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418 pages, Hardcover
First published August 16, 2016
The base feels like a leafy, quiet small town with a couple of stoplight crossroads and traffic moving along at 25 mph. A small town that is surrounded by a twelve foot concrete wall topped with razor wire. If your head isn't yet fully wrapped around the oddity that is Yongsan, try this: Think of New York's Central Park as a Korean military base full of Koreans.
Before a region-specific car was launched, Hyundai designers, engineers, and product teams spent months in the target market, learning not only the customer preferences there but absorbing the culture and ethos of the place. In the years before Hyundai launched its Eon subcompact in India, for instance, Hyundai designers spent weeks traversing the country, touring ancient architecture, making sketches of temples, examining the curve of lotus flowers, talking to Indians, looking for universally understood design elements in the culture that might be referenced[...] as well as features that Indians wanted[...]. Eon, for instance, had a higher ceiling than its segment rivals. Why? Sikh turbans. Hyundai did the same for new cars built specifically for and in the Russian, Chinese, and Brazilian markets.
[...] My car in Korea, [...] had a glossy black surface on its center console, a finish known in the industry as "piano black." The same car sold in the U.S. [...] has a matte finish. The first [ones] shipped to the U.S. also had the piano black finish, but too many customers complained that they showed smudgy fingerprints. So the [...] product team switched to the matte finish for U.S. cars [...]. Your first question may be "Don't Koreans care about fingerprint smudges?" The answer, I think, is that Korean drivers simply don't have smudgy finers. Koreans rarely eat in their cars, and Americans have made a culture of the practice. [...]
[B]uilding a successful car for a particular market is like writing a dissertation on its culture and sociology.