Available online at ScienceDirect. Procedia Technology 20 (2015 )

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1 Available online at ScienceDirect Procedia Technology 20 (2015 ) The International Design Technology Conference, DesTech2015, 29th of June 1st of July 2015, Geelong, Australia Development of visual aspect of Porsche brand using CAD technology Anas Bin Aqeel* National University of Sciences and Technology, Sector H-12, Islamabaad, 44000, Pakistan Abstract Brand identity is an important factor as it creates a connection between the product and the company. Consistent brand statement through its identification and differentiation is an important aspect towards the development of a successful product by which people can relate to the brand. However, due to inadequate understanding of brand by engineering, design and marketing, brand statement is difficult to preserve. This paper presents the novel CAD implementation technique to explore the visual aspects of Porsche car brand using shape grammar. A set of rule library is developed after a detailed investigation into the history of Porsche styling to highlight two dimensional front view key elements of Porsche vehicles. This Porsche grammar supports in development of futuristic Porsche designs within its brand hierarchy The Authors. Published by Elsevier Ltd. B.V. This is an open access article under the CC BY-NC-ND license Peer-review ( under responsibility of School of Engineering, Faculty of Science Engineering & Built Environment, Deakin University. Peer-review under responsibility of School of Engineering, Faculty of Science Engineering & Built Environment, Deakin University Keywords: shape grammar; computational design synthesis; product design; product development 1. Introduction The presence of clear understanding of all important brand attributes such as firm s competitors, customers and environment depicts the brand s strength. Alexander [1] in his paper explained the customer s value towards their branded possessions and those who manage those brands. Aaker [2] defined the brand as signals to costumers that protects the products from competitor s identical products and legally protects brand from losing its identity. Weilbacher [3] in his research explained brands as a basis upon which product identification and costumers bond is * Anas Bin Aqeel. Tel.: address: anasbinaqeel@ceme.nust.edu.pk The Authors. Published by Elsevier Ltd. This is an open access article under the CC BY-NC-ND license ( Peer-review under responsibility of School of Engineering, Faculty of Science Engineering & Built Environment, Deakin University doi: /j.protcy

2 Anas Bin Aqeel / Procedia Technology 20 ( 2015 ) established. A number of different levels of knowledge such as thoughts, feelings, images, experiences, attributes and benefits are linked to consumer s understanding about brands. An important factor in the selection of brand is consumer s need for abrupt change of style in the current era. According to Keller [4] in this current competitive market, brand identity is best defined through its vision that is the design of the product. Cagan and Vogel [5] relates brand identity as a perceived success by others. According to them brand speaks for itself through its different products. Coca-Cola is the best example of its brand identity through its consistent brand statement during its product evolution starting from the contour glass bottle to current plastic bottles. They believe likewise brand strategists, engineers and designers need to understand the importance of brand implementation through their work. The whole design team needs inclusion to the product development to understand the shape variations within its brand hierarchy. Engineers must highlight the manufacturing constrains and marketing analyst must highlight the emotional impacts of shapes that describes a successful brand [5]. Shape is a key element in designing process that represents the feelings and emotions of costumers in its development phase. Stiny and Gips [6] described design as a creational work of art. Mitchell [7] however defined design as a combination of eyes, hands, knowledge and objective that combines all these acts. Schon s [8] student analyses about classroom structure demonstrates the way of seeing things an indispensable part of designing. He defined designing as a series of acts in an ordered form. He termed seeing-moving-seeing an interaction of designing and development. Pena [9] defined design as a process not restricted to the analysis and synthesis stages but also involving stages from problem finding to problem solving. He demonstrated identification of problem and its understanding as a key in design solutions. Arthur [10] defined design as an activity divided into parts such as conceptualization, generation of alternative solutions and detailed analysis and evaluation. In this paper a novel shape grammar technique is used to capture brand s essence. Shape grammar technique not only provides ability to capture previous history of the brand but also articulates new designs in a precise repeatable manner as: [7] Shape grammars directly model a parametric geometry. Shape grammars functions on geometry to create shapes. Shape grammar provides emergence of shapes in designs. Along with the shape rule development, shape grammar-based tools are used to explore the brand s understanding of its design exploration capability and limitations to futuristic products by merging historical shapes. 2. Shape Grammar and its applications Research in the field of shape grammar for the last four decades has explored diverse design attributes. The limitation to create grammar was first covered by Stiny in which he defined shape vocabulary, spatial relations, initial rules, shape rule and shape grammars as five main stages for generating new design languages[21]. Stiny [22] defined shape grammar as a set of rules based on a shape rule application, beginning with an initial shape to the final design as a result of rule application. Shape grammar is a design generation s technique through which initial shape could be changed into final shape. A shape rule applies to shape when there is a transformation such that is a subshape of. can be any general transformation such as translation, rotation and scaling which could be used to find the subshape in the design. The rule application applies into in the format shown below by replacing from to to give final result as. Example in figure 1 is illustrated for better understanding of shape grammar implementation. (1) a) b) c) Figure 1 [11]: a) Shape rule transformation from ; b) Initial shape ; c) Final shapes using subshape detection and rule implementation The application of shape grammar was first implemented by Stiny in 1980[22]. An important factor in shape

3 172 Anas Bin Aqeel / Procedia Technology 20 ( 2015 ) grammar is shape emergence. Reed s experimental results of subshape detection resulted in three significant points: firstly, visual and verbal descriptions are both important factors for shape interpretations and its emergence. Secondly, subshape groups can be detected only from shapes if the higher level shapes are interpreted. Thirdly, verbal characteristics are helpful in subshape emergence[24]. Mitchell[25] enlarged the shape emergence class and described shape emergence a process of recognition, interpretation and then reinterpretation in design exploration. He described it as emergent shape is an implicit existence of shape in a primary shape. Mitchell defined subshape emergence as any closed or unclosed, explicit or implicit, primary shape part[25]. Knight[23] elaborated the history of emergence in shape grammars for the purpose of computational support. He distinguished the different sorts of emergence such as anticipated, possible and unanticipated emergent shapes. Liu [26] characterizes subshape emergence into four different hierarchical decompositions such as implicit open subshapes, implicit closed subshapes, explicit open subshapes and explicit closed subshapes. Parametric shape grammar is an extension of general shape grammar that replaces the shape grammar to shape schemas[27]. Parametric grammar does not require exact dimension like simple grammar and allows the shape recognition as it works on parameter. Roots of shape grammar application has been found in architecture, engineering and design. Stiny first developed Chinese lattice design using shape grammar. Afterwards, Stiny and Mitchell [22] generated Palladian style shape grammars for villa ground plans followed by Mughal gardens [28]. Koning and Eizenberg [29] generated shape grammar of prairie-style house. Knight developed parametric shape grammar for Japanese tearooms [30]. Cagdas [31] defined the parametric shape grammar of traditional Turkish houses. After few decades of research in architectural shape grammar, researcher s aptitude shifted to engineering applications such as design of coffee maker [32], Harley Davidson motorcycle shape grammar [33], Buick grammar [11], BMW grammar [34] and Beetle grammar [35]. A number of shape grammar tools have been developed to support and expand the creativity of designs. Krishnamurti [36] developed a system to solve shapes composed of straight lines using method of maximal lines. A number of interpreters such as Chase (1989) [37], Tapia (1999) [38] and Tresack (2009) [39] were designed on this method but limitation to generate rectilinear shapes only led the research aptitude towards curve shape interpreters. McCormak and Cagan [7] designed an interpreter composed of freeform curves. Recently, an alternating Jowers and Earl [40] used Bezier curves method for implementing curved subshape detection. 3. Porsche brand research The Porsche Company was founded by Ferdinand Porsche in 1947 [12]. Ferdinand Porsche worked for different automotive companies. One of his greatest establishments was Volkswagen Beetle which was used in Porsche 356; the first sports car under Porsche s name. The public demands for styled, luxurious and comfortable vehicle steered the company to its most iconic model, the Porsche 911, of all times in Porsche 911 is known for its success on race-tracks and rallies for the last six decades [14]. Porsche always has a close relationship with its sister company Volkswagen (who now also owns Audi AG). The two companies collaborated to make VW-Porsche 914 in 1969 which leads to a risk in brand consistency for both companies. Heesen [13] in his research regarding brand extension highlighted the perceived fit features. He describes it as an evaluation of product similarities and brand consistency by the consumers. Porsche is renowned for its sports car and its motto towards brand management has led Porsche preserve its image for more than half a century. After about three decades of fruitful evolution of 911, the competition and consumers demand led the company to merge with its sister company Volkswagen, which was expressed in 1995 by Wiedeking [15] as our strategy is to go beyond one dimensional we have had so far. Porsche CEO Wendelin [16] stated his concern to the risk faced by company concerning brand identity as we were working with Volkswagen on next generation of Cayenne and I wanted a clear connection to safeguard its interests. To abolish these brand risks, we began by reviewing the Porsche vehicles history which has laid the foundation of this research. In this research, key features that establish the brand are extracted. For the formation of shape features, multiple versions of each single shape are discovered from the selection of five different vehicle categories such as Porsche 356, Porsche 911, Porsche Cayenne, Porsche Cayman and Porsche Panamera. These categories cover the whole Porsche brand era starting from 1948 to present.

4 Anas Bin Aqeel / Procedia Technology 20 ( 2015 ) Evolution of Porsche front-end vehicle designs are broken into 12 thematic eras as shown in figure 2. Transitions between these thematic era were caused due to prominent change in design philosophy, categorical and technological change. Porsche 356 series is divided into one era throughout its eighteen years of production due to consistent body shape. Every Porsche 911 model is reviewed due to its longest car production history of about five decades. Six generations of 911 series are divided into seven different era s. Three generations of Porsche Cayenne are reduced to two eras. Both Porsche Cayman and Panamera are given one era each as they do not have prominent changes in years. 356 ( ) 911 ( ) 911(930) ( ) 911(964) ( ) 911(993) ( ) 911(996) ( ) 911(997) ( ) 911(997) (2009- PRESENT) Cayman (2005-PRESENT) Cayenne ( ) Cayenne (2008- PRESENT) Panamera (2009- PRESENT) Figure 2: The Twelve thematic eras of Porsche from 1948 Present. Like Buick [11], aesthetic key features of Porsche vehicles are characterised. Stiny and Gip [17] define aesthetics as how the existing art work be illustrated, interpreted and evaluated in the growth of new work. Aesthetic feature study from Osborn [18], McCormack [11] and Ranscombe [19] allows in recognizing the most essential key features of vehicle s front view. These elements would represent Porsche s brand hierarchy. The key features selected in front view are fender, hood flow line, outer hood section and inner/centre hood section as shown in figure 3. The Porsche history is then represented with a chart as shown in figure 4. A component is represented by each box connecting different features by line connection. Figure 5 shows no longer individual box per year but shows distinct component shape. These lines shows the historical pairing of component shapes. It shows a tree structure to design any specific model throughout these years. Figure 3: Porsche 1967 CAD model representing Key elements of Porsche front view.

5 174 Anas Bin Aqeel / Procedia Technology 20 ( 2015 ) Figure 4: Era categorization of Porsche series primary key elements from 1948-Present. 4. Porsche shape grammar Figure 5: Representation of Porsche history by combining similar shapes. After the extraction and characterization of key elements, Porsche DNA is encoded using shape grammar technique. Porsche grammar is categorised to feature creation and feature modification rules. Feature creation rules are mapped according to the history of Porsche vehicles as shown in figure 5. All previous models could be designed using these rules. However, modification rules act upon the feature rules to generate similarly shaped features. All the Porsche rules are parametric and allows variability for modification rules. A total of 80 shape rules including 40 feature creation/generation rules and 40 feature modification rules are formed. 6 centre hood generation rules, 8 outer hood generation rules, 9 fender generation rules, 8 hood flow line generation rules, 3 top roof generation rules and 6 headlight generation rules are designed. Along with generation rules 10 centre hood modification rules, 7 outer hood modification rules, 7 fender modification rules, 6 hood flow line modification rules, 4 top roof modification rules and 6 headlight modification rules are designed. For the implementation of shape grammar rules and sub-shape emergence, tools such as sub shape detector and sub shape detector 2 are used as shown in figure 6b and 6a respectively. Toolbar Right rule Toolbar Workspace Rule Library Workspace Shape Library Figure 6: a) Feature presentation of Subshape Detector 2 tool. b) Feature presentation of Subshape Detector tool. Left Rule Window Right Rule Window

6 Anas Bin Aqeel / Procedia Technology 20 ( 2015 ) Generating Porsche designs First to check the shape grammar formed through methodology, an existing vehicle through figure 5 is selected and recreated by using feature creation rules. A number of previous vehicles are redesigned using computational tools of which one previous Porsche model known as Porsche Panamera using 8 shape rules and 1 symmetric rule is shown in figure 7. The basic steps to follow are the same for all the designs as shown in example below with beginning from origin, the first rule that produces centre hood line followed by outer hood and fender rule in order to accomplish primary shape. Once the primary shape of the vehicle is complete, rules to generate secondary shape the hood flow line, lighting and top roof are followed in order. The centre hood section is changed from Porsche 911 to Panamera with the application of rule 42. At the end, rule 78 to lengthen the roof top is applied followed by a symmetric rule to complete the full car design. The steps for making previous Porsche designs are same as followed through figure 5 from feature rules and the steps to design futuristic new designs within brand hierarchy are followed as well in the same order by modification rules. Few other futuristic designs that open a new category under Porsche brand hierarchy such as SUV, sports car and mini cars are shown in figure 8 and 9 respectively. RULE 4 STEP 1 RULE 11 STEP 2 RULE 23 STEP 3 STEP 6 RULE 38 STEP 5 RULE 78 RULE 37 RULE 31 STEP 4 STEP 4 STEP 7 RULE 42 RULE 78 STEP 8 STEP 9 Figure 7: Step by step computational rule application of Porsche Panamera & Comparison with original Panamera [20].

7 176 Anas Bin Aqeel / Procedia Technology 20 ( 2015 ) RULE 7 STEP 2 RULE 55 RULE 1 STEP 1 STEP 3 STEP 6 STEP 5 STEP 4 RULE 63 RULE 30 RULE 43 RULE 35 RULE 39 STEP 7 STEP 8 STEP 9 Figure 8: Step by step computational rule application of new Porsche SUV design based on proposed modification grammar rules. Figure 9: Parametric results of shape rules showing promising new vehicle category as Porsche mini car designs. 6. Conclusions Brand identity is composed of numerous different factors, but the core of any brand is carried through its product. A successful brand is developed with great care and its purpose to connect costumers along the product evolution. Capturing the essence of brand using shape grammar, requires depth brand research for product development and the selection of feasible tools that unlocks the strong brand identity for futuristic designs. The number of changes in key design systems and subsystems of vehicle designs poses challenges to engineers and designers in the automotive industry. The development of product grammar summarizes the key design concerns for the futuristic concept cars. Grammar for product development can be applied for different complexity levels for any specific brand. In this paper, Porsche shape grammar has been efficiently used to highlight the key features of Porsche brand. Previously, Buick grammar [11] was only developed across few decades of vehicle front view inclusion in shape rules and without its computational implementation to explore numerous possibilities, which is covered in this research by insertion of whole Porsche history since 1948 and by CAD implementation using two different interpreters of Porsche shape grammar. The shape grammar has been developed to bridge the gap between engineering, design and marketing by initially generating architectural shape rule library which afterwards is merged with the CAD tools to explore brands boundaries. However, limitation occurs for the parametric feature creation rules which if taken out of the created shape rules library in accordance to figure 5 will abolish Porsche brand

8 Anas Bin Aqeel / Procedia Technology 20 ( 2015 ) identity. The implementation of parametric shape rule to the new tools designed on curved line shape recognition has exploded a new research dimension in product development. Using these currently available curvilinear subshape detection tools based on Hurdodistance technique (a mathematical technique implemented into subshape detection tools that allows well recognition of curvilinear shapes), new product categories could be explored such as shown in this paper by Porsche mini car category. A shared vision of brand, customer and product could be achieved using shape grammars by making the brand more clear, accessible and understandable. Acknowledgement The author would like to thank Professor Alison McKay for her efforts and supervision in exploring Porsche brand using shape grammar. Also, University of Leeds for the use of interpreters which are their intellectual property. 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