Contents Bentley 4 door-sport sedan Volvo midship concept “Swan“ New brand “Microbus”
Guerilla Gig Supportive Vehicle Yamaha Open Source Electric Bike Honda ”Greyhound” CB 175 Wally power yacht
Inspiration finds me in three-dimensional forms. I record them in my sketches immediately. To me, sketches are methods of communication but mainly modeling blueprints for myself to translate ideas three-dimensionally on the spot. A designer’s final proposal should not be two-dimensional. I sketch until the construction plan for my design is clear. While working on numerous projects, shifting roles between designer and modeler, I learned there are many ways of creating different surfaces with the same line and even if a car consists of the same graphical elements, the results can be very different depending on the characteristics of that surface. Justifying the characteristics of a surface through precise planning is extremely important and this role should not be restricted only to the modeler. A good designer must be effective during all stages of design – from sketch ideation, 2-D rendering, and 3-D interpretation. The design process must be managed in relation to the designer’s intentions.
The result is always three-dimensional.
Second cars would be unnecessary The driver’s identity will remain as the o
garage for daily activities.
services of a hired
nect with a larger audience to and drive
Owners of Mulsanne have hired driv-
cars would be unne
greater revenue. If Bentley decided to
ers but when they drive the prestigious
consumer’s identity w
generate more cost-efficient models
sedan, they’re often mistaken as a hired
owner of the prestigio
to increase sales units, it may damage
driver.
All car companies desire to con-
their image of prestige.
A new generation/segment of Bent-
Those who own Continental GT
ley, which doesn’t require the cost
and Mulsanne keep another car in his
of owning a secondary car and the
owner of the prestigious car. Above, the R type continental of 1952 is perhaps the most iconic Bentley this era: some of its styling cues have been reinterpreted in the latest generation of Bentley
driver. Second
ecessary and the
will remain as the
ous car.
Left, Studies of character gesture, Combining Straight gesture of Mulsanne and Dynamic gesture of Continental GT
Second cars would be unnecessary The driver’s identity will remain as the ow
wner of the prestigious car. Above , a new segment of Bentley. An owner-driven four-door sport sedan Right, Initial sketches focusing on slender, straight side body panel
Above and right, Studies of flow of reflection and surface curvature An attempt to avoid concave curvature and inconstant reflection
Above, Study of surface; high-end cars have subtle convex curvature surfaces, and the reflections are constant throughout. From left, Dodge Charger (2006), Chevrolet Camaro (2010), Mercedes-Benz CLS (2012), Bentley Continental GT (2012)
Surface Expressing Bentley
sophisticated, subtle, high-end, classic surfac
ce
Chasis and body panel assembly emphasize curvature of surfaces and cut lines
Next page, Above, Body in white, illustrates the surface and form without reflections. Below, Painting process, displays change of characteristics from different materials
Craftmanship and Sense
of Perfection
Right and below, Inspection process, illustrates flow of reflections
Next page, Interior Assembly, illustrating interior with its luxurious leather and wood
Volvo was perceived as a led their previous SUV and safe, sustainable car and its wagon models to acquire the iconic radial shoulders symbolized these elements. The audience consumed Vol-
Rediscovery of Identity
tag ‘Cars for soccer moms.’ For a while Volvo differentiated themselves with
vo’s smooth lines and surfaces their competitors with these with a sense of femininity. This characteristics.
While application of sharp more masculinity and aggrescharacter lines and flaming
siveness. This may have been
surface were a trend to follow,
successful but the differentia-
Volvo maintained their bold
tion between Volvo and its
character line, smooth surface competitors has become and large radius. Volvo’s recent designs show
ambiguous.
Below, Volvo’s styling cues with smooth and feminine values
Smoothness and Femininity
SWAN was designed to express agility and dynamics through integration of Volvo’s former iconic values.
Left, Mid-ship proportion and material break-up studies with Volvo’s styling cues.
Below left, First design direction, More cargo room under the hood, sharper edge on front fender then final design
Clean, smooth surface
e with fluent reflections
Above three images, Dashboard e-ink display imbedded, metallic woven interior material, engine and engine cover details
X-ray view of interior and engine room
Feminine dynamism
This image of the Microbus is still intact and is distinctive enough to become a sperated division of VW for young buyers. As a separate brand, the Microbus is positioned in a much more economic and fashionable position than the MINI.
A symbol of freedom,
Microbus was the most
peace, and romance. The
desirable car to the 70s’
economic and practical
spirits of Bohemian culture.
Microbus, Spirits of Bohemian culture Design element; Line along with color break up Semicircular curvature indicating iconic elliptical extrusion shape Convex curvature of roof silhouette window and lamp details
Turn signal as
Headlamp
Headlamp as Intake & fog lamp The graphic line as Hood parting line
Iconic elements becoming family look
coupe
urban
buggy
urban
coupe
buggy
Magic 8-Ball
Left Sharing interior elements ; gauge, handle, dashboard, seats, treveling bags
Guerilla Gig Supportive Vehicle
Creating Ultimate Mobile Rock Conc
e
cert
“Good design makes a product understandable and User reacts very positively when things are clear and understandable” _Dieter Rams (born 20 May 1932 in Wiesbaden, Hessen ) Exposure of Functionality. The optimum design scheme for a highly functional product. Ram’s product designs represent
Gig are displayed graphically for better
precise selection of practical elements
understanding for its user, while auto-
that are efficiently reorganized for aes- motive surfaces express excitement thetic values. The practical elements of Guerilla
and dynamic senses.
3D printing 1:8 scaled model, made of printable parts and assembled FDM, Z-crop and objet material was used Frame was assembled with laser cut acrylic board
For any method of transpor- because they are already a tation to become commercialized it must become a ‘cul-
culture.
position themselves as ‘culture’ because their high-tech-
It was possible for Café
nological image and limited
ture’ by the users. For this to Racers and Choppers to claim
customization options caused
happen the experience of pur-
cultural positions because difficulty to connect with the
chasing, customization, main- motorcycle itself isn’t complex. audience. tenance, and repair should not
Their clear and easy customi-
be complex.
zation process allowed more
The sales rates for motor- to participate and express cycle brands have decreased
their characteristics through
but even custom bikes cannot
the bikes.
silence the demand for new,
Electric Motorcycles and
manufactured motorcycles
plug-in bicycles could not
Electric Techonology Should be Easy for Audience.
Open Source Parts From left, Battery, Lower cover, Battery hub, Motor, Frame
Hard structure, Easy technique, Open to customization
CafĂŠ-racer
Least components
Lightweight
3 batteries
Scooter
4 batteries Comfortable leg position Hub wheel
Chopper
8 batteries
Rigid structure
Stable seat position
The CB175 was a standard motor-
and was rated at 20 horsepower.
cycle made by Honda from 1969
An update in 1972 brought a more
to 1973. It had a 174cc overhead
rounded gas tank and changes to the
camshaft twin-cylinder 4-stroke air-
air box covers, along with some other
cooled engine, dual carburetors, dual
minor trim changes.
exhausts, 5-speed gearbox, 12 volt
Straight graphic lines, triangular air
electrics, kick and electric start, front
box cover, and the L shaped exhaust
and rear drum brakes, turn signals,
pipes were key design elements
speedometer with trip meter, 1972
extracted from the previous CB175.
and later models, and tachometer,
Unfolded decals of cowling parts Applied decal to the bike though UV mapping
Right, Studies of balance between speed shape and heavy geometrical elements Concerning ‘Character surface’ which is dominant lit up surface
Wally does not follow the speed form or
a harmonious sensation of both mass
the traditional shape of yachts but they
and speed. Using this essence of Wally,
differentiate themselves by their innova-
a dynamic yacht that isn’t dominated by
tive geometric design. An abstract work of
sleek lines but instead characterized by
art dashing through the waters - it evokes
‘lit up’ surfaces, was designed.
Left, Side door and trail lead to bow
Left belw, Stern, hermetic and cozy but open toward top and back
Technical specification Length overall // 18.9 m - 62” Length waterline // 15.2 m - 50” Beam max // 5.3 m - 17’4”
Right, View from the salon toward stern, glass wall retain open view and ambient
Draught // 1.1 m - 3’6” Displacement // 44 tons Fuel tanks // 3700 ltr Fresh water tanks // 780 ltr Engins // Rolls-Royce KaMeWa A45 Max Speed // 40 kn Accommodation // 4, 6 or 8 guests (depending on cabin version) + 2 crew Naval architecture // Wally / Allseas Styling // Chansik Park Interior design // Chansik Park Range (cruising) // 300 nm
Belw, View from the cabin toward front, helm is located at center for securing driver’s visibility
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Transportation Design
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Chan Sik Park. All Rights Reserved