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Interactive Annual 14:
Honda Build Your Ride
The customization interface was well-considered, but what really put this one over the top was the printing feature. Bart Marable
Gives customers a way to interact with the space and take something memorable home with them. Liz Danzico
Technology has become a vital component of auto shows and this project for Honda once again reinvents the experience. Consisting of a 47-inch touchscreen (and a printer), it allows visitors to view the entire Honda vehicle lineup or customize a Honda Civic si. The customization process involves three simple steps: create it, view it in a dynamic 3-D rendering, print a foldable version. Although an infinite number of designs are possible through various color and decal combinations, the beauty of the project is that it keeps the reward within reach enticing visitors to continue interacting with the brand.
- Development time was eight weeks.
- One of nine integrated interactive storytelling units for Hondas booth at the four major U.S. auto shows.
- Enabling visitors to post designs to a community site is in development.
What was the most challenging aspect of the project?
So much stuff is given away at these shows. We wanted to create something unique to the environment but that people would actually use. Giving people the ability to print a foldable version of a car theyd designed was not only cool, but something that had never been done. Now we know why.
Although the time frame was short and the project was part of a huge effort, without a doubt the most diffcult aspect of it—primarily due to the number of users—was getting the cars to print accurately and reliably on foldable die-cut paper.
Absolutely key to the success of this project was creating the design for an origami, with the fewest possible folds, that actually looked like a Honda Civic SI. After more than twenty variations, senior project designer Soo Lee came up with a template that could print and be built with the fewest number of folds. We thought the hard part was over, but it was time to find a printer.
Since the printer had to be small enough to fit into a specific space, we were forced to go with a consumer product. This created an entirely new set of problems—finding paper that wouldnt jam and was a weight that we could have pre-perforated—most of them regarding quality. Since we could only print 72 dpi from the screen, we pre-printed a bunch of the finer details and then perforated the paper.
The first show of the four-show circuit presented some printing technology kinks that needed to be ironed out. Among them was the realization that unless the feeder was lined up very exactly it wouldnt print correctly. We ended up jury-rigging the printer, securing the paper feeder with tape and adding a wooden riser block so that the perforations would line up every time. It was a rustic solution but it worked.
We developed a strong understanding of the link between virtual (3-D model) and real tangible objects (paper model). Although some information is compromised along the transfer (details of the shape, colors, reflections), we isolated the elements necessary to bring across and create a clear link.
In the end, if we had it to do again, wed collaborate with a printing specialist to develop a reliable custom printing solution.
Julien Le Bas, creative director
Sebastian Bettencourt/Nikolai Cornell, interface designers
Ben Myers, graphic designer
Art Cole/Soo Lee, design directors
Martha Caust/Allison McCarthy, producers
George P. Johnson (North Easton, MA), project design and development
Odopod, design firm
Honda North America, client