The Beauty of Motion

Over the years, Mazda has developed a distinct design identity that appeals to customers around the world, yet is deeply bound to Japanese idea of aesthetics.

Picture in your mind’s eye a box: not just any box, but a luxurious, handcrafted Japanese lunch box. As your eyes wander across the exterior, you notice the perfect symmetry of form; the way each piece of wood seamlessly fits into the next; the way the light dances across the perfectly polished, blacklacquered surface; and the delicate pattern of a willow tree that is painted on the surface, branches shaking, leaves falling, a living form in motion. The painted tree is in perfect harmony with the wood on which it is painted. As you finally open the box’s lid, a meticulously arranged, lush scenery of delicious bites hits your hungry eyes.

Do you see it? Then you are experiencing first-hand the essence of Japanese design.

This seemingly everyday item exemplifies much about Japanese aesthetics and product design – principles that have also always governed the way Mazda approaches car design. From its very first mass-production car – the R360 Coupe – Japanese ideas of beauty and art have been deeply embedded in the Mazda design philosophy.

IN TUNE WITH NATURE

The deep bond with the natural world is a central element of Japanese aesthetics. It permeates everything from art to people’s everyday life and preferences. Whether it’s an emphasis on openness in traditional Japanese architecture – which relies on moving walls in order to frame the scenery outside – or the yearly spectacle of the cherry blossom with its myriad manifestations in art, the natural world is never far off when it comes to Japanese ideas of beauty. While artificiality and a certain removal from the mundane often characterise Western avant-garde movements, the roots of Japanese design are irrevocably entangled with the land itself.

SOUL OF MOTION

At Mazda, this idea was brought to life powerfully in the Kodo design language, first introduced as a design vision in the 2010 Mazda Shinari concept car. Mazda’s global head of design Ikuo Maeda had a clear goal in mind: to capture the very essence of movement and emotion in a car’s exterior. The design team worked tirelessly to shave off any and all elements that were deemed not absolutely necessary. The result was a clear and pure form that evokes the energy of a living, moving creature – the soul of motion itself.

The second decade of Kodo design focused on broadening the expression of the essence of Japanese aesthetics with three elements: yohaku, literally meaning the beauty of empty space; sori, or curves with poise and balance; and utsuroi, the play of light and shade.

According to celebrated Japanese author Jun’ichirō Tanizaki, the use of light and shadows is central to understanding Japanese aesthetics. They are nature’s own artists, creating forms and aspects that are everchanging and fluid. Light and shadow are what makes the noh masks in traditional Japanese theatre come alive, and what gives a room its mood – and they also breathe life into all Mazda cars that follow the Kodo design concept.

All strong lines are removed from the side surfaces of the car, creating an empty space that functions as a blank canvas for the light to paint on. One striking example of this

concept is the S-shaped curve found on the Mazda CX-30 side panels. As the car moves through its surroundings, the constantly changing light creates fluid patterns that reinforce the idea of motion suggested by the overall shape. The result is a continuously evolving aesthetic that marries minimalism of form with a wealth of expression – a true manifestation of Japanese aesthetics.

It was this evolved Kodo design philosophy that put Mazda on the map as a design force to be reckoned with. Both the Mazda RX-Vision and the Vision Coupe were deemed the “Most Beautiful Concept Car of the Year” in 2015 and 2017 respectively, receiving almost universal praise. And starting with the latest-generation Mazda3, an evolved interpretation of Kodo design has found its way into production cars.

THE BEAUTY IN THE EVERYDAY

In Japan, a clear delineation between art and commercial products does not exist. Why should we put less effort into beautifying the things we interact with daily than we do into a piece that’s displayed in a museum? With this philosophy in mind, it is hardly surprising that Japanese product design is celebrated across the world.

A lunch box, looked at soberly, is just that: a container used to transport food. But to many Japanese, it is also an opportunity to create an object of beauty – both in the box itself and in the treasures it holds.

When a guest is presented with such a lunch box, he or she is encouraged to dwell for a while on the beauty of the object at hand, to trace with their eyes the path of the swinging willow branches. The beauty of the box is part of the overall experience, as is the artistic presentation of the edible contents within. Before ever tasting a morsel of food, the recipient of the lunch has thus enjoyed the lunch-box experience in a number of ways.

And this is only a prelude to the pleasure of savouring the exquisite flavours of the meal. Presentation alone is not enough – but it does make a valuable contribution to the overall experience.

This is exactly how Mazda designers and fans feel about their cars . At the heart of every Mazda is the joy of driving it, and the feeling of unity between car and driver. This state is called jinba ittai, and there are many factors that go into achieving this perfect harmony, from the way an engine behaves to the vehicle’s steady grip on the road and a seat that perfectly supports the driver’s body.

A stirring design might not be the only – or even the central – element of any car. But to the overall experience of driving a Mazda, it is not trivial, either.