Inside Auto Design: How People Getting Hit By Cars Has Changed the Shape of Cars

When automotive designers do initial concept sketches, they appear to be freewheeling, loose and expressive. But we all know that in order to translate that collection of lines and curves into an actual car, there’s a lot of back-and-forth with engineers and executives: Will the engine we’ve selected fit? Can we slide the windshield wiper motor this way so that this cowl design looks visually appealing? Does this B-pillar offer enough structure? The practical requirements are so manifold, it seems a miracle that any design elements from the original sketch make it into the finished car at all.

One important factor that helps determine the shape of cars, and which most Americans are probably unaware of, is that each year over 270,000 cars slam into pedestrians and kill them. Governments in Asia and Europe find this statistic unacceptable, and in the first decade of the 2000s began passing laws requiring their native auto manufacturers to design cars that would increase the survival rate of a struck pedestrian.

To understand how this has influenced Asian and European car designs, we must first understand what happens when a car hits a person. Understand that the majority of these accidents occur at relatively low speeds; obviously cities contain the highest concentrations of pedestrians and cars in close proximity, and no car in a city center is traveling at 100 k.p.h. In such low-speed impacts, this is how it goes down:

As you can see, there are really two phases to the accident whereby a pedestrian can sustain injury. The first is the actual impact with the car, and the second is the impact with the ground that happens after they are thrown forward.

Short of devising a method for a car to keep a pedestrian stuck to the hood on impact, there isn’t much a car can do to prevent injuries from that second phase. Plus research showed that 80 percent of deaths came from the first phase of the impact. Watch this clip and you’ll understand:

In that first phase, the pedestrian’s legs are struck by the bumper. People can survive with broken legs. But what did 80 percent of them in was when they then slam their head into the hood of the car. So that’s what the automakers, prodded by legislation, began to focus on.

The sheet metal that most car hoods are made from is relatively soft and deformable. Smacking a person’s head into it could be survivable. The problem is that just millimeters beneath that soft sheet metal is a solid engine block, and that’s what was cracking people’s heads open. So automakers began designing clearance between the underside of the hood and the top of the engine, leading to “higher hoods and taller noses,” as Car and Driver put it. “But that little bit of air over the intake manifold ripples through and changes everything” with regards to the shape of the car:

1. A minimum of 20 mm (0.8 inch) of clearance is required between the underside of the hood and the highest part of the engine or any other hard point such as the windshield-wiper motor or the HVAC plenum. This raises not only the front of the hood but also its trailing edge by at least 0.8 inch.

2. With the rear edge of the hood elevated, the entire cowl must be raised a like amount—or a bit more if the designers want a wedge-shaped profile. This moves the windshield base and the dash higher as well.

3. A taller cowl and dash force the front seats to be raised for visibility.

4. With people sitting higher in the car, the roof goes up to maintain headroom.

5. Now that the roof is higher, the beltline (the base of the side windows) has to be lifted to keep the car from looking bubbleheaded.

6. The higher beltline adds sheetmetal above the rear-wheel openings, reducing the wheel-to-body ratio.

7. Would you believe that pedestrian protection influences wheel sizes? With wheel openings relatively smaller than those on cars made before the regs, the 245/50-18s on, say, a base BMW 7-series don’t look very big at all. The solution has been to fit 19- and 20-inch wheel/tire packages to replicate more attractive proportions.

Some cars have shorter hoods, and in those instances, a taller pedestrian can die by smacking his or her hood on the windshield or even the A-pillar. 

Obviously windshields must be made strong enough to protect the car’s occupants from projectiles, and the A-pillars must be kept stiff to protect the occupants in the event of a rollover. How can they be made soft enough to not crack a pedestrian’s skull open? They can’t. So to solve that problem, Volvo designed an external airbag. Sensors in the front of the car detect when they have hit something, and a small explosive charge raises the rear of the hood and deploys a protective U-shaped airbag:

Other automakers like Jaguar, Lexus and Citroen have similar systems that use charges to raise the hood in a crash (but do not feature external airbags), and Hyundai is developing a system that does the same via a pivoting hinge, as seen below.

Of course, sensible engineers realize that it would be better if pedestrians were never hit by cars in the first place. Thus many automakers continue to develop systems like Volvo’s City Safety Technology, which uses sensors to detect pedestrians and cyclists ahead and automatically slams on the brakes if they step or swerve in front of you.

If autonomous cars do indeed become widespread and accidents become a non-issue, it’s possible we’ll see a return to the low-slung car forms of the ’70s, ’80s and ’90s.

Earlier I’d written that “most Americans are probably unaware of” cars being designed to protect pedestrians. That’s because ten years ago, when pedestrian safety design features began gaining traction in Europe, Japan and Korea, America’s NHTSA offered evasive excuses for why they were not interested in pursuing such legislation here. As journalist Martin Schwoerer wrote at the time,

In a phone interview, a NHTSA (National Highway Traffic Safety Administration) spokesman told me that America’s vehicle mix-– more trucks and SUVs— isn’t as conducive to pedestrian-friendly technology as cars in the Eurozone. NHTSA research suggests that there are unexplored trade-offs involved. “You can make a car front better for children, but then it may get worse for adults.” Why not publish pedestrian-safety ratings and let the consumer decide? “Again, we don’t think you can find a one-size-fits-all solution.”

According to Prof. Florian Kramer at Germany’s Dresden Technical University, those are weak arguments. “Of course it is difficult, but in constructing cars, everything is a compromise,” he says. “The point is, there is very much room for improving the pedestrian-safety of cars.”

A Closer Look at That Redesigned Johnnie Walker Bottle in "Blade Runner 2049"

I finally caught Blade Runner 2049 over the weekend, and it was fantastic, a true successor the original. It’s underperforming at the box office due to business reasons that have nothing to do with its high quality. If you haven’t seen it, check it out before it disappears; this is one that you really need to see on the big screen.

Blade Runner is one of those rare franchises where the product placement doesn’t bother me, and part of the fun this time ’round was seeing which brands have survived in this alternative version of our future: Atari, Pan-Am, Sony–that one being no surprise as they own Columbia Pictures, which produced the movie–and K’s spinner is a Peugeot.

My favorite brand appearance of all was Johnnie Walker. I’m triple-biased as I like the Blade Runner universe, I used to work in structural package design (i.e. bottles) and I loves me some Johnnie Black.

Fans of the original will remember that both Deckard and his supervisor Bryant are seen swilling from futuristic bottles of Black Label, the giveaway being the distinctive diagonal label.

Now we see that thirty years later Deckard is still drinking the same booze, but the bottle design has gotten a nifty redesign:

I had to look these up. Alcohol industry trade magazine Beverage Media reports that Diageo actually made 39,000 of the funky bottles, filled them with a stronger 98-proof blend (the regular stuff is 80-proof), and started selling them this month for $90.

Of course, exactly what you’d think would happen has happened: A bunch of jerks have bought every one of these bottles they could get their hands on, and are now hawking them on eBay for double the price. And this jerk right here is selling his for $178.18–empty. The nerve!

Buy: Action Book

Action Book


Designed by the team at Behance and based on the Action Method (which is, in essence, breaking down projects into their primary components), the Action Book is more than a typical notepad. Sections exist on each page for dates, times and notes, but……

Continue Reading…

Interview: Ivy Ross, Google’s Head of Hardware Design: How the former head of Glass is turning the company into a product design powerhouse

Interview: Ivy Ross, Google’s Head of Hardware Design

In her role as VP of Hardware Design at Google, Ivy Ross brings creative expertise in everything from fashion and jewelry to toys and art and even sound healing and Mien Shiang (the Chinese art of face-reading). She dropped out of college right before……

Continue Reading…

Less-is-More Beauty Products: With fewer than 10 ingredients, these potions are pared-back but luxurious

Less-is-More Beauty Products


While many equate luxury with opulence, this isn’t oftentimes the case. The beauty industry has long been one of excess—not only in terms of the number of products available, but also regarding the ingredients. Recently though, instead of products……

Continue Reading…
googletag.pubads().definePassback(‘1006677/coolhunting_v6_ROS_1x1_tracking’, [[1,1]]).setTargeting(‘CHKeyword’,[‘less_more_beauty_products’]).display();

JamesPlumb creates hand-sculpted lamps from lead and concrete

No two works are the same in JamesPlumb’s new lighting collection, which features crumpled sheets of lead that sit on top of cubed concrete bases.

The London-based studio designed the series of handmade lamps as part of their Studies in Permanence collection, which they devised as a rejection of the  “conventional perfection” that comes with mass-produced objects.

Each lamp features a blocky concrete base, a bulb, and a crumpled piece of lead that has been sculpted by hand.

“We are drawn to objects that cannot be replicated, and to the idea that total permanence cannot be,” the duo told Dezeen.

“In these works, no two pieces of lead will ever be the same shape – it’s this guided unpredictability by the human hand that excites us.”

Each piece of lead was individually patinaed to create unique shades. The duo then rolled the material out into sheets, making it more malleable for sculpting.

This also gives the lead a thin and lightweight appearance, despite it being around four times heavier than its concrete counterpart.

The shadows cast from the bulb is intended to emphasise the differences in two materials – the complex forms emitted from the lead is set against the simple block of shadow from the concrete.

“The lead partly takes on its own personality and agenda, and in these works, we observe and respond to this fluidity,” the designers told Dezeen. “A blend of carefully considered shaping by design, and accidental incident as the lead takes its own paths and folds.”

JamesPlumb’s Studies in Permanence collection reflects the artistic background of both the designers, who studied fine art sculpture at the Wimbledon School of Art.

The collection also includes a sculptural bench, which was showcased by Gallery FUMI and was one of Dezeen’s top picks from the PAD design fair in London earlier this month.

The pair’s previous work includes a limited-edition bench which features antique indigo-dyed fabric and a three-piece suite made by inserting cast concrete seats between the carved frames of a reclaimed sofa and armchairs.

The post JamesPlumb creates hand-sculpted lamps from lead and concrete appeared first on Dezeen.

David Lynch's Twin Peaks sketches inform minimal craft beer packaging

Director David Lynch has collaborated with illustrators Ben Kopp and Keith Shore to design beer can packaging inspired by sketches he created for his cult television show Twin Peaks.

Lynch tasked the Philadelphia-based illustrators with creating “simple” packaging for the beer that was to be sold at this year’s Festival of Disruption – a two-day event in Los Angeles curated by the director.

Twin Peaks beer for Mikkeller by Ben Kopp and Keith Shore

Using drawings that Lynch had originally created for merchandise, the pair came up with three designs based on specific themes from the Twin Peaks series.

Twin Peaks premiered in 1990, and – although it was cancelled – went on to gain a cult following, and even made a comeback earlier this year.

The series is set in the fictional town of Twin Peaks, Washington and follows an investigation headed by FBI agent Dale Cooper, played by Kyle MacLachlan, into the murder of homecoming queen Laura Palmer, played by Sheryl Lee.

Twin Peaks beer for Mikkeller by Ben Kopp and Keith Shore

“As a fan of the series, it was exciting to use these iconic references, but was very important to make each concept clear and impactful,” the designers told Dezeen.

The designers chose not to include character’s faces, but opted for more abstract references instead.

Each of the three brews of beer is represented by a different metallic colour: gold for Log Lady Lager, a reference to Margaret Lanterman’s  “Log Lady” character and her clairvoyant piece of wood; red for Red Room Ale and bronze for Damn Good Coffee Stout.

The hand-drawn illustrations were placed in the centre of each beer can and outlined with matte-black frames. The background features a “drippy” design inspired by patterns found in Lynch’s other personal projects.

Twin Peaks beer for Mikkeller by Ben Kopp and Keith Shore

“Knowing these beers would be limited and collectable, we felt it was important to let the illustrations be front and centre without the interruption of any typography,” they said.

For the small amount of lettering on the information label, the designers used a green-outlined type used in the title sequence of the show.

The ongoing trend for craft beer in the US and Europe has resulted in a number of interesting drinking venues, including a concrete shell transformed with slatted timber screens in east London and a waterfront spot in Stockholm.

The post David Lynch’s Twin Peaks sketches inform minimal craft beer packaging appeared first on Dezeen.

Dezeen Jobs launches free accounts for jobseekers and employers

Our recruitment site Dezeen Jobs has launched improved user accounts for employers and introduced free accounts for jobseekers.

Dezeen Jobs is the world’s most vibrant architecture and design recruitment site, featuring dozens of new jobs each day posted by leading companies around the world.

Using the improved site, jobseekers can now create accounts on Dezeen Jobs and apply for roles directly through the site.

We’ve also introduced new and improved accounts for employers. Recruiters who have created an account can now upload, view, edit, expire or renew their ads with just the click of a button.

Employers will receive a notification when a candidate has applied to their job, and can manage all these applications directly through their account.

Advertisers can now post featured job adverts via their online accounts as well, which gives roles maximum exposure on the site by reaching 60 per cent more candidates.

Create a jobseeker or employer account now ›

We’ve altered our prices slightly to reflect the expanded range of features but the site hasn’t lost its simplicity or ease of use.

Employers can post a 28-day job advert for £150 or at the old price of £100 by opting for a discounted package of five ads at the checkout, while featured jobs are now £300.

“We’ve raised our prices for the first time ever, but we think the enhancements mean we’re still the most cost-effective way of finding staff,” said head of Dezeen Jobs Aisling Cowley.

By tapping into Dezeen’s global audience of over 2.5 million monthly visitors, Dezeen Jobs put recruiters’ adverts in front of a huge international audience.

All jobs are also sent out in the daily email update, while featured jobs will be posted on FacebookTwitter and LinkedIn.

Check out the new and improved Dezeen Jobs site ›

The post Dezeen Jobs launches free accounts for jobseekers and employers appeared first on Dezeen.

David Adjaye named designer of UK Holocaust memorial

British architect David Adjaye has been named the winner of a competition to create the UK’s National Holocaust Memorial in a park near the British houses of parliament in London.

Holocaust memorial winner announced as David Adjaye

Adjaye Associates is working with Ron Arad Architects on the design of the National Holocaust Memorial and Learning Centre, which will be located in Victoria Tower Gardens.

The architects have drawn up plans for ground-level memorial with a subterranean learning centre. Their team also includes landscape architects Gustafson Porter + Bowman, Plan A and lighting specialist DHA Designs.

Holocaust memorial winner announced as David Adjaye

The competition was launched by the UK Holocaust Memorial Foundation to commemorate the six million Jewish people murdered during the Holocaust, and to all other victims of Nazi persecution.

Holocaust memorial winner announced as David Adjaye

The team saw off competition from nine others: Zaha Hadid Architects with British-Indian artist Anish KapoorCaruso St John Architects with British artists Marcus Taylor and Rachel Whiteread; Foster + Partners with Israeli artist Michal Rovner; David Morley Architects and Finnish firm Lahdelma & Mahlamäki ArchitectsHaptic Architects and New York-based Studio LibeskindJohn McAslan + Partners and US firm MASS Design Group; Irish architects Heneghan Peng; US practice Allied Works; and Canadian studio Diamond Schmitt Architects.

Holocaust memorial winner announced as David Adjaye

The winning design was selected following a public consultation by a panel of 13 jurors including London mayor Sadiq Khan, broadcaster Peter Bazalgette, Design Council CEO Sarah Weir, V&A director Tristram Hunt, and holocaust survivor Ben Helfgott.

Holocaust memorial winner announced as David Adjaye

“This unique and immersive memorial is not just for Londoners, but for the whole UK.  It will ensure the horrors of the Holocaust are never forgotten and will stand as a powerful reminder to future generations about the fragility of peace,” said Khan.

“The bold and sensitive collaboration between architecture, landscape architecture, art and design from such a multi-faceted and award-winning team truly captured our attention,” added Weir.

“But also the seriousness with which the team approached the brief and the responsibility they saw they had to carry the messages from this terrible history on to the generations to come,” she continued. “Sir David Adjaye described the core of their concept during the interviews as being ‘architecture as emotion’.”

Holocaust memorial winner announced as David Adjaye

David Adjaye and Ron Arad’s firms previously collaborated on a design for Canada’s National Holocaust Monument, but lost out to a proposal by Daniel Libeskind, which has just completed.

The post David Adjaye named designer of UK Holocaust memorial appeared first on Dezeen.

Recycling Never Felt So Good

I admire the Nook chair not only for its superb style but also its story. It contrasting shell is made of a felt material manufactured from recycled plastic bottles. This PET felt is both soft and strong as well as recycled and recyclable. At a magnified level, each is different from the next with its own unique origins and each can be customized down to the last detail. As simple as it is a statement piece, this one’s a classic in the making.

Designer: Johan van Hengel for De Vorm

nook_furniture_05

nook_furniture_10

nook_furniture_11

nook_furniture_12

nook_furniture_06

nook_furniture_07

nook_furniture_08

nook_furniture_09

nook_furniture_01

nook_furniture_02

nook_furniture_03

nook_furniture_04