Ford Iosis Concept Car

Press Release

Defining a new Design Direction

 

• Unique proportions and design themes define Ford of Europe's new design language
• iosis uses 'kinetic design' to capture visually the energy of the moving vehicle

 

Double pivoting and pillarless door opening system for optimum interior access

Sculptured steering wheel and gear lever encapsulate the functionality and inspired use of materials inside iosis

 

Dramatic, precision, high technology lighting

 

Ford has unveiled the striking iosis concept car – a vehicle that defines an exciting new design direction for Ford of Europe. Building on the style of the Ford SAV Concept shown at the Geneva Motor Show earlier this year, iosis demonstrates Ford's new 'kinetic design' philosophy. The car will debut at the 2005 Frankfurt Motor Show.

 

"iosis is more than just a show car, it is sending a message about how Ford of Europe's future design will be defined,” says Martin Smith, Ford of Europe's Executive Design Director. "It sends a bold message because our future products will be bold."

 

Energy in motion

 

With 'kinetic design', the Ford of Europe design team has embraced the marque’s core values in an expressive, new design language. iosis expresses this language in its ultimate form. Kinetic design visualises Ford's acclaimed driving quality – it expresses energy in motion.

 

The foundation for this new design language is modern vehicle architectures derived from Ford's 'shared technologies' strategy. Designers now have the freedom to develop very different models and designs from these shared component sets. 'iosis' demonstrates how the same component set used for the SAV Concept shown at Geneva can be applied to an entirely different type of vehicle.

 

In the case of iosis this language is applied in its most muscular form as expressed by the full surfaces spanning taut, dynamic feature lines. Strong shoulders supported by sharply defined undercut lines further support this muscular stance.

 

To emphasise the athletic proportions of the body the principal surfaces are precisely sculptured, which is most evident from above when a clearly defined three plane plan view can be identified. At the front this elimination of imprecise rounded forms has the effect of visually shortening the front overhang. Contributing further to these athletic, sculptural forms are the well defined wheelarch lips that have become a familiar Ford design signature since they appeared originally on the Ford Focus.

 

Overlaid on these well defined sculptural forms are clearly recognisable graphic elements. Prominent among these is the distinctive daylight opening area with its characteristic upward tick at the rear. On iosis the new face of Ford is represented by the familiar Ford graphic of an inverted trapezoid air intake, in this case placed below a bold, chromed grille.

 

Strongly drawn lamp graphics at front and rear are further identifiable elements with the headlamps also echoing the upward tick seen in the DLO. The precise detailing of the rear lamps and the chamfered lower corners of the rear glass combine to form another clearly identifiable graphic that defines the rear of the car.

 

This complex surfacing and careful attention to graphic forms contributes to the tense, muscular stance of iosis. This is enhanced by precise detailing that is evident in the jewel-like featuring in the lamps and the wide, strong rocker panels. Exciting, new wheel designs with design cues drawn from the graphic elements seen elsewhere on the car are a final, vital element of the overall 'kinetic design' story. On 'iosis' this feature is expressed in a typically strong way with 20-inch wheels, milled from solid aluminium billets, featuring a contrasting polished and anodised finish that accentuates their three dimensional design.

 

The strong sculptural forms, clearly recognisable graphic elements and fine detailing that are defined so strongly on iosis will be applied in varying ways on all future Ford of Europe models. This 'kinetic design' provides the clearly identifiable form language that will enable Ford to drive towards design leadership.

 

Dramatic inside

 

The interior design of iosis follows the dramatic themes of the exterior, while retaining an inviting ambience. The unique angled pivoting door arrangement gives complete, uninterrupted access to the interior, and ensures there is an instant visual link between the interior and exterior.

 

All the sections from the instrument panel through to the centre stack and through to the console reflect the dramatic forms of the exterior. The instrument panel itself is a slim and complex form that sweeps around the front occupants of the vehicle.

 

These forms are complemented by a selection of trim materials and colours that interprets the dynamic sporty exterior in a particularly modern way. By combining futuristic materials such as rubber and aluminium with luxurious materials, like leather, an ambience has been created that matches a technical character with sophistication.

 

An ultra modern steering wheel fashioned from solid aluminium with contrasting orange glove leather grips and a graphite metallic leather airbag pad is matched by the Focus World Rally Car inspired sequential gear shifter.

 

Together they embody all the themes running through the interior: contemporary craftsmanship, high quality materials and a touch of surprise-and-delight technology, with the starter button mounted beneath a flip lid on top of the shifter.

 

The driver's cockpit is dominated by a prominent instrument binnacle housing a cluster of analogue instruments. Their chronograph precision is balanced by a high definition LCD display, reconfigurable for the navigation system or views from three rearward facing cameras.

 

Eye-catching seats with skeletal frames featuring a ribcage and vertebrae structure are fashioned from aluminium and formed rubber. Separating the front seats is a 'flying bridge' centre console. The air vents featured on the facia and the centre console have a twist control that unfurls the vanes in a way that mimics those of a jet fighter’s afterburners. This imagery of a jet’s thrust is highlighted in the doors by aluminium inserts which flow and taper away from the vents.

 

Neoprene is used extensively in the interior finishing in three colours: dark charcoal, "oxygen" - a metallic grey - and a strong shade of technical orange. There is also a unique leather finish that has a subtle, graphite metallic look. For the floor, conventional carpeting has been replaced with a more rugged, structured weave with technical silver highlights.

 

Innovation

 

iosis features a number of design innovations. The dramatic angled pivoting door arrangement features doors constructed from carbon fibre for lightness. The doors are powered by rams that swing them upwards and outwards via a system of sophisticated hinges that ensure additional support isn’t required when the doors are open.

 

There are no conventional door mirrors on iosis. Mounted in the rear valance is a camera to complement those on each door . The exterior cameras are pieces of precisely machined aluminium, swept back to further underline the car’s visual appearance.

 

The front lamps have an inner circular turning led for low beam with a vertical day time running light, separating it from the turn signal on the outer edge. Beneath these lighting elements are ten main beam leds, emerging when lit from tubes like a series of lasers. This look is echoed in the rear light cluster with tail lights organised in a circle with a flattened top, flanked to the outside by the indicators and inboard by the stop lights.

 

Inside iosis, the centre stack houses docking points for a pair of memory sticks. It is possible that rather than using a conventional key or even keyless entry, a memory stick could be used that as well as acting as a security device, would also contain the driver’s personal preferences for driving position, audio settings, screen configuration, etc.

 

Another surprising feature of the interior is the extensive use of electroluminescent foil to illuminate the doors and ceiling. In addition to being very package-friendly, it emits a gentle, even light and can be cut into any shape.

 

"Ford of Europe is acknowledged as being a leader in driving dynamics, and amongst the best for craftsmanship as well as being affordable and reliable. These are all attributes our customers associate with Ford. Now we are targeting compelling, emotional design," said Smith. "iosis sends a message that Ford is serious about design leadership."

 

iosis will make its world debut on the Ford stand at the IAA Frankfurt Motor Show, which opens to the public on September 15 th 2005.

Foreword

 

At the 2005 Geneva Show, when Ford unveiled the SAV Concept, we lifted a corner of the curtain that concealed Ford of Europe's future design strategy.

 

Now we are pulling that curtain further back.

 

In Europe Ford products are acknowledged for their class leading driving dynamics. Our objective is to express these dynamic driving capabilities in our design. We are calling this new language Ford 'kinetic' design, because we believe it expresses energy in motion.

 

This is a step change for us, and one that we believe deserved a special vehicle to express it.

In unveiling iosis *, we're bringing together all of the elements of this new design language into one concept vehicle. This vehicle represents not so much a new chapter, but a new book for Ford of Europe. Get used to this – it is our future.

 

We want this design language to make our cars irresistible for customers, so that they turn heads when driven down streets. Not because they're extravagant but, because they're the best-looking cars in their class.

 

L.W.K. Booth
Chairman and CEO
Ford of Europe
August 2005

* iosis : An alchemic term referring to the final stage of the transformation of base metal into gold.

The design strategy: the thinking behind iosis

 

• The vision of the future design DNA for Ford of Europe
• Builds on the design themes expressed by the SAV concept in Geneva
• Uses kinetic design to capture visually the energy of the moving vehicle

 

iosis is a design vision building on some of the ideas first expressed by the Ford SAV concept car at the 2005 Geneva Motor Show.

 

Effectively, iosis embodies all the elements of the future design of European Fords. Not all of the references will be taken up by every product, but there are a number of core genes that will feature strongly in coming years.

 

"iosis is more than just a show car, it is sending a message about how Ford of Europe's future design will be redefined,” says Martin Smith, Ford of Europe's Executive Design Director. "It sends a bold message because that is the way we are going."

 

Every car company has identifiable generations of vehicles and Martin Smith has been tasked with developing the next generation of vehicles for Ford of Europe. When he arrived at Ford last year, Smith recognised that Ford's leadership in driving quality needed to be reflected in the product's emotional and visual appeal.

 

"There is gathering evidence from the reception for the SAV Concept that we are heading in the right direction," said Smith.

 

He continued: “Ford of Europe is acknowledged as being a leader in dynamics and amongst the best for craftsmanship as well as being affordable and reliable, now we are targeting design. iosis sends the message that Ford is driving for design leadership ."

 

A show like Frankfurt is a global stage for the motor industry, it is the biggest event of its kind in the world, and as such it's a wonderful platform for us to show the public and industry that Ford of Europe is entering a new design era.

 

What we're doing is visualising the dynamic qualities of the Ford brand. We are defining this as Ford kinetic design and when you look at iosis you can see that it visualises energy in motion. Kinetic design defines the DNA that will drive us towards design leadership.

 

The design process: a coming together of tradition and technology

 

It is heartening to see two young men, one English one Italian, with barely an understanding of each other's language, together fashioning a cardboard template for the iosis ceiling light display.

In an age when the microchip dominates every aspect of our lives, here were two individuals who could communicate their ideas to each other with the swish of a felt tip pen and the snip of a pair of scissors.

 

Pinned up around the walls of the coachbuilder's studio in Turin, Italy, were hand renderings of what the iosis design team visualised for their show car. Occasionally, you would see a craftsman with an unfinished component in hand, welds still visible, wander over and check the work against a design sketch and then return to their bench and continue the painstaking task of hand finishing the part to perfection.

 

In another shop close by, the same dedicated skill is being applied to the interior trim and materials.

 

Ford produces cars by the thousand each day, the manufacturing process meticulously monitored by computers. But when it comes to concept vehicles, the design team reverts to skills and knowledge handed down through generations.

 

Stefan Lamm, Ford of Europe's Chief Designer for Exteriors said: “That's not to say we don't make use of Computer Aided Design or Computer Aided Engineering. We do, but in the right place at the right time.

 

iosis started life as a series of free hand renderings by Ford of Europe exterior designer Andrea di Buduo, following briefings from Martin Smith. Working together with Domenico Tonello and Stefan Lamm, the team quickly refined the design to express Ford of Europe's new design DNA.

Simultaneously, a design team under Nikolaus Vidakovic comprised of Ernst Reim and Tony Peat were developing a similar theme for the interior. Meanwhile the Colour and Trim team led by Ruth Pauli, and including Silke Welskopp and Laura Blossfeld, produced a colour and materials concept .

 

Once the themes had been set, the design was honed using computer aided imaging to then present a proposal to senior Ford of Europe management.

 

The final computer imaging of iosis was the tool used to move into the next stage of 3D model development. Once the Photoshop image has been finessed and a finished design agreed, it was subjected to software called Alias that roughly maps the surface so that a basic clay model can be machined.

 

Over the following six weeks, modellers carefully and painstakingly carved the clay into the final shape.

 

"This process," says Smith "is probably the most important during the gestation of a car's design."

Highly skilled Ford modellers are able to create this complex form. Computer-driven modelling is important but machines don't have the human touch, the experience and skill to appreciate the subtle nuances in design. The optimum and most efficient work stream is a combination of computer modelling and human skills.

After the clay is finished it is digitised using an automated process that measures the car's entire surface with pinpoint accuracy. That scanned data is then transmitted to the coachbuilder, in this case Modarte in Turin, who uses it to mill the master model. Even then, the process isn't finished and a further two or three weeks is devoted to honing each section by hand to perfection. After that moulds are produced from the master model and the body panels for the final bodyshell are created.

 

Details like the front and rear lamp assemblies, grille, exhausts and wheels – which are animated so the designers can see what they look like in 3D – are produced in Alias before mock ups are made to ensure they all neatly fit together. The technology of using 3D images full size on a video 'Powerwall' is often used to check the final design.

 

Then it's back to Modarte's workshop, a hive of frenetic activity as skilled machinists, metal workers, trimmers steadily work away at transforming iosis from a series of marker pen sketches to a stunning show car.

Exterior design development: a saloon that thinks it's a coupe

 

Unique proportions and a stunningly original design define Ford of Europe's new design language

An original double pivoting and pillarless door opening system for optimum interior access

Dramatic, precision, high technology lighting

 

Cameras replace rear view mirrors to offer unparalleled all-round visibility

This car represents a vision of the future for Ford's design direction. It will send a very clear message that the SAV Concept shown at Geneva 2005 was the first step forward in an exciting journey for Ford design. iosis is the design statement that defines the future of the Ford brand in Europe .

 

Martin Smith, Ford of Europe 's Executive Design Director

 

iosis is an exciting blend of four-seater saloon configuration encapsulated within a muscular coupe profile that is unique within its size and class.

 

This startling new design theme penned by a team led by Chief Designer Exteriors, Stefan Lamm and including Domenico ‘Nico' Tonello (Design Manager, Exterior Design) and Andrea di Buduo (Designer), showcases elements that will influence a new generation of Ford products.

 

The current generation of Ford products are contemporary, modern designs that demonstrate great build quality and fine execution. We are using that basis to create the next generation of vehicles,” explains Lamm.

 

But, he says, we only have to look at what is happening in design away from the automotive industry such as interior design, architecture, media and other fields to see the cautious direction that dominated towards the end of the last century is now being abandoned for designs that are more experimental and dramatic, “Maybe it has to do with the start of a new millennium,” he suggests.

 

The challenge that faced Lamm and his team was to develop a new form language based on sound Ford core values, reinterpreting these elements in a bold, fresh and contemporary manner.

With both Smith and Lamm relatively new to Ford, both men had to immerse themselves in the marque's core values as Martin Smith explains: Ford has been producing vehicles which are great fun to drive and set the bench mark in driving dynamics, the best gear change, quickest steering and superb handling but you don't know that until you get into them. Our task was to create compelling design that harnesses this energy in motion and visualises it.

 

Lamm takes up the theme: At Ford we need to demonstrate the design spirit of the vehicle with an expressive, new language."

 

The forms will be more distinctive and emotional, more athletic, more muscular. Equally, we have to combine safety and dynamic performance and still keep the brand identity of the Blue Oval.”

Smith and his team had to quickly identify the graphic elements that are recognised key signatures of Ford design. Some of those were first seen in the SAV Concept and have been further developed by the team for iosis.

 

Foremost amongst those key DNA elements is what the design team refers to as the ‘inverse trapezoid' air intake below the premium chromed grille.

 

Together the upper and lower grille graphic represent the new face of Ford,” says Tonello.

Design elements familiar from racing cars have been used on iosis . Walk round the car and its muscular profile draws it into the tarmac like a sprinter poised on his fingertips in the blocks, fingers straining, muscles coiled, tense with anticipation for the starting gun.

 

The iosis has great stance, it is powerful, assertive, confident and it just cries out to be driven:

That's kinetic design, it's energy in motion says Smith, and it's unique to Ford.

 

A further element that was considered an imperative by the team is the further development of the well defined wheelarch lip originally seen on Focus in 1998.

 

Beyond that, the team wanted to give iosis a more three-dimensional form language with a greater sculptural feeling to the body and a dramatic plan view. This last feature is most evident from above, of course, but it also serves to shorten the front visual overhang.

 

Elements that create this new expressive design language include the strong shoulder, which is supported by a dynamic undercut line running the length of the vehicle. The strength of the shoulder is complemented by the visual strength of the rocker panel, which itself balances the bold graphics of the Day Light Opening (DLO) graphic.

 

The inverted trapezoid motif is echoed throughout the exterior and interior of iosis, either in complete, exaggerated or partial form creating a unique design signature for the next generation of Blue Oval products. It is not difficult, for instance, to spot this feature in the 20-inch wheels, milled from solid aluminium billets, with their contrasting polished and anodised finish that accentuates their 3-D design.

 

Another recurring design theme is the kick-up in the DLO at the ‘C' post, which is echoed in the headlamp design. It is also reminiscent of the kick-up in the hood itself that raises the upper surface to give sufficient clearance from engine hard points below. This ridge then continues along the ‘A' post and cant rail before terminating in dramatic cat's eye style rear light clusters.

 

One of the most dramatic perspectives of the vehicle is when viewed from the rear three-quarter where the interplay of the chamfered edge of the rear window and the matching form of the tail lamps provides an immediately recognisable graphic with the shape of the exhausts completing the picture. It is this complex surfacing and precise attention to detail that gives iosis its tense, muscular stance.

 

Ford's growing reputation for craftsmanship, quality and attention to detail is further enhanced and developed in iosis and, especially, in the lights which are carefully crafted pieces of automotive jewellery mounted in milled aluminium structures.

 

The front lamps have an inner circular turning LED for low beam with a vertical day time running light, separating it from the turn signal on the outer edge and beneath all of that ten main beam LEDs, emerging when lit from tubes like a series of lasers.

 

The theme is echoed in the rear light cluster with its new design of tail lights employing a circle with a flattened top, flanked to the outside by the indicators and inboard by the stop lights. In addition to the obligatory high mounted stop lamp, there's an additional series of LEDs running above the venturi that automatically increase in intensity according to weather visibility or the driver's braking effort.

 

Advanced technology where it's used on iosis is practical and realistic. Mounted in the rear valance is a camera to complement those on each door that replace conventional mirrors. By using three cameras the driver is assured of a complete rearward view to augment the interior mirror. The exterior cameras are pieces of precisely machined aluminium, swept back to further underline the car's visual athleticism and appearance.

 

A particularly dramatic aspect of iosis is its angled pivoting door arrangement that gives complete, uninterrupted access to the interior. Constructed from F1-style carbon fibre for lightness, the doors are powered by ram motors that swing them upwards and outwards from the A and C posts via a system of sophisticated hinges that ensure additional support isn't required when the doors are open. For structural integrity and safety the rear door pegs into the cant rail and sill to provide the B post and can only be operated once the front door is open.

Interior design development: high tech looks combined with real world practicality

 

• Interior design complements and expands on the exterior design themes
• Technical character is combined with sophisticated design and materials
• Steering wheel and gear lever encapsulate the functionality and the inspired use of materials inside iosis

 

We know that design is a prime motivator when it comes to buying a car. You have to keep pushing forward within the bounds of good taste. The absence of the B pillars typifies this approach in iosis; it gives a spectacular view of the interior when the doors are open.

 

Martin Smith, Ford of Europe Executive Design Director

 

Under the overall direction of Nikolaus Vidakovic, Chief Designer Interiors and Ruth Pauli Chief Designer Colour and Trim, a dramatic and futuristic interior has been created for iosis that is totally in keeping with the car's exterior.

 

The interior follows the same direction as the exterior design, says Vidakovic, but it can only follow that to a certain point: a car interior must always have an inviting ambience.

 

For interior designers Ernst Reim and Tony Peat the exterior proved a strong stimulus: The most dominant aspect for me is the stance and proportion and the overall sense of dynamism, both sporting and muscular," said Peat.

 

We needed to get a lot of that surface language into the interior. Often the exterior and interior can be quite separate with different form languages. But because of the way the doors open on iosis there had to be an instant visual link between the interior and exterior.

 

It was a similar process that led Ruth Pauli and her colour and trim designers Silke Welskopp and Laura Blossfeld to employ distinctive materials for iosis.

 

However, as she explains other factors outside the motor industry played a pivotal role in the choice of trim materials and colours: There's a need to interpret the dynamic sporty exterior in a very modern way," said Pauli. "The vital thing was to connect futuristic materials with sophisticated materials; there are very technical materials like rubber combined with leather, combined with neoprene and high quality aluminium components. The ambience we wanted to create was a combination of a technical character with sophistication.

 

Tony Peat wanted to create a light, airy interior through the subtle use of structures and materials, whilst emphasising the driver orientation, Ford cars are appreciated as being driver oriented and we wanted to focus in on that, he says.

 

The interior team wanted the driver to be enticed by the interior as the doors swung open. Immediately apparent is the ultra modern steering wheel fashioned from solid aluminium with contrasting orange glove leather grips and a black leather airbag pad.

 

Both Pauli and Peat are proud of the 'futuristic, aircraft fighter meets sportsbike' design cues : Pauli has worked in the aircraft industry and Peat is a self-confessed 'bike enthusiast'.

 

The best example of this approach is in the Focus World Rally Car inspired sequential gear shifter, just a hand span from the steering wheel. Beautifully crafted from solid aluminium and finished in a unique anodised soft warm brown-grey with orange leather it embodies all the themes running through the interior: contemporary craftsmanship, high quality materials and a touch of surprise and delight technology with the starter button mounted beneath a flip lid on top of the shifter.

 

Ahead of the driver is a simple instrument binnacle, featuring counterbalanced needles as in a high quality chronometer. Between the dials is a high definition LCD display for navigation or to display views from the three rearward facing cameras.

 

Vidakovic describes the centre stack as the car's art gallery, housing auxiliary switchgear that can be used in conjunction with, or instead of, touch screen controls for navigation, in-car entertainment or air-conditioning controls.

 

The centre stack also houses docking points for a pair of memory sticks. It is possible in the future that rather than using a conventional key or even keyless entry, a memory stick would be used. As well as acting as a security device, it would also contain the driver's personal preferences for radio stations, routes, screen configuration, even driving preferences.

 

All the sections from the instrument panel through to the centre stack and through to the console reflect the dramatic forms of the exterior. The instrument panel itself is a slim and complex form that sweeps around the front occupants of the vehicle.

 

The interiors team have developed eye-catching seats, their skeletal frames featuring a ribcage and vertebrae structure fashioned from aluminium and formed rubber. Separating the front seats is a 'flying bridge' centre console housing the electronic parking brake. When viewed from the rear seats the cues drawn from motorcycle design are very evident.

 

The analogy with exhausts is pertinent since the air vents, which have a push-pull control that unfurls the vanes like a petal, were inspired by a jet fighter's afterburners. This imagery of a jet's thrust is highlighted in the doors by aluminium inserts which flow and taper away from the vents.

 

Another surprising feature of the interior is the extensive use of electroluminescent foil to illuminate the doors and ceiling. I n addition to being very package friendly, it emits a gentle, even light and can be cut into any shape, hence the roof pattern reminiscent of Peruvian Nazca geoglyphs.

 

Ruth Pauli was keen to move Ford's use of colours and materials forward by exploring new combinations: I wanted to create an ambience with very technical metals and other finishes in combination with very fresh and crisp modern looking materials. A key image we kept coming back to was of a 'combat swimmer.' As a result, neoprene has been used in a technical orange shade and in dark charcoal featuring the same stitching used on wet suits, especially in touch areas."

 

A unique leather finish has been specially developed for iosis that has a subtle metallic look. It still has a natural grain in a deep charcoal tone and the top surface is picked out with a subtle graphite shade.

 

Other contact areas such as the steering wheel and the shifter combine the stark, cold hardness of bare metal with the peach skin softness of orange glove leather. Whilst the centre stack and console is a combination of leather in their upper portions melding into rubber in the lower section to achieve a distinctive graphic split down to the floor covering.

 

For the floor, conventional carpeting has been replaced with a more rugged, structured weave with technical silver highlights.

 

The interior architecture is quite simple in itself, explains Vidakovic, but its design shines through in its detailed execution and the choice of contrasting materials unusual in automotive applications.

 

Ford of Europe design group: reinforcing a European outlook

 

Martin Smith has restructured Ford of Europe's design group in recognition of the increasing complexity and volume of design work that will be demanded by the developing automotive market place: Ford is a pan-European brand, not German or British, and we want to be recognised as such. My aim is that we will deliver products which will have a distinct European flavour and appeal.

 

Ford's two European design centres are in Merkenich in Germany and Dunton, in the UK. An integrated design management team oversees the design process in the two countries with responsibilities clearly defined.

 

Chris Bird's role as Director of Design Integration and Operations is key in the integration of the role of Stefan Lamm, who leads exterior design across all vehicle lines, and Nikolaus Vidakovic who is the cross-carline interior design lead.

 

Claudio Messale heads up production design and execution, using his design skill and engineering knowledge to maintain the integrity of designs as they are executed in production. Additionally, Ruth Pauli leads colour and trim across all product lines.

 

Supporting the design leadership team is a series of lead designers and design managers responsible for each product line.