From his second-floor corner office, GM’s vice president, Global Design looks out over the Eero Saarinen-designed campus that—in some ways—hasn’t changed significantly since Bill Mitchell retired in 1976. The road system is unchanged, as is the ribbon of water that spans the length of the building between his office and the design dome—that dome is still aluminum covered, though it has morphed from space age chic to camp to retro cool in the intervening years—but don’t let the appearances fool you. Things are much different than they were in the “good old days” of the 1960s when GM ruled the world of automotive design.
Nowhere is that more apparent than in the person of Ed Welburn, only the sixth person to hold the top spot at GM Design, and a quiet, confident man who has been given the task to expand the Design empire into emerging markets, coordinate his group’s activities with those of Engineering and Marketing through the GM Automotive Product Board, and manage this Hydra-like beast in an efficient manner. It’s a long way from his youth in the suburbs of Philadelphia, helping out at his dad’s repair shop or working at the local Chevy dealer through high school, not to mention worlds apart from his time at Howard University where he earned degrees in product design and sculpture. Then again, it’s about what you’d expect for a kid who, when he was 11, wrote to GM asking about careers in design and what schools and courses he should consider. Unlike most designers these days, Welburn has spent his entire career at GM.
“It all starts on Monday morning with a global meeting with all of the heads of the studios where we go through the design issues for the week,” says Welburn. Wednesdays, on the other hand, are reserved for design reviews: “I do that all day—not just in the studio, but in virtual reality as well.” It’s one of his favorite meetings—despite its 6:00 a.m. start time—because all of the GM studios (there are 11) participate and present their work in virtual reality so each participant sees the image in the same way. “Everybody is sharing ideas and presenting the products they’re working on,” he says, “and that may include suggestions for a solution or a person suited to that task.” Then there’s a near-weekly review with GM chairman Rick Wagoner where Welburn walks him through two or three major designs. Despite this hectic schedule—Welburn mercifully decided not to recite his international travel—he takes time each week to walk through the shops and meet with the crafts people. “The UAW guys that build the mockups and show cars,” says the former sculpture student with a touch of awe, “are real craftsmen. They can make or break a design.”
Design also is involved in planning GM’s auto show displays, overseeing the company’s graphic design, working with advertising agencies on brochure images (“Many of the images in the brochures are digital,” he says, “so we provide the math data for that”), working with companies that create die cast models for sale to the public (the Firebird concepts—I, II, and III—and Jim Hall’s various Chaparrals fill the nooks and crannies), and laying out GM’s auto show vehicle strategy. Says Welburn: “That includes when concepts are revealed to the public, where they are revealed, what the reveal is like, and what production vehicles will debut at which show. Mapping out that strategy happens here.”
The recent reorganization of the Design infrastructure was, in Welburn’s eyes, “an opportunity to further refine the organization and an enabler to reach the next level in terms of interior and exterior execution.” Under this new structure, Welburn oversees the executive directors in each of four regions: North America, Europe, Asia Pacific, and Latin America, as well as Global Advanced Design, though he recently turned the reins of North America over to Bryan Nesbitt in order give it the focus it deserves. “In the original system,” he says, “I was responsible for Global as well as North America, and wearing two hats put me on a lot of different boards and a lot of different meetings outside of Design. Now each region has its own executive director that reports to me.” This change does give Welburn the opportunity to take a long range view of the design process and changing transportation needs and desires. However, most of his time is spent balancing work loads between studios, overseeing Global Advanced Design and its relationship within the Global Operations Team, and continuing the ever-present problem of brand development.
“If mismanaged, you’d really miss some incredible opportunities that arise from having a global design footprint like this,” says Welburn. “It’s important that each studio has a character and identity that is unique, but that it contributes to the whole organization.” Nevertheless, there are centers of expertise within the organization that place control over particular segments of the market in a particular studio’s hands. “The team in Korea really knows small cars, and if we want to do a small car for the States, Korea should have the lead. If you are doing a mid-size car, that center of expertise—design and engineering—is in Germany. But,” he says with little pause, “if you want to do a full-size truck, crossover, Corvette or Cadillac, that’s North America.” Welburn, however, is quick to explain that this doesn’t mean this is the only type of vehicle these studios will design. “The teams in North America will compete against the Korean team as part of a design competition for a new small car, or they may compete with the others on a new truck design,” he says
Steering this process is the GM Brand Center that determines what hallmarks are necessary for vehicles from each brand to be considered “authentic.” Says Welburn: “We went through a period where we almost put together a rulebook for each brand, but—if you’re going to be successful—you have to go back to ground zero and ask yourself questions like: ‘Why are 11-spoke wheels more appropriate for a Cadillac than five-spoke?’ or ‘Why does a Cadillac have an egg-crate grille and what is the right texture for it?’” Answering those questions and implementing them in a fresh way, he says, takes strong leadership and vision for the brand. This idea of going back to first principles and bringing balance to the process was last seen nine years ago when Welburn ran a totally digital studio within Design that was created as a proving ground for the technologies GM uses today. “Digitally was the only way we worked in our studio,” he says, “and there were no clay models for the first couple of years. Then I put together a system to find a balance between the digital and clay worlds, and that is what we use today.”
Despite all of the changes that have taken place and the claims that Welburn was too private, too calm, too nice to head GM Design, he appears to be the right man for the job at this point in history. Though he was once a protégé of the legendary Bill Mitchell, Welburn is the opposite of the brash, self-promoting, ego-driven man who ran GM Design from 1958 to 1976. “Mitchell ran it just about right for that period and the competition we had in the marketplace,” Welburn says with a smile. “It was a totally different world.” But maybe he’s not that different. Recently, Welburn resurrected “Studio X,” a super-secret advanced design facility within the bowels of GM Design headquarters. In Mitchell’s days, Studio X operated like an advanced design studio in California that researched demographic and social trends and their effect on automotive design, though it also spawned its share of mid-engine Corvette concepts during its life. Asked who runs this studio, Welburn’s face is overtaken by surprise and a touch of indignation before he answers: “What kind of question is that? I run Studio X. It’s my playground.” Today, Studio X is the home of the Volt concept and—if history is any guide—a mid-engined Corvette proposal or two. As such, it is very private, and Welburn makes certain no one in the broader organization can ever find it again after being taken on a tour. “I’ll go so far as to change the pictures on the wall in the hallway leading to it so no one who doesn’t work in it can find it again,” he says with a wry smile. It’s just proof that he’s not that different from his predecessors in some respects.
Kevin M. Kelly, Senior Editor
Like the rest of us, GM’s design team needs to recharge their batteries after countless hours crafting the future of four-wheeled transportation. This realization prompted Karysa Naeve, a digital sculptor on the automaker’s design staff, to query management about the possibility of organizing a full-time gallery at the automaker’s design office in Warren, MI, where employees could display artful creations done in their spare time. Design management had organized showings for employees on a sporadic basis, but Naeve wanted to create a dedicated space in the Eero Saarinen-designed lobby that would provide a spark of creativity. The idea resulted in a boost in morale and has become a way for members of the team to connect in unexpected ways. Now there are about five shows a year, each running for about six weeks.
Jennifer Kraska, design manager in GM’s Cadillac studio, who worked on the interior of the ’08 CTS as well as the Pontiac G6, credits the gallery with rekindling her dream of painting watercolors based on nature themes, something that’s radically different from the mechanical forms she works with daily at the Cadillac studio: “This allows me to satisfy my urge to create things and it allows us to see the diversity that exists here at Design because we do have some really talented people here and this is an outlet for them to show their talents.” Kraska is slated to open a single-person showing at the gallery in January ‘08, something she’s both excited and nervous about.
Her enthusiasm is shared by Michael Colbert, a digital sculptor who crafted the center console and doors for the Chevrolet Tahoe and GMC Yukon full-size SUVs. He utilizes the gallery as the backdrop to cultivate works based on his life experiences, which he crafts into drawings done with ballpoint pen, while doing other projects—including designing 50 chocolate boxes—for various charitable organizations. “Most of my work is done on computer now and I have this built up need of wanting to paint or draw something when I get out of here at the end of the day. Being able to feed that need also allows me to better appreciate lines and forms and the analyzing of dimensional qualities in my daily work,” he says.
Christopher Larime, who sculpted the doors for GM’s full-size truck program, utilizes the gallery to show off his woodworking skills. He specializes in taking found wood and transforming it into jewelry boxes, bowls and other objects. “Doing woodworking keeps me sane,” he says. “Being able to do that allows me to maintain a sensitivity to form; to look at the progression of a curve or a line and see how they relate to each other. I pay more attention to the fine tuning to make sure the lines are all better integrated into the whole form itself and they are all related to each other.”
While some may question the validity of having a gallery in the workplace, these design staffers think the space provides managers and staffers a unique way to communicate. “Since a lot of us are in different studios, this forces us to have a dialogue. You may look up the person who did a piece in the organizational chart and you may call them and ask them something about something you saw in the gallery and that may lead to something in your own work that you might have otherwise missed,” says sculptor Colbert.
GM design boss, Ed Welburn, also sees the gallery as a vital part of GM’s overall design ethos, which centers around fostering creativity in many forms. “This gallery is great. Every time I have a guest in the building I bring them through here and I show them what’s on display. I love the creativity that comes from all of my people and I am glad we can foster that.”
“I wanted to do more than a clone or an update of the first-generation Camaro,” says Ed Welburn as he wheels a running version of the convertible concept that will give rise to the 2009 production Camaro around the grounds. “I prefer the ’69 over the ’67 or ’68”—guess which year he owns—“but the new one had to be fresh and contemporary, not something that could be mistaken for a resto-mod that could have come from the Barrett Jackson auction.” During the concept’s development, he says it took just about a month for the team to, “really nail the proportions and size of the vehicle.” However, given the importance of this car to the Chevy brand—and GM as a whole—he upped the ante by placing a team in Studio X to develop another version of the theme. Both groups worked in isolation until their proposals were placed on the patio at the Design Center next to Welburn’s own yellow ‘69 Camaro. “Everybody thought I’d pick a winner right then,” he recalls, but he told them to go back and give it one more shot instead. It wasn’t that he was dissatisfied. Rather, he wanted to see what would happen if he pushed them to reach further. “The results were so good that I can say that choosing a winner was the toughest decision I’ve made since becoming a vice president,” he says as he accelerates hard in the fiberglass-bodied show car.
Welburn readily admits the exterior work eclipsed that of the interior as he looks around the concept. So while competitors paid a lot of attention to the look and feel of the coupe and convertible concept cars’ interiors, Welburn notes: “Frankly, the production interior is better than the concept’s.” Although it is just one of many vehicles GM Design has produced, Welburn says the Camaro has, “lit a fire under the organization globally, and created a lot of excitement. It’s a statement of what Chevrolet is.”—CAS
When the company decides to build a new Camaro—and the head of Design owns one of the classics—getting the look right isn’t an option. They’ve got to go beyond it, including producing a production interior better than the concept version shown here.