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rectangular battery pack from the Roadster and made it flat. The engineers cut the floor out of the CLS and plopped in the pack. Next they put the electronics that tied the whole system together in the trunk. After that, they replaced the interior of the car to restore its fit and finish. Following three months of work, Tesla had in effect built an all-electric Mercedes CLS. Tesla used the car to woo investors and future partners like Daimler that would eventually turn to Tesla for electric powertrains in their vehicles. Now and again, the Tesla team took the car out for drives on public roads. It weighed more than the Roadster but was still fast and had a range of about 120 miles per charge. To perform these joyrides-cum-tests in relative secrecy, the engineers had to weld the tips of the exhaust pipes back onto the car to make it look like any other CLS. It was at this time, the summer of 2008, when an artsy car lover named Franz von Holzhausen joined Tesla. His job would be to breathe new life into the car’s early designs and, if possible, turn the Model S into an iconic product.* Von Holzhausen grew up in a small Connecticut town. His father worked on the design and marketing of consumer products, and Franz treated the family basement full of markers, different kinds of paper, and other materials as a playground for his imagination. As he grew older, von Holzhausen drifted toward cars. He and a friend stripped down a dune-buggy motor one winter and then built it back up, and von Holzhausen always filled the margins of his school notebooks with drawings of cars and had pictures of cars on his bedroom walls. Applying to college, von Holzhausen decided to follow his father’s path and enrolled in the industrial design program at Syracuse University. Then, through a chance encounter with another designer during an internship, von Holzhausen heard about the Art Center College of Design in Los Angeles. “This guy had been teaching me about car design and this school in Los Angeles, and I got super-intrigued,” said von Holzhausen. “I went to Syracuse for two years and then decided to transfer out to California.” The move to Los Angeles kicked off a long and storied design career in the automotive industry. Von Holzhausen would go on to intern in Michigan with Ford and in Europe with Volkswagen, where he began to pick up on a mix of design sensibilities. After graduating in 1992, he started work for Volkswagen on just about the most exciting project imaginable—a top-secret new version of the Beetle. “It really was a magical time,” von Holzhausen said. “Only fifty people in the world knew we were doing this project.” Von Holzhausen had a chance to work on the exterior and interior of the vehicle, including the signature flower vase built into the dashboard. In 1997, Volkswagen launched the “New Beetle,” and von Holzhausen saw firsthand how the look of the car captivated the public and changed the way people felt about Volkswagen, which had suffered from woeful sales in the United States. “It started a rebirth of the VW brand and brought design back into their mix,” he said. Von Holzhausen spent eight years with VW, climbing the ranks of its design team and falling in love with the car culture of Southern California. Los Angeles has long adored its cars, with the climate lending itself to all manner of vehicles from convertibles to surfboard-toting vans. Almost all of the major carmakers set up design studios in the city. The presence of the studios allowed von Holzhausen to hop from VW to General Motors and Mazda, where he served as the company’s director of design. GM taught von Holzhausen just how nasty a big car company could become. None of the cars in GM’s lineup really excited him, and it seemed near impossible to make a large impact on the company’s culture. He was one member of a thousand-person design team that divvyed up the makes of cars haphazardly without any consideration as to which person really wanted to work on whichPDF Image | SpaceX and the Quest
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