| Volvo has come a long way from its original
frumpy image and nothing shows off the brand image more than its two new
models: the S40 and V50. Not only are both cars stylish on the outside,
but step inside and it's like entering a modern Scandinavian design showroom.
Nargess Shahmanesh-Banks went in search of design cues.
The V50 dashboard, centre stack in Iced Aqua, a decor option for the centre stack and inner door handles is deliberately aims at the very modern and youth oriented buyer |
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Burgoyne created influence boards based on modern product design, to inspire the interior design team |
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The S40 and V50 carry a similar design language, one that has been evolving
since the carmaker began its second life. The design team was aware that
their job was to complete the new exterior design language that had started
on the S80. "On the exterior we knew that we were carrying out an
evolution," explains Guy Burgoyne, studio chief designer in interiors
for the small car platform at Volvo, and the man in charge of the project.
"We realised that we would have to complete our whole product line-up
with a similar language."
The idea is that the new products will help evolve Volvo's design language.
In fact this gave Burgoyne and his team a little bit of a licence on the
interior to find some more of a revolution than an evolution. "Perhaps
it was more determination than freedom," he admits.
The S40's body could is typically modern-Volvo. Inside, however, is very
unique in terms of the material used and the intricate, fine finishing.
There is much attention to details and use of high calibre material. "These
were some of the exact things we were trying to get to," Burgoyne
adds cheerfully.
For the interior team, product design played a pivotal role right from
the start. Burgoyne created influence boards, or mood boards, based on
product design, with images of expensive classic toasters, a watch face
where there is an instrument cluster, remote controls and mobile phones.
These products set the scene for the direction the interior was heading.
They, Burgoyne stresses, are the real influences behind the interior.
He adds that he tries to stay clear of associations with the brands like
Bang & Olufsen. He explains that people see the centre stack looking
like a Scandinavian stereo and they immediately think of such brands.
"We didn't look at their brochures for inspiration," he insists.
Instead the team took on-board the fact that most modern consumers are
into the latest mobile phone, digital camera, or MP3 player. There is
a huge amount of desirability in these products, and the customer feels
this. "We wanted to bring some degree of this high quality and precision
that people see in these products and introduce it into the automotive
world," says Burgoyne. Particularly they tried to discover areas
where the product's attributes are appropriate to Volvo. Such as creating
the feeling of safety or security, or of simply refined, high quality.
He admits that Volvo is aware of the long lead times for cars to make
it to the showroom. Unfortunately the result of this is that they feel
that they are behind with modern design. Therefore the idea with the S40
and V50 was to catch up with the product design world. "We don't
take inspiration from modern products that will be replaced as soon as
they are bought, instead we try to be influenced by the direction modern
product design is taking," says Burgoyne. In other words it is the
design philosophy that is the inspiration. This may include lines becoming
tighter, products smaller or the finishing more refined.
"In particular," Burgoyne shows, "the centre stack has
been influenced by plywood furniture from Scandinavia." This, he
sees as classical design that has been around for hundreds of years and
will probably be around for another hundred or so. "If you take the
Arne Jacobsen laminated-wood chair for example, they will never be out
of fashion, because they are not a fashion item," he adds. Instead
these are design classics, that have defined a whole philosophy in design.
Burgoyne's team doesn't take it all literally, but instead try to recreate
the feeling these products transfer to the consumer.
As the S40 and V50 were more or less developed together, there is much
synergy between the two. The main difference is in the luggage area. In
the V50 there is an interesting load cover that is of the same material
used on the car seats. Burgoyne describes it as a sort of wet suite material
that is quite dynamic. "We are always looking to see when we get
synergies into our cars. We have a different market for the larger cars
and perhaps have more money to spend on the interior, so we can use it
to refine the materials further," Burgoyne adds.
The knock-on effect could perhaps lead to new customers for the S40, V50
and even Volvo. "Off course we don't want to lose any of our old
customers," says Burgoyne. At the same time Volvo isn't naïve
and sees this perhaps as a way of wooing younger and maybe trendier customers
into its showroom. "We can do this by trying to keep the products
as fresh as possible. Hopefully we will get a few younger customers attracted
to some of the finer finishes on the centre stack," he adds.
For this the team have come up with a number of finishes for specific
target markets. First up there is a base version, with little metal flakes
in the paint. "We deliberately talk about modern mobile phone finishes
when we talk about this one," explains Burgoyne. Next up is one that
uses real aluminium with a high-tech feel like a modern digital camera.
Finally for the more traditional Volvo customer there is the wood effect.
There is also a special version, the IcedAqua, which was shown in its
final production form at the Bologna Motor Show in December, where the
V50 was also revealed. This Corien Pompe, colour trim specialist, excitedly
explain is a translucent plastic, with a grey-tinted glass effect. "If
you go through ice when it's frozen, you get this sort of tint in the
ice, with black with white needles," she adds. This model is deliberately
aiming at the very modern and youth oriented buyer. Burgoyne points out
that Nokia has just come up with phones with a similar effect. "It
is amazing for a car company to come out with a product that is in-line
with the mobile phone industry," he adds.
Burgoyne's not a newcomer to the Swedish establishment, having joined
back in 1995, just as Volvo was revamping its image as not just a safe
manufacturer, but a carmaker with a true Scandinavian style. His initial
attraction to Volvo is an interesting one.
"In early 1995 a journalist wrote a column in the magazine quoting
Peter Horbury [the then design chief at Volvo] saying that the car company
needed to recruit more designer," he explains. On reading this, he
called up Horbury and within a month had a job there. Horbury had been
in this position for four years at the time and his mission was to transform
the brand.
The main design studios for Volvo is based in Gothenburg in Sweden, where
Fedde Talsma, chief designer of the small-car platform design team, is
responsible for all cars in this segment. There is also a studio chief
designer for exterior and Burgoyne runs the interior team, and in turn
he works closely with colour trim specialist, Pompe. "We work together
on the interior to define the shapes and colours at the same time,"
he explains. Burgoyne answers directly to Henrik Otto, Volvo's design
director, who replaced Horbury a year ago.
"In regards to the shape of the interior we have a number of other
designers who have worked at different times on the project," he
explains. At one point with the V50 and S40 projects, the number rose
to 8 or 9 designers working on the interior. At times like this Burgoyne's
job is to keep the design direction and themes working together.
Volvo design under Horbury became a very international team. "One
of my favourite reasons for getting out of bed and coming to work in the
mornings is having this great international diversity," says Burgoyne.
He goes on to explain that although Volvo is trying to make Scandinavian
products, it is just as important to have a Scandinavian's view of Scandinavia
as it is see how the outside world views the national characteristics.
In design terms when Volvo talks about the products it always stresses
its Scandinavian heritage. "In design terms the brand is all about
simplicity, light and space. These are the three keywords we use especially
when it comes down to the interior. Within this we also talk about honesty,"
explains Burgoyne.
Achieving this has much to do with the materials, as well as form. In
terms of simplicity, often the hardest thing to do is to create a simple
form, because in a car there are so many legal requirements and restrictions.
Volvo specifically is renowned for its extensive safety features. To find
a simple solution that can go over all these is a very tricky job.
Volvo he the safest doors on the market. Burgoyne explains that there
have been comments made about the car not having enough storage in its
doors. But because the designers have been aware of the limitations, they
have searched in the car to find new areas that can house storage-space.
"The centre stack for instance has new storage opportunities behind
it," he adds. "We are extremely proud that we don't compromise
on safety. Instead we work around it in terms of design.
"We force ourselves to find new solutions that maintain the safety
and give all the versatility you would expect."
Volvo talks about itself as mainly being a Scandinavian brand rather than
a Swedish one. "Perhaps it is easier to define and there are many
similarities in Scandinavian design, or maybe it is a better way to talk
about it," explains Burgoyne.
The interior team has a lot of freedom from Otto. Like Horbury, he allows
for a great degree of freedom, whilst providing design direction. "He
makes people proud of their work and helps them feel involved," adds
Burgoyne. The likes of J Mays, Ford global design director, visit the
Volvo design house once in a while.
In the Premier Automotive Group (PAG), all the brands are well defined
and perhaps as a result there is little competition between them. Burgoyne
admits that perhaps one way of keeping the brands apart is through the
healthy way the designers deal with each other. "We have very little
contact with our brothers and sisters at Jaguar and Land Rover. Contact
is mainly kept on a higher level." He explains that by not getting
too close to the other designers within the group they help keep the brands
apart.
Even though Volvo shares its car platform with Ford and Mazda, if you
put the cars together, Burgoyne doesn't think you will see any cannibalisation
between them. For Volvo, valuing the brand identity is crucial. It will
go as far as to make sure that every element the customer experiences
is a Volvo element. "This is probably one of the best examples today
of technology sharing without any kind of dilution of the brand. Because
we share the costs for certain technologies, we can spend more time creating
unique elements like the centre stack and so define ourselves as a brand,"
Burgoyne adds.
There is no secret in that Ford is doing badly especially on the European
front. Ingeni, its swish design house in the heart of London, closed down
last month with no concrete future plans and there have been rumours of
the carmaker selling up Volvo. Burgoyne, however, doesn't think it has
had a huge effect on the morale of the design team in Gothenburg.
Carmakers such as Audi are renowned for the attention they give to the
interior in terms of not just design, but touch, smell, feel and sound.
The German carmaker even has a special nose department who investigates
various smells. Burgoyne goes a step further. He says Volvo sees itself
as responsible for everything the customer experiences: what he sees,
touches, smells or even eats. "I think there is some dogs out there
who apparently eat a bit of our cars now and then," he adds jokingly.
"Our international team is part of the energy that we have. We have
gone through probably the most exciting 8 or 9 years any car company has
been through," he explains. This has not only included re-vamping
the old models, but adding new products all with a high level of design
content. It has been a great period for Burgoyne at Volvo and he sees
a great one ahead of him. "I try to remind myself that when I first
arrived at Volvo there was the 960 and 850." These cars are far removed
from the products being produced by the Volvo today. There is much pressure
on the designers to keep up the momentum, although Burgoyne sees this
as good pressure.
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