★恩→波客★

最近事情很多，都没时间管博客了，昨天做实验从早上8点做到下午5点，今天又上了一整天的课，辛苦啊，现在全国估计就厦大还在上课吧……

Mazda Nagare design language一直没把它结束了，其实主要部分都在前四篇了，有关流设计的发展历程、构成要素、它的一些变化与前景等等。后面的一些内容大家估计也都看过或了解的，这几篇都是翻译自carbodydesign的文章。

Mazda’s design process

“The most interesting thing about Mazda design, in terms of the technology used to help create it, is that 20 years ago, it wouldn’t have been possible,” explains Peter Birtwhistle, chief of design, Mazda Europe. “The complexity and the subtlety of the surfaces would mean, even in the hands of the most skilled clay modelers, that it is virtually impossible to do by hand.”

Traditionally, during the car design process, a car designer would sketch a car and then make a small exterior clay model before moving to larger clay models at the green light stage. Highly skilled modelers then work on the full-size clay to generate a life-size, near-realistic ‘vehicle’.

This process has been used for generations of cars, but in recent years the integration of digital design processes has seen car development change.

Though the exact methods used vary between automakers, cars are increasingly created within the computer (or transferred there from the initial 2D sketches) using digital design software. Ultimately this software allows 3D mathematical form data to be created from a 2D drawing.

This information is combined with technical information, such as the existing components including the chassis and drive system, – known as the ‘hard points’ – to create a 3D ‘realistic model’ before a time-consuming clay model ever needs to be cut.

At this stage, this data can be exported to a multi-axis milling machine, which can produce a life size clay facsimile of the vehicle containing the exact complexities of the original design. Ultimately this data can be used to create actual car components and production tooling moulds for the manufacturing process.

Today complex surfaces could only have been executed digitally. This is because it is easier to design and produce clean, clear surfaces than the complex textured surface language.

This combined with a technological understanding that is rare amongst car designers and the integration of advanced computer aided design and engineering processes within Mazda, means that Mazda has the technical ability to bring design ideas to market.

“If you break it down to its simplest forms it is not that much more complicated to do that current construction” says Franz von Holzhausen, “but the manufacturability of the textures will be crucial because these textures are a signature design language for Mazda.”

“Every concept car that we have done has been a learning process,” explains Laurens van den Acker. “We have worked with some of the most adventurous engineers in the world.

"There is a long history of this kind of innovation at Mazda. It’s a designers dream to have engineers that want, so much, to do this. We do have to work very closely with our engineers and our suppliers. Everyone has to be on board.”

The story and importance of Flow: the Nagare generation

After lots of brain storming, sketching, research and feasibility studies the Nagare design language was born, in the form of the Nagare concept car: but where did it come from and how did it evolve?

The design team began by looking at the dynamic qualities existent in Mazda vehicles. Of these nothing summed up Mazda better than ‘emotion in motion’; Mazda’s commitment to engineering vehicles that offered a purity of childlike enjoyment through the sheer joy of motoring.

Hours of discussion confirmed amongst the design team that Mazda deserved the same emotion in its cars when they were static as it had earnt when they were moving.

“We turned to nature for inspiration, focusing on images of motion created by forces like wind and water,” explains Laurens van den Acker. “Such natural flow lines all lend an intuitive sense of motion.”

 “We wanted to create cars that had a ‘snapshot feeling’ of this natural motion,” explains Laurens van den Acker. “We realised that the automotive industry is one of the few industries that hadn’t yet captured these amazing natural textures from the landscape. Architecture, fashion and product design have all looked at these landscape elements. There was a great opportunity for us to interpret this for Mazda design.”

“Our new surface language is car-centric,” adds Franz von Holzhausen. “After studying the architectural approach, which tends to be strictly rigid, and the organic approach, which is highly fluid, we created Nagare to straddle those two disciplines. It is fluid, graceful, and dynamic. But the message it registers on the beholder is flow-motion.”

From here Mazda’s designers began to explore the possibility of textured surfacing on cars: as if the cars’ surfaces had been naturally sculptured by air or water. Mazda’s design team began by developing a surface language to visually describe their Flow philosophy. Like the natural elements that had inspired them the team wanted to communicate the sheer raw power of Mazda motion even when their cars were still, as van den Acker explains:

“It was in making the transition from observing motion in nature as an expression of energy to applying it to a manmade object such as a car that we discovered what a thoroughly exciting and logical creative approach the design concept represented. This revelation allowed us to proceed to create one dramatic and unique design after another.”

Conventional automotive design dictates that the panels of car bodies are comprised of smooth, clean and clear surfaces. Yet Flow is like a ripple or a wave effect across the surface of the metal.

“The surface language of Nagare goes against conventional design thinking of clean, uncomplicated surfaces,” explains Franz von Holzhausen. “This is what we are all taught at college so it goes against the grain.

“We are breaking the golden rule of design – which is to simplify,” explains Laurens van den Acker. “Everybody will tell you to remove lines until you have no more left to remove. We are adding lines, which is kind of counter intuitive, but if we do it well it looks natural and creates beauty.”

Colour & Trim:driving developments with new meterials

颜色与处理：通过新材料提升驾驶

能够成功的通过Laurens描述的轻量化创造出流概念的内饰，很大程度上依赖于新材料的开发与使用。现在马自达的设计团队正在寻早一种全新的内饰造型与材料选择的方法。

要使得各部件的形状功能都能达到流的要求，内饰设计的大量改变和复杂的制造工艺都是必要的。

完美的使内饰各个分离独立的部件通过流的方式组合在一起——比如仪表板“流”过中控台接着“流”至前排座椅连作一个整体，同时将功能应用部件组合在一起，就像整合了空调与音响控制的控制系统做到的那样——这一切都需要革命性的结构创造与制造。

←Taiki

马自达已经在全力发展能达到他们环保要求的先进材料。应用在Taiki概念车上的生物塑料相比常规塑料在生产时产生更少的二氧化碳，还有其他的先进材料都开始应用在汽车制造上。同时还要做到功能简单、环境简洁，并且保持驾乘者的舒适，完成这些挑战都要依赖全新的颜色与材料的选择应用。

Laurens说：“ 流概念通过应用已经发展为如何从一个物体流畅的连接到另一个——像Taiki的内饰中中控面板与座椅连为一个整体，它还可以是信息系统与车的整合，也体现于对信息系统的控制操作。我们才刚刚开始考虑这种方法。我们不想将内饰打造为打字机——一个按键只代表一个功能——我们正着手于连接整合这些部件与功能。实际上所有东西都是联系在一起的。通过颜色、材料的使用，流概念能在功能、情绪、视觉上联系各个部件。”

←Taiki

Inside Design:the future of inerior design at Mazda

内部设计：马自达未来的内饰设计

到目前为止马自达的设计重点主要集中在外部造型语言的进化上，这在马自达的流系列概念车中很容易看出。不过Laurens van den Acker的话让我们知道他们的重点转移了，如何把流的概念发展到马自达未来车辆的内饰中将是他们未来的主要任务。

“内饰设计和外部是不同的，它是各种东西的集合。我们要通过对内饰设计的改进是流设计语言更加成熟，以达到内外一体的整体感。”

“内饰设计的改进主要有三个关键部分：以驾驶者为主(driver orientation)，轻量化(lightness)——对马自达而言这点非常重要，流的设计概念(flow)。”

“这三方面的有机结合使我们的内饰与众不同，使我们的车成为独特的马自达。你也许会说有许多品牌都有驾驶者为主的设计，同时他们也都争取做到轻量化。但是流的设计与这二者的结合使得马自达拥有它独特的个性而与众不同。”

←Taiki

马自达的目的是发展出与外部设计相关联的相似的设计DNA，为马自达未来产品系列创造风格一致的内饰。

以驾驶者为主的设计是其中的重点，因为马自达车的本质要素就是运动性，这是马自达品牌的个性。其次就是对轻量化的应用，这会是未来品牌价值的一部分。

Laurens van den Acker用四个方面来描述马自达的轻量化：

“第一个方面是在视觉上创超轻量化的感觉：要看起来轻。我们可以通过浮式面板的设计，窄细的形状，开孔等等来达到这个目的。”

“第二个方面是物理上的轻量化：各种内饰构件在重量上尽可能的轻。”

“第三是在精神上达到轻量化——这个方面比较有趣，我们不希望事情太过严肃。通过Zoom-Zoom我们能在精神上变得年轻。”

“第四方面是环保。‘Don't leave any footprints behind,tread lightly,etc.’当然，材料选择、工艺、回收等都是其中的重要部分。”

这种轻量化的观念是非常有先见之明的。Van den Acker相信随着环境压力的增大，和人们享受马自达的驾驶动力一样，人们还会喜欢上马自达轻松宁静的内饰环境。

从轻量化的方面来说，流的设计意味着形态操控上更多灵活，情绪上更加轻松，视觉上更具动态。

←Ryuga

“流也意味着不被繁杂的信息所困扰，只在你需要的时候将信息提供给你。我们不需要太多的无用信息。所以我们的内饰会看起来很简单，只有很少一些信息功能区域。我们的目的是建立一个流概念的内饰，宁静平和的内部环境。”

流——从内饰设计方面说——就是没有精神压力、没有焦虑。和车身表面的设计一样，它也是马自达全新设计途径的核心之一。

←Hakaze

How to design a Mazda? The lines and elements that make a Mazda a Mazda

如何设计出一部马自达？通过线条和各种元素赋予一部马自达车马自达的风格与内涵

在马自达新兴的流设计造型语言中有许多设计元素来定义一部马自达汽车。

其中最明显的就是车身表面的处理， 形似气流通过表面的线条，这种设计出现在所有流概念的汽车中。

这种表面设计通过光影效果让车看起来就像在空气中快速前进，突出车子的动力驾驶的特性。这种设计在不同的车上也不尽相同，因为不同的车有不同的形状和特性，从马自达的几部流设计的概念车里可以看出这点。这些不同的表现形式都是为了适应不同的车而作的适当改变。

另一个更清楚重要的元素就是马自达的五角形的格栅，这是马自达的家族特征。不同的马自达车有不同的特性，它们的格栅也需要一些变化，比如格栅的形状、尺寸等，通过改变格栅来改变车头造型使之适合不同的车子。

其他的重要元素还包括引擎罩、RX-8风格的轮拱与头尾灯，这些在每部概念车上也都显而易见的。

这些重要元素——还有楔形的车体造型——都是构成流设计的基础。

这三方面的有机结合使内饰与众不同，使车子成为一部特别的真正的马自达。

有一阵子不更新了，最近是懒了啊，今天终于放晴了，下午大太阳下打了2个小时球就几乎虚脱了，不过运动一下觉得更有精神了~

这篇是写马自达“流”的设计语言，我很感兴趣的设计。这是马自达官方对“流”的介绍，挺长的，会分几次贴出来。

Mazda's official story of the Nagare Design language, with details about the interior design, colours and trim and the whole design process.

The physical interpretation of Mazda's brand heritage

从造型设计上诠释马自达的传统内涵

2006年洛杉矶车站上展出Nagare Concept的独特设计让人眼前一亮，车身表面的许多突起的流畅线条，还有大量独特前卫的边锋元素的应用，使它的造型完全有别于过去的任何概念车。

←Nagare

起初这部车只是对马自达先前的概念车三部曲——Sassou、Senku、Kabura——在造型设计上的发展探索，不过就练马自达的设计团队也没想到，他们的全新的设计语言吸引了全世界的关注。

Nagare之前获奖的这三部概念车就已经让人们惊叹了，它们已经为马自达指出了一个全新的充满活力令人振奋的汽车设计方向。但Nagare的出现改变了一切，它带来了一个不一样的方向，一个所有人希望看到的激动人心的方向。

之前的三部车已经有了一个成功的设计思路，为什么还要进行这么大的改变呢？ 北美马自达的设计总管Franz von Holzhausen是这么解释的：“马自达有一系列很棒的产品，但为了马自达品牌未来的发展，我们需要创造一种新的设计语言，它要能使人们在情感上留恋这种设计，从心底喜爱上它，就像是Zoom-Zoom设计语言做到的那样。之前三部车的设计思想其实转化为了流设计的一部分。流其实就是从这三部车的设计进化来的，不过它的发展已经超出了我们的预计了。”

构成马自达品牌内涵的要素可以用这么一些词来总结：‘Zoom-Zoom’, ‘young’, ‘stylish’, ‘spirited’, ‘insightful’, ‘emotion in motion’, ‘innovative' 。现在说到这些词的时候往往都会想到马自达，它出色的功能、优秀的操控与驾驶感早已深入人心。

“我们需要认真的审视这些马自达的特点，考虑我们的设计能否表现出这些特点。”Franz von Holzhausen解释说，“在动力与操控上我们已经做得很好了，但是在外形视觉上仍需要改进，是时候进行设计上的进化了。Nagare Concept为我们指出了前进的道路。”

马自达的设计团队正着手于在设计上寻找一些新鲜的东西，他们希望在审美、视觉上诠释马自达这个品牌，并让这些设计能丰富马自达的内涵，成为品牌的一部分。

在Laurens van den Acker的带领下，马自达的设计师们正努力通过车辆的外形来捕获马自达的品牌个性，他们要使车子就是在静止时也能表现出马自达的运动内涵，比如Zoom-Zoom的设计。

在这些思想的主导下，他们的努力创造出马自达独有的全新的设计语言—— 流。

←Sassou

←Senku

←Kabura