For a man that’s about to
unveil the first design project to come from a highly expensive design
hub in central London, UK, Satoru Tai, does not, whatsoever, look nervous.
Satoru Tai, Nissan’s European vice president of design, has won over critics following the daring design ethos employed on the Micra and the unique Cube |
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The Qashqai concept, the first design project to come out of Nissan’s plush new design studio in Paddington, UK |
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In fact, the man that is responsible for today’s March (Micra)
and the iconic Cube in Japan is blissfully smiling away and making small
talk with Nissan bigwigs, automotive hacks and anybody else that wishes
to speak to him about Nissan and design.
Tai is a stylish man, a sophisticated man and a cultured man. He is also
calm, cool and collected. Yet behind closed doors, Nissan’s European
vice president of design, who also heads the Japanese carmaker’s
design centre in Paddington, admits he is under pressure to deliver the
goods.
With a refreshing view to talk about all matters Nissan related, Tai’s
first words on the Qashqai concept are not descriptive based. Rather than
hark on about sweeping lines and no B-pillars, he opts instead to divulge
the importance of the concept.
“This is the first design from our Paddington, London, studio, from
sketching it on paper to clay modelling to now this,” Tai points
to the various images of the Qashqai neatly placed on the coffee table
separating us. “So yes, it’s an important model for us.”
In what was a fairly predictable Geneva show – thanks largely to
a product blitz from the German carmakers – the Qashqai, a concept
that muddies the waters between C-segment and off-roader, ensured Nissan
grabbed some of the limelight.
Nissan chiefs believe the end could be in sight for conventional cars
in the European compact sector market, and if the hatch is about to die
then striking vehicles like the Qashqai are the future.
Yet such a vision from Nissan’s top brass was not easy to design.
“Because this is our first project, we had to make sure it looked
nice and was on schedule,” Tai says.
For the record, the Qashqai generated much interest from the automotive
world at Geneva, largely due to the fact that many thought (and some still
think) Nissan will not produce such a vehicle but rather use it as a platform
from which to determine design elements to use on the next-generation
Almera. Both assumptions, at the time of writing, were very wrong. There
would seem to be at least a 50-50 chance for the Qashqai to get the green
light.
Tai pauses for a moment when asked whether the Qashqai will ever make
it into series production. He glances over at the Nissan PR sitting with
us, and finally says: “Well it’s here to gauge press and public
reaction. I cannot guarantee if we will launch it into production but
we’re seriously working on it.”
Nissan’s vice president of design might not want to reveal what
the future holds for the Qashqai, but he does, however, insist the face
of the crossover concept will not be integrated into the all-important
next-generation Almera. “No, this is not true,” he insists,
shaking his head and dismissing the rumour.
It remains undecided as to where the new Almera will be built, but the
smart money – at this point in time – is Nissan’s Sunderland
plant in the UK. Coupled with the design studio in London, the UK has
become a significant pillar in Nissan’s European operations.
The modern and arty looking design centre has won many plaudits in its
first year. The plush location was chosen, say Nissan chiefs, because
of the multi-cultural backdrop that will influence designers.
Yet earlier in the year AE ran an exclusive head-to-head with Nissan’s
design president in America, Tom Semple, who controversially argued the
case that design houses need not be located in fashionable locations.
He continues: “Seriously, it’s important to have a studio
in centre of London. It’s costly, but it’s important. Last
year I came to London and had a similar question, should we be here? But
now, one year on, I’m very sure we’re in the right location.”
Nissan’s European design vice president continues: “We may
be able to sketch a similar shape to the Qashqai anywhere in the world,
but we get the energy and emotion from London and that’s better
than, for example, very beautiful Scotland.
“I’m not against Tom Semple’s theory, but I am very
sure big cities for designers are important and London’s the right
place for us.”
Nissan cast its net far and wide before choosing the English capital as
its new design base, with Barcelona particularly catching the eye. Yet
Tai’s boss, Shiro Nakamura, Nissan’s head of design, thought
it was of utmost importance for the design team to be based in the heart
of London.
Being immersed in London life has already taken its toll on Nissan designers.
The Qashqai, for example, has an olive green exterior and red interior
that’s been plucked off from what so-called ‘Londoners’
were wearing at the time.
The patterns embossed into the seat of the concept have been inspired
from the graffiti that Nissan chiefs first found when they purchased the
Paddington building. There’s even a ‘made in London’
sign on the seats.
It would seem relocation to less chic Hull is not on the cards for Nissan.
However, one rule in the automotive world is ‘never say never’
as Ford found out to its embarrassment last year when it had to shut down
its very panache, but costly design base in Soho, London and migrated
its design team east into less fashionable Essex.
The first series production design from Paddington will be the Micra CC,
due later next year. Tai says that he is working on “lots”
of things, but he is unable to reveal too much information.
“Assuming the Qashqai gets a good reaction, maybe I’ll be
working on a production model of the concept,” he says intriguingly.
The designer is safely guarding Nissan’s next project and will not
even speculate as to what will follow on from the Micra CC.
Another thing that is safe is Nissan staying true to its roots, and not
borrowing styling traits from Renault. “No, that will not happen.
We will not share design styles,” says Tai, who insists it is important
to preserve the two brand identities.
In fact, design engineering has become such a hot potato for the industry’s
odd-couple that Nissan and Renault designers are intentionally differentiating
their style and design. So, the C-Note, a Nissan model specifically for
the Japanese market that closely resembles the Megane, will not be coming
to Europe and will not provide the main basis for the new Almera.
Another Nissan model not for the Europeans is the Cube, which has received
rave reviews from the automotive press.
Tai’s distinct styling on the innovative vehicle has won over many
fans, but he confirmed to AE that it is not bound for Europe.
The European vice president of design sites engineering reasons as to
why the Cube will not make a voyage from Japan – an only petrol
engine line-up, only right-hand drive spec, lack of manual transmissions,
no diesel units and the asymmetric design with taillights in the bumper.
It is now my turn to pause. What has rear lights in the bumper got to
do with the chances of the car coming across to Europe? Some Brussels-led
Euro-crazy legislation I guess wildly.
Yet in that last sentence, Tai provides a glimpse into the secret behind
Nissan’s amazing comeback. Like Honda and Toyota, Nissan –
along with Renault – has grasped the importance of local culture
on a global scale. Little wonder then why the industry’s odd-couple,
along with two other Japanese carmakers, continue to go from strength-to-strength
while the so-called big players, with their badge engineering, encounter
difficult times.
Tai’s iconic cars:
• The Cube: “I think it’s an iconic car, and its
design target was for it to be iconic.”
• Aston Martin Vanquish: “To me, the Vanquish is a very
pleasing design. If you compare the DB7 and the Vanquish, I think
the Vanquish has the extra design dimension and that is very important.”
• The Mercedes G-Wagon: “I like this vehicle, it looks
good and it has a strong design.”
• Porsche 993: “That’s another very strong design.
Like the two Aston’s, if you compare the 993 and the 996,
you will see the 993 has that extra little bit more that makes it
iconic
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