Don’t play safe, be mischievous!
Reform in the
Design Studio
Don’t play safe, be mischievous!
Reform in the
Design Studio
Since its release in September, the new Fit subcompact has been on a winning streak. One reason is
its innovative design, which marks a clear departure from that of the previous model. The design is
the product of recent reforms by the Automobile R&D Center's (HGW) Design Studio when it focused
on providing increased direction and developing on-site capabilities—and of the brave associates
who overcame conflict in the process. But the heroic untold story of the new Fit's development is
only a prelude to the changes that are yet to come. In an age when automakers gravitate toward
smart, conservative designs, what should Honda do to perpetuate its playful, sometimes rebellious,
nature? The search for an answer is underway. By starting with the reforms that have already taken
place in the Design Studio, we will try to identify the direction Honda should head.
Discussion
The beginning of reform—and its ultimate end
We talked with the Global Creative Directors (GCDs), who oversee everything related to design in Honda, and the PL who was in
charge of design development for the new Fit.
Smart design forcused during the financial crisis
The collapse of Lehman Brothers in 2008 precipitated a wave of bad
news for Honda, such as its withdrawal from F1 and a drop in new
model sales. During that time, Honda shifted from an attitude that
placed value on free and creative thinking to one that emphasized
smart, efficient design. What was happening in the Design Studio at
the time?
Asahi: Honda's primary focus was on smart manufacturing that valued
efficiency. It's what we needed then and it wasn't the wrong decision
on Honda's part, but it also made it harder for designers to create
novel products. We also had a complex decision-making process that
required getting a design through several review meetings before
being approved, and that just made things worse. The ideal attitude for
a designer is to say, "I want to keep this aspect no matter what," and
to fight against budget and time to keep it, but we got busy holding
meetings and doing paperwork and, before we realized, work had
become just a routine. In other words, we lost our creativity. Projects
moved forward as we anticipated, but that kept us from creating
amazing products.
Minami: In a way, it's as if we developed a habit of simply creating
"smar t " d e sign s t hat got go o d gra d e s . We wer e t alente d a s
businessmen, but our talent as designers became questionable. A
designer needs to be like a wild animal, something that doesn't listen
to what it's told and just does things based on instinct. In the Design
Studio, we often use a phrase that means "behind the screen," which
gets at what I'm talking about. It means to develop designs in secret,
or separate from official projects. There have been numerous examples
in the past of such secret designs being adopted and creating a hit
product. But the way we were headed, we were only becoming "yesmen" (to never argue with our bosses.). That's when I started to panic,
because I felt we were losing our ability to design the cars that even
we felt we wanted.
Back to Square One, With One Goal in MindTo be the World’s Number One
In September 2011, the Design Studio came to a turning point.
As part of its brand strategy, Honda created the Creative Director
position (changed to GCD in April 2012) for making design-related
decisions that applied to all new models. Toshinobu Minami assumed
the role as director of exterior design, and Yoshinori Asahi as director
of interior design. Meanwhile, Yoshikazu Kigoshi became the new
General Manager of the Design Studio, and submitted a proposal
to Automobile Operations to change the decision-making process
for design development. The result was a simpler review process
that concentrated authority to the GCDs and required final designs
to be approved only by Toshihiko Nonaka, General Manager of the
Automobile R&D Center.
As greater direction was pursued through these reforms, Minami
and Asahi set out with firm determination to transform Honda design
starting with the new Fit.
Murakawa: We started developing the new Fit right after the New
Year in 2011. Our initial design kept all the defining qualities of the
original Fit but added a stronger image for a more global market. All
we had left to do was make small adjustments based on production
technologies, when . . .
Asahi: When Minami and I slammed on the brakes. We asked, "Is it
really okay just to be better than the current Fit? Shouldn't we be
aiming to build the world's best subcompact car?"
Minami: Development teams have their hands full just doing their jobs
day to day, so it's hard for them to assess what they do from a larger
context.
Murakawa: The Fit was especially demanding in terms of cost. We were
very focused on clearing those hurdles.
Asahi: In any case, we applied the brakes just when the project was
in its final stretch, so the other designers and members on-site didn't
know what to do with themselves.
Kitajima : Seriously, I was so stunned I actually fell backwards
[laughing].
Minami: We can laugh and talk about it now, but it was clear to
everyone that the designers were stressed both physically and
emotionally, so even I agonized over it. I thought, "There's no way we
could this to them," while at the same time getting excited, because
interesting things happen when there's no precedent. It's like I had an
angel and a devil whispering in my ears [laughing].
Kitajima: I personally didn't feel like I had made any compromises
up to that point, and I enjoyed the development process. But I knew
based on past experience that good things always happen when you
redo a design, so I was curious to try it out even if it would be painful.
Asahi: Some were optimistic like Kitajima here, but there were others
in the Design Studio who were more obstinate. To offer a metaphor,
it's like we went from picnicking on that hillside over there to me and
Minami suddenly suggesting, "Let's climb Mt. Everest!" I think that's
why people got defensive at first. But we felt that Honda design would
be in crisis two or three years down the road, so we were prepared
to work on changing now, even if that meant becoming everyone's
worst enemy. Nonetheless, we felt the need to closen the gap in
terms of awareness. Our remedy for that was to hold an "Ask Myself"
discussion, participation in which was voluntary.
Two-Pillars of Reformation in realizing-
"This is Honda"
Changes implemented in the Design Studio are broadly divided into two categories: increased
direction and on-site capability development. The former is an effort to establish the Honda
brand by setting an overall direction for all Honda designs, and the latter to pass on to
young associates the bottom-up culture that is Honda's strength while also honing individual
abilities.
Design Studio
Global Creative Director
Chief Researcher, 1st Design,
Design Studio
New Fit Exterior PL
Chief Researcher, 1st Design,
Design Studio
New Fit Interior PL
Design Studio
Global Creative Director
Toshinobu Minami
Jun Murakawa
Yoshiya Kitajima
Yoshinori Asahi
Has assumed various positions during his
career, including Acura Design Director.
Became Global Creative Director with
Asahi in April 2012.
"Unlike brakes or an engine, no one will
ever die because of a design. I want our
designers to do things full-heartedly
and without fear."
His key sketches have been adopted in
the CR-Z, FCX Clarity, current U.S. Civic,
and other models.
"Design has the power to attract people.
I want to create products that people
will love the moment they set their eyes
on them."
Served as Interior PL twice previously,
once for the second-generation Fit and
once for the current U.S. Civic.
"I try to participate in non-work-related
activities as much as possible. I want to
pass on to young associates the Honda
spirit of free, fun creation."
After serving as interior PL for the S2000,
seventh-generation Accord, and other
models, worked as LPL at the 2009 and
2011 Tokyo Motor Shows. Assumed his
current position in April 2012.
"Designers need the courage to propose
new ideas even in the face of criticism
and other resistance."
Photo : Tsunenori Yamashita
Provide Greater Direction
◦Created the Global Creative Director
position
◦F ormulated the "Exciting H Design"
design concept
◦Simplified decision making (design
review system)
On-Site Capability Development
◦Raised awareness through "Ask Myself"
questionnaires
◦Attempted to pass on unique Honda
qualities through non-work-related
activities
What is "Exciting H Design"?
A new design concept that will apply to all
Honda automobiles going forward in order
to create a stronger, more distinctive brand
presence worldwide. The middle "H" signifies
the following three key words related to
exterior and interior design, all of which are
based on the Human-centered M/M concept.
"High
Tech"
"High
Tension"
"High
Touch"
Don’t play safe, be mischievous!
Change in the Design Studio
Discussion
Kitajima: I was one of the participants in Ask Myself. We had a serious
discussion about what critical elements of Honda design excite people,
and what we need to do to realize them. We also distributed a selfcheck sheet with questions like, "Are you making things you would
really want to buy yourself?" and "Are things really okay as they are?"
to encourage designers who didn't come to the meeting to share
their honest opinions. We then posted their comments in a prominent
location. It was about that time that the atmosphere in the Design
Studio really started to change. I think a big reason was that everyone
realized that no one was satisfied with the current situation and that
we all wanted to aim higher.
Asahi: Honda R&D's 50th anniversary video was also an important
motivation. The video was a collection of messages from Honda fans
around the world, and there were quite a few critical remarks, like,
"Honda has been lacking energy lately," and "It looks like you're just
making what the executives want." I got teary when I heard that. The
things customers say have a weight to
them. And I think the meaning of those
words really got through to everyone.
Asahi : Honda R & D's 50th anniversar y
video was also an important motivation.
The video was a collection of messages
from Honda fans around the world, and
there were quite a few critical remarks,
like, "Honda has been lacking energy
lately," and "It looks like you're just making
what the executives want." I got teary
when I heard that. The things customers
say have a weight to them. And I think the
meaning of those words really got through
to everyone.
一The Ask Myself activity, started with the intention of increasing
awareness and getting associates to take a close look at their attitudes,
brought a wave of change to the entire Design Studio. The word
"exciting" became a key indicator of the direction they wanted to take
their design. The resulting design concept, "Exciting H Design," was
assembled from three major components—High Tech, High Tension,
and High Touch—all built on the M/M philosophy, which places
Humans at the center. Based on this new design concept, the design of
the new Fit was resumed in earnest.
Minami: People don't just want Honda to
be a manufacturer that makes them what
they want ; they want creative, unique
designs that go beyond everything they
imagined. We chose "exciting" to express
that rebellious attitude.
Murakawa: We started re-creating the Fit
design based on our new concept, but the
problem was that we had no time. So we
held a "Fit Festival" where designers from
outside the team helped us brainstorm
ideas. Everyone submitted a sketch to help
with deciding the direction we wanted
to take the design. The sketch that was
eventually chosen was from a non-team member. When I saw it I
thought, "I've been outdone!" It was a very sporty and dynamic form
that just said, "Best subcompact car in the world."
Kitajima: It took just one month from the time we started over until
the design was finalized. It's significant that we achieved a provocative
design in what was probably the fastest turnaround time in the world.
It gave me confidence that we can get things done even with limited
time and money. Of course, we couldn't have done it without support
from the Design Studio and everyone at HGT and EG as well. It was a lot
of a hard work for everybody for this project, both in terms of time and
the design itself. I remember very vividly what one of the engineers
casually said to me during that time. He said, "I want to be an awesome
engineer, even if it takes everything out of me." Those words saved me
in a way. They also made me feel the heavy responsibility of being a
designer.
Murakawa: It's because of dedicated people like that that I can never
submit a bad sketch. The new Fit was my first time seeing a model
that I worked on all the way to market, and I realized through that
experience just how many people are involved in developing a car, and
also the powerful role that designs have of unifying people.
M ina m i : T hat 's t ru e . T h e r e a r e a l ot of t hin g s t hat c a n' t b e
communicated through words—even with the many documents we
use in-house—but are instantly understandable when translated into
visible form. The only requirement, of course, is that the form be a
true expression of the designer's intention. Our ability to express ideas
visually is what makes the Design Studio so amazing.
Asahi: I received an email recently from an older associate who was
The World's Fastest Design Turnaround?
The "Ask Myself" Activity that Made it Happen
Just one month after the initial design proposal for the new Fit was sent
back to the drawing board, designers hammered out a new proposal.
Fueling this surge of activity was the "Ask Myself" discussion, which
renewed designers' drive to aim higher. A self-critical attitude spread to
the rest of the Design Studio.
The new Fit has a sportier look
A voluntar y brains torming session set the
design reform in motion.
A b ull e tin b o a rd of
"Ask Myself" answer
forms reveals the inner
thoughts of the Design
Studio members. Some
of the actual answers
were used in the cover
design for this issue of
Pole Position.
Initial designs reduce the Fit to its defining elements
my mentor when I was doing practical training at Suzuka Factory in my
early days. He asked me, "Do you remember me? I'm looking forward
to great designs from you!" Of course I remembered him, and I was
happy to get his email. There are three types of joy: the joy people like
him get from building cars, the joy dealers get from selling, and the joy
that customers get when they buy them. What I realized from his email
is that it's we designers who are responsible for starting off this series
of joyful experiences. That's why we need to have the strength to lead
everyone at Honda toward the cars of the future.
Working with engineers to design mobility
that makes people happy
By sharing their aspirations with the design team, the new GCDs
have ushered in a new age of Honda design. Both Minami and Asahi
have said that on-site capability development. holds the key to future
success. Such words are an indication of the determination they have
to find a way to make customers happy while keeping alive everything
that Honda has become known for, especially in an age when
digitization, work specialization, and the pursuit of efficiency is moving
forward at a rapid pace.
Minami: We're well aware that there have been mixed reviews about
the new Fit's design. It's a dramatic change from the Fit's original
image, so we were actually prepared. What we wanted to avoid most
was choosing a safe design. No one may object, but that I think what’s
important is that we at least were able to express change and our
intention through the new Fit, even if no
one would have noticed.
A s a h i : P u t t i n g o n o u r b e s t fa c e f o r
everyone would have been tantamount
to doing nothing. The fact that we got
some sort of response, negative criticism
included, is a sign that we've made the
right step.
Minami: One thing we need to be cautious
about organizationally is that the style
of design management that's typical for
Western companies, which usually have
a director who makes firm decisions that
Never Start with "Can't"!
HGT and EG Branch Offices
When engineers from the Tochigi R&D Center temporarily moved
their workplace to Wako following the 2011 earthquake disaster,
they found themselves communicating with the designers on a
much deeper level. This experience led to EG opening a branch office
at HGW in October 2011, and to HGT joining them this fiscal year in
what became the Design Engineering Block.
Their promise when introducing themselves after the move
was, "From now on, we won't start with 'It can't be done.' We'll
find a way to stay true to your designs." Engineers had pursued
productivity to the point where they marketed products that were
a far cry from the designers' original vision. Their statement was a
firm commitment to change. Akihiro Shibuya, Design Engineering BL
for HGT, and Yasuyuki Osuga, EGDW BL, both of whom work in the
branch office, went so far as saying, "The ultimate goal of Honda
engineering is to realize what customers want. Understanding the
designers' vision is our top priority."
Working under the same roof has actually shortened the distance
between the two sides, both physically and psychologically.
According to Shibuya, "One advantage is that we can chat in front
of a model as soon as there's a problem," and Osuga, "When you
see mockups day after day, you start feeling that the things you've
are then executed from the top down,
doesn't sit well with Honda's culture.
Working out solutions through downt o - e a r t h c o nve r s a t i o n i s o n e o f o u r
strengths. Unique qualities of Honda like
this are passed down to young designers
through person-to-person communication,
sometimes through disagreement,
sometimes through the act of persuasion,
s o m e t im e s by ex p o s in g t h e p a r t s of
us that make us human. It's just that,
as work specialization and digitization
move forward, we have to actively create
opportunities to deepen communication.
Asahi: The tendency in recent years has been to over-manage. With
more restrictions, you can't keep momentum going, and in the end you
lose energy. Managers need to be more hands-off. At the very least,
their ability to manage is being tested. On that note, it's a good sign
that a lot of interesting things are happening in the Design Studio right
now. I want our designers to stretch out and play in areas that don't
require efficiency.
Minami: If they could learn how to be rebellious, have fun, and take
the long way around, the excitement that we're looking for should
naturally find its way into the designs. That just leaves us to ensure
that the human-centered M/M concept that Honda values is being
followed. These are the things we directors should pay attention to,
when you really boil it down.
A sahi : Right . When you look back , the Design Studio was an
organization that studied people, not form. In other words, its task was
to weave technology into people's daily lives. To do that, we need to
paint a vision of the future. I personally want the Design Studio to start
the process of creating mobility that goes a step further than "fun" or
"convenient" and makes people happy, and work with HGT and EG in
all areas to make it happen. We've made progress in collaborating with
HGT and EG lately, so I hope integrating design with engineering will
help us achieve that.
What are the unique efforts Minami and Asahi say they are
making to develop on-site capabilities in the Design Studio? What
impact will these efforts have in the future of Honda design?
Continue reading to find out.Continue reading to find out
been saying aren't possible are actually possible, and you naturally
start thinking up ways to make them work."
The two also shared their goal for the future. "I'd like to be able to
submit proposals that help improve designs from an engineering
perspective. Ideally, I'd be able to create more original, unique
products as a result."
HGT and EG associates in the HGW branch office
Associates of the Design Studio and HGT and
EG are still developing automobiles in close
collaboration, as shown here
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What’s necessary:
Evolving strategy
from the worksite for
greater power—
With Honda-like style on full throttle
Currently diverse initiatives are starting up in the Design Studio to enhance on-site capabilities.
The aims and means are many, but there is only one final goal—to breath greater vitality into our Honda spirit.
In 2011, when I returned to HGW from
being stationed in the U.S., the first thing
I tackled after being appointed office
chief was simplification of the structure
and organization.
To begin with, design loses its originality
and becomes "round" the more that
different people add their input. In the
first step of reform, I proposed to the
automotive head office the simplification
of the complic ate d de cision - making
process. I also separated creation from
management so that the responsibility for
design would be focused on the directors.
By establishing the general direction,
and guiding the workplace, I believed we
can realize a Honda brand with unified
design.
However, unless we have enough drive
to nearly run riot in the workplace,
where the ideas originate, sharp new
designs will never emerge. We therefore
star ted using "par tition char ts" as a
work site - driven projec t whereby we
could proceed confidently with proposals
aside from the main designs. We also
encouraged people to stick their noses
Polish your own skills,
Enhance your own expertise.
Previously responsible for the exterior design of
the first generation Today and Civic series and
PL. He was the first person in the Honda Design
Studio to switch on the radio during work
hours. He took up his present role in 2012 after
a posting at HRA. He considers it his daily duty
to get out into the scene (workplace).
Design Studio Manager
Yoshikazu
Kigoshi
into projects they were not responsible
for. This created an environment where
people could work freely without being
trapped in one pattern. In return, each
individual is required to possess a high
degree of exper tise to give shape to
their thoughts. As described elsewhere
on this page, various plans are currently
being produced at the Design Studio,
but by making mistakes and detours
which would normally be frowned upon,
I believe individuals are able to develop
their strengths. We in the management
also take a sideline approach to support,
f o ll o w i n g a p o li c y o f "N o a b s o l u t e
refusal."
What lies ahead through these initiatives
is the creation of car s whose design
greatly influences the consumers’
purchase decision. In this mature
au to m o b il e m a r ke t , i t i s a d if f i c ul t
task to create hither to unseen value,
however with planning and design, and
cooperation with motorcycle and power
product divisions, I will be satisfied if we
can achieve great product design which
captures world attention.
Photo: Junko Ohara
Designing a More Creative Workplace!
Work Environment Improvement Initiatives
Practice Sangen-Shugi
Extended Fieldtrip
"A creator’s working environment is an important element in the emergence of ideas." Based upon this
concept, the Design Studio has been engaged in initiatives to reform the workplace so that it can be a more
pleasant and comfortable place. Based on the Honda design method, first they developed a firm concept
rather than starting with the styling. Designers joined in the company café improvement project which had
already been in operation, and all members drove the initiative fastidiously.
Imagining lifestyles of the future, while experiencing
various settings around the world, to incorporate this into
designs. We even went to Africa!
Strategy 1
Work Environment Beautification Project
We are working towards total coordination, mainly of shared space, based on a natureconscious theme: "Earth Dreams."
The stairway was designed with a theme of "colors
linking," whereby the color changes between
floors, portraying a sensation of rising out of the
water into the sky. Sometimes people I meet even
ask me, "You’re the person who did those stairs?"
It was a new thrill producing something which was
so conspicuous.
(3rd Color Design: Ayumi Ochiai, Sayuri Hanzawa)
Color design office: Ochiai (left) and Hanzawa standing by a wall of
the stairway whose color design they cleverly transformed on a small
budget through innovations such as the use of sample-size products.
Creative Lounge
Following the 2011 earthquake, with earthquake-resistant enhancement work being
undertaken at offices across the country, the 4th floor entrance was renovated. The
previously dull office space was reincarnated in a chic and stylish form. From this year it will
be used for receiving reporters and as a space for displays.
Tanaka was
responsible
for the entire
process,
from design
and budget
management
through to
negotiations
with
contractors.
In the improvement of the work environment, the Creative Lounge
is the gateway for the very particular Design Studio. The finish of the
unique walls is so good that even the contractors were envious. Unlike
cars, office design must take into consideration earthquake- and fireproofing. In these initiatives, and through negotiating with contractors, I
gained a great deal of experience and know-how in everything from the
positioning of lighting to the design of sections and budget management.
(1st Design: Koichi Tanaka)
Strategy 2
Suspecting that, like color,
fragrance too c an b e a
decorative medium, I flew
to France to learn how
to blend fragrances that
match Honda and Acura’s
respective brand images.
I also went color hunting
to recreate with paint the
colors I see in cities and
nature. I’m always trying
to find new ideas with a
long-term perspective.
(Nobuko Tajima,
3rd Color Design)
With both the dining hall and café, we made every effort to design a
space where people could reset their emotions. For example, painting
the walls and window frames in darker tones, brings the outside
views to life. Working with Administrative BL through the project and
other people I don’t usually interact with, was of great value to me.
(1st Design: Osuke Koike)
It has been
transformed into a
more relaxing space.
y4
All associates of the Automobile R& D Center who work with their
hands, such as clay and mockup modelers, get experience making things
through traditional manual processes. This not only improves their handeye coordination, but also broadens their minds and facilitates personal
growth through working with new materials and getting them in touch
with their creative potential.
Hammer Forming Aluminum
Noh Mask Carving
Designer s experienced traditional hammer
forming in an auto body repair shop. While
working, they imagined what the times were
like when the car was developed, and how the
developers felt.
We invited Koukun Otsuki, a nationally renowned
Noh mask craftsman based in Kyoto, to teach a
workshop on carving the mask of a young female
character. Participants brought as much patience
and concentration to the activity as they could
muster, since a simple mistake can ruin a mask.
Aimed at bringing back the art of wood modeling, this workshop included the
full gamut of processes rarely practiced now in the digital age, such as preparing
2D drawings and managing and using tools.
I was amazed by young
associates’ efforts to include
ever y detail. They have
more exacting taste than I
do. They have a promising
future ahead of them.
(Kiyoshi Watanabe,
5th Design Model)
Tajima (right) sits down with
Daisuke Tsutamori, 1st Design, who
is just back from a trip to the U.S.
Pool Talents
Creative Gatherings
Strategy 3
Every year, young associates of HG gather for a teambased creative activity. The assignment last year was to
create a new vehicle using the Honda Pianta, a gas canisterpowered tiller. Teams competed for the highest points
tallied from race and design categories. Two teams from
HGW scored the highest.
Senda (left) and Watanabe, who helped build
the instrument panel model and scale model.
Watanabe, the older of the two, taught the
workshop
The only
tools used
were chisels,
planes, and
machinery used
when wood
modeling was
the norm
We don’t of ten get to
experience the entire process
of building something. That
made it fun, but we had to
pay careful attention to the
order. I wasn’t too proud
of the part I made, so I’m
hoping to improve my skills.
(Seiji Senda,
5th Design Model)
Cherish What Matters Most
Open House
Strategy 5
Creative Gatherings
Koike (left), who was in charge of the space
design, and Yudai
Aizawa, whose design
proposal was awarded
1st place in a vote by all
associates.
Strate
g
Wood Modeling
Café-ONE
Driving the creation of the staf f dining and
café facility along the theme of "the dining hall
enlivening Honda," the café section opened first, in
September, with the name "Café-ONE." Associates
were asked to design and vote on the logo, and a
new menu was developed with substantial assistance The logo design
a coffee cup
from Honda to realize a place for associates to relax. represents
viewed from above.
Improve Handcrafting Skills
The two winning teams both consisted of associates from
HGF and HGW. They aimed to win the design category, of
course, but by helping each other with their unique ideas
and skills, they also put up a tougher fight than the HGT
team, which was all engineers, expected. It reminded me
that people can make some amazing things when they put
their heads together.
(Yusuke Kawauchi, 1st Design)
Taking advantage of the Pianta’s unique design,
one team came up with an exciting vehicle that,
for the first time ever, is steered using the rear
wheels
After addressing confidentiality issues,
an open house was held for associates’
families—the first in 15 years. Since an
open house for children had recently
been held, this time spouses and
parent s were the main target. The
under s tanding of one’s significant
other is an important source of support,
especially when you can’t tell people
outside the workplace what you’re
working on
We had 625
people from
19 3 f a m i l i e s
c o m e t o
the open
house. Their
understanding deepened
after the event, as was the
case for one who said, "Now
I ’m w e l c o m e d h o m e w i t h
a smile, even when I work
over time." I could see the
difference in everyone’s faces.
(Makoto Higuchi,
2nd Clay Modeling)
Working on-site to experience the difference in
expression due to the difference in material.
Concentration is critical, as there are no re-dos in carving
It was interesting how, unlike resin and clay,
the materials we usually work with, aluminum
responds directly to the hammer’s impact. This
experience has enabled us to imagine the final
product and create models that result in products
that express the unique strength of metal.
(Kenichi Yamamoto, 2nd Clay Modeling;
Koji Hayakawa, 5th Design Model)
Aluminum is shaped
using simple tools
Yamamoto (left) and Hayakawa
standing next to their
completed half-scale aluminum
model, feeling the difference
in expression due to the
difference in material.
Making something with the story in the back
of our minds has stimulated our imagination
and helped us to communicate better with
the designers. We were also impressed by
the emotions our instruc tor put into his
masks, and learned the importance of paying
attention to details.
(Satoru Konishi, 2nd Clay Modeling;
Keiichiro Arai, 5th Design Model)
Even Otsuki expressed
surprise at the quality
of the masks. "I was
happy to have my skills
recognized,"
said Konishi
Arai (left) and Konishi
holding the masks they
made
Create New Value from Scratch
Honda Advanced
Design Studio
Strategy 6
There is another automobile design
studio near Takeshita Street in Harajuku,
Tokyo. Working in close alliance with
the Advanced Design Studio in L. A .,
employing contract designers with a
global perspective, in both a location
and environment which differs from
Wako, they are producing new-value
designs for beyond 2020. At this year’s
motor show, they exhibited the new
UNI-CUB, evolved as one proposal for
mobility in the near-future.
Alex (left) and
Tanaka discuss
the design of the
new UNI-CUB.
Based on the concept of "moving furniture," the
new UNI-CUB aims to be a form of mobility that
draws close to people.
(Design: Takehisa Tanaka)
With a wide range of users, the challenge was to
find the right compromise between an High-tech
looking device and a "Kawaii" looking robot.
(Design: Alexandre Cornaert)
Honda Design Tradition
and Selectivity
Honda Package Design
Actually attached to
the Design Studio
A real mountain retreat
To refine and clear the senses.
Strat
e
gy 7
In order to draw out the first concept of a project, people
sometimes talk about cramming into a meeting room for what
is known as a "mountain retreat." But on this occasion, the team
led by PL Sawai selected the Hello Woods at Twin Ring Motegi
as the workplace for theme-setting, in effect a true mountain
retreat. The natural setting refined and cleared their senses,
allowing them to speak from the heart. Such was the bold aim
of their 2 night/3 day retreat.
Typically, the package development function
of an automobile company would be attached
to the planning department, but with Honda
it is attached to the Design Studio. Based on
Honda’s unique M/M principle ("man maximum,
machine minimum") , the De sign Studio is
leading framework and space creation from the
perspective of product, producing a succession
of innovations.
Cooking together and sleeping in the same tent
was a true team bonding experience. They were
able to honestly express dreams which they usually
keep to themselves.
By participating in LPL and HGT design from the initial
conception, we were able to produce new frameworks
while visualizing and sharing concepts in 3D from an
early stage.
0st Chief Package
Designer Yasuhiro
Iwaki
Getting a feel
for the threedimensionality
using a LEGO
mini-car.
The secret behind the harmonious
blend of innovation and affinity
ASIMO
In designing ASIMO, innovation and its harmony
with af finit y were of great impor tance. For
example, the face—by faintly depicting the eyes
and mouth—is an innovation that allows the user to
imagine the expression. Thirteen years have passed
since its launch. In our ever changing world, we are
constantly exploring how ASIMO should evolve.
The mountain retreat spot they selected on the advice of Hello
Woods Producer Sakino. The Spartan setting, amid natural beauty,
albeit with no running water or electricity.
After frank, uninterrupted discussions, the design
theme they eventually chose was "Vitality."
Aspiring to spread the power
of design worldwide
Communication and diffusion of ideas
Strategy 8
By actively promoting participation in external events and
collaborative projects, we are achieving the diffusion of
designers’ ideas and their external communication.
Soap-box car
Ken Okiishi, First Designer in charge of design for
ASIMO. As much as possible, he visits test sites to gain
customer feedback.
Aluminum Wire
For shaping
and reshaping
An unusual tool used in the clay modeling
process at Honda is aluminum wire. Ordinarily
used for welding, the wire is convenient for
determining a model’s basic contours. Modelers
use wires of various thicknesses to shape and
reshape the clay until a styling is achieved that
surpasses the designers’ sketches.
Kazuyuki Morita, 2nd Clay Modeling, uses an
aluminum wire to determine the window’s shape
Toshinori Tsukagoshi, 2nd
Clay Modeling (left), and
Morita flank a clay model
of the NSX
9
Last year, Japanese motorcycle and automobile makers supported the
"Odaiba Campus Festival". One event in the festival was a soap-made
box car race down a slope relying on only gravity for propulsion.
From Honda, five teams participated from HGW and HGA.
While the race result was not especially spectacular, the
event was exciting in the eyes of the children for the
vivid paint, and it attracted a crowd of spectators. The
Design Studio focused on creating something that would
impress the onlookers, and were successful in creating an
impression.
(Hideto Sasazawa, 1st Design)
Strat
e
This strategy involves looking at various items and modes of
transport other than cars so that we can think about people’s
feelings from a different viewpoint: at present, we are involved
in the development of bicycles, baby strollers, and wheelchairs.
We aim to utilize the knowledge we gain through these activities
in the designs for our 4-wheeled vehicles, and thereby improve
mobility for people at various stages of their lives, and in a wide
range of lifestyles.
On the spot, each participant molded their vision
of "vitality" from clay. After the retreat, they
continued to investigate ways to imbue cars, which
are inorganic, with a vibrant vitality.
Drawing an idea map on the transparent acrylic board they brought
in enabled them to express thoughts freely, as though they were
writing directly in the sky.
The feelings of people are whats important
Honda’s proposal for independence
The three teams who
raced.
Composed of many
young members.
They paid attention
even to details such as
the design for helmets
worn by children who
acted as drivers on the
day.
Birdhouse Project
This project started from the idea to bring joy to the world through the power
of Honda design. Using tree thinnings from the Hello Woods, they conceived
designs for nesting boxes and other small objects which would suit the natural
setting, imagining the feelings of the birds. 17 designs were chosen by ballot,
and the designers and model creation staff cooperated to realize the designs.
Each one of the almost
10 0 i d e a s p r o p o s e d w a s
very unique. The concepts
were all far removed from
the regular line of work of
the designers. We plan to
continue with the projec t
this year.
(Akira Torii, Technology PR)
The staff in charge of developing designs for baby
strollers and wheelchairs.
Our team of baby stroller designers is entirely
comprised of working mothers who have
recently given birth. Not only do they think
about the design of strollers, but they also
work on the convenience of car interiors and
packages for parents with small children.
This started as a program to think of mobility through the lens of social minorities, such as
those with disabilities or the aged. With meaningful input from wheelchair users, including
our associates at Honda R&D Sun, we are in the process of exploring different solutions.
For wheelchair users, wheelchairs are a part of their bodies. It
appears wheelchairs are chosen in the same way as clothes are
chosen, rather than for their mobility. Of course, that is not to say
that functionality is not important. A wheelchair is a far simpler
product than a car: consequently, by concentrating on each part
individually, and by considering its uses, it is possible to create a
wheelchair that lightens the burden on its user. The psychological
aspect of a the user is also of great importance. Here, we enlisted
the help of wheelchair user Miyamoto and, through research
and brainstorming, we began to appreciate the real thoughts of
wheelchair users. While it goes without saying that problem-solving
is important, so too is how wheelchair users are viewed by other
people. By creating a sleek-looking wheelchair that can no longer
be viewed merely as a "tool," the scope of the wheelchair’s use can
be increased which, in turn, encourages a more active lifestyle: this
is the type of wheelchair that Honda aims to design.
(1st Design - Taiji Koyama, Kazuto Oya, and Yoshiya Kitajima;
HG General Affairs Office - Goshi Miyamoto)
The watch project
Bicycles
The watch project primarily involves those in the interior design division who
focus on interfaces. By studying the unique world of the watchmaker, with all
its obsessions, our aim is not only to improve our interfaces but to transfer the
knowledge we glean to developing more attractive, and more focused designs.
We sought design plans conforming to the brand images
of both Honda and Acura. Apart from designers, we
also had suggestions from a wide variety of personnel
including modelers and data-managers; consequently,
there were stimuli from a variety of fresh viewpoints.
In this project, we used
watchmaking—which requires the
mos t delic ate te chnique s — as a
means to research "the mechanism
whereby people love objects." For
example, asking which combination
of materials refined in what
manner can we use to create an
appearance of sophistication? This is a rather roundabout route,
but precisely because each step requires understanding and
acceptance, it fosters strong passion in its participants. In this way,
our young team members acquire real experience of the passion
and meticulousness required for such work. And we hope this will
transfer to their everyday work: these ideas and emotions about
design will filter through their development teams, and influence
the final product.
(1st Design - Tetsuya Kawahara)
The entries submit ted were almost all
constructed with great attention to detail.
By faithfully practicing our philosophy of
"watching, listening, and touching," we
were able to refine our ideas.
(1st Design - Osuke Koike, and Kotaro Moriyasu)
Strategy 10
Since automobile development requires both money and man-power,
at the ideas stage it is absolutely necessary to engage in theoretical
development of the ideas. However, in our design department there
exist a number of activities via which it is possible to engage in
manufacturing research: that is, we have provided an environment
wherein it is easy for an idea to take tangible shape. By "thinking by
hand" through trial and error, we can improve our understanding of
the characteristics of various materials, and our approaches to them.
Set up with state of the art digital processing tools
such as laser cutters and 3D printers, the Fab Lab is
a place where we can experiment in manufacturing.
The Fab Lab has just opened in October 2013.
*Fab is an abbreviation of fabrication.
Mr Sawai, founder
of the Fab Lab. In
the foreground is a
wooden scale model
of the workroom,
created using a
laser cutter.
We have created a location where ideas can be made
to take shape immediately. By producing an actual
physical specimen, the idea can be further enhanced.
(1st Design - Daisuke Sawai)
All furniture in the Fab Lab is
handmade.
The Tokyo
Motor Show
The 43rd Tokyo Motor Show 2013
which took place from November
23rd to December 1st. Taking as
our concept , "Live out side the
box," Honda exhibited a creative
and wide ranging suite of mobilityoriented produc ts including, of
course, 2- and 4-wheeled vehicles
and power products, but extending
to Honda Robotics products as well.
The 4-wheeled vehicles on display
succeeed our "Exciting H Design"
theme: catch a glimpse of our new
design philosophy.
Honda S660 CONCEPT
Boasting a dynamic styling that screams
"sports car" from head to toe, the S660
Concept’s defining feature is the "super
cockpit" that allows its driver to feel
limitless excitement at the wheel.
We hope that through our bicycles, even people
who don’t like cars will have an interest in Honda.
Touching raw materials to "think by hand"
Research into craftsmanship Woodwork design research group
Torii (right) who was responsible for
the project office with Takao Fushimi,
1st Design, who designed the apple
nesting box.
The nesting box installed in the Hello Woods.
A Milestone in Redesign!?
Wheelchairs
Fab Lab
Staff who usually
prepare mock-up
models of designer
ideas helped create
the items. A high
degree of skill was
required to carve
out the round apple
nesting box, but it
turned out better
than expected.
gy 9
Baby strollers
In response to the question, "What would
a Honda baby stroller be like?" the answer
we arrived at was, "a baby stroller that
can be enjoyed to the full." Consequently,
we are looking into creating a stroller
that, as its occupant grows, can be used
either as a baby-bouncer or as a kickboard. It would be ideal if children recall
the name of Honda and associated it with
fun memories.
(1st Design - Nami Fujiwara;
0st Package Design - Satoko Ichikawa;
3rd Color Design - Sawa Takahashi)
TOPICS
This is a group who gather to create woodwork such
as ukuleles and canoes in their spare time. Research
into the texture and modeling of wood takes place.
N-WGN
The design theme for the N-WGN is:
"To exceed all expectations for a height
wagon." Pursuing the "MM" ideology
to extremes, even the exterior design of
the vehicle intimates the spaciousness
within.
A minor lack of preparations can lead to
great troubles later on – we aim to ingrain
such basic principles of manufacturing
into the participants.
(1st Design – Yuki Inamori)
The members
of the
woodwork
research
group.
Research that
emphasizes the beauty
of natural materials
influences the modeling
of interior wood finishes.
Knowing, for example,
about old ships that used
bentwood, and hence
coming into contact with
the source of mobility,
we search for "newness."
URBUN SUV CONCEPT
A n e w c o n c e p t C r o s s - o v e r U t ili t y
Vehicle (CUV) which consolidates the
appeal of various vehicles, based on the
theme of "The Specialty Car of the Next
Generation."
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