Author: alaetaulealo

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Kick-start your career in international development

MIDP-300x1961Are you an International Studies, law or medicine graduate with international development experience looking to take your studies further?

Or perhaps you’re interested in working with a charity or not-for-profit organisation to benefit those who need it most?

Take your degree to the next level and kick-start your career by enrolling in the Masters of International Development Practice at Monash for the 2014 academic year.

Why enrol in a Masters International Development Practice at Monash?

Monash University is now opening the Masters of International Development Practice to graduate students in international studies, law and medicine.

The Monash Masters program in International Development Practice offers you the chance to build your professional networks in the field and develop a career in international development.

Offering a supreme learning environment with experienced and specialist academics from a range of disciplines including the Humanities, Social Sciences, Medicine, Business and Economics, Education and Law, studying International Development Practice at Monash offers you a unique postgrad experience.

Graduates from this Masters course are making a difference around the world by applying the skills and knowledge they’ve gained through their studies.

I’m interested. Where do I learn more?

If you are interested in learning more or enrolling in our Masters of International Development Practice, contact annmaree.lester@monash.edu or complete this expression of interest form.

Read more about our Master of International Development Practice

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What is online presence?

A_itmes

Context: Used in training materials for staff at Monash University– the objective of the piece was to help articulate what online presence is and how it can be used to further career and educational objectives.  This was originally published as an essay on my Monash blog, which I then re-wrote as follows for online reading and staff training. The audience was predominately academics.

Outcome: Staff indicated that the materials helped them understand what online presence is and how they could use it.

What is Online Presence?

Online Presence is the sum total of different publishing threads within the online space and the sum total of all external references to these threads.

These publishing threads work together in a marketplace of competing online presences. Within this marketplace, the quality of what sellers produce – alongside their ability to market it – enhances their reputation.

Online Presence might be understood as online persona. Unlike a simple Web Presence, which provides a vendor point-of-contact (for example a Website) an Online Presence is a virtual person made up of many parts.

For instance, an organisation may have a Website in addition to a Facebook presence and a Twitter feed.

The ways these tools work together in the online space and the way these connections are perceived and valued helps form an organisation’s Online Presence.

Adding Value

A successful Online Presence adds value for its audience. By producing timely and relevant content that understands and anticipates its audience, people and organisations forge the connections that increase and enhance Online Presence.

In other words, if you want to be linked to, cited and referred to as authoritative, you need to understand what your audience is looking for and help them find what they’re looking for as quickly as possible.

You have to provide a solution to (at least some of) the problems your audience is grappling with, even if the problem is as simple as trying to locate a postal address for your business.

Dynamic, not static. Diffused not centralised.

Social media tools like Facebook, LinkedIn, Twitter and Pinterest mean that publishing is now diffused and accessible. In the Web’s formative years, publishing was often restricted to those who knew how to code or those who had administrative access to an organisation’s chief publishing tool — the content management system.

Now, the individual has become a publisher of the organisation of her own professional and personal history.

She promotes her work experience and professional interests through social media, networks through online forums and blogs using one of any number of blogging tools.

The individual is no longer circumscribed by relational publishing: she is, in effect, a micro publisher.

post-it-notes-and-pins-fd984The Importance of Content – the Power of the Post

A post is a discrete bit of content published for a given purpose. It’s a communication of news.

While it might not necessarily be “news” in the conventional sense of current affairs, the content tells a story or contributes to a larger narrative.

A post can take many forms. It might be a section of text, a log, for example, or an image or a hyperlink or a media file.

In the context of Online Presence we can understand posts as foundational, the bricks and mortar of Online Presence.

As an Online Presence does not exist in isolation but rather within an economy of competing presences, locate-ability is key.

The information that makes up an Online Presence must be locatable if it is to assert itself successfully and reach its target audience.

It must be aware of its what it’s trying to say, and to whom, and provide useful, authoritative and engaging information. It must also make reference to the right keywords if it’s going to be picked up by search engines.

In making relevant content the keystone of Online Presence, the publisher must tirelessly ask herself what information will be of value to her reader and how she can structure or disseminate this information in the best way.

archaeology-4Enhancing your Online Presence

Below are but a few ways academics can improve their Online Presence:

  1. Determine your audience and produce content that addresses its needs. Every chunk of content should incorporate key words that aid the accessibility of content via search engines.
  2. Ensure content is news-driven and timely, making your site an authority and the first point-of-contact that users consult to determine what’s current.
  3. Link in to other parts of your site where it makes sense to do so, keeping the user within your domain. For instance, one post may naturally segue to other thematically related posts within your domain. By linking from one to another you increase traffic within your site and increase the time spent on your site.
  4. Enrich your content offering by giving users a value-add in the form of multimedia or downloadable files that enhance their experience or enrich the information that’s being presented.
  5. Diversify your publishing channels. For instance, keep a Twitter or Facebook presence alongside a blog presence and interlink these different presences. They should not simply reproduce the content of one another, they should add value to one another.
  6. Create reciprocal linkages between related sites, even if these aren’t within your domain. This ultimately increases traffic to your site and also enhances the reputation of your site if it’s one that others cite as an authority within a certain subject area.

Citizen KaneBenefits

Finally, it’s worth considering what the benefits of an enhanced Online Presence are:

  • Publishing through a blog or other channel doesn’t take the place of peer review but it does help you build a community profile for your research. For instance, a documented case study of work in a particular field may contribute to raising an academic’s public profile and the perception that her work has community value. If you can generate a conversation, you can also generate a perception of value.
  • It keeps you engaging and publishing through the traditional print publications cycle.
  • It gives you an online portfolio of work that you can use to support applications for funding. This point is particularly important for academics who do a lot of field work.

While this obviously benefits you professionally, it also means that your work is having community impact, which is a key value, and one that goes far beyond the confines of the university itself.

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APodC Style Guide

Australasian-Podiatry-Council1-480x62Context: This is an excerpt of a much longer general usage style guide I developed for the Australasian Podiatry Council during my time there as a sub-editor, member resources officer and communications officer. I wrote it after I identified that there was no existing, current style guide. It applied to all content produced by the APodC but particularly to the Podiatry Bulletin, of which I was sub-editor. This guide was prepared after a process of extensive consultation with all levels of management and my colleagues.

Outcome: The guide is representative of both Australian best practice and managerial/organisational requirements and was adopted enthusiastically by the organisation. It has guided the sub-editing of the Podiatry Bulletin since it was implemented.

[Note, below is an excerpt only]

ITEM RULE EXAMPLE/S
Acronyms Should be written out in full in first instance, followed by the acronym in parentheses.For subsequent references the acronym only should be used.Exception: lengthy documents divided into separate chapters/sections, where one section may be read in isolation. Acronym should be introduced at beginning of each section.In a longer document a list of the acronyms should be included.Full stops should not be used in acronyms. During the year the Australasian Podiatry Council (APodC) improved its operation.Next year the APodC will improve even more.The APodC CORRECTThe A.Pod.C. WRONG
Apostrophes Apostrophes are frequently and unnecessarily misused.Despite some common misconceptions, correct apostrophe usage is clearly defined:

  • In contractions (Is not becomes isn’t)
  • To express ownership (It was Harold’s wallet) except with the gender-neutral pronoun “it” as in (the man’s dog seemed to chase its tail)
  • With plural possessives, the apostrophe is usually placed outside the final “s” but with nouns whose plurals are formed irregularly (eg Men, Children, Women) the apostrophe is placed before the “s” (eg The Children’s Bach)

Apostrophes should not be used:

  • In plural nouns (“banana’s” and “orange’s”)
  • In dates (“The Belle of the 90’s”)
  • Apostrophes may be used very specifically to form exceptional plurals where the lack of apostrophe might cause ambiguity (“Mind your p’s and q’s”)

The man’s dog seemed to chase its tail CORRECT

The man’s dog seemed to chase it’s tail WRONG

The Girls’ Own Annual. The Children’s Bach CORRECT

International Womens’ Day WRONG

The greengrocer sold banana’s and orange’s for 20 cents a pop WRONG

En and em rules

There are two types of dashes, also known as rules – the en rule and em rule. The APodC prefers to use the en rule. Ensure that en rules are used and not hyphens. Except in certain instances (see Dates) the en rule is always “open” ie spaced on both sides.

The en rule can be used to signify a change in the direction of a sentence, or it can replace a colon or semicolon. It may also be used in place of parentheses.

The en rule is also used to separate job titles from places of work or departments.

Avoid using hyphens instead of dashes.

A hyphen (-) is the shortest line and should only be used for hyphenating words.

An en rule (–) is longer than a hyphen but shorter than an em rule.

An em rule (—) is the longest dash

Regulations cover staff for specified types of transport – including qualifications and clinical accreditation. CORRECT (open en rule)

Regulations cover podiatrists–including qualifications and clinical accreditation WRONG (unspaced – or closed – en rule)

Regulations cover podiatrists-including qualifications and clinical accreditation. WRONG (hyphen)

Regulations cover staff for specified types of transport—including qualifications and clinical accreditation. WRONG (em rule)

Head of Podiatry – Royal Melbourne Hospital CORRECT

from 2005 to 2006; from 5 August to 17 September CORRECT

from 2005 – 2006; from 5 August – 17 September WRONG

Font (Typeface)

For all Web and some print applications (documents 10 pages or less) the APodC uses the gothic font Arial as its default. NB on Mac platforms Arial generally displays as Neue Helvetica.

For longer documents (11 pages or more) the APodC uses Palatino/Palatino Linotype as its default serif font. Note Arial is APodC’s default display font, which means it is used for Titles and all Headers (excepting some sub-heads that are rendered in body text style) irrespective of document length. In effect, Palatino is a font for body text styles only.

NB business letters are to be rendered in Palatino.

Language – U.S. v British English

In almost all cases, the APodC uses British English except where convention dictates Australian usage.

For instance, “ize” endings are still acceptable in Oxford spelling, but Australian convention tends to prefer “ise” in all cases.

U.S. spelling and conventions may be retained when directly reproducing quotes from U.S. sources. These should be appropriately referenced or indented, if appropriate.Where possible, however, longer extracts should be styled for Australian audiences.

Organisation CORRECT

Organization WRONG

Realise CORRECT

Realize WRONG

Colour CORRECT

Color WRONG

Programme CORRECT

Program WRONG

NB However, “program” is always used in relation to computer programs.

Styles and templates

Styles

All but the most informal documents or personal memoranda should be styled, that is to say, text hierarchies (for instance headers, opening and body paragraphs) should be formally assigned a style within Word. This ensures, amongst other things:

  • consistency across the whole the whole document vis-a-vis font, language etc.
  • documents, particularly longer ones, are easier to edit and update
  • stylistic changes can be speedily applied to existing documentation, should an organisation change.

Styles are inbuilt in the APodC templates, and may be accessed by selecting the “Home” or “Format” tab, depending on the version of Word you’re using.

Templates

Client-facing documentation, for example business letters, internal communications (for instance memoranda to MA) requires use of the APodC templates. These ensure stylistic and visual consistency and are essential from a public relations and branding perspective.

Miscellaneous Issues

Client vs. Patient Client must never be used in lieu of “patient” particularly when the condition under consideration is life threatening. Be mindful of using the word “client” outside of explicitly commercial settings.
Indigenous issues According to the Australian Government Style Guide, the most precise term for Indigenous Australians is “Aboriginal and Torres Strait Islander peoples”.The APodC uses this expression in formal contexts but in most circumstances generally abbreviates to “Indigenous” or “Aboriginal”, differentiating Torres Strait Islanders where necessary. NB Both words are always capitalised when used in this context. Torres Strait Islanders are a discrete racial and cultural group and must never be simply conflated with mainland Indigenous peoples.

Aborigine, with or without the “Australian” prefix, has lost considerable ground to “Indigenous” and “Aboriginal”. It is therefore (whilst not offensive) not a favoured term.Avoid using local terms for Indigenous groups such as “Koorie” as they can be a cause of some controversy between different nations.

“Black” can be a politically charged term in the context of Aboriginal issues and should generally be avoided.

In the unlikely event of references to colonial history, the early colonists are to be referred to as British or where known, Irish. “European” is an imprecise term. When in doubt, consult to ensure that your discussion of historical events is accurate.

 

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Running and Exercising

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Context: A publications programme that consisted of a suite of post-card size resource on foot health, to be distributed at podiatrist clinics as resources for patients.

Outcome: Clinical take-up of the resources indicates a positive client and patient response to the publications. Patient take-up indicates that the programme succeeded in engaging the target audience.

To protect your lower limbs and feet from injury during running and exercise, it’s vital that you first select the right athletic shoe.

  • Shoes must have enough room at the toes (a minimum of two cm) and not compress the sides of the feet in a way that could cause friction and so lead to sores or corns.
  • Identify the primary activity that will be performed in the shoes and select accordingly — different kinds of exercise may require different kinds of shoe.
  • Shoes for running are designed to absorb impact forces, which can be between three and four times your body weight. Lightweight mesh materials can ensure that the upper is breathable and doesn’t stretch or distort with exercise.
  • Shoes for general athletic or aerobic activities can have features that help control biochemical problems. Your podiatrist can help advise you about the correct shoe for your activity and foot type.
  • Aim for sturdy heel box, good arch support and appropriate cushioning, particularly if you take aerobics classes.

Points to remember

Athletic shoes should be immediately comfortable and not require breaking in.

An average athletic shoe should last approximately 1,000 km, although this is influenced by your body weight and the surface you run on. You’ll need to replace your shoe when it has become distorted from constant wear or the mid-sole has become compressed and is less able to absorb the force of impact.

If you have a problem with your feet, seek advice from your local podiatrist. To find a podiatrist near you, contact the Australian Podiatry Association in your state or visit findapodiatrist.org or your Yellow Pages.

 

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Rheumatoid Arthritis

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Context: A publications programme that consisted of a suite of post-card size resource on foot health, to be distributed at podiatrist clinics as resources for patients.

Outcome: Clinical take-up of the resources indicates a positive client and patient response to the publications. Patient take-up indicates that the programme succeeded in engaging the target audience.

A good shoe can help relieve pain and keep you mobile if you’ve got rheumatoid arthritis.

Rheumatoid arthritis

When buying shoes look for:

  • A stable and supportive heel cup.
  • Space around the toes, with an extra-depth toe box or stretch upper to accommodate any changes in the toe.
  • Extra padding, especially under the front of the shoe.
  • Lightweight and flexible materials in the soles and uppers to help match the shape of the foot.
  • Few or minimal seams as these become pressure or friction points.
  • Natural fibres, as these tend to reduce the likelihood of developing skin irritations.
  • Buckle, laces or Velcro straps to hold the shoe onto your foot so your foot doesn’t have to do the work.

During the fitting process for shoes:

  • Make sure there’s enough space (minimum of two cm) between the end of the longest toe and the front of the shoe.
  • Ensure the ball of the foot fits comfortably in the widest part of the shoe.
  • Do not purchase shoes that require wearing in.
  • The heel should fit comfortably and the shoes should not ride up and down on the heel when walking.
  • Natural fibres keep the skin healthy.

If you have a problem with your feet, seek advice from your local podiatrist. To find a podiatrist near you, contact the Australian Podiatry Association in your state or findapodiatrist.org or your Yellow Pages for a list of podiatrists near you.

 

 

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Shoes at Work

photo1

Context: A publications programme that consisted of a suite of post-card size resource on foot health, to be distributed at podiatrist clinics as resources for patients.

Outcome: Clinical take-up of the resources indicates a positive client and patient response to the publications. Patient take-up indicates that the programme succeeded in engaging the target audience.

Whether you’re an office worker, retail assistant or work down a mine, the workplace can demand a lot from your feet. Potential injuries can include stress fractures and sprains. Things to be mindful of when choosing footwear for your workplace include:

  • Fit. Footwear must allow enough room and support in the toe and heel box and not be too tight around the sides
  • Support. Avoid stiff and unsupportive soles or raised heels if you’re on your feet all day.
  • Right for the job. If you’re on a construction site make sure that your footwear offers the right protection, for instance steel-capped boots or fire-resistant materials, and that your feet are cushioned appropriately against impact
  • Offer the right protection. If you’re working in wet or cold environments make sure that your shoes are insulated and waterproof. Always try to keep your feet dry and if possible change your socks when your feet get wet during the day.
  • Last the distance. If your workplace demands that you wear high heels or dress shoes, try to stretch your feet and calves during the day standing at the photocopier or under the board-room table
  • OHS friendly. Make sure your shoes adhere to your work’s occupational health and safety standards.

Foot pain is a sign something is wrong. If you’re having chronic foot pain report it to the relevant authority in your workplace. Be aware of workplace hazards, particularly if your job involves dangerous tasks like cutting tools, welding or operating on irregular surfaces. Different activities require different footwear so be aware and be prepared. If you have a problem with your feet seek advice from your local podiatrist. To find a podiatrist near you, contact the Australasian Podiatry Association in your state or visit findapodiatrist.org or your Yellow Pages for a list of podiatrists near you.

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Arts Victoria — Funding Case Studies

Context: in 2009 I was involved in a Web refresh project with Arts Victoria. Part of this refresh was writing a series of Funding Case Studies for Arts Victoria. These case studies were intended to illustrate applicants who had been successful in receiving funding — what they’d been able to do with the money Arts Victoria gave them and what organisational reforms they had to implement, where applicable, to be considered for funding. The purpose of these case studies was to provide funding applicants with a reference point for what kind of projects Arts Victoria funds and what changes they may be expected to make to their organisations to receive support.

Outcome: These case studies were published to the Website at the time and I believe were helpful in providing organisational context to applicants, making it very clear what was expected of them and how Arts Victoria could help them grow their vision.

imgresCase Study 1: Monash Gallery of Art

Content element Content Used in
Body The Monash Gallery of Art – a strategy for growthThe Monash Gallery of Art (formerly the Waverly Art Gallery) is a suburban art gallery in the City of Monash in Melbourne. For some years the gallery was in serious decline. With increasingly run-down facilities and dwindling visitor numbers, closure seemed certain. After a great deal of lobbying and strategic thinking the gallery’s development was put back on track.

As part of its renewal strategy, the gallery engaged director Jane Scott who was able to use her programming, administrative, fundraising and public relations skills to great effect. The gallery’s problems were many. It had an extensive collection, including one of the finest photography collections in Australia, but through the years the collection had become little more than a well-kept secret.

Scott marketed the collection to build audiences and awareness. She determined that the key to a successful gallery is first-class exhibitions and between 1999 and 2000 a series of exhibitions and events helped increase visitor numbers by 25%

Another strategy that the gallery used to attract Arts Victoria’s support was its first touring exhibition of the collection. The tour, which was the first of many, was designed to improve the collection’s standing abroad. For state funding purposes, it was also intended to help the gallery acquire recognition as a public gallery.

The gallery was successful in its efforts and with ongoing funding from agencies like Arts Victoria, the Monash Gallery of Art has been artistically and financially renewed.

Link:

http://www.arts.vic.gov.au/arts/downloads/Monash_Art_Gallery.pdf

 Displaying article body on the content page.

imgres-1Case Study 2: The Melbourne Comedy Festival

Content element Content Used in Input field
Body Melbourne International Comedy FestivalMost recent grant: $644,490

Year of grant: 2008

Project dates: 19 March – 13 April 2008

Other partners: City of Melbourne, Tourism Victoria, Major Media Partners: The Age, Nova 100 FM, Ten, 774 ABC Radio, Major Partners: ADshel, Aussic HQ, Triple J, Silk Road, Comedy Channel, The Westin Hotel, Brunetti, Connex, Design Driven, Design to Print, Federation Square, Fiji Water, Hardy, Melbourne Airport, Metlink, Next Byte, Cultural Partners: Ozco, City of Yarra, NGV, Melbourne Museum, The Myer Foundation,

The Melbourne International Comedy Festival is the third largest comedy festivals in the world, alongside the Edinburgh Festival and Montréal’s Just for Laughs Festival.

The festival commands audiences of about 455,000 (in 2008), carries around 300 shows with over 4,000 performances by nearly 2000 performers.

As well as its Melbourne-based program, more than 20 centres across suburban and regional Victoria are part of the Festival through its Annual Roadshow, which takes in over 70 towns across Australia and Singapore.

The Festival’s focus is, of course, mostly comedy, but its program covers a diverse range of performance styles from stand-up to comic song to comical theatre. Venues are spread across the metropolitan area and the economic and cultural contribution that the festival makes to the region is inestimable.

As a major cultural event in Victoria, the festival is triennially supported by Arts Victoria.

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Strange_Fruit-Absolute_PearlCase Study 3: Strange Fruit

Content element Content Used in Input field
Body Strange Fruit – Reviving a performance companyStrange Fruit is an avant-garde performance company and brainchild of director Roderick Poole.

It’s famous for its elaborately costumed and choreographed performances on fibreglass poles. Its performances are large-scale, highly-visual and expressive.

Strange Fruit started in the nineties. The idea grew out Pool’s minimalist performance piece ‘The Field’ which was showcased at the 1994 Melbourne Festival.

The piece’s popularity soon helped grow the company, which embarked on a series of tours around Asia and Europe. Increasing success was, however, offset by increasing losses, for instance the company’s 1999-2000 tour of Korea, which put considerable pressure on company coffers.

Through the process of growth Poole had become the sole manager of the company’s finances. This was a source of considerable personal strain as well as risk to the company. By 2001 it was clear that Strange Fruit required internal renewal.

To meet the requirements of funding bodies like Arts Victoria the company had to address key areas like governance, best practise, and skills mix. Most importantly it had to be able to assess its own performance objectively.

Consultant Ian Roberts was engaged to help the company define its business and artistic objectives. The company chose to adopt a formal corporate structure with Roderick in a less central position and with more power sharing and better business planning. Strange Fruit’s new business plan put emphasis on risk management, governance and the international aspect of the company’s work.

These changes have helped the company prosper, putting it in an even better position for future development.

Link:

http://www.arts.vic.gov.au/arts/downloads/strangefruit.pdf

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CX-9 Content Mapping Document

Mazda-CX-9

Context: I worked as an instructional designer for the Web consultancy firm Bullseye and our biggest client was Mazda. I prepared and built training modules for Mazda, intended for salespeople. These modules were to brief salespeople on key benefits and features of new and old models. The “Mapping Document” contained all the text that was then migrated into the Learning Management System.

Outcome: the organisation’s relationship with Mazda was a long and successful one and client response to these modules was positive and helped them greatly with their work.

[NB below is an excerpt of a much larger module]

Unit Topic Content Media description
Introduction Heritage

Body textCX-9 combines the sportiness and driveability of Mazda’s classic sports cars MX-5 and RX-8 with the size and convenience of its Tribute and CX-7 predecessors, making it the ultimate Crossover SUV.1989

  • Rear-wheel mini-van Mazda MPV is released in Japan. It is aimed primarily at the American market and is based on a car platform and carries a V6 engine. Internationally it is marketed as the ‘Mazda 8’

2001

  • Mazda’s most successful compact SUV to date, the Tribute, is launched in January at the Los Angeles motor show

2006

  • The CX-7 is launched in January at the Los Angeles motor show
 Text left Lectora animation right
  Design concept

Three predominant concepts emerged in the design and realisation of CX-9’s interior, exterior and colour components:

1. Emotional sportiness

2. A feeling of prestige

3. A sense of newness and uniqueness.

These design concepts are in line with the requirements of the 4A market, SUV segments.

Emotional sporty

The aim is to provide an exciting, Emotional Sporty value in all aspects of the vehicle’s use by supporting various customer lifestyles. The exterior is full of dynamic styling, and the interior provides an attractive space with a fun-to-drive feel.

Prestige feel

A prestige feel is realised through high quality, prestigious design and a further sophistication of Mazda DNA. The result is a vehicle that exceeds customer expectations and gives them pride in ownership of the vehicle.

Newness and uniqueness

The creation of a unique, eye-catching design, especially in the 7-passenger SUV segment, aimed at evoking a pleasant surprise through the athletic and dynamic design.

 Click bullet reveal
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Mazda 2 — Mapping Document

Mazda 2Context: I worked as an instructional designer for the Web consultancy firm Bullseye and our biggest client was Mazda. I prepared and built training modules for Mazda, intended for salespeople. These modules were to brief salespeople on key benefits and features of new and old models. The “Mapping Document” contained all the text that was then migrated into the Learning Management System.

Outcome: the organisation’s relationship with Mazda was a long and successful one and client response to these modules was positive and helped them greatly with their work.

[NB this is an excerpt only]

  Design principles The latest Mazda2 design evolved from a design philosophy expressed as ‘exquisite and dynamic.’ ‘Exquisite’ refers to the desire to create an expression of beauty in the finished design.

In making this exquisite design a reality, the team sought ‘carefully considered beauty’ in which all visual forms were condensed to their most beautiful and refined form. To achieve a dynamic feel, every line and contour had to precisely balance movement and restraint.

While the core theme behind the latest Mazda2 is ‘exquisite and dynamic’, a range of other principles helped realise the design.

Co-ordinated movement

A sporty wedge-shape conveys a strong sense of forward motion. Deeply sculpted forms created by the body being drawn in at the sides and distinctive character lines from the front arches to rear shoulders coordinate to make the Mazda2 look like it’s about to move even when it’s parked.

The beauty of cohesion

Different visual expressions of character come together to create natural beauty. Boldly contoured front wheel arches extending over the headlamp are softly absorbed. Sharp contour lines along the doors flow into full rear shoulders.

A feeling of openness

Optimally positioned A-pillars, an extremely low belt line and an unobstructed view through the side windows create a sense of openness.

Subtle patterns of light

Inspired by the seasonal changes in Japan, the Mazda2’s subtle interplay of soft rounded curves and bold muscular lines, change depending on the light, creating a highly expressive body design.

 Click bullet reveal
  Design process The Mazda2 underwent a long design journey, but the result speaks for itself.

Conceptual design

Rather than narrowing down the design theme at an early stage, the design team invited design submissions from three different R&D centres – Head Office in Hiroshima and the Yokohama and German R&D centres.

The team selected and studied seven of the many proposed ideas seeking broad direction for the Mazda2’s proportions, form and identity. However, ultimately in seeking to satisfy too many needs, the design lost the lively individuality a compact car must have and the team decided to go back to the drawing board for a fresh start.

This time the design team pursued a compact but distinctively “Mazda” design that inspired emotional attachment with a welcoming, friendly character. Using a jet fighter as their starting point, the design quickly unfolded, integrating ‘cute’ elements from the original into the new aggressive design. A huge number of sketches were discussed and refined to create the ‘exquisite and dynamic’ theme.

Refinement and selection

Ultimately, two final proposals were built to full size clay models in Europe and Japan and both were of outstanding quality. These models were digitized down to fractions of a millimetre, then virtual simulations were used to assist in refining the textures and functional beauty that would show off the car’s forms and materials to best advantage.

Wind-tunnel tests helped refine the body shape to minimise drag while reflecting the design theme, while prototype testing on German autobahns optimised the underfloor aerodynamics.

During a trip to Milan in 2005, Chief Designer Maeda spent a week walking around Milan, mentally placing the two designs into all kinds of scenery. He selected the final design based on which car would be most recognisable by customers as Mazda DNA not only in Milan but also Tokyo, Hiroshima and every other city around the world.

Precision engineering

Kansei engineering helped define and address customer interior design values, such as pleasure, beauty, and emotional attachment, while impedance matching (the study of psychological and physical needs of people operating a device) optimised interior controls to customer preferences for function and feel.

The final challenge for the design team was to refine the selected design by trimming superfluous elements to further compact the body and further improve safety and comfort. This included using the ‘gram strategy’ so successful in lowering the MX-5’s weight. Once completed, the Mazda2 was ready for manufacture.

Much of the Mazda2’s design is only possible to manufacture due to Mazda’s superior precision metal pressing technology. That enables different types of steel to be smoothly and continuously combined into sharp edges and twisting surfaces that traverse multiple body panels.

 Text left Lectora flowchart interaction right (see mX-5 for example)

 

Link to quality sensitivity diagram doc
Types Variants The Mazda2 body style is hatchback and it comes in three variants: Neo, Maxx and Genki.  All variants come with a five speed manual transmission and a powerful in-line 4 cylinder 1.5 litre MZR engine.

All variants feature power assisted steering, air-conditioning and MP3 compatible CD player. The Maxx adds alloy wheels, a 6 disc in-dash CD player and a roof spoiler. The Genki adds further features with fog lamps, leather steering wheel and shift knob and larger alloy wheels.

 Use wide lectora flash piece same as other modules.

Doc to feature comparisons
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