Christopher Chapman — Senior Chief Designer, Hyundai Design North America: Fresh ideas, team-working, and respect; keys for a better future
“For Hyundai and the US market, a constant effort is applied to offering more-than-expected in our products. Benchmarked to our competitors, this means more and better technology, quality, safety, materials, warranties, service, etc… and design.”
With Hyundai sweeping the GOOD DESIGN awards every year — just this year, a dozen Hyundai projects were awarded for their excellence in design — I had to travel with Global Design News to the “nest” of creation, the Hyundai Design Center in the States to learn more about this significant success.
Τhe current COVID-19 travel restrictions force us to a virtual meeting. Even like that, I had the pleasure and honor to meet Christopher (Chris) Chapman, Senior Chief Designer of the Hyundai Design Center in Irvine, California.
Chapman joined the Hyundai family in 2012. With decades of experience in automotive design and having been a member of some of the most well-known brands worldwide (Isuzu, BMW), Chris Chapman followed the destiny that led him to Hyundai. He is now responsible for new vehicle and concept design for Hyundai Design North America.
From the first step on his career — an RWD sedan project at the Isuzu Technical Center back in 1989 — to the latest ones — the amazing Hyundai Genesis GV80, the latest project he was involved with — the Pasadenian designer shared with me the milestones of his career, how he ended up in the industry, what the future of design looks like in his mind, and what are the key points to success in the field.
He is talented, a team player, has plenty of humor, and cannot hide his love for cars.
Even though I would die to have done this interview in person, probably test-driving the latest Genesis GV80 across the Californian Coast… this is as good as it gets in pandemic times.
Elizabeth Soufli: Mr. Chapman, welcome to our page. I am delighted that we get the chance to make this conversation — even like that, minding the current COVID circumstances…
Chris Chapman: Thank you for your interest and consideration.
E.S: Every year, Hyundai is awarded the prestigious GOOD DESIGN award for several of its car-designs. What are for you the qualities of a “GOOD DESIGN”?
C.C: To me, the most unbeatable combination in design is newness plus simplicity. One OR the other is actually easy to achieve. But the two together is very difficult. Also, something that gets better over time and is not immediately liked or understood. In designing, if you like something right away, it’s a pretty good indicator that it’s the wrong answer. You have to run the gauntlet and not be easily satisfied.
E.S: What makes Hyundai vehicles standing among the crowd?
C.C: Hyundai constantly changes — that is one of our key strengths. It’s not about building brand equity with a particular “look” or solidifying one design philosophy. It’s about generating something fresh and unexpected with every offering. If you let the coffee settle at the bottom of the cup, it goes bad. We keep stirring.
E.S: You have established an extraordinary career over the years, having collaborated with big names in the automotive industry. What characteristics are necessary to be a successful industrial designer?
C.C: I once saw an interview with one of my heroes, Marcello Gandini. I’ve never met the man, nor do I pretend to know him. But in the interview, he seemed so humble and kind. For all he has accomplished, he just seemed to be simply living his destiny. He appeared to be the epitome of one who is comfortable in their own skin.
I believe humility and knowing one’s limitations are key to experiencing success in design. In my career, no ONE person has been the creator of anything great. It takes teamwork and respect for others to make a good design.
You also have to be curious and have a strong dissatisfaction with the way things are, not just with cars, but with life. It’s a kind of curse, but this will fuel your motivation to make things better.
There is also a kind of paradox in what is expected in a designer: On one hand, you are asked to be a confident, assertive leader and solo “play-maker.” On the other hand, you need to be a team player. If this is not handled properly, confidence becomes arrogance, selfishness takes over, and the design won’t live up to its true potential.
I hope to be regarded as a kind person and a designer who fought for a fresh idea and a better future, and not for their own fame.
E.S: Back in 2012, when you joined Hyundai, what were your goals starting in the position of the Senior Chief Designer of the Hyundai Design Center?
C.C: I wanted, and still want, the experimentation to continue. I see with Hyundai tons of room for innovation.
Coming from BMW, I first thought that my value would come in the form of “control”; control and “clean-up” the designs. But I quickly realized that Hyundai’s DNA and charter are completely different. I had to drop 18 years of doing things a certain way and open my mind to a completely different set of priorities and values.
E.S: Looking back over the years in the company, what have been the milestones in your career (in designs or experiences)?
C.C: At Hyundai, I hit the ground running with the Genesis Concept HCD-14, and have been going 1000 mph ever since (they call it “Hyundai speed”). 2015 was a particularly successful year in terms of quantity and success, with 3 wonderful show cars unveiled (Santa Cruz, the Vision Gran Turismo race car for the popular video game, and the Genesis Vision G Coupe), and the development of the Kona. Since then, we’ve been able to contribute in smaller, meaningful ways as a team, as well as key contributors to the Palisade and, most recently, the Staria MPV.
E.S: You have a Bachelor of Science in Transportation Design. When did you decide that you belong in the world of design, and what made you choose the automotive industry?
C.C: Around 1985, I changed my track from mechanical engineering to industrial design when I discovered that car design existed. For me, it wasn’t so much about design as it was about car design. I suppose an industrial designer’s life would have suited me fine, but I’ve always had a love for cars and the unique emotion they bring to your life.
E.S: Can you recall the first job you’ve undertaken as a designer?
C.C: Yes, like you never forget your first love. It was an RWD sedan project when I began my career at Isuzu. Fortunately, I was immediately thrust onto a full-size clay model. The experience of working on a full-size car early in one’s career is so important — kind of a trial-by-fire experience. You struggle to swim, at least I did. But it’s the best start to an automotive design career I can think of, and I’ve since tried to offer that experience to as many new hires as I can.
E.S: What would you advise young designers who want to enter the automotive industry?
C.C: 1. Read… feed your mind with stories and dreams. Anyone can be taught how to draw and design. Having a vision is something else. Design is empty without a story to tell.
2. Create high standards and stick to them with grace and dignity. Don’t be a jerk about it; just aim high and follow thru.
3. Attention to detail and time management are crucial. Design school tests you on these two points. There is a common misconception that the workload is impossible to do without pulling all-nighters. The curriculum seems daunting, and it is. But if you manage time well and avoid complacency, you shouldn’t have to burn the midnight oil all the time. This is the best preparation for real-world car design. Design is 24/7. No lie… as I write these answers, it’s 6:30PM on a Sunday night. But I’m happy to do it!
E.S: Let’s talk about one of the most popular series of Hyundai’s designs, Genesis. Hyundai took a legacy style and started building from a clean slate. What’s so special about the latest Genesis G80 and GV80 — which as a matter of fact, both won GOOD DESIGN awards this year?
C.C: The GV80 was one of the last Genesis projects I was involved with. I’ve worked on a lot of SUVs in my career, and I am very pleased with how that car turned out. I managed to squeak in a few pieces of advice on SUV DNA, which helped it in terms of overall typology, purity, and identifiable quality. The talented team did the heavy lifting, and we were transitioning Genesis into its own separate brand.
Since around 2017, John Krsteski has taken over design leadership for Genesis in California. He’s a fantastic talent and a man with great integrity. Together with our teams in Europe and Korea, Genesis is in very good hands.
E.S: What’s the first car you owned?
C.C: Starting with my grandfather’s 1978 black Ford Fairmont with pumpkin-orange vinyl top and interior to match, I defy anyone to prove they had an uglier array of cars than me. The black had oxidized so badly that my friends swore the car was dark green.
Sure, other’s lists may include Gremlins and Pacers, but those were oddly cool compared to my “stable” of wheels.
Amongst other hand-me-down vehicles was a lime green ’75 Mustang II with a white vinyl top. Smoke would fill the interior through the handbrake when I came to a stop. For two years, I thought it was just an oil leak until a friend followed me home one night and told me that the catalytic converter, next to the gas tank, would light on fire as I stopped at a red light. The fire would then be extinguished by the wind as I drove off.
I guess all these ugly, weird, and dangerous cars shaped my motivation to be a designer.
E.S: Your region is North America. I’ve been wondering, are there any differences in designing for America, Europe, and Asia? Is there, let’s say, a European and an American face of the car with even minor differences in design (limits in technologies, lighting, etc.)?
C.C: Stylistically, I don’t think so. We look for universal appeal. But yes, in terms of typology. As an example, classic touring cars and GTs represent a place in history for Europeans in terms of city-to-city travel and arriving in luxury, whereas a touring car in North America would be used for something like family trips to National Parks. So, the car’s architecture would call for something different. The more popular SUVs in North America are strong looking like their pick-up truck cousins and less blended like today’s crossovers. The message is clear and pure.
Regulations differ from country to country, so there are definite limitations on design “cans” and “can-nots.”
E.S: What are the challenges when aiming to catch the attention of the US market?
C.C: Avoid sameness, copy-ists, cookie-cutter designs. Originality and uniqueness are important to the US customer.
Striking design means you have to go to uncharted territory and try things that may not work… break eggs and be prepared to fail. You have to “Lewis-and-Clark-it” if you want to stand out in a crowd.
For Hyundai and the US market, a constant effort is applied to offering more-than-expected in our products. Benchmarked to our competitors, this means more and better technology, quality, safety, materials, warranties, service, etc… and design.
E.S: From your perspective, can you name for us the top 5 car models of all time?
C.C: Normally, I don’t play this game. But I’ll give it a go…
Since I was born in the sixties, I’ll mostly stick to that decade for an answer here, with the exception of the Porsche…
- 1967 Lamborghini Miura
- 1963 Corvette
- 1965 Alfa Romeo Giulia GTA
- 1968 BMW 3.0 CSi
- 1953 Porsche 550 Spyder.
E.S: How do you imagine the future of design in your industry? We see a lot of futuristic renderings and concept cars; what are your thoughts?
C.C: It will be digitally done. Each designer will be his or her own design factory at their desk. The tools have arrived to where a virtual car viewed with a pair of VR goggles is represented with such fidelity that they have eliminated design “surprises” when re-created physically. I believe strongly in the physical side of design — that is to say, the clay sculpting. But the future interaction with professional modelers will be to hone and refine. The once “heavy lifting” and manual side of clay modeling will be transformed to a less laborious-in-nature activity and will emphasize the artistic side of the interactive dance between designer and sculptor.
E.S: Thank you for your time! It was an honor to host you on our page.
C.C: My pleasure! Again, thank you for your interest in my perspective!
