Walter Maria de'Silva vs Chris Bangle

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December 8, 2006 Interview with Walter de'Silva, Head Designer of the Audi Brand GroupSource: Audi AG INGOLSTADT, Germany - Walter de’Silva (55) is regarded as one of the best automotive designers in the world. Since March 2002, this Italian has been the head designer of the Audi brand group and, as such, not only responsible for the Ingolstadt-based premium manufacturer, but also for Seat and Lamborghini. He started his career in 1972 at the Fiat design centre in Turin. After a brief period of working for Trussardi, de’Silva moved to Alfa Romeo in 1986, before going on to take over the management of the design centre of Fiat and Alfa Romeo in 1994, followed by that of Seat just five years later. Mr de’Silva, what is design for you? Walter de’Silva: Design is, in abstract terms, a sum of individual signals, which combine to produce a powerful overall signal. Good design is by no means the result of purely rational thoughts. And that’s what makes our mission so difficult. After all, design is always the reflection of attitudes towards life, views and convictions. What do you think about design through the ages? Walter de’Silva: There have been a lot of changes. Design has always been a discipline that has connected form and technology. Nothing has changed in that respect. But today the design is quite clearly the main focus of attention – it is the most important source of motivation behind a customer’s desire to buy. In other words, design still has to take account of the issue of functionality, but must also convey the brand. A whole range of different requirements from all the divisions converge centrally in the design. Conversely, as a company, Audi has itself been defined over the past few decades by its design culture. That sounds a bit like a proliferous plant. Walter de’Silva: Yes, it is a wide-ranging culture. Whenever we talk about something relating to cars, the topic of design now always enters instantly into the picture, even when talking about the details – that wasn’t so in the past. When I started out some 30 years ago, the product orientation was the only aspect in the design – today, this is a field that covers and reflects the group through 360 degrees. Today, good automotive design always emanates – in contrast to the 1970s and 1980s – from a dialectic relationship between creativity and history. It is about development in which we must not – to continue the plant analogy – forget the roots of the brand. What role does design play for Audi? Walter de’Silva: Before being assigned the responsibility for the design of the Audi brand group in 2002, Audi already had a highly distinctive design – namely, precision in form and technology. To appeal not only to the mind, but also to the heart and, as such, to people’s emotions, a new, modified design vocabulary was needed – if not only to stand apart more clearly in an age of increasingly fierce competition. A further task for me was to establish a strong family resemblance within the growing model range, whilst emphasizing the individual characters of our cars. Although this appears to contradict itself, nature has already provided a brilliant solution to this problem. We took the analogy with real human families seriously and, in doing so, defined the genetic building blocks of the brand, the DNA, as it were. The outcome is an aesthetic canon that defines the design framework for architecture, style and details from future Audi models. Under you, the design of the Audi models has changed completely – not only at the front around the radiator. Why? Walter de’Silva: Certainly the starting point of all the ideas was the notion of the one-piece single-frame grille. Vertical slats in the single-frame grille bear the pronounced three-dimensional brand emblem. Concave surfaces around the elongated wheel arches lend the front additional width. But there’s more to it than that. Today, we put greater emphasis than ever on the role of Audi as a brand. Whether we are talking about an A3, the Audi Q7 or the new R8 – they all use a coherent design vocabulary and are immediately recognizable as Audi models by their proportions. The front, rear, sides and the entire architecture radiate a sense of complete unity. The magic of all Audi models emanates from the industrial design and from the statement they all make through this design. Each vehicle stands for itself, but also for Audi. We have become more sculptural, have more sex appeal, and that is precisely in keeping with today’s attitude towards life. Why has Audi recently been attending design exhibitions? Walter de’Silva: As early as this year’s “Design Annual” in Frankfurt, we pulled off a paradigm shift. As the first and only automotive brand attending as exhibitors, we attracted a great deal of attention with our unusual exhibition concept, which saw the exhibition stand acting as an oversized loft for the new Audi TT Coupй. We are continuing this success at one of the most eminent forums for design, namely “Design Miami/ 2006 ”. Audi will become the first ever automotive manufacturer to be represented as an exhibitor in Miami. Why is Audi getting involved in “Design Miami/ 2006 ”? Walter de’Silva: Unlike most companies that attend solely as sponsors of such events, Audi has significantly higher demands. We ourselves emphasize the creative aspect and attract attention to Audi’s design language by using an unconventional exhibit that deviates greatly from the usual product presentation. The centerpiece of this design object, namely “Ignition R8”, is the new Audi R8 super-coupe. It blends in with the design and art scene due to its sculptured design, which conveys the ultimate sporty appeal of the model in a way to please even the most artistically discerning eye. How would you describe the “Ignition R8” installation? Walter de’Silva: The approximately ten-meter-high installation is embedded into the beams of the ancient warehouse known as the Moore Building. The installation symbolizes the moment of ignition and, as such, the dynamic appeal of the R8 that has just been presented at the Paris Motor Show. Teardrop-shaped arrows shoot through the room towards the silver roadster and form a powerfully emotive sculpture around it. The R8 is the centerpiece and, as such, the dynamic cell of this installation. What does the future hold? Walter de’Silva: We will be looking to further develop this concept of attending international design exhibitions. It is certain that the in-crowd will also get to experience us in future as a contemporary exhibitor of fresh ideas for design at similar such events. True to our brand slogan “Vorsprung durch Technik”, we will be constantly aiming to attract attention as a brand with unusual measures and to create trends before they become trends. COVER STORY/Online Extra Audi's Design Guy Looks Inward The auto maker's Walter Maria de'Silva predicts a revolution in interior design, from ergonomics to materials Italy's Walter Maria de'Silva proved he could change the fortunes of an auto maker in the 1990s with his bold restyling of Alfa Romeo -- a coup that revived the sporty Italian brand. But the challenge was even greater when Volkswagen offered him the job of chief designer for its premium Audi Group, overseeing the Audi, Lamborghini, and Seat brands, in 2002. De'Silva's task was to inject Audi's cars with excitement and emotion -- without diverging too radically from the brand's clean, simple lines and understated "Bauhaus" look. Some auto industry experts shuddered at the potential collision between Italian design and German engineering. But Audi wanted de'Silva to design cars that would turn heads and lure customers from premium rivals BMW and Mercedes-Benz (DCX ). And de'Silva delivered. Audi's latest generation of cars, from the sprinty A3 sportback to the class-beating A8 sedan, are winning top ratings and fueling double-digit sales growth. Audi's new look is edgier, and the gaping front grill exudes raw power. But de'Silva preserved Audi's classic attention to perfect proportions and form-follows-function simplicity. De'Silva, now sketching the next generation of cars for Audi, spoke with BusinessWeek's Senior European Correspondent Gail Edmondson about the future of auto design from his unadorned office at Audi headquarters in Ingolstadt. Edited excerpts of their conversation follow: Edgy concept-car designs never intended for the market are now increasingly found cruising down the street. Why is that?The investment in a concept car is so high, they [almost] have to be used as a base for a production model. In the technology, architecture, design, and construction, concept cars are made with the same attention as making a car for production. Small cars used to be boring utilitarian boxes. Now they have to win beauty contests to be successful. What happened?Cars that make you dream used to be top-of-the-line sports cars and luxury sedans. Slowly we understood how important design was. So design language -- this emotional aspect of cars -- is now being applied to everything from a Smart [mini] to the largest sedan. The functional car made to just go from point A to point B is almost nonexistent. The Europeans seem to enjoy global leadership in auto design, but that wasn't always the case. What ails American car design today?I was a child in the 1960s, and U.S. cars made everyone dream -- it was their incredible size and exaggerated design. The U.S. did marvelous cars. The Corvette is an icon. That was something that influenced a lot of European design. But U.S. car design doesn't make people dream anymore. It's perhaps a reflection of the social-political moment we are living. I'm not trying to make a political statement, but the country and the culture seems in a defensive mode, which puts a brake on expression through art, architecture, fashion, and design. I see an effort on the part of U.S. auto makers, but I see also a frustration that I don't see in Germany, France, or Italy. When it comes to car design, everyone is producing more dynamic-looking cars with lines that evoke greater emotion -- even Opel. Audi was a market leader with its new, expressive design. But what do you do when a "new look" has been copied by many others?We are a premium brand, and we have to follow our own design philosophy. Our only motto is to be a leader not a follower in technology, quality, and design. The evolution of design is constant. What Audi did over the last three years in introducing new models and new design no other auto maker has accomplished in the same amount of time. I see a period of consolidation ahead. But we are already working on the architecture of the next platform. It's a huge step forward -- the architecture is even better and the cars will be even more beautiful. The proportions will be even better. What are the most important design trends affecting next-generation cars?In the future I see a huge improvement in car interiors. We have to work a lot to create a kind of internal architecture and environment that is even more oriented to the customer. We are studying new seats that are more ergonomic. We can do more to enhance the simplicity of the cockpit, the dashboard, and the instruments. And we will focus on materials -- that they are distributed in the right way and that they create the perception of quality. Information systems are another important area for interior design. The telephone, radio, and all the other buttons have to be clear and intuitive to enhance safety. Interiors will change a lot. You shouldn't confuse luxury with prestige and exclusivity. There is a different way to interpret each. I see evolution on the exterior of cars and revolution in the interiors. What about interior lighting?We will see a combination of the use of music and lights in new features. We also want to study microenvironments, like dividing the front and the back of the car when it comes to noise. That would allow kids to watch TV while a passenger in the front is on the phone. The interior of the car will be treated like the architectural space of a museum or house. That's my vision. What do you think of Renault's Logan, the $6,000 car?Aesthetically it doesn't do much for me. But I don't know the project so I can't say whether it could have been prettier. Low cost can be beautiful. It's a valid concept. Audi sets the benchmark in interior auto design, but everyone is racing to copy you on better materials, intuitive information systems, and buttons with delicate feedback to the fingertips. What will the next generation of Audi's cars have that the competition won't have?Perfection, absolute quality, the right materials. Soon we will see a more studied environment inside the car -- to give it more visible and tactical quality. It's not decoration, but architecture. It will be totally new. What are the most striking cars on the road in your opinion?I like the Aston Martin DB9. They've done a magnificent job. It's a big car with classy proportions. I would happily buy it. That's my test. I still like the Porsche 911. Maybe because it's been around since I was a child, and I grew up with it. I appreciate the design of the new Fiat Punto. It's a success. It's intuitively well-proportioned. That's not easy. It has a beautiful personality, especially the front. And it's not aggressive. It's friendly. And I have to say the Audi A6 Avant is the most beautiful station wagon in the world, just to name an Audi. And with the Lamborghini Gallardo Spyder, we did a great car. The coupe is beautiful but the Spyder is something more. What is your dream project?I have the fortune of working for a company with projects in 360 degrees of direction. That is a dream job. Since we are in the premium segment, there are no limits. In the future you will see families of cars at Audi. The field from the A3 to the A8 is huge, but in the future there will be even more.

 

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Chris Bangle, is an American automobile designer and currently the chief of design for the BMW Group. Dutch born Adrian van Hooydonk recently took over the position of head of the BMW brand and is currently the main designer of BMW cars.
Wikipedia on Chris: Bangle was born on October 14 1956 in Ravenna, Ohio, raised in Wisconsin, and attended the Art Center College of Design in Pasadena, California. He began his career at Opel where he designed the interior of the Junior concept car. He later moved to Fiat where he became chief designer and was credited with the design of the Fiat Coupé.
When he joined BMW in 1992, he became their first American chief of design. The 1999 Z9 concept car designed by Adrian van Hooydonk marked a departure from BMW’s traditional conservative style, and his latter work has caused some controversy among BMW enthusiasts.
Chris is known for evoking strong reactions. There is even an online petition that tried to stop him from “ruining”? the BMW brand. Nevertheless, BMW sales have never went down and have been increasing steadily. Therefore, it seems there are haters but also (many) lovers of his (and Adrian’s) designs.
Some of the questions seemed to evoke strong emotions with Mr. Bangle. Nevertheless, they are authentic and therefore placed as they were.
In the end, I think it has become an interesting short interview with a very influential design expert and I hope you will all enjoy to read it.


Chris, you are often described as a controversial designer and while I was browsing the web I found about 50% praise and 50% hate. What do you think makes your designs evoke such strong reactions? Is it because of the BMW brand’s long history (the haters are nostalgias enthusiasts) or are the designs really that experimental and provocative?

Passion breeds passion…that is surely the case here . BMW, MINI, Rolls-Royce, these are all marques with great emotional content. This is good!!! No one would want it any other way. But this does not guarantee that a real dialogue takes place, and the internet is a particularly skewed medium to try and take straw polls from. As a journalist you too know these dangers…would any organization rely on uncontrolled ballot stuffing to discern the true representative opinion of a constituency? In the final analysis our customers vote with their pocketbooks, and, for example in the case of the often discussed BMW 7 Series, it is the best selling 7 of all time. Of course there are thousand of other factors at work, but we are not interested in provocation here, we are dedicated to giving our customers and our shareholders the best products possible, period.

When we talk about designing for emotion, it usually concerns a methodological approach to integrate the emotional impact of design in the design process and try to take this impact into account beforehand. Do you recognize any designing for emotion strategy in the design process at BMW?

That Form Follows Function and also Follows Process should come as no surprise. In the same way an impassionate process can only lead to cold and impassionate results, so our “Emotional Strategy” for product begins with a highly emotional process of creation. We run our designers in competition within their own group and with outside designers, and use resources such as Designworks USA to add a global perspective. Decisions are made at Board level outside and viewing full sized models, everything is discussed, refined, presented, and refined again. And again.
What is false I believe is to try and “strategize emotion”…without understanding of spontaneity, context, or serendipity. What is equally false is to try and design without a orientation, without a framework; randomly. Design needs clear borders to push against, only in that way can it be strengthened. And sometimes you wind up moving some borders…that too must be allowed.


Cars are always a great example for comparing the relationships we have with products and brands to the relationship we have with real people. You have stated once that cars are just like people: Some you want to get close to and discover more over time, and with some you just prefer to keep it superficial.
I have always found these types of comparisons a bit vague. Is there a way to explain why it is more likely that we will feel more intimate with a Z4 than with an Opel Astra? Isn’t this just because we look better in it (for the neighbours) or is there more to it?

If you think that is vague, I can only say, welcome to the world of Design Meets Semantics. Pictures (our business) say a thousand words (your business), so don’t be surprised if the 1000:1 efficiency we have over you leaves your word count short. Explanations are great time fillers between experiences, but I doubt embraced in a passionate kiss or terrified on a rollercoaster has much attention left over to dedicate to the narrative in the background. But if you must fill YOUR word count, I would suggest first reading Sir Kenneth Clark’s The Nude and substituting the term “Car” for “Nude”…in about 5 chapters you will know all about Z4s and how they break away from the world of the everyday.

You have said that the Z4 marked a turning point in car design, away from pure rationalism into rationalism-based emotionalism. Could you explain what this means and why especially the Z4 initiated this turn?

To be fair perhaps it was our Concept Car, the X Coupe, from 2001, that really was the turning point. One way to consider the change it heralded is to look at a detail like the door openers inside the car…sounds pretty insignificant, don’t you think? But until this car came along forms, particularly technical forms like handles, were created following formal rules and vocabularies from the Great Age of Modernism…in short, within the limits of the geometries of the Twenties. That is why you used to see so much knurled aluminium, because the lathe was one of the Machine Age standards back then used to break away from the naturalistic shapes of Art Neveu and other humanistic styles that came before. But we live in the Digital age, which means that 5-Axis milling is more representative of our times than a lathe. Look at the shapes of the X Coupe, starting with the door openers and going out all the way to the exterior (asymmetry and all) of the exterior…do you see the free flow of surface pulled into tension over the spline ridges? This is definitely only possible by profiting from what “5-Axis Freedom of Expression”? can bring to your mind, even better if the forms were worked (as in the case of the body) by the hands of men. In fact, that is the way it flowed, from the hands of our modellers into the computer generated surfaces and then back in wonderfully intensifying loops. Computer Surfaces have their place, but the Formal Vocabularies we are talking about here have nothing to do with the computer. The Greeks could have carved them. But with the computer we have a fantastic enabler in our hands that has lain dormant due to the conservative pressure of Modernist Geometries on our imaginations. In this sense, as usual, the architects were way ahead of us.

But back to the cars. The Z4 was the precursor to all this, but because of the rythm of Show Cars to Production Cars the X Coupe was seen first. Look at the crossing of splines through the car, implying a sub structure at work, a skeleton on the move pulling the skin into tension. Notice the diagonal of the extended A Pillar with a shockingly geometric side marker smack in the middle holding the emblem; a gesture in metal that evokes all of the concentrated energy of the grill air-outled without the questionableness of a plugged hole and chromed ribs. Graphic by Formal Intonation…very new. The sensuous flow of the shoulders and hips of the classic roadster and the perfect proportions of true roadsters is all there to be seen in the Z4, but with a modern flair that is really unmatched.

I have read that you compared some of the lines in your designs of the later BMW series with the lines in the Guggenheim Museum in Bilbao. Do you often look into other design areas to get inspiration for a new car design?

Understanding comes through such inspirations and observations, and that in turn builds puzzle pieces for later intuitive insights. NOTHING IS UNINTERESTING, NOTHING IS UNIMPORTANT. What was that that Arthur Miller says in Death of a Salesman? “Attention must be paid”? Yes, I take a lot of notes on the world, there WILL be a test afterwards, I am sure

I have received some questions by readers of this website. The most interesting one was by Frank Spillers about i-drive. BMW lost brand recognition from i-drive, a computer-like system, which is used to control most secondary vehicle systems - people didn’t seem to accept it. Usability guru Don Norman even criticized it. Jakob Nielsen said his wife didn’t like it and won’t buy another BMW again. How has BMW recovered from the i-drive and the decision to go with design choices based on sensory overload (tactile-kinaesthetic) vs. a multi-modal interface?

Our customers cover a wide spectrum of experience and expectations, but usually they rely on BMW engineers to “do the right thing”. The fact that all premium manufacturers have some sort of I-Drive probably shows we were on the right track, just ahead of the game. I wouldn’t want a car without it and neither would my wife (I asked), so is this a question about scorecards or about what is the proper way to multitask on the current and future driving environment? Criticism is welcome and feedback is useful, and I guarantee you it will be developed and improved and evolved until it really is near perfect…(how many Amendments does the US Constitution have now, or would you dismiss that innovative document as an incorrect concept?)

Thanks Chris, for your time and the opportunity to have this interview.

 

[B33mEr]

Wow ... chris bangle just blah blah blah and still no direct answer unlike mr. de' silva which i can comprehend and understand his reasoning and philosophical approach in car design. LOL hope this adrian Van Hooydonk does a better job than bangle ....

 

[funfer_fahrer]

Wow ... chris bangle just blah blah blah and still no direct answer unlike mr. de' silva which i can comprehend and understand his reasoning and philosophical approach in car design. LOL hope this adrian Van Hooydonk does a better job than bangle ....

I hope Walter de'Silva becomes the head designer in BMW:top:. It seems like Bangle is more like "kaki goreng" kind of person.

 

[infinityKL]

Silva is doing a good job at the moment, nevertheless Bangles was damn good wt his bimmers....

 

[fire]

would like to see de silva to design the BMW ...next new design by bangle would some kind of predictable design language...when seen it first 5 years ago..it is revolutionary..now look boring..

 

[eau-rouge]

silva is the better designer..just look at Audi la..heheh