The company behind it said in a statement that it was “introducing an unmistakable, unexpected and dramatic physical manifestation of Jaguar, as the brand continues its transformation.” But online critics – of which there were plenty – thought it was a flop, and laid waste to more than a century of prestige.
The controversy highlights the challenge in turning design concepts into engineering reality. “From a manufacturing perspective, concept cars push engineers to go beyond the norm,” says Dai Jones, senior advisor in industrial transformation at the Manufacturing Technology Centre.
“Designers often modify aspects like vehicle proportions, which challenges engineers, encouraging the development of innovative solutions. But while concept vehicles may look futuristic and visually striking, it is vital that engineers ensure the final solution is practical and usable, especially where the product is ‘mainstream.’”
Franco Ciamatti, chief engineering officer at EV car company Aehra, says: “I’ve seen several times where concept cars were decoupled from real engineering feasibility, and in other cases, there was something feasible below something industrial.”
Ciamatti – who was previously senior chief engineer at Lotus, and spent 32 years with Ferrari, including as the firm’s vehicle concepts and pre-development director – explains that concept vehicles usually take one of two forms: they’re either an attempt to push the boundaries, and an exercise in design – making them more like sculptures than anything – or they’re rooted in engineering and act as a ‘stretch concept’ for an eventual real-life design.
“When that [latter] idea does get taken to production, then usually it’s diluted, because certain features are either unfeasible from a technical point of view, or generate problems from a customer point of view.”
That poses a conundrum for designers and engineers alike – which path to follow? “Usually, what they see is that the more they think about the engineering reality, the higher the chance of taking a far-out concept to production,” says Ciamatti.
For that reason, it’s important that concept designers are also engaged with engineering reality – something that critics may argue wasn’t the case with the Jaguar Type 00.
“Every good concept has to be related to a good engineering concept,” says Filippo Perini, chief design officer at Aehra, who has previously worked with Alfa Romeo, Audi and Lamborghini. “I really hate what we have seen in the past with big brands doing concept cars that were completely disconnected from the real production.”
There’s no single area where far-out concepts are likely to become hamstrung by engineering realities, says Ciamatti. “Vehicles are based on so many requirements, and are made up of so many different systems,” he explains.
The reality is, however, that vehicles are subject to stringent requirements: every part in every vehicle needs to be homologated (or approved for sale in a particular market).
“As a designer, it’s always difficult to find the balance between homologation and novelty and innovation,” says Perini. “It’s like a cocktail,” he adds – explaining that it requires a close connection between the design and the engineering teams to bring concepts to reality.
“Engineers must collaborate with designers to find feasible solutions that meet cost, weight, and performance targets while ensuring repeatability in production,” says Jones.
Ciamatti continues: “One thing that always strikes me is how detached people working in the industry, when considering their own topic, are from the fact that they are also users of cars.” He points out that almost everyone drives a car – yet they overlook that when they’re designing concepts. “Most people forget about what it means to use a car, to own a car, and to park a car. But this is a connection that has to be in engineers’ and designers’ mind all the time.”
The disconnection can come from every aspect, big and small, involved in a vehicle. Bold, daring concepts like the lack of a rear windshield may look good on the Jaguar Type 00, but it’s unlikely to get past any sort of safety testing or approval.
Similarly, while the vehicle’s low-slung, long slender silhouette is a striking one, its length means that it’s longer than a standard parking space in the UK. Colour palettes can also be a challenge: what might be achievable from pearlescent paints in photography studio conditions may not withstand the wear and tear of a vehicle on the road.
Ciamatti draws a parallel with other industries to try and explain the difference between designers who consider those realities, and those who don’t. “There are sculptors and there are tailors,” he says. “Sculptors usually ignore what’s below the surface, because sculptors usually deal with an amorphous material, and it doesn’t matter what shape you generate, what’s below is homogeneous. Tailors instead create a suit that tries to, in a way, flatter the customer.”
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Content published by Professional Engineering does not necessarily represent the views of the Institution of Mechanical Engineers.