PEOPLE THE OVERVIEW IAN CALLUM, 61 Day job: Director of design Spare time: I scribble other things all the time like boats, big yachts and watches. And when I’m not drawing I like to get the spanners out and put cars back together again. I revamped a Jaguar MkII and I’m thinking about doing the purest E-Type ever next T alking to designers at other car companies I can see the frustration they suffer when a car’s ‘hard points’ really are hard points [the key bits of a car’s structure that cannot be moved]. I think the relationship between packaging, design and engineering here at Jaguar is much more of a two-way conversation. With the F-PACE we started off with a clean sheet of paper, not just physically but mentally too. We had a groundup opportunity to do what we wanted. Because we could choose the length of the F-PACE we were able to have a longer roofline to give a sense of speed. We exaggerated that with the rear spoiler lip and wanted the rear glass to be as raked as possible too. With the longer back and seats we could do that; with a shorter trunk space you wouldn’t get that luxury. We could determine its size uniquely through function and style. 20 j THE DESIGN ISSUE
PHOTOGRAPHY: LKJDÄLKJDF KJLÄKJ ÖÄÖK ; DFÄÖLKJÄLKDJ ÖÄDFÖÄ (2) Ian Callum and Kevin Stride discuss the underpinnings of Jaguar’s cars – like this scale model of the Lightweight Aluminium Architecture – to ensure proportions are perfect KEVIN STRIDE, 46 Day job: Vehicle line director Spare time: I like mountainbiking, pretty aggressive stuff with rocks and mainly downwards. I’m going to re-do the Megavalanche race down a glacier with my teenage boys when they’re both 16. I haven’t told their mum yet… I wanted to be a Jaguar designer since the age of seven. But as I got older I realised I was a better engineer. Ian has given us fantastic guidelines and taught us [engineers] the important ingredients that make a Jaguar. It’s proportion, particularly from the seating point to the front wheel. So before Ian even starts drawing shapes it is about getting that dimension right. If you strip everything else away, it’s valid to say all of this stuff at the front through to the bulkhead [the section that separates the engine compartment from the cabin, see scale model of the F-PACE’s architecture, left] is determined by style and proportion. The first area we concentrated on with the F-PACE was driving every tenth of a millimetre out of the suspension which affects the bonnet height and allows for an unbroken feature line down the side. The design brief for the rear light cluster was another important area. We wanted it to be as thin as possible, to have the F-TYPE graphic and still get depth around the reverse light. Due to the legislation we had to pass, we needed the light to be visible from many directions so we made a ‘lit model’ [with working lights] really early on. We have light-tracing simulation software to get 80% of the idea but this model is where you find out about parts in shadow and other issues. I’ll see three things and the designers will see 50! We changed the technology of the white rectangular reverse light as a result, swapping one type of LED for another as the electronics behind it were effectively more compact. These are all the little technical things that enable the design vision. THE DESIGN ISSUE j 21
Jaguar Magazine celebrates creativity in all its forms, with exclusive features that inspire sensory excitement, from beautiful design to cutting-edge technology.
In this issue, we explore the art of creativity from the Brazilian masters who devised the graceful art of Capoeira, to the Irish artists mixing new culture with old. You will also discover the creative line that links Victorian wallpaper to the iPhone. While the multi-talented actor and performer, Riz Ahmed, explains why it is the right time to reveal his true self to the world.
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