, depressed, exhausted, drained, melencholic, irritated, classic, cold, devotion

TANGIBLE coloured glass, gifts, kitsch items, cryons, running, food, what to do?

INTANGIBLE cheerful, psychedelic, energetic, excited, flirty, happy, naughty, giggly, surprised, mad, fresh, animated

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PLAY+LIFESTYLE MATURE tone

JUVENILE tone

NEEDS Associations with things that one posseses. Something to do with basic needs.

TANGIBLE basic, to live life, home sweet home, work place, own a car, money, family, friends, luxury

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INTANGIBLE solitude, security, sense of owing, equilibrium, peace of mind, ambition, homely, spiritual

TANGIBLE holiday, street shopping, movies-popcorn, experimentation, live life king size, play games, colourful party hard, spend time with friends, gossips

INTANGIBLE fun, experience, joy, relief, thrill, surprise, involvement, memories, happy, freedom


All about her

THE COSMOPOLITAN DOLL

PLAY+LIFESTYLE MATURE tone

JUVENILE tone

PRESENTATIONS I have taken packaging and food presentation to compare.

TANGIBLE reports, gadgets neat and tidy, logical, factual, follows a pattern, organised, well processed, interesting, convincing, precision, accurate

INTANGIBLE pleasing, simplicity, optimistism, careful, satisfying, splendor, impactful

TANGIBLE story board, collage, gifts different, complex, overdone, break the rules, unorganised, handmade, innovation, creative, crafty

INTANGIBLE crazy, fun, involving, cool, curious, attractive, bling, cute

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THE COSMOPOLITAN DOLL

PLAY+LIFESTYLE MATURE tone

JUVENILE tone

TEXTURES Associations with things that is felt and the impression stays in mind.

TANGIBLE hard, rigid, minute, detailed, rustic, vintage, plain, perfect, matt, dull, geometric, muted, bland

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INTANGIBLE

TANGIBLE

INTANGIBLE

luxurious, clean, motionless, agrressive, impactful

fuzzy, soft, luminous, grainy, froth like, large, shiny, shimmer, frizzy, glossy, fibrous, layered, raw

comfort, pleasing, compassion, tenderess, attraction, curious


All about her

THE COSMOPOLITAN DOLL

PLAY+LIFESTYLE MATURE tone

JUVENILE tone

INFORMATIONS Aquintances with novels, magazines, newspapers etc.

TANGIBLE quantitative, factual, general, philosophical, statistical, crisp, stocks, newspapers, reports,

INTANGIBLE interesting, monotonous, hope, resourceful,

TANGIBLE fashion, blogs, entertainment world, magazines, facebook pages, tv advertisements, chats

INTANGIBLE excited, fun, fresh, liking, resourceful, eureka

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THE COSMOPOLITAN DOLL

PLAY+LIFESTYLE MATURE tone

JUVENILE tone

EXCLUSIVITY In terms of personality and grooming.

TANGIBLE pivotal point (in terms of work/ clothing), charisma, passionate, gravity in personality, wise, opulent,

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INTANGIBLE luxurious, dominant, pride, impactful, elegance, smart, simple, confident, satisfaction, motivation

TANGIBLE mix and match, fashion driven, personal touch, creative, colourful, flashy, variegated, offbeat, overdoing

INTANGIBLE attraction, fun, joy, tender, lovey-dovey, flexible


All about her

THE COSMOPOLITAN DOLL

PLAY+LIFESTYLE MATURE tone

JUVENILE tone

COLLECTIONS Of objects, accessories, items, etc.

TANGIBLE pearls, gucci, prada, expensive, exclusive, corporate, neutrals, nudes, simple, graceful, straight, homogenous

INTANGIBLE elegence, classy, happy, fearless, contentment, triumph, focused

TANGIBLE kitsch, experimental, mix trix, vibrant, colourful, old and new, contemporary things, kaleidoscopic, heterogenous, ornamented, crafty

INTANGIBLE fluid, unpredictable, surprising, joyous, love it, longing

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THE COSMOPOLITAN DOLL

PLAY+LIFESTYLE MATURE tone

JUVENILE tone

GRAPHICS Signages, book titles, logos,illustration etc.

TANGIBLE descriptive, direct, bold, visible, neutral colours, monochrome, well processed, classic

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INTANGIBLE simplicity, monotony, serious, clean and clear,

TANGIBLE experimental, illustrative, mixed up, contemporary, unusual, non-rigid, nifty, caricature

INTANGIBLE fun, attraction, mind-boggling, engaging, magnanimous, cute, jovial, hugging


All about her

THE COSMOPOLITAN DOLL

PLAY+LIFESTYLE MATURE tone

JUVENILE tone

INSPIRATIONS Comes from celebrities and models

TANGIBLE zari, chrome, finished look, pronounced, neutrals, nudes, composed, predictive, compact, mundane

INTANGIBLE ethreal, gravity, classic, contentment, purity, proud, calm

TANGIBLE lady gaga, experimental, brave, entertainment world, fashion world, artists, bizzare, vibrant

INTANGIBLE crazy, fresh, adventurous, provoking, infatuation, liking,

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THE COSMOPOLITAN DOLL

PLAY+LIFESTYLE MATURE tone

JUVENILE tone

ASPIRATIONS Is to be among the famous personalities

TANGIBLE enterprenurship, money, higher status, practical, hardworking, sensible, constructive, progressive, systematic, knowledgeable, intellectual

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INTANGIBLE proud, triumph, class, passion, prestigious

TANGIBLE brands in my closet, fashion, grooming, expenditure, experiment celebrity, look good,

INTANGIBLE happy, cool, trendy, cheerful, fun, cloud 9, ecstasy, dreamy


All about her

THE COSMOPOLITAN DOLL

PLAY+LIFESTYLE MATURE tone

JUVENILE tone

EMOTIONS Reactions associated with places, objects, food, nature.

TANGIBLE strawbery, vanilla, fog, dusk and dawn plain, misty, pastels, nudes, dark,

INTANGIBLE quiet, passion, anxious, gloomy, cold, escape

TANGIBLE dandelions, cotton flower, fruit salad, food, holiday

INTANGIBLE tender, affection, attraction, desire, happy, surprise, joyfull, bliss, craving, warm

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THE COSMOPOLITAN DOLL

PLAY+LIFESTYLE MATURE tone

JUVENILE tone

EXPRESSIONS Have compared through paintings.

TANGIBLE abstract, philosophical, thoughtful, pale, silence, worldly, intellectual evoking, restricted, minimalistic, patterned

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INTANGIBLE perplexed, thought provoking, tiresome, wonder

TANGIBLE wall scribbles, varied, illusion, fantasy, scribbled, illustrative, defined, colourful, plentiful, primitive, fresh, dramatic

INTANGIBLE cool, funny, cute, liking, tender, friendly,


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THE COSMOPOLITAN DOLL

PLAY+LIFESTYLE MATURE tone

JUVENILE tone

ACCEPTANCE New things that one tends to adopt or accept and uses it. Like i pads, i phones, funky accessories.

TANGIBLE i pads, i pods, technology, rigid, mechanical, virtual, cutting-edge, progression, conventional, knowledge,

INTANGIBLE proud, satisfaction, liberation, wonder, serious, focus

TANGIBLE colourful, ‘jugaad’, peculiar, quirky, trendy, experimental, attractive, interesting colourful,

INTANGIBLE joy, different, attachment, enthusiastic,

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THE COSMOPOLITAN DOLL

PLAY+LIFESTYLE MATURE tone

JUVENILE tone

NARRATIVE Associations with day-t-day stories, happenings.

TANGIBLE to-do-list, schedules, fixed, structured,

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INTANGIBLE mundane, non-adventurous, cold, boring, dutiful

TANGIBLE haphazared, comical, story board, stock, gossips, insane, fairytale,

INTANGIBLE exciting, lovable, attraction, humorous, friendly, engaging, mad for it


All about her

THE COSMOPOLITAN DOLL

PLAY+LIFESTYLE MATURE tone

JUVENILE tone

TIME Objects that indicate certain time period/era.

TANGIBLE traditional jewelery, spices old, vintage, traditional, era’s, nuetrals, pastels, dark busy, responsibility, work

INTANGIBLE organic, aristrocratic, satisfying, vital, serious, seasoned, timeless,

TANGIBLE contemporary, new, experimentation, colourful, bright, leisure, freedom, relaxation

INTANGIBLE bold, rebel, megnanimous, adoration

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My Life: Building Scenarios Any entity cannot sustain in an isolated condition. There

While brainstorming to build up the scenarios most of

is always a context/situation/scenario that gives life to that

the activities considered were to do with fun, joy, friends,

entity. In the same way after understanding the core theme,

enjoyment etc. and these are again associated with Play.

defining the target consumer and analysing her likes/dislikes,

Most of these thoughts for the scenarios fell under the

her personality, the next stage was to define/build up

weekend activities. So, I thought of considering the weekend

appropriate scenarios in which the target consumer lives or

scenarios and place the Juvenile tone into it. Thus, in the

is likely to live. ‘My life’, talks about all the possible contexts

coming phase of Trend spotting these weekend scenarios

that she could be placed/imagined in. Scenario development

shall play a major role. The conceptualisation shall be for a

at this stage is important because it defines the lifestyle of

car that can be specially driven on the weekends.

the target consumer thus giving clues for spotting trends in the later part.

Scenarios

Observation

While sculpting the scenarios I observed that there are two kinds of scenarios: Macro scenarios and Micro Scenarios.

While building up the scenarios, I observed that there was

According to the understanding that I acquired, the Macro

a need, to zero down to one of the personas of the target

scenarios can be considered as a larger context. While the

consumer that defines the word Play or is closer to the word

micro scenarios are the specific activities that happens for a

Play. After looking at the visuals and the tangible, intangible

time period. In other words, the macro scenario is a set of

attributes, the conclusion was that the Juvenile tone of the

micro scenarios. The micro scenarios are very detailed in

target consumer is more close to Play than the Mature tone.

nature while the macro scenarios are in brief.

So, the Juvenile tone was taken into consideration and the scenarios were built.

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“A macro scenario is a set of individual micro scenarios.

Micro Scenario 4

Two of more micro scenarios come together to make up the macro scenario.”

Micro Scenario 1

Macro Scenario

Micro Scenario 3

Micro Scenario 2

In the following pages there are two macro scenarios that

2) The Fantastic Sunday: This scenario gives a brief

was devised out keeping in mind the Juvenile tone and the

description about a Sunday in the target consumer’s life. She

weekend scenarios. The scenarios are represented with

has planned one of her sunday’s with all the activities that

relevant visuals and descriptions wherever needed. These

she would do from 9 to 12. The day starts with the daily

scenarios are:

shopping list of grocery, followed by lunch with friends. Some personal shopping list comes into picture then. Later

1) Seabeach calling: This scenario gives a brief description

in the evening she would like to hang out with friends in

about a holiday i.e from friday to sunday, that the target

some theater or coffee shop. The late evening would be

consumer is going for. This scenario takes the target

dedicated to party with her friends in a club/lounge. And

consumer and her friends to a holiday destination, Goa. The

finally the day would end up with a pyajama party at her

brief includes her pre planning of the trip, all the moments

friends place. This scenario is too supported with relevant

that she spends with her friends. Relaxed, refreshed and

visuals.

rejuvenation are the key things talked about in this scenario. Since this scenario is on a larger level one can get some important glimpses of the activities that she would indulge into along with her friends.

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Driving is fun, adventurous, i like driving, i can stop anywhere I like, long drive, rain, sight seeing, highway, nature, companions, milestones, time, excitment, satisfaction

my preperations for the trip. essential things.

Seabeach Calling Friday to sunday.........three fundays

Shopping on the streets of Goa is inevitable and the mouth watering sea food is a bliss.

Visits to the churches and various sites. Taking a stroll on the streets of Goa. This is so relaxing and fun

Some water sports, scuba diving adds on to the whole adventure and its so exciting

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excited, chilled, happy, tension free, looking forward for a nice time,


All about her

THE FENTASTIC SUNDAY

12

9

3

6

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“Micro scenarios are individual in nature. Two of more micro

Micro Scenario 4

scenarios come together to make up the macro scenario.”

Micro Scenario 1

Macro Scenario

Micro Scenario 3

Micro Scenario 2

After building up the macro scenarios, the observation was

1) My new apartment:

4) Bestie’s birthday party:

that, these scenarios are very generalised and not detailed.

The situation is that the target consumer is new in the city

It’s her best friends birthday party and she wants to surprise

I thought of addressing to the micro scenarios as well, that

and she has to set up her new apartment. This scenario

her. What all arrangements she would do to organise a

are more detailed. These micro scenarios are the activities

briefs about how she would decorate her new home? What

surprise party for that friend? What all things she would buy

that lasts for a small span of time. Brainstorming was done to

all things she would do to make it beautiful?

for her?

of brainstorming many activities were thought of that she

2) A dayout with kitty:

I did not take up just one micro scenario because it shall

would do on a weekend. Out of these, four micro scenarios

She has a pet cat, and after a tiring week she wants to spend

be limiting and a very specific information pool would

are considered. These are:

some time with it. The weekend is dedicated to the pet. This

have been generated. Also, there was a great possibility of

1) My new apartment.

scenario takes us through all those activities that they both

combining two or more scenarios to define her lifestyle thus

2) A dayout with kitty.

do.

resulting into spotting of Trends/Design directions. These

pen down all the possible weekend scenarios. In the process

3) Director saab

four micro scenarios along with the previous brainstorming

4) Bestie’s birthday party.

3) Director saab:

and the Juvenile tone helped in spotting Trends (design

These micro scenarios are again supported with relevant

The target consumer is new in the city. She wants to explore

directions).

visuals. All these macro and micro scenarios are inspired

the city. This exploration is carried out with the help of her

by the real life situations around me. Everyday observations

camera that she uses to make a picture story for herself.

gave clues to build up these scenarios.

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All about her

Images this page: Brainstorming charts of micro scenarios. Close ups of the brainstorming chart.

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SCENARIOS


All about her

Have decided on a theme, now il paint the walls of my room and living room myself. Some graphics on the wall.

New in the city and have rented a new 1bhk appartment, I want to decorate it, paint it, and make it like my home. This shall be done on the weekend. Have to buy and renovate the apartment. It’s going to be fun. I am excited, this is like a project for me and positive about the result. I want a contemporary and modern look.

my new apartment

Loved this wall installation, this can be installed in the bedroom.The lamps, can go besides my bed and a book shelf to compliment.

Time to buy some nice candles, bottles, dried flowers.

Bought some new colourful furniture to complement the walls, a fish tank, etc. some cute refrigerator magnets, cushions for my living room, new crockery, mirror etc is also bought

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Today is kitty’s day. Have to make her look the best, its her shopping day. She is cute, adorable, loving. We will have a lot of fun together. So, we get ready and drive to the city. I am excited about this and looking forward for fun.

I buy her a new pet house, this is cute and comfortable, i like it. Hope she also likes it

At the pet store we buy a new eating bowl, some cat food that she would loveto have. We also visit the pet grooming centre.

a dayout with kitty I loved this day, it was so exciting, interactive and fun. We shopped alot of things for her. And she seems to be happy.

We go to the garden and play there, I think she is loving it, its so fresh and soothing over here.

Some new clothes for kitty. It will keep her warm, cosy, and it looks cute on her. We also shopped some accessories and pet shoes for it.

We buy some toys for her, she likes to play with these, I shall let here choose her own toy. These are so cute and colourful.

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director saab

Its a weekend and I am new in the city, want to know about the city, maps and internet is so boring, lets get a bit interactive and explore it. I have my own camera, tripod and my car so lets have a city ride with few clicks. Its going to be so much fun, I am excited. This is going to be adventurous.

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Sight seeing, long drives, traffic, congestion, symbols, informations, life, shopping, houses passed by and captured in my camera. My documentation of the city. This was a great experience, there was enjoyment, thrill, surprises, smiles, innocence. Time swept from dusk to dawn.


All about her

Its a weekend, and tommorow is my best friend’s birthday. Let’s give her a surprise party at my house, its going to be fun, she will love it and get surprised. Call up other friends for the planning. Invites for her party has to prepared and printed, a list of things to buy is prepared, now have to drive and go for shopping and arrangements.

Balloons, decoration streamers, paper umbrella, its all so colourful, exciting and cute.

bestie’s birthday party

Some return gifts for all the other friends, for their help to make this party possible.

Candles are bought, have to order for a customised cake from cakes n bakes.

Have to prepare a menu for the food and beverages. Then have to cook, some food can be ordered from outside. Arranging the dinner table, music, games.

Contribution for the gifts is done, so lets go and buy her a dress and her favourite utility bag kit. Hope she like the gift.

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07 TRENDS

“Change is the only constant thing ”- Diogenes Laertius. Change is inevitable and it breaks the monotony in one’s life. Trends is also related to this change that one experiences. It is another form of change that takes place every second. A Trend occurs when others mimic or emulate a change/style. This chapter talks about What is trends (design directions)? My understanding of this constant change. The analysis of the brainstorming done in the previous chapters and how I arrived at the first deliverable of the project. This chapter gives a detailed description about how important Trends in Automotive industry? How and why spotting or studying trends becomes a vital part of the Color, Material and finish department.

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Pantone mugs by Pantone Inc. showing the pantone shades


Trends

What is Trend? As a Textile Design student I always had to study the

one really needs to be observant of his/her environment,

trends and color forecast for an assignment or classroom

while spotting trends.

project. Mostly the references for these trends were taken from magazines like Textile View, Pantone look books etc.

Trends can be based on cues and inspiration that can

Studying Trends is so vital for automotive industry as well,

include anything like popular culture, celebrities, music,

was realised during this project. (The word trend finds

politics, nature or something else entirely. Its a combination

its origin from Old English- trendan- to roll about, turn,

of tangible and intangible attributes. Trends can be also

revolve). The literal definition of trend is, ‘A pattern of

treated as the directions or inspirations or cues for the world

gradual change in a condition or a process which moves in 1 a certain direction over time.’

of Design. It shows its prominent presence in the fashion industry, textile industry and for that matter in the Industrial design industry (product design, automotive design, lifestyle

Studying, observing and spotting trends helps an industry

and accessory design etc.)

to achieve and speculate the needs and the wants of a consumer. It is like a reflection of the consumer’s aspirations,

Trend research is also called ‘Macro study’ since it includes

thinking, lifestyle etc. Trend research helps in sensing the

all possible cross categorical elements of lifestyle, market, 2 demographics, etc. The trends can be categorised as :

pulse of the time to time changing market scenario. This research provides a platform to the industries to think

Trend- ‘A pattern of gradual change in a condition or a process which moves in a certain direction over time.’ 157

innovative and beyond what is already there in the market.

1) Parallel Trends

During the study of trends I found out that there is no rule

1.1) Trends and Counter Trends

for spotting trends. It is totally based on the observations that

1.2) Trends and Sub Trends

we come across in our day to day life. As explained earlier,

2) New Trends

trends is the change that occurs with time. So, as a designer

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Trends

TRENDS

Parallel Trends

New Trends

Parallel running trends have a common central character

Sometimes a parallel trend is not spotted, such trends can

between them eg: form of the objects.

be termed as new trends. eg: zero emmision

Trends and Counter Trends

Trends and Sub Trends

Opposite approaches addressing to a similar character. eg:

Sub trends are the branch outs of a strong prevailing trend.

Resources, for trends it can apt use of resources. Counter

The information of the clusters in the sub trends is usually

trend can be misuse of resources.

based on strong trend themes. eg: repurpose, reuse, recycle.

Trend research holds true for the automobile industry as

results in defining the trends which is represented by a trend

2) Epoch

well. As designers, we are in constant search of inspirations

/theme board, a mood board and at times a material board is

3) Echo

that triggers the design process. For this reason, trend

also presented. These trends talk about the tangibles and the

4) Montage

research is a vital part of the Color, material and finish

intangibles involved. It serves as a source of various design

department. A constant watch on the cross categorical

cues to accelerate the design process.

Both Tuned in and Echo can be considered as new trends

happenings round the world enriches the design vocabulary

while Epoch and Montage fall under parallel trends. They

of the CMF designer. As stated earlier, the CMF department

In the following pages one can find the trends/design

is highly responsible to add a value and make each model of

directions that are deciphered from the brainstorming charts

the vehicle look spectacular; a thorough trend research acts

done in the previous chapters. These trends consists of a

as a catalyst to fulfil this task.

trend board explaining the trend, followed by a mood board

are counter trends to each other.

and the color palette. Trends was the first deliverable of this The process of trend research/spotting, involves study of

project. There are four trends that has been spotted:

global happenings (cross categorical elements), which is followed by analysing the findings of this study. This analysis

1) Tuned in

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Trends

Connecting common attributes

3) Interactions: Its the correlation/synergy between two

6) Favourites: It leads my understanding towards some

entities (person to person, person with environment etc).

subject which is close to your heart, its intimate or preferred

After understanding what are trends, the next step was to

the most.

try and find clues and patterns among the brainstorming charts. At this stage, a method, for mapping the patterns was

Interactions

devised. This method has two ways, where one is related

Emotions Favourites

to non-elimination and the other one is about eliminating or dissolving the attributes together. In the first method I

Connections Interactions

tried to define each attribute and connected all the common attributes (that was mapped out from the brainstorming

Experiences

Expressions

sheets) with each other. This was done to further dissolve these attributes and filter down to a common pattern. By

Experiences

doing this I also tried to understand the meaning of these connections. The visuals, defined for each attribute in the previous section (The Cosmopolitan doll) was also taken into consideration. This is the first method of connecting the

4) Acceptance: Its the act of recognition of a change/

common attributes.

happening or object without protest.

Expressions

1) Experiences: When you interact with any object, ambience etc. you gain a certain kind of knowledge/information about

Interactions

the subject, this helps you to understand the subject in

Acceptance

depth. It is a combination of thoughts, memory, perception,

7) Narratives: It can be related to the day-to-day activities,

emotion, etc.

happenings, on a larger level. In depth each activity has a story to say. Its a sequence of happenings.

2) Expressions: It is something that is directly related to the

5) Connections: It is about relations/associations with the

thoughts of a person. What a person thinks can be expressed

subject.

in the forms of art or literature.

Narratives Interactions

Experiences Expressions Thoughts

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Expressions Connections

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Connections

Experiences Interactions


Trends

8) Time: Its the governing factor of the universe and its

12) Presentations: Its a way of expressing something to build

10) Moods: Its a state of emotion.

up the experience in a person or learner. It gives away the

entities. Emotions

knowledge.

Experiences Interactions

Expressions

Presentations

Connections

Expressions

Experiences

Connections Time Narratives

Experiences Interactions

Moods

Expressions

13) Textures: Its a tangible quality of a subject.

9) Forms/Shapes: its a representation of the thoughts in a tangible way. Textures

Emotions

11) Needs: Things that are necessary for the existence of life. It can be subjective or objective. Time

Experiences

Narratives Time

Expressions

Need 14) Informations: Its about knowledge, telling a story about the subject so that there is a clear understanding of the

Forms/Shapes

Mood

subject.

Experiences

Favourite

Informations

Accepted Expressions

Interactions

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Trends

15) Exclusivity: Its an attribute that cannot be shared, its

17) Graphics/Visuals: A way of expressing thoughts.

19) Aspirations: Its a desire to achieve something or be someone that you are not.

unique to the subject.

Narratives Exclusivity

Expressions

Expression

20) Emotions: It is a feeling that one expresses in a given Graphics/Visuals

environment

associated

with

personality, etc.

Experience

16) Collections: Its bringing unique things together. 18) Inspirations: It is a kind of stimulus that one gets from

Experiences

Emotions

something/someone.

Interactions

Ex cl us iv e

Favourite Fo r

Collections

m

/sh ap e

Experiences

Information

Inspirations Texture

Experiences

Emotions

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mood,

temperament,


Trends

understanding of each and every attribute while the second

y

method helped in filtering the appropriate attributes that

tio n

each other. The first method helped in building up a clear

Favourites

ivit lus Exc

and then dissolving the attributes that are very close to

Co lle c

The other method of mapping is finding out the connection

A favourite collection which is very exclusive.

can be most related to the theme Play. The following is the second method of connecting these attributes.

Interactions

Connections

Experiences

Interactions leads to connections with tangibles and intangibles which results in experiences.

Graphics Expressions

Expressions

Information

Inspirations

Emotions

Emotion Expressions Forms/shapes

Design

Narrative

Emotions

Textures Inspirations

Inspiration There is a narrative in every activity, form/shape etc. Our everyday happenings is a micro narrative.

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Trends

Narrative

Inspirations

Over here the words interactions, expressions, favourite and collections is influenced by the forms/shapes, textures and time. So, on further connections favourite and collection

Form/shape

Time

Interactions

can be considered as a close entity and it is named as collectables.

Favourite

Textures Favourite

Collections

Collectables

In all these connections there were few attributes that had a repeated occurrence and that governed the most. These words are: Expressions

Interactions Expressions Interactions

Collectables

Time

Collections Favourite Forms/shapes Textures

Forms/shapes

Time

Textures

The collectables is the favourite collection which has expressions, time, forms/shapes, textures and interactions. At this stage the trends that shall be spotted out of these influencing attributes are termed as ‘Collectables’. Each of these attributes act as an individual element and shall dominate the Trend. Later one of these trends will be taken forward to for the conceptualisation.

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Trends

The next stage was to delve into each attribute of Collectables and spot the trend. During this process I started connecting each word with Play, scenarios and the target consumer keeping the time (2020-2025) constant because time again governs everything. The following were the relations I could trace out: Interactions: Interactive future- everything will be practical. Learning by doing. Forms/shapes

and

Textures:

Formed

deformed-

construction, confusion, resources. Expressions: The Expressionist- illustrations, narratives, stories, comics etc. These three trends later on were refined and defined as: Interactions: Tuned in Formed deformed: Epoch The expressionist: Echo A fourth trend which is an anti trend/counter trend to Epoch was also spotted during this process, termed as Montage. In the following pages each of these trends has been explained in details with apt trend boards/theme boards, mood boards and color palettes. These four collectables (Trends/design directions) are the first deliverable of the project. Later, in the project one of these trends (Tuned in) is taken forward to generate concepts for the interiors of the concept car. (All the slides of the trends are retained as it is from the presentation given to fellow designers at RDI, Mumbai).

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TRENDS: 2020-2025


Trends

Activity Curiosity Surprising Informative Coordination Virtual/Physical interaction

une’ d in Onset of an era where one interacts with the environment. The nature of interaction is ‘Do & Experience’, ‘Do & Learn’. By doing it yourself one can see, learn and experience the subject.

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Trends

Folds Growth Flip-flop Layerings Hidden surprises Basic tesselations Patterns with sudden break

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Trends

Crude Quick Simple Survival Optimism Innovation Attention seeker

‘Jugaad’ism is the new religion and we are the followers. This is the time where we are left with limited amount of resources and we have to combine these to innovate things. Its the era of ‘Blah to Tada’. 169

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Trends

Basics Patterned Limitations Directional Raw surfaces Simple joineries

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Trends

Stories Exciting Expressive Psychedelic Larger than life Illustrations/doodles

eChO Everybody is now expressing their thoughts by illustrating and doodling their ideas. The trend is about being crazy, loud and being visually strong.

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Trends

Scale Grains Outlines Curvaceous Metamorphosis Fluidity of forms Intricate detailings

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Trends

Scattered Pompous Confusion Hodgepodge Different geners

We have got everything!!! Creating an ambience where things are put together to make a porridge. Objects from different categories come together to create a mix-trix environment.

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Trends

Soft Glossy Sturdy Organic Complex Sparkling Ornamentations Permutations and combinations

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Trends

Pantone Color Matching In the process of spotting trends, defining the theme board, mood board and the color palette is very essential. These three essentials give cues for the design concepts. Also, during this process it is important to follow a standard system of colors that is being followed around the globe. Pantone Inc. is a corporation that has set the standards of the color matching system. Headquartered in Carlstadt, New Jersey, the company is best known for its Pantone Matching System (PMS), a proprietary color space used in a variety of industries, primarily printing, though sometimes in the manufacture of coloured paint, fabric, plastics, automotive etc. The Pantone Color Matching System is largely a standardized color reproduction system. By standardizing

Trend 1: Tuned in

the colors, different manufacturers in different locations can all refer to the Pantone system to make sure colors match without direct contact with one another. At this stage I referred to the Pantone shade book at RDI, Mumbai and tried to match the appropriate Pantone shades with the digital color blocks, that is a part of the trend color palette. This was important to do, because these pantone shades shall later help me to match the standard colors with the materials, pigments, and other various processes where color is concerned.

Trend 2: Epoch

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Trends

Why ‘Tuned in’ ? After spotting and defining the trends for the year 20202025, the next step was to take forward one of these trends which defines the theme Play aptly. There was a need to re-look at the trends. After re-looking at these four trends I found that the trend ‘Tuned in’ is the most apt theme that can be taken forward for generating the design concepts. Tuned in: An Environment is created which is the most playful and interactive amongst all the four trends. There is a strong element of surprise in this trend which involves the consumer and makes her curious about it. A break in the monotony is something that gives a sudden jerk to the moulded minds and forces it to think beyond. Trend 3: Echo

Trend 4: Montage

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Planning Chart (Phase 2: Conceptualisation and execution)

Trends (design directions) Design cues/inspirations ‘Tuned in’ is taken forward to explore various concepts.

Looking at Techniques A thorough study of various industrial techniques like laser cutting, laser engraving, digital printing etc. is done at this stage.

Explorations Using various techniques a wide range of explorations shall be developed to translate the concepts and ideas from paper to actual materials.

Materials • Researching about the available materials. • Researching about the innovative and futuristic materials. • Materials include both textiles and non-textile materials. • Preparing a material board.

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Conceptualisation Generation of concepts and ideas through sketches, doodles and materials.


Developing Harmony The selected samples are kept together to map the harmony in colors and patterns.

Finalizing explorations At this stage explorations shall be categorised and selected to take forward and define the harmonies.

Final Design Proposals

3D Visualisation The final design proposals shall be mapped with the use of softwares on an actual car interior ( this car shall be just choosen for the reference purpose, it is not given by RDI to work on). This process shall give an overall idea of how the concepts shall look.

Once the harmony is mapped, the final layouts are for the sampling shall be prepared and the final design proposal shall be presented.

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08 MATERIALS & TECHNIQUES We all are surrounded with Materials. Right from pen to the most complicated gadgets that we use today, is made up of these tangible ‘materials’. Any design concept is shaped up as final product by using these materials. Materials undergo, various techniques/processes to become the final product. This chapter introduces us to all those materials and techniques that are researched and is used to shape up the design concepts for the project. In this chapter, there is a detailed information about the available textile and non-textile materials. Apart from these materials, there is a research that has been done on the futuristic materials and technologies that could be proposed for the project. The techniques that are researched are mostly industrial and are used these days.

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Close up of a chair made up of layered material


Materials & techniques

Innovative materials Innovation is something that has always fascinated people

technology etc. Right from fragile materials like paper to the

round the globe. It is not a recent phenomena but, it has been

most tough materials like carbon fibres are used to present

there since time immemorial. Innovation is in every domain

the concepts. Keeping this in mind, the idea was to develop

whether it is architecture, design, chemistry, etc. For that

a material library for the project that has the potential and it

matter it is also found in the evolution of materials. Everyday

can be used (if available) for developing concepts. Most of

one can find new innovative materials in the market. These

these materials are not available in the local market or are

innovative materials are a result of the findings in terms

still under performance test so, I have tried to do a thorough

of properties and technology. When design is concerned

research on these innovative textile and non-textile materials

materials play a very important role in giving shape to the

that was relevant and has functionality in lieu of the theme

design concepts. And when we talk about industries like

Play. (Some of these materials has been taken forward to

Automobiles, materials are one of the major dividends that

develop design concepts in the conceptual phase and it has

can make a vehicle work in the market. Automobile industry

been shown through relevant sketches).

always has a craving for new, innovative materials that can be used to stand out in the competition and give something new to the customers. Since, this project revolves around a concept car for the year 2020-2025, there was a need to do a research on the various innovative materials that could be proposed or looked at while developing the concepts. As mentioned earlier, concept cars are just like the Haute Couture and it showcases the innovative concepts in terms of forms, interiors, designs,

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Materials & techniques

Tetex

Electrically Conductive Fabric

Temperature sensitive color-change fabric

These high-performance textiles are precision manufactured

ElekTex is an electrically conductive, machine washable

This material is a temperature sensitive additive applied

to create tightly controlled mesh structures that are

textile. It is made up of a laminate of five fabric layers which

to a 2oz brushed polyester film. The film is waterproof,

incredibly durable and reliable. With a very long service

are arranged to form a resistive touch pad. The outer and

temperature sensitive, and color changing. With the

life that is suited to chemically aggressive environments and

central layers are conductive and when touched the layers

waterproof nature of this material, it can be taken into

high temperatures

are compressed together to form an electronic circuit.

more extreme environments while still retaining the color changing properties.

2tec2

Fiberglass wall

Plastic Paper And Fabric

2tec2 is a high-tech range of durable woven flooring

Not only are these woven fiberglass wall coverings fire and

Made from high-density polyethylene fibers, this is a

products for tough urban environments made by combining

rot-resistant, paintable, washable and hard-wearing, but they

material that feels a little like shiny paper. Unlike paper,

glass fibers and PVC to provide a wear resistant, durable,

are also translucent to provide unique decorative qualities.

it is waterproof and so strong that it is almost unrippable.

and water resistant flooring system.

It comes in an unlimited range of colors and patterns to

It offers the best properties of paper, film, and cloth in a

compliment any interior space whilst providing hardwearing

lightweight, low-linting, chemical- and abrasion-resistant,

durability.

recyclable material. The sheets are formed from very fine fibers, fused together solely by heat and pressure.

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Materials & techniques

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Holographic glass

Dichroic glass

DecorFlouÂŽ

Turn and twist these amazing sheets and the watery or

Best described as something out of a psychedelic light-show

It is unique because it is neither opaque nor transparent.

scaly patterns come alive with 3-D effects. This material

or a fairy tale, this rainbow-effect range of dichroic glass

It is a satin finished glass sheet that features strong light

has a high impact yet uses low tech materials, making them

sheets is available in different textures and all the colors

transmission with perfect diffusion. The treatment applied

cost effective. Although the visual effects achieved by this

of the rainbow. This rainbow effect is applied to the glass

makes their texture velvet-smooth, hard-wearing and anti-

material are largely due to the technology used, it is really

as a coating. When it is heated the coating fuses with the

reflective. It is manufactured by acid etching onto glass

the light that plays the biggest role in the behaviour and

glass causing it to crystallize, sending thousands of miniature

which gives it the freedom to use many colors and this

appearance of this glass. This visually striking glass is made

crystalline-like mirrors upwards, positioning themselves in

etching can also create a unique and designed patterns.

up using a PVB (poly vinyl butyl) holographic film layer

different directions. This allows light to catch the crystalline-

within the glass.

mirrors at different angles to create beautiful patterns.

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Materials & techniques

Naturacell®

3-Form® Chroma

CANA-AN.

Cellulose-based materials are derived from plant fibers

These are bold and translucent plastic sheets that use a

The Japanese manufacturer Kuraray have launched an

like wood pulp and cotton rather than petrochemicals. It is

unique coloring process called AURA color infusion. This

electrical conductive fiber coated with carbon nanotubes

smooth, self-polishing (meaning that small scratches repair

technology allows the panels to be re-surfaced and colored

(CNTs), called CANA-AN. They developed CANA-AN using

themselves) and has a warm tactile surface. It is easy to

over and over again so that they can be used for many years

the coating technique based on precise dyeing methods.

form using conventional thermoplastic processes, including

to come without entering the waste stream. They are also

Dispersed CNTs in an aqueous solution is homogeneously

injection molding, extrusion and vacuum/thermoforming,

made from 40% recycled plastic, adding further to their

absorbed onto fiber surface to form an effective network

but it can also be machined and polished to great effect, as

eco-friendly credentials. The translucency of the panels

without any modification of the CNTs. Each filament size

well as coated and decorated in a number of ways.Iit is a

give them beautiful light transmission qualities, as well as

of CANA-AN is small and adjustable to the size of the base

great, eco-friendly materials available in many colors.

excellent dimensional stability suitable for load bearing

fabric’s filament, therefore it can be soft touch.

applications both indoors and outdoors. The unique custom coloring system allows for a number of colors to be mixed and layered with over 10,000 hues available to create a refined color palette for some striking effects. The sheets can be finished with laser etching to achieve graphics, as well as a frosted or polished cut.

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Materials & techniques

Cork leather fabric

Corn starch

‘Cell’ carpet

Made with a natural cork linear pattern bonded to a textile

It is a promising alternative for plastics production compared

It is a rug which has not been produced in a traditional way.

backing. It feels somewhat like suede, but is naturally

to

Entirely

No loom, knitting machine or tufting technique is used,

water resistant, inert, light weight, impermeable to liquids

renewable and biodegradable, the starch is turned into

neither is printing. The material creates its own pattern. It is

and gases, vibration damping, and resistant to wear and

plastic by fermentation, which in turn can be refined into

made from 100% pure industrial wool felt which is pressed

temperature changes. The material can be sewn or glued to

textile fibers. Eco-friendly and recyclable, Ingeo fibers also

then cut into strings. When put together, the structure can

other materials and surfaces.

have impressive performance - textiles made with these

grow infinitely like a cell structure. The strings are put

fibers are UV and stain resistant, as well as flame retardant.

together randomly so a natural pattern can evolve together

traditional

petroleum-based

feedstocks.

with a playful finish around the edges. Another advantage of the carpet being made out of strings is that when an area wears out, they can be replaced by new ones. Cell is available in all sizes and 32 different colors.

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Materials &Automobiles techniques

Powertex

Deflexion

Gecko material

It is an inductive textile where you are able to recharge all

With its ‘intelligent’ impact protection, Deflexion textiles

This is the future fabric and textile. Basically this material is

of your electronic equipment simply by putting them on the

instantly absorb and dissipates high-impact energy to

a bionomics innovation of carbon nanotubes. The material

textiles. This unique powertex needs just one single power

protect from damage and injury. Not only does the material

draws its inspiration from Gecko (lizard). The material can

supply. It can charge as many gadgets at a time in one go.

offer incredible protection, but its flexibility eliminates

be sewn onto clothes and then can be used as storage.

It is ideal for public transports, personal transports etc.

the stiffness and weight of conventional padding to allow

Simply put an object onto the gecko material and it sticks.

(source

for unrestricted freedom of movement. Available in open

Everything sticks on this material like, glass, metal, plastic

structure 3D textile- and solid sheet form that can be

etc. These carbon nanotubes also makes it easy to get the

perforated, the material allows for natural ventilation and

stored product off, by simply pulling upwards, the gecko

airflow making it breathable and comfortable to wear.

fibres release their grasp.

: http://htc.electronicfolder.com/powertex-fabric-

on-mobile-charging-for-aalborg-university-students/) Note: I found this a very promising material for future, so I have taken this forward in the conceptualisation phase and proposed some concepts where it can be used.

Note: I found this a very promising material for future, so I have taken this forward in the conceptualisation phase and proposed some concepts where it can be used.

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Materials & techniques

Available materials For exploartions of the concepts there was a need to look

market and finally decided on zeroing down to: felt fabric,

at materials available in the local market, which can act

leather, acrylic. All these materials were purchased keeping

as an alternative (simulation of concepts) to the innovative

the color palette of the trend ‘tuned in’, into consideration.

materials/futuristic materials.

(canvas and vinyl rolls were later used for digital printing)

Also, the materials that

were to be used/selected should be of a certain industrial standard and can be used in the automotive interiors. While

Felt Fabric

surveying the local markets of Mumbai and Ahmedabad,

Wool Felt is a non-woven fabric created through pressing,

I came across a lot of materials like, foam, canvas, felt,

matting and condensing wool fibres. Felt is perhaps one of

leather, rexine, polyester sheets etc. After a discussion with

the most unique and versatile industrial fabrics available.

my mentors at Renault Design India, certain properties of

There are different types of felt available in the market.

these materials were to be taken into consideration while

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selecting the materials-

Woven Felt

1) Availability of the material in the local markets and in

Wool or a blend of wool and other yarn is woven into a

bulk.

cloth then felted using steam and pressure to make the fibers

2) A certain aesthetic appeal of the material was important .

interlock. It is very durable and resilient fabric. Cut parts

3) All the techniques that were to be explored on these

may fray and have loose fibers. Typical uses include:

materials should be feasible.

Printing (Etching) Blankets

4) Ideally there should be a combination of both textile and

Musical Instruments

non-textile materials that has to be explored.

Door Seals

Keeping the properties of these materials in mind, I re-

Pressed Felt

looked at the materials that were bought from the local

Oldest form of fabric known to man, predates weaving and

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Materials & techniques

Shades of grey felt fabric, bought from Gheekanta, Ahmedabad

felt fabric, bought from, Masjid, Mumbai

felt fabric, bought from Gheekanta, Ahmedabad

knitting. Wool fibers or a blend of wool and other fibers are

Inexpensive substitute for Pressed Felts

• Felt is incredibly resilient, able to be compressed and

pressed together with steam and pressure to allow the fibers

Cushioning

released thousands of times without deformity.

to naturally interlock. This felting process produces a fabric

Felt bottoms for lamps

• Felt is an excellent sound insulator.

that is slightly less durable than the woven felt but is less

• Felt has superb vibration damping qualities.

expensive and can be made thicker. Parts will not fray and

Properties of Wool Felt are:

• Felt has superior thermal insulating properties.

loose fibers are minimal. Can achieve very high densities.

• It is highly resilient, retaining its strength and unique

• Felt has extraordinary wicking capabilities delivering

Typical uses include:

properties for decades.

consistent fluid flow without deterioration.

Filters

• Wool Felt is chemical resistant.

• Felt can be highly absorbent, and can retain many times

Wicks

• Wool Felt is flame retardant and self-extinguishing.

its weight in fluids.

Gaskets

• Synthetic Felt and Blended Felt can be treated for flame

• Felt can be made water repellant.

Wipers

resistance.

• Wool felt is a renewable and environmentally friendly

• Felt is wear resistant.

resource.

Needled Felt

• Felt cuts with a clean edge.

Synthetic fibers or a blend of wool and synthetic fibers

• Felt does not ravel or fray.

are interlocked using machines with thousands of needles

• Felt can be cut to any size, shape or thickness with no

moving in an up/down motion to mechanically interlock

need to finish edges.

the fibers. Wool blends are less expensive than pressed or

• Felt can be hard enough to turn on a lathe or soft enough

woven blends but tend to exhibit a bevel at the edge of cut

to be sewn.

parts. Cut parts do not fray and loose fibers are minimal.

• Felt can be exposed to the elements.

Typical uses include:

• Felt maintains its physical properties as it wears, making it

Craft Felts

an excellent choice for polishing.

Source: http://www.aetnafelt.com/felt_advantages.htm Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

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Materials & techniques

Black, white and red acrylic sheets, bought in Mumbai.

Acrylic The term “acrylic” is used for products that contain a

expensive. In cell casting, single sheets are made by pressing

where weight is an issue.

substance derived from acrylic acid or a related compound.

the liquid plastic between pieces of a mold, often made of

• It can also be sawed, whereas glass must be scored.

Most often, it is used to describe a clear, glass-like plastic

glass, which is then taken through a gradual heating process.

known as poly(methyl) methacrylate (PMMA). PMMA, also

The resulting sheet is stronger than extruded acrylic. This

Virtually all major public aquariums now build display tanks

known as acrylic glass, has properties that make it a better

type is often used for aquariums, awards, and other products

out of this thermoplastic, and it is often used in many other

choice for many products that might otherwise be made of

that require shaping or machining of the final product.

buildings. It is used for aeroplane windows as well.

glass. There are two basic types: extruded and cell cast. Properties of Acrylic Extruded acrylic

• It is many times stronger than glass, making it much more

It is made through a process in which the liquid plastic

impact resistant and therefore safer.

is pushed through rollers, which press it into sheets as it

• It also insulates better than glass, potentially saving on

cools. This is a comparatively inexpensive process, but the

heating bills.

resulting sheets are softer than cast acrylic, can scratch

• Acrylic glass is also very clear, allowing 92% of visible

easier, and may contain impurities. Extruded acrylic is still

light to pass through it. Very thick glass will have a green tint,

generally considered to be good quality, and is usually the

while acrylic remains clear. It also weathers well, keeping

more common type made available on the market.

its clarity over the years without turning yellow or breaking down when exposed to sunlight over a long period of time.

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Cell cast acrylic

• It is only half as heavy as glass. This makes this material

These are of a higher quality than extruded, but it’s also more

easier to work with, and makes it a better choice for projects

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

Source: http://en.wikipedia.org/wiki/Poly(methyl_methacrylate)


Materials & techniques

Pieces of natural leather

Natural leather colored in black

Natural leather colored in red

Leather Leather is the processed or tanned skin or hide of an animal

Pure aniline leather presents some disadvantages when

heavily coated with pigments a replacement grain must be

which is used for various purposes like clothing, making

compared to other finished leathers, its light resistance is

embossed to recreate their natural appearance and look.

accessories. Superior quality leather finds a vast application

very poor, it has excessive elasticity and it is susceptible to

This product is highly resistant to wear, highly resistant to

in the automobile industry. Generally it is used to make

stains and marks.

light and highly resistant to stain.

the consumers. The skin/hides are rarely used in their

Semi Aniline

Suede

natural state as they are subject to rotting and temperature

This leather is produced from the finest raw hides. It is fully

It is produced from the under layer of the hide that has

variations (hard and rigid when the temperature is low, soft

aniline dyed in drums. Then the leather is slightly covered

been split. The split side is aniline dyed and buffed to create

and flaccid when it is high). The purpose of tanning is to

with organic pigment which makes the dyeing more uniform

the typical velvety effect. Suede splits are not only used

eliminate these problems using suitable agents of animal,

and increases its resistance to wear, resistance to light and

in upholstery, but

vegetable, mineral or synthetic origin. There are various

resistance to stain. A major challenge in the production of

industries.

kinds of leather available in the market.

semi aniline leathers is to produce a highly resistant product

Car seats of luxury sedans which is very popular among

also in shoes, garment and handbag

maintaining as much as possible the suppleness and feel of Pure Aniline

pure aniline.

It is one of the softest leathers to the touch, it is produced from the finest selection of raw hides. Dyeing takes place in

Corrected grains

large wooden drums where the hides are bathed until the

This leather is produced from a lower selection of hides

desired color is achieved. The natural surface of these hides

that are aniline dyed and machine buffed to remove the

remains unaltered, and their structure is easily recognized.

defects and imperfections from the surface layer. After being

Source: http://www.leatherresource.com/terms.html

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Materials & techniques

Material Cost Sheet Material

Sourced from

Cost (in Indian rupees)

Felt Fabric

• The grey felt fabric was sourced from Gheekanta at

• Grey Felt Fabric (2mm): rupees 80 per meter.

Ahmedabad.

• Red and yellow felt fabric (2mm): rupees 175 per

• The Red, yellow, white and black felt fabric was sourced from

meter.

Ibrahimtulla Road, Masjid, Mumbai.

• Black and white Felt fabric (2mm): rupees 175 per meter

Acrylic sheet

All Acrylic sheets were bought from motif graphics Laser

• White Acrylic sheet (2mm): rupees 75 per square

cutting and printing solutions at Andheri East, Mumbai.

feet • Red and black Acrylic sheet (2mm): rupees 100 per square feet.

Leather

Different varieties and colors of leather were bought from

• Varied leather samples: rupees 50 per piece

Gheekanta at Ahmedabad.

• Red leather sheet: rupees 1200 per sheet.

Black leather (goat hide) and red leather (cow hide) were

• Black leather sheet: ruppes 800 per sheet.

bought from 90 ft. road Dharavi leather market, Dharavi, Mumbai.

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Materials & techniques

Techniques After finalising the materials that I shall work with, there

solutions at Andheri east, Super laser works at Jogeshwari

was a need to look at various techniques and processes that

east, Taco Vision 3D printing and various other places. After

can be used to build up the concepts. Since, I had to do all

this survey, I re looked at the possibilities of explorations that

the sourcing and sampling work on my own, there was a

these various processes can give. After analysing various

difficulty in searching for suppliers and vendors who could

constraints and possibilities I zeroed down to the following

do the sampling work. Discussions with my mentors at RDI

techniques:

made few points clear that they did not want me to go with

Laser cutting

the traditional weaving and screen printing methods. They

Laser engraving/marking

wanted me to explore techniques that can add on to their

Giclée (Inkjet Printing on canvas and vinyls)

Design library. Also, I was looking for techniques that can

Screen printing on Acrylic sheets

possibly give me a chance to explore with the materials,

Machine sewing

showing good results and can be innovative for this project.

Spray painting (for exterior color paints)

During my first guide visit at Ahmedabad, I visited few

In the next few pages I have explained some of these

printing units in Ahmedabad namely, Image care near

processes in details. Also, I would like to mention that at

Polytechnic, Print vision at Ambavadi, Raj Kalp Printers on

this stage of the project there was a need to go back and

SP ring road. After interacting with them and looking at the

forth between the materials/techniques and concepts/

work that they do I was in a position to devise out various

explorations. All these elements compliment each other

possibilities of explorations. The search for vendors and

once you start working with each one of it. Though the

suppliers was still on when I was back at Mumbai. Again

materials and techniques were decided but it has been kept

there was a interaction with the vendors and suppliers in

flexible as per the concepts and explorations.

Mumbai. I visited Motif Graphics laser cutting and printing

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Materials & techniques

Laser cutting

All processes have in common that, because of the narrow focus of the laser beam, the width of cut (kerf width) is very

The laser cutting process uses a strong focused laser beam,

small compared to the other thermal cutting processes.

produced by a laser diode. The high energetic laser beam

Thus minimum material is melted and the laser energy is

heats the surface of the material and melts rapidly a capillary

used very efficiently. The heat input into the material is

in the material. The diameter of the capillary responds to

thus relatively low so that even small geometries can be

the diameter of the used laser. During the cutting process,

cut. In addition, the cut edge is relatively straight which in

an assistant gas is used to eject the molten material from

all gives very high component accuracy from the cutting

the kerf. As a result, the cut quality and speed are very high

process. This means that laser cutting is used in the most

compared with other cutting technologies. The process

diverse areas, specifically wherever high accuracy for the

involves feeding of the design files (.cdr) into the computer

component geometry and the cut edge is required.

that is connected to the laser cutting machines. After giving

Advantages

the command the laser cutting machines performs its job. It

• Contamination of materials while laser cutting is reduced

moves according to the design that has been fed.

as there is no real physical contact between metal and

Laser cutting machine

cutter. There are three types of laser cutting technique:

• Great accuracy as laser can be focused into very small

1) With Sublimation Cutting

points, and there is also no wear in a laser while it is

The laser beam brings the material to its vaporization point

cutting as there is with more conventional methods, such

directly (Sublimation). An inactive (inert) cutting gas such as

as milling.

Nitrogen forces the molten material out of the cut. Typical

• There is also a reduced chance of warping the material

materials are, amongst others, wood and plastic. Thin metals

when laser cutting as the laser only generates a small area

can also be cut in this way.

of heat. • No mechanical force is applied therefore no physical

2) Flame Oxygen Cutting by contrast

damage can occur.

It is characterized by the fact that the material is only heated to its ignition temperature. Oxygen is used as cutting gas,

Disadvantages

so that the material burns and forms an oxide which melts

• Laser cutting has high energy consumption, and can

through the additional energy from burning. The cutting

draw a lot of power to perform its cutting. Although it uses

oxygen then forces the slag out of the cut. Typical material

a large amount of power it goes some way to making up

is, for example, low alloy steel (Mild Steel).

for this cost with its fast and precise cutting speed. The

Laser cutting work in process

cost and setup of a laser cutter can also be expensive when 3) For Fusion Cutting

compared to other methods.

The material is melted directly by the laser beam. As with

• Work hardening along the edges of cuts can mean harder

sublimation cutting, an inert gas, usually nitrogen, is also

work if any further machining is required.

used here to force the molten material out of the cut. This process is typically used for alloyed steels (Stainless Steel).

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Laser cut wooden panels


Materials & techniques

Laser engraving/marking Laser engraving, and laser marking, is the practice of using lasers to engrave or mark an object. The technique does not involve the use of inks, nor does it involve tool bits which contact the engraving surface and wear out. These properties distinguish laser engraving from alternative engraving or marking technologies where inks or bit heads have to be replaced regularly. Here, the design file is fed into the computer that is connected to the machine. As, the command is given to the machine it starts engraving the material as per the design. The impact of laser engraving has been more pronounced for specially-designed “laserable” materials. These include laser-sensitive polymers and novel metal alloys. The term laser marking is also used as a generic term covering a broad spectrum of surfacing techniques including printing, hot-branding and laser bonding. The machines for laser engraving and laser marking are the same, so that the two terms are usually interchangeable. There are two types of lasers, hand-held and machine-operated. Hand-held units

Laser engraving work in progress

These are used by a production technician to correct minor errors or quality issues with the product at the end of the work flow. Artisans or engravers who need to create a very precise work product can also use laser etching as a tool. Machine-operated unit It is programmed to mass-produce a specific pattern, by etching it into the final material. Common uses of laser etching include circuit boards, engraving metal or carving hard plastic. Lasers are rarely used for wood, as they tend to leave burn marks on the surface of the wood. Intricate design achieved by laser engraving on wood

Laser engraving on metal

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Materials & techniques

Giclée (Ink-jet Printing on canvas and vinyls) Giclée, refers to the ink-jet printing method that is usually done on the coated canvas and various other textured vinyls. This word was created by Jack Duganne, a print maker working at Nash Editions in 1991. This process is similar to the ink-jet printing on paper just that the size of the printer is big and it can be used for printing fine art paintings etc. Beside its original association with IRIS prints, the word Giclée has come to be associated with other types of ink-jet printing including processes that use fade-resistant, archival inks (pigment-based, as well as newer solvent-based inks), and archival substrates primarily produced on Epson, HP and other large-format printers. These printers use the CMYK color process but may have multiple cartridges for variations of each color based on the CMYK color model. (Note: I have not explained the screen printing on acrylic done for this project because the technique is confidential to Image care.) Digital printing work in progress

Source:http://en.wikipedia.org/wiki/Gicl%C3%A9e

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Canvas roll used for digital printing

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

One way vision vinyl roll used for digital printing


Materials & techniques

Spray Painting (for exterior color paints) Spray painting is a painting technique where a device sprays a coating (paint, ink, varnish, etc.) through the air onto a surface. The most common types employ compressed gas—usually air—to atomize and direct the paint particles. Spray guns evolved from airbrushes, and the two are usually

The steps followed are:

1) With the help of sandpaper

5) Spray the finish paint on the

the rust and other such marks

car. Prepare the paint for spraying

on the metal plate is removed

according

and the metal is left bare.

directions. Automotive enamels

to

manufacturer’s

distinguished by their size and the size of the spray pattern

and some polyurethanes give

they produce. It is typically used for covering large surfaces

better results with a hardener

with an even coating of liquid. Spray guns can be either automated or hand-held and have interchangeable heads to allow for different spray patterns. Spray painting is the major technique used for preparing these exterior body paint samples. The component parts of the painting system are: Metal pretreatment Primer Surfacer (filler)

2) Metal surface is cleand ,using mineral spirits or denatured alcohol to make sure no oils (including body oils from fingers and hands) are on the it. This helps the primer and the paint

or catalyst. Note: the paint should be thinned correctly, but avoid over-thinning, which will decrease the gloss of the finished surface and can cause runs.

to remain on the metal plate.

Finish 3) A corrosion resistant, self-

6) Allow the paint to fully

etching primer layer is applied

cure. And later again sand the

on the metal sheet with the help

paint for smoothens. Rinse any

of spray gun. The spray gun

sanding residue from the surface

puts an even layer of primer on

and allow it to dry. Clear-Coat

the surface. Allow the primer to

may be used if desired to give a

cure thoroughly.

deeper, higher gloss look.

4) Sand carefully all primed Process of spray painting the car body

surfaces

smooth.

Clean

the surface after priming to remove any dust or oil that has accumulated during priming. Sand it using a wax and grease remover or acetone.

7) A rubbing compound is applied to polish the paint and begin to bring out a gloss. A thorough buffing is done after the application of this compound.

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09 CONCEPTS & EXPLORATIONS Concepts and thus explorations are a reflection of the thoughts that is done while working on the design solutions for the project. For any design project it is very important to give a tangible shape to the research and the analysis that was done. This is achieved by the generation of design concepts/ideas followed by the explorations in the materials. This chapter reflects all those thoughts and ideas that were blooming out in my mind during the conceptualisation phase, which later were explored into various materials. The concepts are in the form of sketches, hands on explorations with materials like paper, felt, leather etc. These concepts and explorations later helped me to build up the harmony and the final proposals for the concept car. While doing the explorations techniques like laser cutting, laser ettching, sweing etc. is used.

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Close up of a Knitted wool stool


Concepts & explorations

Understanding ‘tuned in’ At this stage, the trend ‘tuned in’, is taken forward to

shades with a slight ting of bright red and yellow accents, to

generate design concepts for the interiors of the concept car.

give away the playful and interactive character to the whole

As explained earlier, out of all the four trends, ‘tuned in’ is

ambience that shall be created. Overall the whole design

the trend that has the highest degree of association with the

concept shall be:

word Play.

Simple in forms Minimalistic

The first thing was to re look at the trend board and the

Sensory

mood board. There was a need to delve into these images

Clean surfaces

and the keywords to devise out a way that can trigger the

Conceptual at this stage

generation of ideas. Each of these images convey the sense of interaction. This further helps in taking inspirations and

The following are the basic geometric shapes that shall be

extract out the forms that can be taken forward to generate

constitute the form language:

the concepts. Observation:

“Sensual minimalism is the organic minimalism- no over embellishment, no extraneousness -but more softer or more friendly, more human form, material and language.”- Karim Rashid 199

All these reference images have the basic forms of geometry like the square, rectangle, circle and triangle. Also, there is a prominence of basic lines that constitute the simple products like the black and white furniture. The forms are very simple, minimal, clean and smooth in nature. These basic geometric shapes can be further reduced in scale to form the textures. The color palette constitutes of neutral

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Concepts & explorations

Trend ‘tuned in’ Activity Curiosity Surprising Informative Coordination Virtual/Physical interaction

‘ une’ d in Onset of an era where one interacts with the environment. The nature of interaction is ‘Do & Experience’, ‘Do & Learn’. By doing it yourself one can see, learn and experience the subject.

The images above are respectively the Trend board and the mood board of the Trend ‘tuned in’ which is taken forward to explore the design concepts. The images and the keywords in the mood board is taken as a reference to devise out the design concepts. In the following section these keywords are compared together/joined together to give design cues.

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Concepts & explorations

Matrix of keywords Folds

Folds

Growth

Flip-flop

Layerings

Hidden surprises

Basic tesselations

Patterns with sudden break

Folds

Folds+growth

Folds+flip-flop

Folds+layerings

Folds+hidden surprises

Folds+ basic tesselations

Folds+pattrens with sudden break

Growth

Folds+flip-flop

Growth+ layerings

Growth+hidden surprises

Growth+basic tesselations

Growth+pattrens with sudden break

Growth

Flip-flop

Folds+ growth

Flipflop+growth

Flip-flop

Flipflop+layerings

Flip-flop+hidden surprises

Flip-flop+basic tesselations

Flip-flop+patterns with sudden break

Layerings

Layerings+ folds

Layerings+ growth

Layerings+flipflop

Layerings

Layerings+ hidden surprises

Layerings+basic tesselations

Layeraings+patterns with sudden break

Hidden surprises

Hidden surprises+ folds

Hidden surprises+ growth

Hidden surprises+flipflop

Hidden surprises+ layerings

Hidden surprises

Hidden surprises+basic tesselations

Hidden surprises+patterns with sudden break

Basic tesselations

Basic tesse- Basic tesselations+folds lations+growth

Basic tesselations+flipflop

Basic tesselations+ layerings

Basic tesselations+hidden surprises

Basic tesselations

Basic tesselations+patterns with sudden break

Patterns with sudden break+flip flop

Patterns with sudden break+ layerings

Patterns with sudden break+hidden surprises

Patterns with sudden break+basic tesselations

Patterns with sudden break

Patterns with sudden break Patterns with sudden break+folds

Patterns with sudden break+growth

Here, I have tried to make a matrix of all the keywords from the mood board of the trend ‘tuned in’. This method I term as the ‘matrix way’, where there is an interaction of the words in the rows with that of the words in the column. The interaction results in another set of words. This method helped me to get words that can be used as directions to generate concepts in the next stage. This method in combination with the basic geometric forms helped me to generate the initial concepts.

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Concepts & explorations

Permutation and combination of keywords Folds+growth+flip flop

Folds+growth+layering

Growth+flip flop+hidden surprises

Flip flop+layerings+hidden surprises

Folds+growth+hidden surprises

Growth+flip flop+basic tessellations

Growth+flip flop+patterns with sudden break

Flip flop+layerings+patterns with sudden break

Layerings+hidden surprises+basic tessellations

Folds+growth+basic tessellations

Folds+growth+patterns with sudden break

Growth+flip flop+folds

Flip flop+layerings+basic tessellations

Layerings+hidden surprises+patterns with sudden break

Growth+flip flop+layerings

Flip flop+layerings+folds

Layerings+hidden surprises+folds

Flip flop+layerings+growth

Layerings+hidden surprises+growth

Layerings+hidden surprises+flip flop

Hidden surprises+basic tessellations+patterns with sudden break Hidden surprises+basic tessellations+folds Hidden surprises+basic tessellations+layerings Hidden surprises+basic tessellations+flip flop

Hidden surprises+basic tessellations+growth

Basic tessellations+patterns with sudden break+folds Basic tessellations+patterns with sudden break+growth Basic tessellations+patterns with sudden break+flip flop Basic tessellations+patterns with sudden break+layerings Basic tessellations+patterns with sudden break+hidden surprises

Patterns with sudden break+folds+growth

Patterns with sudden break+folds+flip-flop

Patterns with sudden break+folds+layerings

Patterns with sudden break+folds+hidden surprises

Patterns with sudden break+folds+basic tessellations

Another permutation and combination of the keywords was done after the ‘matrix way’, where a maximum of three keywords was taken together to get a combination of words that can act as a cue for the design concepts/ideas. Both the matrix way and the permutation combination were helpful in the concept generation process.

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Concepts & explorations

Initial concepts & explorations In this phase the design cues/directions that are devised out

1

2

5

3

from the keywords are translated as doodles and sketches. The following doodles and sketches in this section are some of the very initial ideas/concepts that came into my mind. Keeping the basic geometric forms in mind like the square, circle etc. and basic elements of design like lines, dots, I have tried to play around and pour the ideas on paper. The paper used over here is butter paper. The idea was to also play with the translucency of the paper itself along with the doodles. In some of the doodles I have tried to bring in the surprise element, break in the pattern using another colored pen. Like in image 1,2,3 and 5. 1) Interaction and overlap of lines that creates a surface. The red colored wavy line represents the break in the pattern element. 2) A doodle of concentric circles that makes up a larger surface. Similarly on the facing page there are some of the doodles that were done at this stage to generate the concepts.

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Concepts & explorations

Initial sketches 2

1

6

5

9

7

10

13

3

8

11

14

4

12

15

Lines Dots Circles Break in pattern Interaction Hidden surprises These initial doodles were done to exercise the keywords that were devised out from the ‘matrix way’ and the ‘permutation combination way’. The basic lines and geometric shapes were used to construct these surfaces. These ideas are at a very initial phase which was later translated into explorations.

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Concepts & explorations

Paper explorations 1

2

5

9

6

3

7

10

4

8

11

12

These are the surface explorations created using colored paper strips. Some of the initial doodles (done before this stage) are translated with improvements. While some new concepts were explored according to the behaviour of the paper as a material. This exercise was very intriguing as it had immense scope of explorations. The whole idea of this exercise was to create surfaces and concepts using the keywords from the ‘matrix way’ and ‘permutation combination way’.

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Concepts & explorations

1

2

5

9

3

6

10

7

11

4

8

12

Folds Break in pattern Layerings Flip-flop Growth

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Concepts & explorations

Initial sketches

Here, with these sketches I tried to use the basic geometric shapes to develop the concepts and sketches. These sketches give an idea of the surfaces that can be proposed for the project. This later is translated into paper explorations to bring out the 3D forms. Layering, pattern with sudden break, surprise elements were some of the ideas that I tried to use over here.

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Concepts & explorations

Break in pattern Layerings Growth Hidden surprises Geometry

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Concepts & explorations

Paper explorations 1

2

3

6

5

4

10

11

7

8

12

Folds Layerings Growth Hidden surprises Geometry Flip-flop

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Concepts & explorations

14

15

17

16

18

21

19

22

20

These paper explorations are a translation of some of the sketches that are shown in the previous pages. Here, the 2D surfaces are translated into the 3D surfaces. To construct these explorations butter paper is used. This was done to bring in the translucency. Also, the paper helped in alot of 3d constructions. Most of these surfaces are interactive in nature. One can open and close, flip flop these surfaces to see the surprise element. eg: 4,5,6 etc. Some explorations (10, 16, 20,21 & 22) are taken forward at next level, where it is translated into the materials.

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Concepts & explorations

Explorations on paper 1

2

3

4

5

6

7

8

Here, some more surface explorations was done using brush and ink (eg: 1,2 & 4). Also, some impressions were taken of various objects to create the surface (eg: 5 & 6). In exploration 8 the idea was to create a 2.5D surface that can be opened up to see what is underneath. Exploration 8 is based on layering of papers to give a 3D effect.

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Concepts & explorations

Explorations on transparent plastic film

In these explorations the transparent plastic film is used as a base and black glass outline pigment is used to construct the surfaces. The idea over here was to generate some concepts for textures. The last surface is basically constructed by cutting square windows in the transparent film.

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Concepts & explorations

Explorations with paper

Squares - Tessellations - Laser cut - 2D - Colored Paper

Squares - Tessellations - Laser cut - 2D&3D - Colored Paper

Hexagons - Tessellations - Laser cut - 2D - Colored Paper

The explorations over here are constructed out of laser cut colored paper. The paper was laser cut into the geometric shapes like square, circle, triangle, hexagons. Using these cut outs I tried to construct surface both 2D and 3D.

Squares - Tessellations - Laser cut - 2D - Colored Paper

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Concepts & explorations

Squares folded- Tessellations - Laser cut - 3D - Colored Paper

Squares folded- Tessellations - Laser cut - 3D - Colored Paper

Squares folded- Tessellations - Laser cut - 3D - Colored Paper

Squares folded- Tessellations - Laser cut - 3D - Colored Paper Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

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Concepts & explorations

Innovative materials and concepts

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Concepts & explorations

These are some of the concept sketches that was done, showing the use of innovative materials proposed in the chapter Materials and Techniques. These are at a very conceptual level. Here, I have tried to integrate these innovative materials with the basic form language that is followed for the project. Since these innovative materials are not available, the concept sketches are done so give an idea for the futuristic concept car. Later in the following sections some of these forms are simulated into the available materials.

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Concepts & explorations

Material explorations After the initial concepts and explorations was done in the form of sketches, doodles and paper mock ups, I tried to take these ideas a step further and explored it into the available materials like felt, plastic sheet, acrylic, vinyl rolls, canvas and leather. This was a process where a range of explorations with these materials was constructed using various techniques like sewing, laser cutting, laser engraving, digital printing etc. Note: Most of these explorations are done on a size of A6. the maximum size of some of the explorations is A4, this size was decided to discourage wastage of materials, time and money.) The following pages in this sections presents all the material explorations that was done during the design development phase. These explorations are again based on the keywords devised out from the ‘matrix way’ and the ‘permutation & combination way’. In this section the some of the explorations are constructed based on the initial explorations. These are refined an then translated into the materials. Later some of these explorations are selected and taken forward to build up the harmony.

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Concepts & explorations

1

2

3

4

The explorations over here are some of the very initial ones when I started working with materials. All these explorations are done on felt.

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Concepts & explorations

1

2

3

4

Tessellations - Hand cut - 3D - Colored plastic sheet

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Concepts & explorations

1

2

3

4

5

6

Explorations on the facing page: 1) It is a surface constructed out of strips of plastic sheet. These re triangualr and 3d in nature. This can be used as a surface for door trims. 2&4) These are laser cut acrylic sheets, that are used to create the surface. 3) This surface is created using plastic straws. Explorations on this page: 1) The material used in this exploration is a packaging material. It is stitched with an embroidery thread through and through. 2) Another surface created using the plastic sheet strips. 3&4) These surface are created using leather. 5) The material used here is felt. A simple seam stitch is done on it. 6) These felt triangles are cut and the stuck together to form a surface.

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Concepts & explorations

1

4

Circle-tessellations - laser cut - embroidery - 2D - White leather 2

Circle-tessellations - laser cut - stitched - 2D - White leather 3

Tri-tessellations - laser cut - 2D - Black leather

The explorations on this page is constructed using leather. The leather is laser cut in circles (1,2,3) and in triangles (4), which is then used to make a tessellated surface. Explorations on the facing page are inspired by circles. Felt is the material used to construct these surfaces. The idea was to construct 3d surfaces using the laser cut frames (2,3&4) and felt strips (1).

Circle-tessellations - laser cut - embroidery - 2D - White leather

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Concepts & explorations

1

2

Circle frame- laser cut - stitched- 3D - Felt 3

Circles - laser cut - stitched- 3D - Felt 4

Concentric circles - laser cut - coiling - 3D - Felt

Circle frame - laser cut - stitched- 3D - Felt Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

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Concepts & explorations

Surface explorations (Layering paper)

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Concepts & explorations

Exploration samples (simulation of layering paper)

These surfaces was created using paper (on the facing page). The idea was to use the 2d surface to create a 3d effect. This was achieved using the layering technique. The laser cut paper frames were layered together to get this effect. This was later translated into the felt fabric. The frames were laser cut and the sewed together layer by layer (this page).

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Concepts & explorations 1

2

Circles pinched - laser cut - 3D - Felt 3

Coiled stripes - laser cut - 3D - Felt 4

Circle-tessellations - laser cut - Coiling - 3D - Leather

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Circle inside circle - laser cut - 3D - Felt


Concepts & explorations

Circle over circle - laser cut - 3D - Felt

Circle over circle - laser cut - 3D - Felt

Circle over circle - laser cut - 3D - Felt

Explorations on facing page: 1) This is a coiled leather stripes that constructs the surface. 2) Here the laser cut circles are pinched and stitched to create the pattern, which is 3D. 3) This one is a variation of the coiling technique using laser cut felt strips. 4) This surface is constructed by placing laser cut circles in the circle frames. The surface use felt as the material. Explorations on this page are constructed using laser cut circles. All these surfaces are inspired by circles. These explorations reflects the keywords, layering, folds, hidden surprises.

Circle over circle - laser cut - 3D - Felt Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

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Concepts & explorations

Stripes- laser cut - Twists - 3D - Felt

Stripes- laser cut - 3D - Felt

Stripes- laser cut - Layered - 3D - Felt

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Triangles- laser cut - stitched - 3D - Felt


Concepts & explorations

Flip flop stripes- laser cut - pleated - 3D - Paper

Flip flop stripes- laser cut - pleated - 3D - Felt

Here, the initial exploration in paper was taken forward into felt and the surface was created. Flip flop stripes- laser cut - pleated - 3D - Felt

This shows the flip flop way of interaction.

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Concepts & explorations

All these explorations are costructed with laser cut felt stripes which is later sewed. This particular surface is quite flexible and it can roll up as shown in the image. This can find its application as a seat trim, dor trim, trim for the roof.

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Stripes- laser cut - stitched - 2.5D - Felt Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

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Concepts & explorations

The explorations in the first and second row are constructed using felt stripes. These explorations evolve from the initial explorations done in a similar way using paper strips. The first and the second exploration in the third row are conceived from very basic circles and semicircles. There was an attempt to combine both the wavy stripes and the circles/ semicircles to come up with an exploration that has an essence of both the characters. The image on the facing page is a sample that was done using this idea.

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Semicircle waves- laser cut - stitched - 3D - Felt Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

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Concepts & explorations

Pockets - laser cut - Layered - 2D - Felt

Pockets - laser cut - Layered - 2D - Felt

The explorations on this page is constructed using the felt fabric. Explorations on the facing page is inspired from squares which is arranged in different ways to construct an interactive surface. Layered stripes- laser cut - Layered - 2D - Felt

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Squares- laser cut - stitched - 3D - Felt

Squares- laser cut - stitched - 3D - Felt

Squares- laser cut - stitched - 3D - Felt

Folded squares- laser cut - stitched - 3D - Felt Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

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Concepts & explorations

Inspired from hexagons explorations on this page is constructed using felt. The idea of tessellations is used in these explorations. These surfaces are 3d in nature. They find its application as the seat trims, door trims, roof trims. Explorations on the facing page are also inspired by hexagon tessellations. The material used is felt fabric. These hexagons are laser cut and the sewed to form the surface. It is an interactive surface that can be moved. It finds the application on door trims, dashboards.

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Folded hexagons- laser cut - stitched - 3D - Felt

Folded hexagons- laser cut - stitched - 3D - Felt

Folded hexagons- laser cut - stitched - 3D - Felt

Half hexagons- laser cut - stitched - 3D - Felt

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Concepts & explorations

Surface explorations (Digital)

Digital artworks was also explored taking the basic geometric shapes and considering the keywords like patterns with sudden break, hidden surprises etc. The surface explorations here are the initial ones that was done. The idea was to explore surfaces that can work as patterns and textures. These surfaces can be applied on seat trims, door trims. Can be used as a pattern for the dashboards, roof.

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Concepts & explorations

Surface explorations (Digital artworks)

Using lines in various arrangements digital artworks was done which was later printed on canvas using the technique of digital printing. These can work as seat trims.

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Concepts & explorations

Digital printing exploration samples (on canvas)

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Concepts & explorations

Surface explorations (Digital artworks)

Inspired from circles a set of digital artworks was explored. The selected ones are printed on canvas using the digital printing technique. These surfaces finds its application as the seat trims, door trims, roof trims. All these canvas prints are of A4 size.

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Concepts & explorations

Digital printing exploration samples (on canvas)

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Concepts & explorations

Surface explorations (Digital)

These surfaces are inspired from hexagons. Various arrangements of hexagons was done to give the surface a minimalistic feeling. These artworks does not create a pattern but it acts as a placement design that can be placed on a specific area. The application can be on seat trims, headrest, armrest, door trim etc. The facing page shows the selected artworks that were printed on canvas using the digital printing technique.

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Concepts & explorations

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Concepts & explorations

Surface explorations (Digital artworks)

These are the digital artworks that are inspired from circles. Various arrangements of circles was tried out to make these patterns. Here, I have also tried to work on various colorways, since motifs act differently on various backgrounds. And these colorways itself gives a variety of new patterns. These patterns finds its application on door trims, seat trims embellishment on the roof lining.

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Concepts & explorations

Surface explorations (Digital artworks)

The artworks in the 1st row is inspired by circles. The artworks in the second row is inspired by semicircles. Here also, I have tried various colorways of the artworks to get a different surface all together. In the last row the first two artworks give a feeling of illusion. The third artwork is inspired from rectangles that are repeated at an angle to for this pattern. The last three artworks are inspired from hexagons that are repeated in a certain way to form the pattern.

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Concepts & explorations

Surface explorations (Digital artworks)

All the artworks over here are constructed from the geometric form of hexagons. These hexagons tessellates to form the patterns. In some of these artworks I have tried to break the patten by introducing the accent red and yellow colors from the color palette. These accents also act as a surprise element for these patterns.

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Concepts & explorations

Surface explorations (Digital artwors)

The artworks in the 1st and the 2nd row are again constructed using the hexagons. There has been an attempt to play with the colors that gives the variations in the patterns. The artworks in the 3rd row is inspired by rhombus. Various arrangements of rhombus with different foreground and background colors form these patterns.

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Concepts & explorations

Surface explorations (Digital artworks)

Artworks in 1st row are a continuation of the rhombus series. While artworks in 2nd row are again inspired by hexagons. Here I have tried to do layering of the forms onto each other to form the pattern. The last two artworks in the 3rd row constitutes the wavy lines which repeats itself to form the patterns. Facing page: Out of all these digital artworks few of the selected artworks was printed on various vinyls, these were digitally printed samples of A4 size. The whole idea of printing these patterns on the various vinyls was to see the effect of the pattern with respect to these vinyl textures. Each pattern shall work in a different way. The application of these explorations can be on sun roofs, dashboards, centre consoles, steering wheels etc.

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Concepts & explorations

Digital printing exploration samples (On various vinyls)

Satin effect matt vinyl film

3M black grey vinyl film

One way vision vinyl film

Textured vinyl film Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

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Concepts & explorations

Digital printing exploration samples (On various vinyls)

Textured vinyl film

3M frosted vinyl film

Clear vinyl film

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Satin effect vinyl film


Concepts & explorations

Explorations for laser engraving (Digital artworks)

These are the digital artworks that was explored for the laser engraving technique. Again inspired from the basic geometric shapes like hexagons, circles, semicircles etc.

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Concepts & explorations

Exploration samples for laser engraving on colored acrylic

On a 4 inch by 4 inch acrylic sheet (2mm thickness) the selected artworks were laser engraved. These samples can be used on the dashboards, floor consoles, roof.

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Concepts & explorations

Explorations for laser engraving (Digital artworks)

Inspired from circles, the artworks in the first row shows a variation in the scale of the concentric circle motif. These artworks for the patterns of three different scales that can be engraved on a surface to achieve textures. The first two artworks in the second row are a scaled up variations of the same concentric circle motif. The last artwork is constructed using squares. The squares form the concentric square pattern.

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Concepts & explorations

Exploration samples of Laser engraving on felt

The concentric square and the concentric circle artworks is translated onto the felt fabric using the laser engraving technique. These surfaces can be applied on the roof linig for a very mininal and subtle look. It gives a surprise element because of its subtle nature.

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Concepts & explorations

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Concepts & explorations

Exploration samples of Laser engraving on felt

The same artworks are also laser engraved on the white acrylic and the colored acrylic. These acrylic samples can act as a coordinate with that of the explorations done with felt fabric.

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Concepts & explorations

Concentric circles - laser engraving - Red acrylic

Concentric squares - laser engraving - White acrylic

Concentric circles - laser engraving - Black acrylic Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

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Concepts & explorations

Screen prnting on clear Acrylic

A 3d effect with the help of screen printing technique was created on the clear acrylic sheet (A4 size). These samples were done by Image care in Ahmedabad.

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Concepts & explorations

Exterior body paints & finishes Along with the concepts for the interiors of the car explorations for the exterior colors and finishes was also done. Color plates of all the colors from the ‘tuned in’ color palette was prepared with three finish: matt finish, gloss finish and metallic finish. Metal plates, size 6x4 inches and thickness 10 gauge was cut and it was given to a local garage for spray painting. Here, the matched pantone shade chips were helpful in getting the right color. Development of these plates helped me to understand various body finishes and how it can compliment the interiors of a car. This later helped me to define the interior and exterior color harmony. With the development of these color plates I was able to understand the difference between the paint finishes. Most importantly the color changes with the application of different finishes. for example, the matt black will be very different in appearance from that of the gloss black and the metallic black. This difference helps in deciding the exterior body paints for the car. (Note: Though this was not a part of the proposal but I explored it for my own understanding).

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Exterior body paint and finishes plates

White gloss

White matt

White metallic

Grey1 gloss

Grey1 matt

Grey1 metallic

Red gloss

Red matt

Red metallic

Black gloss

Black matt

Black metallic

Grey2 gloss

Grey2 matt

Grey2 metallic

Yellow gloss

Yellow matt

Grey3 gloss

Grey3 matt

Grey3 metallic

Yellow metallic

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10 HARMONY

The term harmony finds its origin from the Greek word ‘harmonía’, meaning ‘joint, agreement, concord’, and from the verb ‘harmozo’, meaning ‘to fit together, to join’. Harmony is very much related to the the domain of design. Apart from color, composition, rhythm etc., harmony plays a very prominent role while designing a product/design concept. As mentioned earlier, for a Color, Material and Finish department, exploring a design harmony for a car interior is one of the major tasks. In this chapter one can find the process of exploring various possible harmonies from the concepts and explorations developed. It explains, how the harmony in colors, patterns and materials is looked at, so that it can compliment each other to give a holistic view of the interiors of a car. Later in the chapter there was an attempt to understand trims as well. With the help of specific layouts trims is explored.

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Interior harmony of Renault Captur 2013


Harmony

Color harmony Deducing a harmony for a car interior and exterior was another domain that was new for me. To understand the process of finding the harmony I had a discussion with Sabuj. In the discussion I found out that there are no such rules for deduction of harmony but few important things has to be kept in mind while working on harmony. 1) The color story has to be frozen at the first place which conveys the idea of the theme (here ‘tuned in’). 2) A base color is selected (which has the maximum proportion in the harmony), the proportions of the other colors are decided according to the base color. 3) The patterns and the textures are worked out after the

All neutrals with a very small

White base with red and yellow

All greys with a very small

colors are frozen.

proportion of red and yellow

accents.

proportion of red and yellow

accents.

accents.

While defining the color harmony the colors can be tweaked to some extent to match the overall look of the vehicle. Example: If I select the harmony for a darker interior with black as the base color then the harmony can have the shades of grey, as well to bring in the holistic view. Since colors may vary according to the material and the finish, so a close match of the desired shade is done to bring out the harmony. Keeping these points in mind few color harmonies were worked out. These were derived from the color palette of the trend ‘tuned in’. Out of these I froze on two extreme color harmonies: 1) White base with either red or yellow accent. 2) Black base with either red or yellow accent. These harmonies were frozen because of its opposite

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characters, it defines a lighter and a darker harmony and is

Black base with red and yellow

White base with either red or

Black base with either red or

minimalistic n nature (according to the trend ‘tuned in’)

accents.

yellow as accent.

yellow accent.

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Harmony

Pattern harmony

Harmony Geometry

All Semicircles

Mixed culture 1

Mixed culture 2

Circles and squares

3D main surface- 1

Flip-flop+circles+folds+illusions

3D main surface- 1

3D main surface- 1

2D surfaces- 2

3D main surface- 1

2D surfaces- 2

2D surfaces- 2

More of white with greys and red or

2D surfaces- 2

More of white with greys and red or

White with greys, black and red or

yellow accents

White with greys and red or yellow

yellow accents

yellow accents.

accents

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Harmony

Box Harmony

All 2D

Transition

Harmony Folds

All rectangles and squares

Circles with minimal lines

Minimal lines changing into circles

All surfaces in 3D

3D main surface- 1

Greys with red or yellow accents

then to 3D waves

Whites with greys and red accent

2D printed surface to coordinate- 2

Greys with whites and red or yellow

White and black with red or yellow

accents

accents Once the color harmony was frozen the next step was to establish the pattern harmonies. Here, few of the explorations that defined the trend ‘tuned in’ were selected from all the explorations and an attempt was done to look for pattern harmony among them. Once the pattern harmony was defined, the colors can be changed according to the chosen color harmony.

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Harmony

Harmony Flip-flop 3D surface- 1 2D surface- 2 White with accents, more of grey with white and accents or grey with accents.

Harmony 3D All 3D surfaces White and grey only, white grey and accents.

Harmony Illusion 3D surface- 1 2D surface- 2 More greys with whites and red or yellow accent.

For defining the pattern harmony, each group has a maximum of three to four samples. The pattern harmony is defined according to the form language. The forms should compliment each other to define the pattern harmony. Both 2d and 3d surfaces are combined together to define the harmonies.

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Harmony

Final color and pattern harmony In the previous section there was an attempt to devise out various pattern harmonies. These initial pattern harmonies were then discussed with my mentors at RDI. During the discussion few important points were: 1) If the harmony has all the patterns of the same nature then it will be a chaos. 2) There should be a balance in the degree of interaction. Example: If all the samples are in 3d, all possessing a certain degree of interaction there will be a state of confusion. 3) The final harmonies should have patterns that coordinates each other very well. These discussion points helped me to re look at the explorations and thus redefine the pattern harmonies. In this process I came up with two harmonies. Each of these harmonies have: 1) A maximum of three samples with one of the samples working as the main surface. 2) The main surface is interactive in nature. The other two surfaces coordinates the main surface. 3)There may be a combination of textiles with that of the other non-textile materials. The final color and pattern harmony are: 1) Transition: The main surface is a 3d interactive surface that has the flip flop mechanism. The second surface is a non interactive 3d surface that defines the hidden surprise element and the third surface is a 2d laser engraved acrylic surface that adds subtleness to the harmony. 2) Stitch story: The main surface consists of hexagon

Transition

Stitch story

tessellations that can be opened up to write notes on the

Two 3d surfaces constructed with felt.

One 3d surface constructed with felt

post it, sewed into it. The second surface is a plain red felt

One 2d surface on acrylic

One plain felt fabric surface

surface to break the busyness. The third surface is a 2.5d

White base with red accent

One 2.5d surface constructed with felt

relief surface.

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Black base with red accent


Harmony

Trims and Layouts Trims are a very essential part of the color and trim department (color material and finish). Trims are all those components like, plastics, fabrics, chome finishes etc that a color and trim designer applies to the car to enhance its style and appearance. It is these various trims that make a difference and enhances the style quotient of a car. These trims give a defining character to the car and distinguishes it from other models. Since there is a wide range of trims made up of different materials, the color and trim designer needs to carefully coordinated them. Each of these trims has to smoothly gel with each other and show a holistic synergy inside a car. For this project I didnt work on the actual trims but I got an opportunity to get a basic idea of how trims work together. Rather than making the usual samples of the selected surfaces in full scale I was allowed to take a different approach for the project. I came up with various layouts for both the final

Buck of Renault Zoe

harmonies. The buck of Renault Zoe was used as a reference to work on these layouts. This reference helped me to decide the proportions and placements of each surface with respect

Bolster trim

Door trim

Headrest

Insert trim

Decor trim

to the buck. (Note: The buck of the car was just used as a reference, the actual samples were not supposed to be used for this car.) This approach to the project at this stage helped me to understand how these different materials and surfaces shall gel when placed together. A size of 20x20 inches (508 mm) was fixed for making these layouts. While making the layouts some points were taken into consideration: 1) Proportions of each surface when kept together. 2) A harmony in the placements of each surface. 3) A balance in the breakup of the proportions of each surface with respect to each other.

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Harmony

Layout 1

Layout 2

Layout 3

Layout 4

Layout 5

Layout 6

Layouts for the harmony transition. Size of each of these layouts is 20x20 inches (508 mm).

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Harmony

Layout 7

Layout 8

Layout 9

Layout 10

Layout 11

Layout 12

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Harmony

Layout 1

Layout 2

Layout 3

Layout 4

Layout 5

Layout 6

Layouts for the harmony transition. Size of each of these layouts is 20x20 inches (508 mm).

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Harmony

Layout 7

Layout 8

Layout 9

Layout 10

Layout 11

Layout 12

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Harmony 50.8 mm 50.8 mm

Technical Specifications

50.8 mm

50.8 mm

101.6 mm

406.4 mm

508 mm

368.3 mm

266.7 mm

153.4 mm

Size of strips 8 mm.

203.2 mm

50.8 mm

Each strip of felt is laser cut.

Each strip of felt is laser cut. 203.7 mm

101.6 mm

508 mm 101.6 mm

12.7 mm

The concentric circle artwork is laser engarved on the white acrylic.

For the harmony transition layout 10 was finalised to

Thickness of acrylic is 3 mm.

make the final prototype. Note: Prototypes of all the designs and patterns are done to the scale.

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63.5 mm

152.4 mm

Size of strips 5 mm.


Harmony

Technical Specifications 21.9 mm 86.6 mm

Each hexagon is laser cut in felt fabric.

304.8 mm

25.4 mm

125.1 mm 508 mm

50.8 mm

Hexagon with post it.

A plain felt fabric piece is 203.2 mm

laser cut and sewed together

508 mm

Strips of felt fabric is laser cut, width 8 mm.

For the harmony stitch story layout 5 was finalised to make the final prototype. Note: Prototypes of all the designs and patterns are done to the scale.

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11 DESIGN PROPOSALS After the research, conceptualisation and execution phases in a design process, comes the final stage known as the Design proposal phase. This phase deals with the presentation of the final design proposals. It summerises all the research and conceptualisation into a tangible outcome or proposals. This chapter gives the details of the final design proposals/ concepts (third deliverable) that was proposed to Renault Design India, Mumbai for this project. Later, in the chapter one can find the 3D visualisations (digital mapping) of the design concepts /proposals that was presented. These proposals are still at a very conceptual phase that shall later need refinements when production of the concept car interior components is concerned.

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Close up of the 2.5d striped fabric created for the darker interior


Design proposals

Proposal: lighter interior In the previous chapter two of the color and pattern

As, the arms are released, the surface bounces back to its

harmonies were finalised. These harmonies consists of three

original shape.

surfaces each set in a layout of 20x20 inches (508 mm). At this stage there was a proposal presentation at RDI, Mumbai.

The other two surfaces act as a coordinate to the red flip-

In this presentation I proposed my final design concepts for

flop surface. The second surface with the twisted felt strips if

a women centric concept car interior, based on the theme

illuminated at the backside can act as a surface with surprise,

‘Play’, for the year 2020-2025.

as one can see hints of red behind the twists. This gives another level of visual interaction. The last surface with the

The harmony transition with the final layout 10, is proposed

concentric circles shall give a very subtle and minimalistic

to give a lighter interior experience to the user. It consists of

look to the overall interior of the concept car.

three surfaces that gives the user an opportunity to interact with the interiors of the car. The color harmony of whites

The surfaces can be applied together, in many ways inside a

with the red accent helps to create this lighter interior

concept car. Example; The red flip flop surface can become

experience for the user.

a trim for the armrest/headrest, the white twisted surface can go on the door trim or roof lining, while the white acrylic

The element of interaction in this proposal is the red flip-flop

“Monochromatic themes with a hint of vibrant color lead you to the mood of zero emission by 100% fun driving.”- Interio motives Autumn 2011 279

surface that can be used on the arm rest or the headrest of the car interior. There is an element of interaction with this surface. For example; if this surface is used on the armrest then the user can easily place her arms on the surface and the pressure pushes it down to become a flat surface. It is soft in nature so it gives a feeling of comfort to the arms.

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

trim can go on the centre console or dashboard.


Design proposals

Close up of the red flip flop surface

Close up of the twisted felt strip surface showing hints of the red accent

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Design proposals

Close up of the white acrylic with the concentric circle design

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Close up of the red flip flop surface showing the interlacement of pleats


Design proposals

Proposal: Lighter Interior

Prototype showing color, material and texture/pattern harmony, for a lighter interior. The final samples are arranged in a 20x20” layout. The layout is done to understand the proportions of each samples with respect to each other and to understand how trims can be done. The concepts find its use inside the concept car interior example: head rest, arm rest, seats etc.

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Design proposals

Proposal: Lighter Interior (Step by step interaction)

The red flip-flop surface act as a trim for the arm rest /headrest

When released it gets back into its original position.

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Design proposals

When the arm/head is placed on the surface it flattens and gives a comfort to the arm/head.

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Design proposals

Proposal: darker interior The harmony stitch story, with the final layout 5, is proposed

The third is constructed by using laser cut felt strip that are

to give a darker interior experience to the user. It consists of

sewed. Here, the red thread acts as an accent and creates

three surfaces that gives the user an opportunity to interact

the harmony. At places the strips are tweaked together to

with the interiors of the car. The color harmony of blacks

give a 2.5d relief like effect. This surface can be used as

with the red accent helps to create this darker interior

a trim for the insert fabric, for roof linings or door trims.

experience for the user.

The surfaces can be applied together, in many ways inside a concept car. Example; The surface of tessellated hexagons

The element of interaction in this proposal is the 3d surface

can work as a door trim, whereas the plain red felt can act

constructed with laser cut felt hexagons. These hexagons

as an accent fabric and become the seat piping. While the

tessellate to form the entire surface. The element of

striped 2.5D surface can go as a decor trim fabric.

interaction with this surface is the concept of making a ‘to do list’, on the post it that are sewed inside the larger hexagons. These hexagons can be opened whenever there is a need to make a list. Also, these are attachable-detachable units that can be pulled out when exhausted and the user can buy the new ones to replace it. The second surface is a plain red piece of felt fabric which gives a break to both the surfaces that are highly patterned. This plain fabric can act as a source of luminosity if lit from behind inside this dark interior. This surface can be used as a trim for seat piping, door trim lining.

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Design proposals

Close up of the 2.5D striped surface

Close up of the tessellated hexagon surface with the detached ‘to do list’ hexagon

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Design proposals

Close up of the plain and the 2.5d striped surfaces together

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Close up all the three surfaces together


Design proposals

Proposal: Darker Interior

Prototype showing color, material and texture/pattern harmony, for a darker interior. The final samples are arranged in a 20x20” layout. The layout is done to understand the proportions of each samples with respect to each other and to understand how trims can be done. The concepts find its use inside the concept car interior example: door trims, decor trims, insert fabrics etc.

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Design proposals

Proposal: Darker Interior (Step by step interaction)

Attachable-detachable hexagonal units to write the ‘to do list’

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Design proposals

These units can be opened up to write the ‘to do list’

Detaching the used hexagonal units

Attaching the new hexagonal units

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Design proposals

Proposal: Lighter Interior (3D visualisation) The twisted strip surface is applied on the door trim. Due to the partial view of the red fabric at the back it gives a surprise element inside the car space. This red fabric can act as an illuminated fabric. It can be backlit. And this creates a very playful environment when interacts with the white twisted felt stripes.

Renault Zoe interiors showing mapped surfaces

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The engraved acrylic surface gives a very tactile feel to the user in a subtle way.

The flip-flop pleated stripes surface acts as an interactive element. It can be used on the head rest

The tone on tone treatment and the subtle texture on the surface is amazes the

since it is soft and can be apt for giving cushioning to the head. The surface becomes flat when

user. Here it has been applied on the centre console and the part of the dash

applied pressure, when pressure is released it bounces back in its original 3D form. It can act as a

board.

safety accessory for the passenger.

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Design proposals

Proposal: Lighter Interior (3D visualisation)

Renault Zoe interiors showing mapped surfaces

Here, I am looking at a scenario where the user gets a whole new feeling of a space that has been created for experiential purpose. The user when off for a weekend in her car gets an experience which is playful in nature.

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Design proposals

Proposal: Darker Interior (3D visualisation)

The plain red felt fabric acts as an accent trim which is applied on the sides on the seat to acentuate the form of the seat. It can be luminous in nature.

Here, the 2.5D striped surface is applied on the seat as an insert trim. It gives a textural feel and compliments the darker interior of the car. The red stiches on the felt stripes act as an accent and gives a break to the monotony of the interior. Renault Zoe interiors showing mapped surfaces

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Design proposals

Proposal: Darker Interior (3D visualisation)

The hexagonal surface which is interactive in nature is applied on the front part of the dashboard. If we extrapolate the surface in 2020-2025, these hexagons can act as digital interactive units. The user can press these hexagon units and it can form a bigger unit on which she can write her to do list. Looking at future these units can be constructed of fabrics that displays information digitally. This surface gives an altogether new User interface experience which is at next level to what is used now. Here, the fabric itself acts as a display screen for UI. Renault Zoe interiors showing mapped surfaces

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Design proposals

Conclusion Based on the central theme of ‘Play’, concepts for a women

for the concept car for the year 2020-2025, shall undergo

centric concept car, for the year 2020-2025, the three

further refinements at various levels of design, technology,

deliverable for the project were worked upon:

production, logistics etc. At various stages of the project

1) Trends (design directions)

a very conceptual approach was taken whether it was

1.1) Tuned in

building up the scenarios of the user or integrating the use

1.2) Epoch

of innovative materials with the concepts and represent the

1.3) Echo

ideas through relevant sketches.

1.4) Montage 2) Interior and Exterior harmonies

Both the design proposals are a simulation of the concepts

2.1) Harmony transition (with white as base color and red

in the materials that are available in the present scenario.

accent)

The presentation of these proposals was done by making

2.2) Harmony stitch story (with black as base color and red

layouts of 20x20 inches. These layouts act as a suggestion

accent).

for the relative proportions of the three surfaces (in terms of

3) Final design proposals (concepts for the concept car

color and pattern) when applied together in the car interior.

interior)

These proposals have the possibility to get translated into the

3.1) Proposal for a lighter interior

innovative materials for the concept car.

3.2) Proposal for a darker interior The Final design proposals that are proposed at the end of the Diploma Project are at a very conceptual level, these are basically the simulations of the concepts with the available materials. These proposals if taken forward

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Design proposals

Expense sheet for the project (estimate) Month

Materials/Processes

July

Stationery, bought materials from Crowford market

2000

August

Stationery

1000

September

Bought felt and leather from Ahmedabad, stationery

2500

October

Bought felt, leather, acrylic from mumbai, stationery.

Expenses (in Indian rupees)

5000

Laser cutting and engraving on felt fabric, digital printing on canvas and vinyl sheets, tailor charges, stationery. November

Laser cutting and engraving on fabric and acrylic, stationery.

December

Screen printing on acrylic at Image care Ahmedabad.

January Total

11,500 5000 16,500

Laser cutting and engraving on fabric and acrylic for final samples

6500

Stationery, Tailoring cost, metal sheets color samples.

6000 56,000 /-

This is the overall estimate of the expenses that was done on various materials and processes during the project. The project expenses was carried out by Renault India Pvt. Ltd.

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LOOKING BACK IN TIME Few years back I had attended a presentation by Prof. Vikas

manage and execute. But there were times where I really had

Satwalekar (Graphic Designer), at NID auditorium where

to make my way out and come up with the results. I guess this

he said, “When it comes to Design as a profession, what

is what learning is!! At every stage of the project there was

you land up doing at the end, even you don’t know”. This

a scope of gaining knowledge through reading, discussions,

statement certainly holds true when I had started searching

presentations, explorations, etc. Since everything, right from

for my Diploma Project. There was a clear idea in my mind

giving a self brief to finding the vendors and suppliers and

that I would like to pursue my Diploma Project which deals

executing the designs was done my me, I could learn a lot

with public spaces or personal spaces and gives me the

of things most importantly ‘management’. This project has

chance and exposure to apply my learning of Textile Design

helped me to grow, articulate and turn the odds in even. The

at NID, in an innovative way.

project has helped me to explore another domain of design that involves a lot of observation, sensitivity, skill, attitude of

When I look back in time where I had started this project

acceptance, attitude of knowing new things.

with Renault Design India, Mumbai there was a sense of excitement and uncertainty, at the same time. I was sure

After doing this project I can say that I was really fortunate

that this was the project that I can term as ‘The Dream

to get associated with Renault group. For me this Diploma

Project’ for my Diploma. This Diploma Project turned up

Project has opened up new avenues where there is still a

to be a lifetime experience for me where I got an excellent

scope for me to learn and excel.

opportunity to work with one of the most important and promising automobile companies of the world, Renault. These seven months of the project took me on a journey filled with many ups and downs. At times things were easy to

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Hour glass representing time sweeping away


ABOUT THE DOCUMENT Documentation of the Diploma project is one of the vitals

under the name Accidenz-Grotesk. It was the first sans serif

that is to be done in order to finish the Diploma project.

typeface to be widely used and influenced many later neo-

The diploma document consists of a documentation of the

grotesque typefaces after 1950.

entire process that was followed during the project duration.

Rockwell: the original Rockwell was produced by the

This document provides an in-depth description of the

Inland type foundry in 1910, which issued it as Litho Antique;

entire Diploma project right from its foundation to the result.

American Type Founders revived the face in the 1920s,

Making of this document is also a part of the project so, it is

with Morris Fuller Benton cutting several new weights. It

necessary to mention the structure of the document.

is a geometric slab serif design, a strong display face for headlines and posters; it is also legible in short text blocks.

This document consists of ‘Formal pages’ like, About

Roboto: It is a sans-serif typeface family introduced with

NID, acknowledgements etc. ‘Chapters’ like automobiles,

Android Ice Cream Sandwich operating system. Google

renault etc. Sub chapters like What is trend? etc. All the

describes the font as “modern, yet approachable” and

main headings (of formal pages and the chapters) are in

“emotional”. The font was designed entirely in-house at

Akzidenz-Grotesk (bold-condensed, size 36)font. All the

Google by Christian Robertson.

sub headings are in Rockwell (regular, size 22). The captions

Optima LT Std: Optima is elegant and highly readable,

are in Roboto (light-italic, size 11) and the body text is in

qualities remarkable in a sans serif design. Created in

Optima LT Std (size 9, 12 & 14).

1958 by Hermann Zapf for the Stempel foundry, Optima combines features of both serif and sans serif types into one

About the Fonts

humanistic design. This sophisticated typeface is excellent for a variety of uses ranging from corporate identities to

Akzidenz-Grotesk: a grotesque (early sans-serif) typeface originally released by the Berthold Type Foundry in 1896

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packaging to medium-length text.


Rear View of Renault Captur 2013


BIBLIOGRAPHY Books: Auto Legends Classics of Style & Design by Michel Zunbrunn, text by Robert Cumberford Contemporary Architecture by Macarena San Martin Design Now by Charlotte and Peter Fiell H point by Stuart Macey India by Gunter Heil Indian Design by Daab Indian Interiors by Taschen Materials Matter III Materials Matter IV Small Offices by Petits Bureaux Kleine Buros

Magazines: Better Interiors Collezioni Trends Cosmopolitan Elle Decor Grazia Inside Outside Interior Motives from Car Design News Platform Motor Trend Textile View Vogue India Wallpaper

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Newspapers: DNA Hindustan times Times of India

Diploma Documents (at NID KMC) 80 Gloss: Textile and Surface Design for Automotive Interors by Meera Narula, GND 00205 Back to Roots by Amole Singh Tomar, D02287 Developing skins for home appliances by Rushikesh Majumdar, GND 00204 Future cars for Genera Motors by Gaurang Nagre, D02276 Impressions for Automotive Interiors by Mariesha Rego, GND 00151 Moods- for automotive interiors by Insiya Sahiwala, GND 0203 My first Renault by Nirmit Soni, D01543 Renault for the Indian Youth 2040 by Rustom Mazda, D02051 The Soul of India: A research project on the cultural influences of India by Dawn Paul, D 01717

Blogs http://2or3things.blogspot.fr/ http://4.bp.blogspot.com/_e5mTyEJG8Yw/S5yLn0AOP3I/AAAAAAAAB0Y/ls39WSFvIdI/s400/perforated+leather.png http://andbug.blogspot.fr/2009/02/surface-tessellation-02.html http://archidose.blogspot.fr/ http://blog.intra.renault.fr/wer-v2/PagesLibrary/Details.aspx?postId=326&l=en-US http://blog.ponoko.com/2010/08/03/3d-laser-cut-textiles-by-camilla-diedrich/ http://blog.sub-studio.com/2007/05/ http://blogs.csm.arts.ac.uk/snapshot/2010/09/28/ma-textile-futures-2010/ http://carscoop.blogspot.com/ http://designmaterial.blogspot.in/ http://ingene.blogspot.com http://www.ingeneinsights.blogspot.in/ http://www.morewaystowastetime.blogspot.fr/2008/01/trendspotting-laser-cut-felt.html http://openwear.org/blog/?p=746 http://rangdecor.blogspot.com http://www.readymade.com/blog http://www.seenandsaid.blogspot.fr/2008/01/bev-hisey.html http://storageandglee.blogspot.fr/ http://www.textilefuturesphd.blogspot.fr/2009_02_01_archive.html

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http://www.theredthreadblog.com/category/finds-inspiration/page/2

Websites (for automotives): http://cardesigncommunity.com/articles/exclusive/projects/1621.html http://www.auto-history.tv/Timeline_of_motoring_history.html (automotive timeline) http://www.autoevolution.com/renault/history/ http://www.diseno-art.com/encyclopedia/classic_concept_cars/classic_concept_cars.html http://www.diseno-art.com/encyclopedia/concept_cars/concept_city_cars.html http://www.faurecia.com/Pages/Default.aspx http://www.greencardesign.com/site/trends http://www.renault.com/Pages/index.aspx http://www.scuoladesign.com/master/industrial-design-master/?lang=en http://en.wikipedia.org/wiki/Automotive_industry (automotive info) http://en.wikipedia.org/wiki/Car_body_style http://www.xtimeline.com/timeline/History-of-the-Automobile

Websites (for cross categorical study): http://www.awoltrends.com/ http://www.blink-id.com/#g2 http://www.changingminds.org/explanations/emotions/basic%20emotions.htm http://www.codeforsomething.com/wp-content/uploads/2009/04/mrkt_wallet1.jpg http://www.colormunki.com/colorknowledge/jargon?type=design http://www.colorsindia.com/ http://www.conceptarchive.com/models/volkswagen/ http://www.coroflot.com/jinzhao315/Color-Material-Finish-Design http://www.creativeroots.org/2011/09/raag-rang-music-of-india-infographics/ http://www.designsponge.com/category/diy?materials=glass http://www.dezeen.com/design/furniture/page/8/ http://www.dustbowl.wordpress.com/category/ad-campaign/ http://www.eprints.ioe.ac.uk/2052/1/Gutman2008Determinants.pdf http://www.eunsukhur.com/#/projects/recent_project:_normadic_wonderland/projects_8 http://www.famouslogos.us/renault-logo/ http://www.flickrhivemind.net/Tags/origami,tessellation/Timeline http://www.flickriver.com/photos/tags/corrugation/interesting/ http://www.frackenpohl-poulheim.de/en/services/colour-material-finish/ http://www.future-shape.com/en/solutions/34/senspiano-floor-piano http://www.gizmowatch.com/entry/powertex-a-fabric-for-mobile-recharging-by-aalborg-university-students/

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http://www.happyfolding.com/instructions-strobl-wobbling_wall_of_nine_cubes http://www.homedosh.com/search/modern+curtain+design http://www.inhabitat.com/3-d-printing-set-on-changing-sustainable-textile-production/ http://www.inhabitat.com/interactive-led-fabrics/researcher/ http://www.interiorfurnitureinfo.com/unique-table-furniture-by-etel.html http://www.inventorsdigest.com/archives/1724 http://www.izm.fraunhofer.de/content/dam/izm/en/documents/Abteilungen/System_Integration_Interconnection_Technologies/TexLab/Canvas.pdf http://www.karimrashid.com/ http://www.karmatrendz.wordpress.com/2012/02/24/beehive-chair-by-graham-roebeck/beehive_chair_01/ http://www.laserfocusworld.com/articles/print/volume-48/issue-04/features/smart-photonic-textiles-begin-to-weave-their-magic.html http://www.lighting.philips.com/main/application_areas/luminous-textile/bring_spaces_alive.wpdhttp://www.moodcheck.com/ http://www.melissadixson.typepad.com/.a/6a01053659f647970b0120a5525597970b-800wi http://www.moods85.wordpress.com/mood-list/ http://www.murtaghe7.webs.com/finaldraft.htm http://www.nancybird.com/shop/ss13-bags/taliah-bag/?option_id=1272 http://www.pattyyuan.com/ http://www.photonics.phys.polymtl.ca/papers/Physics_Today_Backscatter.pdf http://www.polyvore.com/laser-cut_felt_room_dividers_bev/thing?id=20875933 http://www.pophamdesign.com/test.php?id=32&til=103&lay=103 http://www.scraphacker.com/ladder-diy/ http://www.selleria.fendi.com/collections http://www.siliconindia.com/news/general/Urban-Indian-Women-Choose-Money-Over-Motherhood-nid-115487-cid-1.html http://www.sparkbug.wordpress.com/category/amoeba/ http://www.spotontextiles.com http://www.strapcode.com/store/hand-made-order-20mm-25mm-genuine-louisiana-alligator-rivet-watch-strap-co60r-p-1841.html http://www.stylebistro.com/runway/Christian+Siriano/New+York+Fashion+Week+Spring+2012/browse?Page=3 http://www.suzusan-shibori.com/fabrics.html http://www.technical-translations.co.uk/items/magic-cloth-translates-into-truly-mobile-devices http://www.technicaltextile.net/nonwoven-textiles/nonwovens.aspx http://www.theofficialboard.com/org-chart/renault http://www.trendwatching.com/ http://www.vampdecor.com/tag/unique/ http://www.withoutpattern.wordpress.com/category/trend-arrival/ http://www.yellowpelow.com/colorful-piece-of-furniture/

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Websites (for materials): http://www.core77.com/ http://www.innovationintextiles.com/smart-textiles-nanotechnology/ http://www.innovationintextiles.com/students-design-fabric-for-charging-mobile-phones/ https://www.inventables.com/ https://www.inventables.com/technologies/soft-feeling-conductive-textiles http://www.materialconnexion.com/ http://www.mtrl.com/portal/site/mtrl/NewMaterials/ http://www.nanocomptech.com/automotive.html http://www.newscientist.com/search?doSearch=true&query=gecko+grip http://transmaterial.net/ http://transmaterial.net/index.php/category/polymers/textile/

Online Videos http://prettysmarttextiles.com/video/ http://vimeo.com/42042610 http://xslabs.net/karma-chameleon/papers/ColorChangingTextiles_OE.pdf http://www.youthkiawaaz.com/2011/02/youth-and-their-culture/ http://www.youtube.com/watch?v=5VbIWXu7R08 http://www.youtube.com/watch?v=E73lkhInUV8 http://www.youtube.com/watch?v=iHXVL4jKEmg http://www.youtube.com/watch?v=LuxMeccVrCY http://www.youtube.com/watch?v=ruSRJ11LlHU

Facts & Figures credits Pg 33: 1)http://www.business-standard.com/article/companies/india-overtakes-brazil-as-sixth-largest-vehicle-maker-111122500002_1.html Pg 79: 1) http://profit.ndtv.com/news/auto/article-duster-drives-numbers-as-renault-sales-jump-five-fold-in-january-317211 Pg 164: 1) http://www.businessdictionary.com/definition/trend.html 2) Impressions for Automotive Interiors by Mariesha Rego, GND 00151

Image Credits Pg 2: 1) Main gate National Institute of Design, Ahmedabad (http://www.nid.edu/Userfiles/links/large/VKS_10171.jpg) 2) Aquarium display area, NID, Ahmedabad (http://behance.vo.llnwd.net/profiles26/1522787/projects/6071729/12f2a08bd2cd16bd852d23fd8efdf97a.jpg) 3) Students working on assignments in textile studio (http://www.nid.edu/Userfiles/program/large/Textile%2012%20amrit%20pal%20singh.jpg) Pg 4: A textile installation (http://2.bp.blogspot.com/-RzGuA4wp3yM/T20bTSGG8iI/AAAAAAAACWo/ninHReVhkSs/s1600/textile+now-6.jpg) Pg 6: Row of Cars (http://www.chinaustradelawblog.com/uploads/image/Row_of_cars(1).jpg)

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Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design


Pg 10: Interior Space of Renault R-space (http://img.netcarshow.com/Renault-R-Space_Concept_2011_1600x1200_wallpaper_14.jpg) Pg: 16: Aerial view of cars in parking lot, Sydney Airport, NSW, Australia (http://cdn.c.photoshelter.com/img-get/I00000kbc_GvYUE0/s/900/900/Parking-lot-aerial-TC-1-MarkAJohnson.jpg) Pg 40: Renault Technocentre, Guyancourt, Paris (http://www.carbodydesign.com/archive/2008/06/17-renault-technocentre-celebrates-10th-anniversary/Renault-Technocenter-10-lg.jpg) Pg 74: Close up view of Renault Dezir interior (http://b.img-zemotoring.com/media/news/2010/07/23196_HD__09C69361.jpg) Pg 86: Renault Captur concept car (http://im07.thewallpapers.org/photo/40016/Renault-CAPTUR-Concept-2011-01.jpg) Pg 102: Renault’s Cycle of Life (https://mail.google.com/mail/u/0/?shva=1&rld=1) Pg 110: A portrayal of today’s young Indian women (http://demortalz.com/wp-content/uploads/2012/09/india_photography_20.jpg) Pg 156: Close up of Pantone mugs (http://farm3.staticflickr.com/2455/3952964818_3331e8beb3_z.jpg) Pg 180: Close up of a layered chair (http://www.spotd.it/2010/05/layered-chair.html) Pg 198: Close up of a Knitted wool stool (http://interiordesigningblog.com/wp-content/uploads/2012/03/knitted-wool-stool-cushion.jpg) Pg 264: Renault Captur 2013 Interior (http://s1.aecdn.com/images/gallery/RENAULTCaptur-4717_18.jpg) Pg 278: Close up of the 2.5d striped fabric created for the darker interior Pg 298: Close up of an Hour glass (http://c.tadst.com/gfx/600w/hour-glass.jpg?1) Pg 300: Rear View of Renault Captur 2013 (http://www.dieselstation.com/wallpapers/albums/Renault/Captur-2014/Renault-Captur-2014-widescreen-04.jpg)

Smriti Mukesh Prasad • Textile Design 2013 • National Institute of Design

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