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Paris Motor Show 2008 - Highlights
by CDN Team
Ferrari California
The mainstream press reaction to this car has been quite negative, mostly due to the idea of Ferrari offering a Mercedes SL competitor and that somewhat-contrived side feature line. However, once one accepts the concept of a folding hardtop Ferrari, the California actually stands up quite well, offering a balance of versatility and glamour never previously offered by Maranello, with fold-down miniature rear seat squabs and a limited load-through capability. OK, so the rear end is bulbous but it's an inherent part of that roof package, although the impression isn't helped by the unnecessarily deep rear bumper behind the wheel. But there are fresh ideas here too, with two simple red trumpet lamps, stacked twin tailpipes and the DI in the lower dark area either side of the license plate.
Pininfarina have been given full credit for the exterior but we understand they also designed the core theme of the interior, which Ferrari's own design team, led by Donato Coco, have developed for production. Speaking to Pininfarina Chief Designer Lowie Vermeersch, he comments that "from a design point of view the California is less performance-orientated in its form language. It's a more fluid and calm approach and more accessible in its character. There is a hint of romanticism in its design". That more romantic character is seen in the softer surfacing, slightly dated headlamp shape compared to latest Ferraris, and a traditional front grille like the original 250 GTS.
This is the first Ferrari where the interior doesn't need to accommodate an open gearshift gate and the result is the best interior of any current Ferrari. There's a new floating controller for the gearshift modes with an adjacent compact HVAC control pod and integrated digital displays in the instruments.
Finally: that side feature line? Yes, it's contrived, but each new Ferrari has to offer some unique motif along the flank and the surfacing is a lot better than the 612 Scaglietti.
Related Articles:
New Car: Ferrari California
The mainstream press reaction to this car has been quite negative, mostly due to the idea of Ferrari offering a Mercedes SL competitor and that somewhat-contrived side feature line. However, once one accepts the concept of a folding hardtop Ferrari, the California actually stands up quite well, offering a balance of versatility and glamour never previously offered by Maranello, with fold-down miniature rear seat squabs and a limited load-through capability. OK, so the rear end is bulbous but it's an inherent part of that roof package, although the impression isn't helped by the unnecessarily deep rear bumper behind the wheel. But there are fresh ideas here too, with two simple red trumpet lamps, stacked twin tailpipes and the DI in the lower dark area either side of the license plate.
Pininfarina have been given full credit for the exterior but we understand they also designed the core theme of the interior, which Ferrari's own design team, led by Donato Coco, have developed for production. Speaking to Pininfarina Chief Designer Lowie Vermeersch, he comments that "from a design point of view the California is less performance-orientated in its form language. It's a more fluid and calm approach and more accessible in its character. There is a hint of romanticism in its design". That more romantic character is seen in the softer surfacing, slightly dated headlamp shape compared to latest Ferraris, and a traditional front grille like the original 250 GTS.
This is the first Ferrari where the interior doesn't need to accommodate an open gearshift gate and the result is the best interior of any current Ferrari. There's a new floating controller for the gearshift modes with an adjacent compact HVAC control pod and integrated digital displays in the instruments.
Finally: that side feature line? Yes, it's contrived, but each new Ferrari has to offer some unique motif along the flank and the surfacing is a lot better than the 612 Scaglietti.
Related Articles:
New Car: Ferrari California
Toyota Avensis
This is the third generation of the Avensis and one that appears to have hints of shrunken Lexus LS460 about it - maybe not a bad image in these non-ostentatious credit crunch times. Whereas the previous Avensis felt somewhat rotund, especially around the rear end, this one has a more sporty emphasis, demonstrated in the deeper bodyside section, a dynamic shoulderline and generally crisper surfacing. The side view is characterised by a long front overhang, not unlike the current Peugeot 407, but one also notices the fast screen angle and the shoulder line that drops to encircle the front wheel. The front is defined by a clamshell hood that wraps around above the grille (which itself features a new design, with the Toyota emblem integrated in the top chrome bar) and the very deep, slightly cumbersome, headlamps that bulge out from the basic fender surface.
The interior quality is fine, but no longer class-leading - a Golf has a better quality finish, not to mention the Passat CC - and there's no ‘wow factor' that's increasingly demanded in this segment nowadays. On the plus side, we noticed a new silk grain on the IP and door top rolls and a totally flat floor that provides useful space gains for the fifth passenger plus a vast cubby box for front passengers. However, the front seat runners appeared ugly and very prominent from the rear seat and the graphics on the meters look somewhat downmarket too: a Passat or an Insignia have much more ‘design celebration' in this area, for instance.
Overall, the basic propostion of the Avensis - that of a higher quality offering than Ford or Opel - is looking a bit thin as the new Mondeo and Insignia are themselves perfectly fine offerings that can tempt former BMW buyers these days.
This is the third generation of the Avensis and one that appears to have hints of shrunken Lexus LS460 about it - maybe not a bad image in these non-ostentatious credit crunch times. Whereas the previous Avensis felt somewhat rotund, especially around the rear end, this one has a more sporty emphasis, demonstrated in the deeper bodyside section, a dynamic shoulderline and generally crisper surfacing. The side view is characterised by a long front overhang, not unlike the current Peugeot 407, but one also notices the fast screen angle and the shoulder line that drops to encircle the front wheel. The front is defined by a clamshell hood that wraps around above the grille (which itself features a new design, with the Toyota emblem integrated in the top chrome bar) and the very deep, slightly cumbersome, headlamps that bulge out from the basic fender surface.
The interior quality is fine, but no longer class-leading - a Golf has a better quality finish, not to mention the Passat CC - and there's no ‘wow factor' that's increasingly demanded in this segment nowadays. On the plus side, we noticed a new silk grain on the IP and door top rolls and a totally flat floor that provides useful space gains for the fifth passenger plus a vast cubby box for front passengers. However, the front seat runners appeared ugly and very prominent from the rear seat and the graphics on the meters look somewhat downmarket too: a Passat or an Insignia have much more ‘design celebration' in this area, for instance.
Overall, the basic propostion of the Avensis - that of a higher quality offering than Ford or Opel - is looking a bit thin as the new Mondeo and Insignia are themselves perfectly fine offerings that can tempt former BMW buyers these days.
Chevrolet Orlando concept
The Orlando is a new study for a potential crossover 7-seat MPV/SUV based on the new Chevrolet Cruze sedan, also launched at Paris last week. In essence, it could replace the Chevrolet Captiva and Opel Antara and act as a larger sibling to the Zafira compact MPV in some markets. Appearances belie the dimensions however: in the flesh this concept looked much larger and heavier than the 2,760 mm wheelbase would suggest, closer in scale to, say, a Volvo XC90.
Both the Orlando and the Cruze were designed in GM's Korean design studio, under the leadership of Vice President of Design Tae-Wan Kim. The 2-box profile is certainly distinctive: it's almost like a giant version of the new Kia Soul (also from Korea) and thus quite fresh compared to most existing competitors. The flared fender lines and a very wide track also combine to give it a muscular ‘bulldog' appearance, or a 'wheels-out/body-in' stance, according to Kim. The front features Chevrolet's signature twin-port grille and the large, sweeping headlamp housings seen on the Cruze. It also incorporates a concave shoulder line that extends along the body into the faceted tail lights and an unusual development of the front hood into the A-pillar.
The very angular rear end has overtones of the Honda Element, with deep roof rails and a panorama roof that rolls into the rear tailgate glass. Note the incorporation of the Chevrolet ‘bow tie' theme repeated in each tail lamp too.
But overall, we were disappointed with the somewhat crude surfacing and graphics of this Orlando mock-up model. Every shutline is razor straight and every intersection of surfaces has the same minimal radius on it so that the overall effect is that of a ‘first cut' milled Alias model that has yet to go through a modeling refinement stage.
Related Articles:
Who's Where: Tae-Wan Kim
The Orlando is a new study for a potential crossover 7-seat MPV/SUV based on the new Chevrolet Cruze sedan, also launched at Paris last week. In essence, it could replace the Chevrolet Captiva and Opel Antara and act as a larger sibling to the Zafira compact MPV in some markets. Appearances belie the dimensions however: in the flesh this concept looked much larger and heavier than the 2,760 mm wheelbase would suggest, closer in scale to, say, a Volvo XC90.
Both the Orlando and the Cruze were designed in GM's Korean design studio, under the leadership of Vice President of Design Tae-Wan Kim. The 2-box profile is certainly distinctive: it's almost like a giant version of the new Kia Soul (also from Korea) and thus quite fresh compared to most existing competitors. The flared fender lines and a very wide track also combine to give it a muscular ‘bulldog' appearance, or a 'wheels-out/body-in' stance, according to Kim. The front features Chevrolet's signature twin-port grille and the large, sweeping headlamp housings seen on the Cruze. It also incorporates a concave shoulder line that extends along the body into the faceted tail lights and an unusual development of the front hood into the A-pillar.
The very angular rear end has overtones of the Honda Element, with deep roof rails and a panorama roof that rolls into the rear tailgate glass. Note the incorporation of the Chevrolet ‘bow tie' theme repeated in each tail lamp too.
But overall, we were disappointed with the somewhat crude surfacing and graphics of this Orlando mock-up model. Every shutline is razor straight and every intersection of surfaces has the same minimal radius on it so that the overall effect is that of a ‘first cut' milled Alias model that has yet to go through a modeling refinement stage.
Related Articles:
Who's Where: Tae-Wan Kim
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