Eclipse／Plymouth Laser（1989）

Diamond Star joint venture, Chrysler proposal

 

Roger Zrimec

 

――　Fun to Drive, Sporty Hatchback

Initially, code-named G-24, the Plymouth Laser was Chrysler’s vision for a youthful, sporty, two door “fun to drive” hatchback to appeal to a new segment of customers.  Design work started at the Chrysler Design Studios in Highland Park, Michigan, and at the Pacifica Advanced Studio in Carlsbad, California in August 1984. Pacifica studio first sculpted a foam concept model, led by Tom Tremont.  (Later, it became the base for the 1987 Dodge Daytona 199x concept.)  A “split” clay model was then sculpted in the International Studio in Highland Park, with one side, based on the Pacifica design and the second side was the design I led.

――　Design Directions

The designs departed from the “boxy” trend of the time by featuring a smooth center profile from the front to the rear that minimized the bumper steps and reduced the breaks at the windshield to roof and roof to backlight. The result was a sleek, sporty profile with a muscular feel. The designs had unique lamp treatments in both the front and rear to meet impact regulations.  A stable, road hugging stance was achieved by pushing the faces of the 16” wheels, which were big for a compact car for the time, outboard of the side glass planes.
The Pacifica proposal featured a one-line A-C pillar graphic that accentuated the hatchback.  The design I was doing in the Detroit studio had a canopy roof.  It looked more like a sporty compact “coupe,” with a short deck,  though still a hatchback.  This clay model was completed in October of 1984.

――　Hard Model Fabrication

The split clay model was shipped to Heuliez, in France, to scan each side and CNC mill two individual foam models to be skinned in fiber glass to create hard models with acrylic glass.  I went to France to oversee the hard model conversion of the two models. This CNC process was a new way of working versus the time-consuming method of casting the models, used prior.

――　Hard Model Review

The two models were completed in January of 1985.  After evaluation the front nose from the Pacifica model, which had less plan-view curve, was merged with my design on a new combined model.  I added a “basket handle” B-pillar to make the car sportier. The completed “marriage” model was shipped to Mitsubishi Motors Corporation’s (MMC) Design Studio in Okazaki, Japan for a meeting with top management (Mitsubishi: President Toyoo Tate and others/  Chrysler: Chairman Lee Iacocca, President Hal Sperlich, Design VP Tom Gale and others)from both Chrysler and MMC. Three models were reviewed in Okazaki: our Chrysler proposal, a proposal by David O’Connell from Mitsubishi’s Cypress Design Studio in the U.S., and a proposal by Michiro Eguchi from Okazaki Design. The Chrysler and Cypress proposals were well received and the program was given the “green light” to proceed to the next step.

――　Joint Work in Okazaki

The next step was to realize the concepts on an all-new platform: a common vehicle that Chrysler and Mitsubishi could differentiate with unique fascia and trim. I was dispatched to Japan with the Chrysler team, which included Neil Walling, Chrysler Design Director, Jim Lagrue, studio engineer, John Fernandez, product planner and young designer, Dan Sims, to assist with design and communication, as he spoke Japanese.

――　Production Feasibility

At the Okazaki R&D Center, we worked on competing models in the design studio with Dave O’Connell from MSI Design Studio from March to April of 1985. Each team built a clay model that included engineering and manufacturing feasibility hard points.  The Chrysler and Mitsubishi teams refined their designs and adjusted to the new dimensions. In the first weeks, much of the work was comparing the data from the design models to the engineering package and working together with the Mitsubishi engineers to resolve the areas where designs didn’t align with hard points.

――　Hood Bulge Story

Both proposals had a low, sleek, and sporty hood.  The DOHC, 16 Valve, Turbocharged engine, had a tall timing belt cover.  If the hood was made flat, it would drive the whole hood surface upwards, losing the sleek, sloped nose.  After some sketching, the unique hood bulge that became part of the car’s identity was born.  The idea enabled the hood to remain low and sleek, while locally clearing the belt cover with a distinctive, asymmetric bulge giving the car a muscular look.

――　Parallel Path for Headlamps

A key design feature was the thin headlamps.  The Chrysler design featured thin, flush aero lamps that wrapped around the corners in the front, unlike the usual large rectangular sealed beams.  There was a new technology that featured small “credit card” lamp modules, but production timing was a risk.  In parallel, a proposal that featured “pop-up” sealed beams with a thin window for “flash to pass” function was also considered and eventually won out.

――　Flush Bumpers

To achieve the small bumper offsets, the break line between the front and rear fascia were raised; to the hood in the front and to the high-positioned tail lamps in the rear.  This allowed the bumper to support a front and rear 5 mph requirement without big steps.

――　Unique Mitsubishi Model Making

We had a short 5-6 weeks to complete the models.  We preferred working in a “free modeling” style, as opposed to the lofting style that was being used by Mitsubishi.  We called Al Mowry, an exceptionally quick clay sculptor from Chrysler to come to Japan for support.  Once the clay was complete, Mitsubishi used an efficient method of model finishing, unique for us, where the cabin structure was made in parallel from wood, from a scan of the clay. The clay model roof would be removed and replaced with the wood roof, enabling a see-through model with acrylic glass. The remaining clay was sealed and painted, resulting in a hard model looking finish.

――　Design Approval

These completed models were reviewed by top management from both companies around late April.  The Chrysler design was selected for the program. After that point, the teams worked on areas of differentiation. We continued work on grade level features, graphics, and refinements back at Chrysler whereas the Mitsubishi team did the same in Japan.  The final approval hard model of the Plymouth Laser was completed in the summer of 1985, for management approval.

――　Exciting Program

This program was exciting for me.  The Laser/Eclipse joint venture raised collaboration with MMC to a whole new level.  It became the model for the future Diamond Star Motors (DSM) programs. DSM was the MMC/Chrysler JV plant in Bloomington, Il., where the Eagle Talon, the derivative was also produced.  Chrysler, under the leadership of Tom Gale, VP of Design, was championing an exciting new, “cab-forward” direction in design with sleeker and sportier proportions.  Mitsubishi provided great engine and drive train technology and had great build quality.  This JV was like a “marriage” of Chrysler design and Mitsubishi technology which provided the potential for many exciting future products.

――　Project of Many “Firsts”

The Laser/Eclipse project was the first time for many of the Chrysler team, including myself, to travel to Japan. We enjoyed visiting the Castle Park in Okazaki and cultural centers such as Kyoto on the weekends.  We had some funny experiences, when we went to Japanese restaurants on our own and mistook the tempura dip for soup and struggled to use chopsticks.  We found the Japanese people to be kind hosts and accommodating.  I have many fond memories of my travels to Japan!

――　Market Reception

The Laser provided Plymouth with a performance car offering and was a stablemate for the existing Dodge Daytona Turbo Z.  The Plymouth Laser, Eagle Talon and Mitsubishi Eclipse were the first vehicles to roll off the DSM assembly line.  These cars were well-received by the market.  It was lauded for clean, advanced styling, and high-performance value.  This project also represented a new level of cooperation between Chrysler and Mitsubishi and led to many subsequent exciting vehicles for both brands.

April 2024

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 Interior design that makes Americans say “Wow!”

 

Nobutaka Imada

――　Mirage Interior Team

In 1984, I supervised the interior design team for the 3rd gen. Mirage sedan and hatchback under Chief Shinji Yokoyama. I was then additionally assigned to design the interior of a sports coupe based on the Mirage, which later became the 1st-gen. Eclipse (hereinafter refereed to as Eclipse). The car was planned to be produced at a new plant to be built by Mitsubishi and Chrysler in Illinois, U.S.A., as a joint venture, and all development was planned to be done by Mitsubishi in Japan. However, Chrysler wished to make their design proposal for the exterior, so a design competition was to be held between the two companies, while the interior design was left entirely to Mitsubishi. I worked on this job with Eiichi Okuma. He was a mid-career designer who had just returned from the newly established Cypress Studio in the U.S. about six months earlier, and this was his first time working on an interior design. Meanwhile, I had been working mainly on interiors for nearly 20 years, including a trip to Detroit to work with Chrysler designers when I designed the interior of the 1st-gen. Lambda.

――　 “Oyakama” of our interior design studio

In those days, when we were stuck for an idea, our interior design studio often called for the participation of people in charge of other projects, as much as possible, to discuss ideas as broadly as possible. We called this “Oyakama,” which comes from the idea of sharing opinions to the point of being noisy, and although it may seem like meddling in other people’s business, it often led to the creation of ideas that we had never thought of before. Since interior design often involves not only form but also function, it is a job that requires wisdom and ingenuity, and I have been practicing this way of working as I believe it is a creative way of doing things that does not stick to individual play.

――　Trial and error with quick model

In this environment, we developed the design concept. This project was Mitsubishi’s first major venture to manufacture locally in the U.S., therefore, we wanted to not only make it a success by all means but also create an interior that would have a fresh impact and make Americans say, “Wow! So, we decided to proceed in a different way to intensively generate a large number of ideas. Usually, we first spend a lot of time on beautiful sketches and detailed drawings, and then the model is completed and we can check it in three dimensions. However, we put them all behind us, drew doodle sketches, and then used a disused instrument panel model on which we added polystyrene boards on top of it to create an quick 3D model of our doodle sketches.We then intensively examined various design proposals through “oyakama” on it.

I had always had the impression that the interiors of American cars were, for better or worse, static and ornately decorated in their simplicity, compared to the exteriors, which are full of character and impressive design. However, since the car interior is the space where people drive the car, I thought it should be more organic and dynamic, and I could tell that Okuma, who had returned from the U.S., shared this image through the sketches he had drawn.

While making cockpit images centering on the driver with polystyrene boards, we discussed with the “Oyakama” guys, and through trial and error, a distinctive design gradually emerged, with a hand fan-shaped meter cluster connecting to the floor console. As we refined it, a bold and dynamic look emerged, and we thought this could be the way to go.

Furthermore, I had always believed that a hot sporty car should have an atmosphere where the driver sinks deep into the interior, and in order to achieve this, I was working with the staff of the testing department to determine the maximum height of the floor console. Just at that time, Jeff Teague of Cypress Studio sent us a brochure of the newly released Pontiac Fiero. In the brochure, he wrote, “I felt the vibe of a sports car in this high center console! Why don’t you reference this one?” I was greatly encouraged by this.

――　Proposal from Cypress Studio

While this work was in progress, Hiroshi Yoshihira, who had returned from Cypress Studio in January 1985, joined the team. He designed the Eclipse interior over there and brought it back in a full-size rendering. It featured a boxy floating meter cluster, which we discussed with the members of the interior studio, and while it was well organized, it was deemed to lack the organic dynamism that we were aiming for at the time. Nevertheless, this was his first interior design project, and he had a good experience in the US.

――　Pursuit of hot image

We then fabricated a model with the necessary engineering requirements based on the initial image. With this model, we were able to confirm the distinctive mass of the panel rising sharply from the floor console and fanning out to the instruments, as well as the overall 3D appearance of the instrument panel. In addition, we also confirmed the feeling of the driver sinking into the interior with the high floor console and short shift lever. The steering wheel, with its three-arm design with power humps on the shoulders, was a good match with the instrument panel. Overall, we felt that the organic and dynamic image we were aiming for was achieved to some extent.

――　Chrysler’s exterior and Mitsubishi’s interior

In March, while the instrument panel model was under construction, Chrysler and Mitsubishi confirmed their respective exterior design proposals. At the same time, the platform was changed from the Mirage to the larger Galant. However, the instrument panel model based on the Mirage was rushed to completion, and basic approval was obtained at a meeting between the two companies in April. At this time, the Chrysler proposal for the exterior was eventually selected, resulting in a single car with the Chrysler exterior and the Mitsubishi interior. This was quite unusual for a car design, but Chrysler’s exterior design was hot and dynamic, and we thought this would be a perfect match for our interior.

We then finalized the design with a layout based on the Galant for final approval. Thanks to the increased interior width, we were able to widen the area around the air conditioning dials, giving the instrument panel a more robust image. The pad on the passenger side was made with a soft leather-like texture to create a textural difference from the driver’s side. This unique fine wrinkle pattern is particularly memorable for me, as I eventually went to the supplier, Inoac, to make a master mold for mass production together with the person in charge on site.

The final design of the instrument panel was thus completed and approved by the executives of both companies in June. The design survey was then conducted in the U.S., the car’s main market and an interior model was fabricated accordingly. In doing so, attention was paid to design details such as a passenger seat back panel that could be folded forward to serve as a convenient tray, as well as providing ample luggage space.

 

――　Consumer Survey in the U.S.

In late September 1985, I traveled to Oakland, California for a consumer survey comparing the Eclipse’s design to its competitors. Compared to the Mazda RX-7, Honda Prelude, Pontiac Fiero, Dodge Daytona, and others, the Eclipse’s interior was well received for its sporty feel and fresh instrument panel. There were some negative reviews on the intensity of the driver orientation, but this was judged to be a characterization of the car that was not problematic. The Chrysler representative in the survey also complimented us saying, “I really liked the interior design! I was happy to realize then that the interior design had something that appealed to the American senses, in other words, “Wow!

――　In closing

While I was writing this draft, I found several Eclipse on an Internet used car site. I suddenly thought, “I want this car! I want to drive it!” I was tempted, but I gave up, realizing that I had reached the age at which I would have to give up my driver’s license. So, as I look at the photos of the Eclipse, I think of the colleagues with whom I pursued my sports car dream.

April 2024

 

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Proposal from Mitsubishi California

 

David O’Connell

――　Joining American studio of Mitsubishi

 I joined Mitsubishi in early 1984, after a 3 1/2 year over in England and France working for Peugeot Citroen, when it opened its North American studio in Cypress California. The staff included Takio Nakagawa, the General Manager, Kiyoshi Honda, and Eichi Ookuma. Mr. Kieth Teter, the Department Chair of Art Center College from which I graduated, was also involved in the projects as a design consultant.

I was so happy to be part of this new team and new company in Southern California. Since I grew up in Los Angeles, it was always my career objective to join a Japanese company in So Cal so I could surf in the morning before designing cars all day, it was the life balance I was looking for. At this new studio, I was joined by Jeff Teague who had been at Ford for about 5 years. For Mitsubishi, it was a great combination of having a native Californian with European experience and a Detroit “hot shot” who cut his teeth at one of the big three.

――　Designing new compact sports coupe

Soon after we did some facelift sketch works, we had a new assignment and started working on two all-new car designs, one was a Mirage successor and the other was a sports coupe based on the Mirage successor platform. I assumed, at this point, that the sports coupe would be imported to the US like the Cordia, but I would later learn that this was not the case.

We created hundreds of sketches, for these cars,  one of mine was selected for the sports coupe, and Jeff’s sketch was selected for the Mirage. For the sports coupe, we did one 1/4 scale model and followed it with a 1/1 see-through model. We sent the model to Japan in March 1985. I traveled to Okazaki Japan to be part of a big review etc, which was a very exciting experience. This is also where the story ( to me ) got quite interesting.

――　Unexpected development

When I arrived at Okazaki Design Center, in the design showroom, there were three models, our Cypress Studio model, one model from Okazaki (by Eguchi San), and a third model, painted red from Chrysler. ( Chrysler????…huh???) I was shocked and surprised as I was not expecting a model from another company.

So all three models were presented by the top studio guys and then two models, the Cypress model and the Chrysler model were selected for the next stage. I was thrilled that our model was selected. Regarding the involvement of Chrysler, it turns out this was the joint venture project called Diamond Star Motors, a new factory in Normal Illinois, this factory would produce cars for both companies. Had Jeff and I understood that this was a ‘shared’ design, and had we known that our Mitsubishi design would ‘compete’ directly with Chrysler, we could have approached it a little differently. In retrospect,  I never understood why Jeff or myself was not told that this was the background or basis of this project. Everything went fine during that time, all professional, just some existing “baggage” in the relationship, perhaps.

――　Staying in Japan to refine design

Following the initial theme selection of the two models, the design refinement process would start immediately. So I flew home, re-packed my bags, and went back to Okazaki for about 4 to 5 weeks to create the production proposal model, working directly with some super awesome Mitsubishi designers and engineers in Okazaki. The Chrysler design team was there in Japan, their members were Roger Zrimec, design exec Neil Walling, and Dan Sims.　The project took on a new challenge when the platform for the car changed from the compact Mirage Platform to a larger Galant platform. Though this made the car slightly larger the benefits were worthwhile as it allowed a larger wheel, wider stance, longer wheelbase, and a more powerful engine with the famous DOHC configuration. Both design teams executed precision execution of altering the forms of their designs to accommodate the slightly larger footprint, without losing any of the soul and character of their designs.  

――　The difference in modeling process between  America and Japan

It’s worthwhile to note the modeling process of Mitsubishi. In US companies, the designer would do a 1/1 tape drawing over a package, cut a few sections, and start sculpting. At Mitsubishi, the designer was responsible for lofting the entire car, in 3 views, in full size with sections cut at every 100 mm. It was a tremendously laborious process but it was very accurate. The modelers would create the surface by bridging the two points translated from the drawing to drag a surface. I had never worked like this before but learned this complicated but essential working drawing quickly. It was like analog Alias (3D software) …LOL ….　At our studio in California, we introduced the Japanese modelers to a more “freehand” sculpting method popular in the US and integrated the two systems into what resulted in very dimensionally accurate but very beautifully sculptural results.

At this time in the mid-80s, cars were transitioning from the square boxy shapes into the softer more organic cars with curved surfaces and rounded corners. The two proposals were based on this rounder aesthetic, so the modeling process needed to adapt to meet the visual targets.
So the small group of Detroit designers and the lone Californian went to work creating their proposals for the big “bake off” ( design competition) to decide which direction would be selected.

――　Painstaking hood bulge design

My favorite story to tell is that of the signature of the car, the asymmetric hood bulge. We’re all in some engineering meeting looking at this massive 1/1 drawing on a big table, ….remember this is the pre-CAD era…so no Catia, no VR ….　Hiragana San, a studio engineer…. confidently enters into the room with another massive drawing rolled up, he breaks through the crowd of designers and rolls out this drawing on the table. The drawing shows the hood center lines of the two models, ( which were in about the same place ) and a red tape line about 3 inches above the hood lines. He says “You must raise your hood to cover the new DOHC camshaft cover”. All designers’ eyes bulging out of their sockets as we realize “What do we do????,”　The solution….instead of raising the entire hood, could we have just a hood bulge or a power dome or? …” Yes, of course you can” was the answer …and so for one week solid we sketched hood bulges and fake scoops in every imaginable shape and size…..finally we all agreed that this asymmetrical bulge was the best direction … and this feature went on to become a signature for the car. Even on the 3rd gen eclipse, when the car had a v6 …people were asking ..”hey, where’s the hood bulge ?” …

Fast forward to the clay models being completed, the headlamp and tail lamp models fabricated and painted, have the windows installed,  …..with the design work completed, I flew back home, watered the plants in my apartment, repacked my suitcase, and flew back to Japan for the final presentation meetings.

――　Final design selection

There was a good buzz in the studios, top executives from both Chrysler and Mitsubishi Tokyo were all in Okazaki, in June, to select what final model to build. Unfortunately, I was not allowed to join the big meetings…( I guess as I was just an “entry-level” designer ), but I remember vividly my boss, Nakagawa walking out at a break to smoke a cigarette and him saying to me two words …. “not good “. I’ll never forget that moment.

Though the cars had visually merged in a way,  the overall theme was from Chrysler. So it was a long quiet flight back to LA, no champagne, just looking out the window and listening to “Live at the Fillmore East” on my Walkman ( remember those ?) and looking forward to seeing my friends and family again ……and hitting some waves in Newport Beach to reset my soul for the next design project.

――　Good old compact sports car boom

The Mitsubishi’s model named Eclipse was created and launched at a great time for imported sporty cars in the US and the compact sports car “boom” was just about to happen. The Eclipse, Plymouth Laser, and Eagle Talon were similar in many ways, but each had its own unique design signatures for their brands that really set the stage for growing that market segment.

All those cool cars are long dead now, replaced by cookie cutter templates and very practical CUVs and SUVs. The Toyota Celica, Nissan 200SX, Mazda RX-7, Isuzu Impulse, Plymouth Laser, Eagle Talon, Honda Prelude…Ford Probe are all just fond memories of a time that would launch the youth culture of the Fast and Furious generation. The Eclipse always pushed the envelope, it was never retro or was never tied to any heritage design…. It was always created to be the car everyone else wished they could build.

Looking back, it was an honor to be a designer and be part of four generations of Eclipse design development

Eclipse illustration by Yoshiharu Miyakawa

April 2024

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Changing times

 

Kiyoshi Honda

 

――　Men smashing Japanese car

Around 1980, I remember well a TV news report showing a scene in which American men got together and smashed a Japanese car with hammers. This was not an art installation, but a scene of workers who had been laid off from their jobs at American auto plants taking revenge on the hateful Japanese car. 1980 was the year that Japanese car production surpassed that of the U.S., which had been called the kingdom of cars, and became the world’s largest producer of cars, and Japanese cars were selling like hotcakes in the U.S. This was because crude oil prices soared due to the oil shocks that began in the 1970s, and American cars with poor fuel efficiency were no longer selling well, even in the rich U.S., and many Americans jumped on the Japanese cars because of their high fuel efficiency and reliability. As a result, the U.S. auto industry was hit hard, and the first thing it did was to lay off workers to stop the losses. About 40% of the U.S. auto industry workers were laid off that year, and the situation was so serious that anti-Japanese sentiment grew over the years as Japan, with its large trade surplus with the U.S., was seen as the villain.

 

――　Beginning of Local Production in the U.S.

As a solution to the trade friction between Japan and the U.S., the U.S. raised tariffs, limited the volume of imports, and required Japanese automakers to build plants in the U.S. and produce locally. In 1982, Honda began production of the Accord in Ohio, and other automakers followed with local production in the U.S.　Mitsubishi had a plan to build its own plant in the U.S. in early 1984. Chrysler, led by Chairman Lee Iacocca, who had a close relationship with Mitsubishi, initially remained quiet about it, but later offered to work with Mitsubishi, and the companies agreed to form a joint venture at the end of 1984, establishing Diamond Star Motors in Illinois.

At the time, the Honda CRX was very popular with secretaries in North America, and the plan was to introduce a sports coupe based on the Mirage. However, after further discussions, it was decided that the Mirage would not be profitable for the plant, and the larger Galant was chosen as the base model. Iacocca and president Hal Sperlich were the creators of the historical hit Ford Mustang, and perhaps they were aiming for a repeat of that success then.

――　Design Bases in the U.S.

Japanese automakers have been establishing design studios in the U.S. around the same time that they have been promoting local production in the U.S. It became necessary to create designs that reflected local needs in the U.S., the best customer base, and the first of these was CALTY DESIGN, established by Toyota in 1973. This was followed by Honda, Mazda, Nissan, Isuzu, Mitsubishi, and Fuji Heavy Industries, all of which established studios in Southern California, a leading center of American youth culture. This was the beginning of an unprecedented new development in which Japanese designers were stationed in the U.S. to design Japanese cars as well as for designers residing in the U.S. to design Japanese cars.

Mitsubishi began operating the design studio in Cypress, south of Los Angeles, in 1984, and its first output was a design proposal for the third-generation Mirage and 1st-gen. Eclipse.

――　Sales

The Eclipse, Plymouth Laser, and Eagle Talon were launched in January 1989 and became big hits in the North American market. They won people’s hearts not only because of their fuel efficiency, which was in high demand at the time, but also because of their high performance and stylish design. According to our research, a total of 563,460 units of these three cars were sold over a five-year period, of which 302,547 were Eclipse, 115,981 were Plymouth Laser, and 144,970 were Eagle Talon, which was well worth the cost of building a new plant. Since 1990, 4,150 Eclipse cars have been exported to Japan with the U.S. specifications, and although the number was small, it gained a little bit of recognition in Japan when it appeared in the TV drama “Gorilla: Police Squad 8” as the car of a beautiful detective.

――　Globalization

As the Japanese auto industry greatly expanded its operations in the U.S. during the 1980s, Mitsubishi and Chrysler Corporation joined forces to create Diamond Star Motors, which got off to an excellent start. At this time, employees from various Mitsubishi divisions moved to the U.S., for the first time, to work with Chrysler people and local staff. I was also involved in the establishment and operation of Mitsubishi Cypress design studio, and it was the first time for me to work with local staff speaking English, which was a significant change that transformed my life. Looking back, I think that globalization was underway then.

April 2024