We sat down with GAC USA's Executive Design Director and explored the journey that brought him to GAC, uncovering the insights and inspirations that fuel his creative endeavours. In this interview, Pontus sheds light on the unseen series' inception and the management's unwavering support that allows for exploring bold and groundbreaking concepts. We also explore the mechanisms in place at GAC to foster collaboration and synergy among its diverse design teams. Pontus further elucidates how the company ensures that regional preferences and nuances are acknowledged and effectively woven into the fabric of the design process.
ADP: Can you tell us a bit about your background and experience in the automotive design industry and how it led you to your current role as Executive Design Director at GAC?
Pontus: My design journey began with a childhood dream of becoming an architect. However, after interning at an architectural agency during my mid-teens, the experience could have been more inspiring, lacking the creative vibrancy I envisioned. Despite my appreciation for architecture, I felt drawn towards a more dynamic and technologically innovative field, leading me to pursue a career in car design. As a passionate car enthusiast, my interest extended beyond the aesthetic appeal of automobiles; I was captivated by the intricate technology and the pursuit of creating state-of-the-art products. Determined to forge my path, I sketched independently, heavily influenced by renowned Italian designers like Gandini. While they hailed from artistic backgrounds rather than formal car design schools, their impact on the automotive industry was undeniable.
Starting as a freelance illustrator at 16, I gradually transitioned into technical illustration, working for Volvo Cars, and exploring advertising, where I eventually became an art director. The '80s brought a recession, leading me to establish my own company, which involved diverse projects ranging from telecommunication to nightclubs. Despite detours into advertising and running my own company, I remained committed to becoming a car designer. Facing a recession in the late '80s that hit the advertising industry hard, I seized an opportunity to apply to the Art Center College of Design in Switzerland. I completed my education in just 14 months, which marked a pivotal moment in my journey. Joining GM's Opel design studio in Germany was the next step, followed by a rewarding tenure at Renault under the leadership of Patrick Le Quément , where I encountered a wealth of talent in various design disciplines.
My journey across ten countries has been fuelled by curiosity, a desire to improve, and a love for my work. Being a car designer offered a unique advantage – the ability to adapt to different cultures and work environments seamlessly. Unlike professions tied to specific credentials or languages, car design relies on one's creativity, making it a truly global profession. Following five years at Renault, I joined the Volkswagen/ Audi Group’s advanced satellite studio in Sitges just south of Barcelona. After that, I worked for Kia/ Hyundai, Volvo, Ferrari, Jaguar/Land Rover, Ferrari and Faraday Future, to mention a few. I also had my own design consultancy for 5-6 years, working for Singapore Airlines, Volvo and Scania Trucks. My constant pursuit of improvement and innovation and a genuine passion for my work led me to where I am today. The fast-paced collaboration with China adds an extra layer of excitement as the industry continually evolves with innovations, making it an engaging and fulfilling experience for professionals in today's dynamic business landscape.
ADP: GAC has been known for its innovative and distinctive vehicle design approach. Could you share the overarching design philosophy that drives your team's creative process?
Pontus: The Chinese automotive landscape is incredibly dynamic and rapidly evolving. While having a core foundation, our design philosophy and language can adapt to the changing ingredients or content required by the fast-paced industry. I'm comfortable being uncomfortable, meaning I embrace change and innovation. I believe in avoiding repetition and constantly exploring new design solutions. In my current role, I collaborate with a creative team, each member contributing unique ideas, dreams, and visions. My responsibility is to coach and guide them while ensuring we achieve the best possible outcome collectively. Our studio in Los Angeles operates with a super-flat hierarchy, and interestingly, many of our alias modellers have a design education background, adding a creative dimension to their work.
Navigating the Chinese market requires agility, as it undergoes quick and sometimes dramatic changes. Unlike established companies, GAC maintains a fluctuating perspective, avoiding static or rigid approaches. Conceptual thinking is crucial, and while we've worked on concept cars, the real impact lies in production. As a colleague from England aptly said, "The tarmac is my catwalk." It's about what's on the street and proving ourselves in the real world. I strive to create innovative products, remembering the principle of "most advanced yet acceptable," coined by Raymond Loewy. It's a delicate balance, ensuring our designs push boundaries but remain relatable to the audience. GAC in Los Angeles was the first to establish an advanced studio outside mainland China, and we have played a pivotal role in accelerating the design progress.
Our influence extends beyond design, impacting the working culture within GAC. Over the years, we've expanded with advanced studios in Shanghai and now Milano, each with its distinct philosophy and purpose. This diversity of ideas enriches our headquarters and the entire company, fostering a culture of constant inspiration and innovation.
ADP: Absolutely. It's evident from your discussions about the culture within GAC and the team's creative freedom. The unseen series shared on social channels adds an engaging and exciting element for the audience. It gives the impression that your team is deeply invested, putting heart and soul into the creative process. Could you elaborate on how the management supports this approach, allowing the team the freedom to explore and innovate?
Pontus: Indeed, from the perspective of Los Angeles, the car culture and unseen aspects the Milano studio brings forth are significant. We've notably impacted production vehicles and programs, even as we engage in conceptual work. For instance, our collaboration with the Shanghai studio on the EN0.146 involved a joint venture. LA handled the exterior design and its aerodynamic innovations, roof spiders, flanges and graphics, Shanghai contributed with the interior design, and headquarters managed the CMF and project management and engineering. It's a testament to our ability to work seamlessly across time zones, continents, and studios.
While we're involved in numerous projects, we can only sometimes showcase some things for confidentiality reasons. However, each project has its unique purpose, and we prioritize what best supports GAC and our VP of Design, Fan Zhang. Our outside studios bring diverse mindsets and thinking, providing a range of options for the company. All these contributions are part of the same team, contributing to a collective win. So, positive feedback from Shanghai, headquarters, or our Milano studio is all a source of immense pride and satisfaction for me. The bottom line is anything positive about GAC, regardless of its origin, is a win for the entire team.
ADP: GAC has a wide range of vehicles, from SUVs to electric cars. Could you elaborate on how your design philosophy adapts to the diverse needs of these different segments?
Pontus: I don't hold the final authority on this matter; my perspective is based on how the process unfolded for us, particularly in the projects we were involved in. Allow me to illustrate this with a case study. When working on the entranze for the North American studio, we aimed to create a car that would serve as a significant entry point for GAC into the North American market. We focused on capturing American values, emphasizing freedom, road trips, and travel with family and friends. An integral part of our design philosophy was the concept of "inside out," a term that has become somewhat cliché but holds deep meaning for us. Inside out, to us, means designing a car around people, focusing on the human experience. This involves considering the interior, the centrepiece, prioritizing adequate space and a Human-Machine Interface (HMI) that enhances life on board. It's about understanding how the inside influences the outside and vice versa, ensuring a harmonious design.
Additionally, we incorporate the "inside-out" philosophy, reflecting the Californian lifestyle of open spaces and a connection between indoor and outdoor living. This lifestyle-centric approach is crucial, as vehicles are not just means of transportation but extensions of one's living space, especially considering outdoor activities like tailgating or camping. Our design philosophy evolved through various projects, such as the entranze, ENO146, sports car enpulse, etc. These projects showcased an interconnected design language, with each iteration contributing to the overall evolution of our design DNA. However, as a satellite studio, our role is not to dictate or control the entire DNA of GAC. Instead, we aim to inspire our colleagues and provide a base for them to interpret and evolve the design language. It's essential to foster collaboration, allowing each studio to contribute its unique interpretation while maintaining a recognizable DNA.
In terms of aesthetics, we recognize a growing emphasis on Chinese aesthetics, reflecting a stronger appreciation for their own domestic brands and unique perspectives. Particularly noteworthy is the focus on human-centric design within Chinese companies, where the layout of the cockpit and additional values take precedence over creating merely aesthetically pleasing cars. So, our role is more about inspiring and steering the design direction from our vantage point outside mainland China, contributing to the broader narrative of GAC's design philosophy.
ADP: GAC has exhibited a playful design approach with each new launch. Is there a particular reason for this transition, starting from the Enpulse, which is a very soft and ergonomic concept, to the Emkoo and Aion, which feature a more aggressive and dramatic design?
Pontus: It's challenging to provide a definitive answer. Creating a concept car or any vehicle involves blending elements from the past, a substantial portion from the present, and a glimpse into the future. I organize these components like building blocks. However, GAC, on the other hand, tends to deviate from this method. They are willing to explore entirely different directions from one model to the next, even within the same series. This approach is distinct, especially compared to the conventional practice of building upon the established design language.
Concept cars serve as experimental platforms. They offer an opportunity to test how the market responds, whether the executive management approves, and the reception within the design community and the press. Working with Chinese companies, particularly GAC, has a unique advantage. With no deeply entrenched century-old heritage, there's a sense of freedom to be more experimental and innovative. The absence of historical baggage allows for a more open-minded and forward-thinking approach, fostering a culture of experimentation and pushing boundaries. This freedom from the weight of tradition is one of the driving forces behind the innovative designs we see emerging from these companies.
ADP: How does GAC aim to foster collaboration and synergy among its diverse design teams, spanning Milan, Los Angeles, and China? Can you elaborate on the strategies employed to not only develop innovative concepts but also evoke a profound emotional connection, essentially making people fall in love with the cars your team brings to life?
Pontus: Indeed, finding a singular answer to that question is challenging because it's more about seizing opportunities when the conditions are right. It's akin to playing a good game of any sport- everything aligns in a specific time, space, and place, resulting in success. Conversely, there are bad days or projects, but even those hold immense value as crucial learning experiences. The process is predominantly trial and error coupled with failures in the design and research and development (R&D) realm. We operate in an experimental profession, pushing boundaries and learning from successes and setbacks.
Building confidence within a team of designers and professionals worldwide stems from having a commendable track record. The courage to experiment and push boundaries is essential for progress and avoiding stagnation. A design approach becomes polarizing and exciting when it challenges norms and avoids becoming overly conservative. While having a core philosophy is crucial, applying the same recipe consistently can lead to predictable outcomes. Innovation requires openness to happy accidents and unexpected turns contributing to the creative process.
Maintaining open communication, fostering curiosity, and creating an environment that embraces errors are key elements in design. Fortuitous occasions often lead to breakthroughs, with ideas bouncing between team members. In the design world, many aspects are driven by these “happy accidents”, and a willingness to explore the unexpected can yield remarkable results, and that’s what we try to do.
Running a satellite studio offers advantages, as we have a constant stream of projects, allowing for daily engagement with creative endeavours. The absence of routine engineering meetings provides the space to reflect and think more freely about our work. This distance allows us to observe and think from a unique perspective, offering insights that contribute to the success of the main studio. The diversity of perspectives from globally advanced studios is a key factor in our success.
ADP: As the automotive industry globalizes, the challenge of designing for different markets becomes increasingly intricate. With the introduction of satellite studios, how does GAC navigate and facilitate collaboration among its global design teams dispersed across different corners, ensuring that regional preferences and nuances are effectively considered in the design process?
Pontus: Managing our design operations across different studios is a fascinating challenge. At GAC, we balance fostering creativity and maintaining a cohesive vision. We engage in collaborative projects where various studios contribute, creating healthy competition and a shared pool of ideas. Simultaneously, we also encourage independent projects, allowing each studio the freedom to explore without being influenced by others.
An excellent example of this collaboration is our annual innovation project. Each advanced studio participates, presenting its unique vision for the future of GAC. It's a remarkable experience as we witness diverse interpretations of the same theme. This practice inspires us and provides valuable insights and learning opportunities. It's truly a joyful and educational experience for all involved.
Sign up for Part 2!
Please mark your calendars for 20 October 2023, as we will bring you Part 2 of our interview with GAC's Executive Design Director, Pontus Fontaeus. In this upcoming segment, Pontus will delve into the fascinating world of AI in design, explore the emerging trend of digital tools in design studios, reflect views on sustainability, offer valuable advice for aspiring designers, and provide a glimpse into the exciting future for GAC. Don't miss out on this insightful continuation of our conversation, where we'll unfold even more insights and inspirations from the world of automotive design.
