Interview with Diana Zynda
Interview with Diana Zynda
Interview with Diana Zynda
Interview with Diana Zynda
Becoming ID.

Colour, material, geometry: a perfect interplay

Becoming ID.

Colour, material, geometry: a perfect interplay

The revolutionary design language of the ID.3 also required Diana Zynda and her team to develop completely new colour and material concepts. Here, the designer tells us what this meant for the design process.

The revolutionary design language of the ID.3 also required Diana Zynda and her team to develop completely new colour and material concepts. Here, the designer tells us what this meant for the design process.

For the ID.3 – and the ID. family in general – the surfaces consist of logical connections of materials and shapes. Diana Zynda, Head of the MEB Colour & Trim Team at Volkswagen, tells us just what is involved in creating the new genetic code of the electrical ID. family. An interview.

What inspired you the most when developing the ID. family?

You have to imagine: our team was even allowed to reinvent the design process itself. We are part of the design of a new genetic direction at Volkswagen and have been able to create something that has never been seen before.

At what point did you realise that electric mobility is about to make a breakthrough for everyone?

For me as a designer, there was no clearly definable point. It is a wave of movement in a general direction – in society and politics. We all help to shape this wave. That is why we have to contribute the necessary sensitivity to the development of the vehicles.

The appearence is the first thing to enter the brain – which is then followed first by the feel and then the emotion. A perfect match!
Diana Zynda
Head of the MEB Colour & Trim Team

In detail: which technology do you find most fascinating in the new ID.3?

The way of thinking when designing surfaces and combining colours and materials is fascinating. With the ID. family in general – and with ID.3 in particular – we have a logical understanding of the surfaces. This means that we pay special attention to the haptic impact of the materials and try to reflect this with the visual logic. Translating this “new logic” arising from the genetic orientation into the material is fascinating. In other words, the materials support the logical shapes – the seating materials, for example, adopt and reinterpret the flowing lines of the exterior and interior design.

What was the biggest challenge you faced over the entire course of the project?

Everything is a challenge. For example, which exterior colour matches the architecture or what are the right materials to communicate a comfortable character.
However, for me, the greatest challenge is that we always have to stay several steps ahead and have to keep our finger on the pulse to meet the future ideas and styles of our customers. The aim is to convey the emotions and love for ID.3 years in advance.

What will you take away from this project personally?

The teamwork was amazing fun. Of course, we had to overcome numerous challenges, but we handled the whole thing really well. Plus: so much pride is an electrifying feeling.

When you buy a new piece of furniture for your home such as a sofa, table or a chair – do you look at it first or do you touch it first?

The first impression is always visual, the second is haptic. That’s why: the colour, material, geometry, architecture – the look in general – goes straight from the eyes to the brain. This is followed by the haptic feeling. The materials give the architecture of a product its emotional aspect. This is a perfect match!

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