Interior Motives China Conference 2013 – Day One

This year's Interior Motives China Conference got off to a great start yesterday in its new home at the Hilton Hongqiao in Shanghai. The theme of this year's event is 'Technology and Tradition; Old meets new in modern-day China.' Interior Motives is the print magazine from Car Design News, which focuses on the design development of vehicle interiors.

The sixth running of the annual conference has seen a large shift in the Chinese market since the first. As Euan Sey, Interior Motoives editor who opened the event said: "back in 2007, there was very much an atmosphere of 'us and them' in the room...fast forward to 2013 and the landscape of Chinese design is very different. Chinese and Western designers now work hand-in-hand – albeit largely at the upper levels of management for the moment, but that will change in time."

The first session, chaired by Euan Sey, editor of Interior Motives, examined where Chinese design fits into the regional and global markets and what single trait will define it in years to come. It was to prove a fascinating experience.

"What single trait will define Chinese design in years to come?" Guerra asked. While it's easy to define Germany, for example as precise and Italy as full of flair, the sheer scale and diversity of China makes the idea of the 'C Factor' almost impossible to imagine.

The Brazilian Volvo Trucks designer believes people will gain a realization of 'lifestyle' and as such consumption will go down. However because the country is at every point on the development stage across its huge land mass, so companies are trying to sell to everyone across this spectrum. This results in confused brand messages.

"The current idea that 'brand adds cost' should be replaced by 'brand tells a story'," argues Gustavo. He gives the example of the SDLG excavator designed in his studio, which – in very subtle ways – reflects certain, intrinsic Chinese elements identified by his team. The user may not recognize why they feel connected emotionally, but the importance is forming an emotional connection and perpetuating this through consistency.

He concludes: "now China does not need a design 'C Factor', China needs brand values, communicated through design."

Geely's Technical Center VP explored how design is presented within his company from traditional renders and clay models to new CAD techniques. He then went on to list the latest technologies available to designers including software to maximize safety, spot-welding and advanced lighting tech including LED and nano-technology for interiors.

While Ma didn't touch on the subject of specific Chinese design, he sees these advanced technologies allowing designers to innovate by providing new design potentials.

"We, the designers are living in the great age to create new products with wonderful tools and materials," he concluded.

Zheng began by discussing the nature of Chinese design, arguing that it was still "innocent" and not mature because the environment is generally immature. In trying to advance Chinese design he warns against losing their soul in the pursuit of excellence and looks at how different China is compared to other regions, which have their own character.

Starting with examining Asia, he noted that not everything is well designed and planned and even goes as far as to say that plans don't work in Asia. Using the example of a crowded market, he believes that there is a kind of organized chaos in the complex movements.

On the subject of making Chinese design international he asserted that this does not mean it will be good design. "Design should not be defined by national borders," he concluded. It is a reflection of the self and a projection of human emotion, and he told the attendees that Changan viewed design as such.

"Chinese designers are sometimes regarded as people who just draw pictures and copy catting," he said. It allows consumers to enjoy technology and functions, but those designers need to survive and copying is a good way to learn.

By CDN Team