Another week, another new Audi. Two new Audis, in fact. The German car maker has announced a couple more additions to its Q line up of SUVs. The Q4 is a coupe-SUV hybrid that will go up against the BMW X4 and Mercedes GLC Coupe. As its name suggests, it’ll be positioned between the compact Q3 and bigger Q5. At the other end of the scale is the Q8, which will go head to head against the Range Rover. It’s lower and sleeker than the Q7 Audi is also producing. In concept form, it sat only four people, although it seems likely the production version will be a five seater. There’s a 630 litre boot as well. Eagle eyed Audi followers will notice the only SUV slots left to fill are the Q1 and Q6. Watch this space...
Audi’s relentless release of new models continues with the launch of its smallest SUV. The Q2 goes on sale in the UK next week with prices starting at £22,380. There’s an extensive selection of petrol and diesel power trains as well as the option of front or Quattro four-wheel drive. More models will be added to the range later on, including powerful SQ2 and RSQ2 versions. Aimed squarely at a younger audience, the Q2 has bolder, sharper lines and a different shape to Audi’s bigger SUVs, the Q3, Q5 and Q7. Although it’s clearly meant more for buzzing around cities than growling across farmland, cladding and skid plates lend it an aura of ruggedness. Audi is also offering a range of vibrant colours to deepen the Q2’s appeal to youthful buyers. The interior is as plush as you’d expect from Audi, justifying its price hike over similarly sized SUVs like the Nissan Juke and Honda HR-V. The materials are high quality – softtouch plastics, leather on higher spec cars and brushed aluminium trim elements all blended into a smart-looking package. As standard, drivers get a seven-inch infotainment screen on top of the dashboard. It’s operated through Audi’s rotary dial system that’s far more intuitive and easier to use when on the move than rivals’ touchscreen systems. Among the many options is Audi’s excellent Virtual Cockpit - a 12.3in screen that replaces the manual instruments behind the steering wheel. Overall, the Q2 is 4.7in shorter than the A3 hatchback, but Audi says there’s enough leg and headroom for two adult passengers in the back. Boot space comes in at 405 litres – 50 more than you’ll find in the A3 hatchback and rival Nissan Juke, although it trails the Mini Countryman by the same amount. To begin with, the only diesel option is a 1.6 litre with 114bhp, although a more powerful 184bhp 2.0 litre unit will be added to the range soon. Similarly, the petrol engine range is limited for now but will be expanded by the end of the year. The 1.4 litre, 148bhp unit offered now will be joined by 1.0 litre, 114bhp three cylinder turbo and 2.0 litre, 187bhp options – the latter coming with an S-Tronic automatic gearbox. When it arrives the 1.0 litre petrol version will be the cheapest model in the range with a price tag of £20,230. Courier Motoring has yet to get its hands on the car but early reviews have been very positive and Audi looks to have yet another winner on its hands. firstname.lastname@example.org
Audi’s Q2 was one of the first premium compact SUVs on the market. It sits below the Q3, Q5 and the gigantic, seven seat Q7 in Audi’s ever growing range. Although it’s about the same size as the Nissan Juke or Volkswagen T-Roc, its price is comparable with the much larger Nissan X-Trail or Volkswagen Tiguan. Even a basic Q2 will set you back more than £21,000 and top whack is £38,000. Then there’s the options list which is extensive to say the least. My 2.0 automatic diesel Quattro S Line model had a base price of £30,745 but tipped the scales at just over £40,000 once a plethora of additions were totted up. Size isn’t everything, however. In recent years there’s been a trend of buyers wanting a car that’s of premium quality but compact enough to zip around town. It may be a step down in size but the Q2 doesn’t feel any less classy than the rest of Audi’s SUV range. The interior looks great and is user friendly in a way that more mainstream manufacturers have never been able to match. The simple rotary dial and shortcut buttons easily trounce touchscreen systems, making it a cinch to skim through the screen’s menus. https://www.youtube.com/watch?v=4eQ5p5Z7-Ek&list=PLUEXizskBf1nbeiD_LqfXXsKooLOsItB0 There’s a surprising amount of internal space too. I took three large adults from Dundee to Stirling and no one complained about feeling cramped. As long as you don’t have a tall passenger behind a tall driver you can easily fit four adults. At 405 litres the boot’s big too – that’s 50 litres more than a Nissan Juke can muster. Buyers can pick from 1.0 and 1.4 litre petrol engines or 1.6 and 2.0 litre TDIs. Most Q2s are front wheel drive but Audi’s Quattro system is standard on the 2.0 diesel, as is a seven-speed S Tronic gear box. On the road there’s a clear difference between this and SUVs by manufacturers like Nissan, Seat and Ford. Ride quality, while firm, is tremendously smooth. Refinement is excellent too, with road and tyre noise kept out of the cabin. It sits lower than the Q3 or Q5 and this improves handling, lending the Q2 an almost go-kart feel. On a trip out to Auchterhouse, with plenty of snow still on the ground, I was appreciative of the four-wheel drive as well. The Q2 is expensive – though there are some good finance deals out there – but you get what you pay for. Few cars this small feel as good as the Q2 does. Price: £30,745 0-62mph: 8.1 seconds Top speed: 131mph Economy: 58.9mpg CO2 emissions: 125g/km
First there was the Q7. Then the Q5 and Q3. All have been a phenomenal success for Audi. I’d be surprised if that script changes when the Q2 arrives in November. Audi’s baby SUV is available to order now with prices starting at £22,380. Can’t quite stretch to that? Don’t worry, an entry level three-cylinder 1.0 litre version will be available later this year with a cover tag of £20,230. From launch, there are three trim levels available for the Q2 called SE, Sport and S Line. The range-topping Edition #1 model will be available to order from next month priced from £31,170. While the entry-level 113bhp 1.0-litre unit isn’t available right away, engines you can order now include a 113bhp 1.6-litre diesel and 148bhp 1.4-litre petrol unit, both with manual or S tronic automatic transmissions. Also joining the Q2 line-up from September is the 2.0-litre TDI diesel with 148bhp or 187bhp. This unit comes with optional Quattro all-wheel drive. A 2.0 litre petrol with Quattro and S tronic joins the range next year. Standard equipment for the new Audi Q2 includes a multimedia infotainment system with rotary/push-button controls, supported with sat-nav. Audi’s smartphone-friendly interface, 16in alloy wheels, Bluetooth connectivity and heated and electric mirrors are all also standard for the Audi. Along with the optional Audi virtual cockpit and the head-up display, the driver assistance systems for the Audi Q2 also come from the larger Audi models – including the Audi pre sense front with pedestrian recognition that is standard. The system recognises critical situations with other vehicles as well as pedestrians crossing in front of the vehicle, and if necessary it can initiate hard braking – to a standstill at low speeds. Other systems in the line-up include adaptive cruise control with Stop & Go function, traffic jam assist, the lane-departure warning system Audi side assist, the lane-keeping assistant Audi active lane assist, traffic sign recognition and rear cross-traffic assist.
Audi threw everything it had at the Goodwood Festival of Speed last weekend, with no fewer than nine upcoming models making their UK debuts. One of the most interesting – and affordable – was the new Q2. Audi’s smallest crossover yet, it’ll sit underneath the Q3, Q5 and big ole Q7. It will be available as a front wheel drive or with Audi’s Quattro four-wheel drive system. Under the skin there’s a choice of three TFSI petrol and three TDI diesels, with Audi’s 1.0 litre three-cylinder petrol offering 114bhp, the 1.4 litre four-cylinder sitting below the 187bhp 2,.0 litre TFSI. Diesel options are the 1.6 litre TDI with 114bhp and a pair of 2.0 litre TDIs with 148bhp or 187bhp. It goes on sale later this summer with a starting price expected to be in the region of £20,000. At the other end of the price scale is the R8 V10 Spyder. The 553bhp supercar comes a year after the second generation coupe R8 was released. Audi reckons the new Spyder is 50 per cent stiffer than the last Spyder, and its canvas roof stows beneath a massive rear deck, able to open or close at speeds up to 31mph in 20 seconds. Fuel economy “improves” to just over 24mpg thanks to a new coasting function that idles the engine when it’s not needed. Expect it to cost around £130,000. In between those two extremes are a plethora of other upcoming Audis, including the new S5 Coupe, and the Audi TT RS which first revealed a year ago is hardly new but apparently it had never been seen in the UK before. A couple of Q7s were also at Goodwood, including the Q7 e-tron plug-in hybrid, which returns a claimed 156mpg, and the SQ7 – a diesel with 429bhp. There was also the refreshed A3 range. Audi’s upmarket Golf rival has been given a styling refresh along with a few new engine options. Following a trend for downsizing, there’s a 1.0 litre three -cylinder petrol unit, while a powerful 2.0 petrol engine also joins the range.
Vehicle insurance premiums hit a record high last quarter, rising by more than five times the rate of inflation in 2016. The Association of British Insurers (ABI) said that tax increases, rising repair costs and increasing costs arising from whiplash injury claims were to blame. According to the ABI’s Motor Premium Tracker - which measures the price consumers actually pay for their cover, rather than quotes - the average price for private comprehensive insurance in Q4 2016 was £462. The highest figure recorded before this was in Q2 of 2012, when the average price was £443. The Q4 figure for 2016 was up 4.9% over Q3, equating to a £22 rise in the average premium. It was also found that the average premium for all of 2016 was 9.3% higher than the average premium for 2015. ABI’s assistant director and head of motor and liability, Rob Cummings, said: “These continue to be tough times for honest motorists. They are bearing the brunt of a cocktail of rising costs associated with increasing whiplash-style claims, rising repair bills and a higher rate of insurance premium tax. “While we support the Government’s further reforms to tackle lower-value whiplash costs, it must not give with one hand and take away with the other. The sudden decision to review the discount rate has the potential to turn a drama into a crisis, with a significant cut throwing fuel on the fire in terms of premiums. “Insurers are open to a proper dialogue on how to reform the system and urge the Lord Chancellor to engage with the industry about setting a rate that is fair for both claimants and customers.” Meanwhile, the RAC has released research that suggests not indicating when turning is our number one annoyance on the roads. Well over half (58%) of the survey’s respondents said failing to indicate was the top inconsiderate behaviour. It was narrowly ahead (56%) of those who thought middle lane hogging was the greatest driving sin.
Audi has been relentless in its expansion over the past decade, scattering new models like confetti. It shows no sign of slowing down as we head towards the end of the decade. If anything, in fact, the company is increasing the pace of its model range expansion. The most recent news is the announcement of two new “Q” models – which will bring its SUV range to five – and three all-electric e-tron models. The German car maker intends that at least 30 per cent of its sales will be of electric or part-electric models by 2025, and aims to have the technology available for driverless city cars within four years. The plans were outlined to Audi shareholders during the brand’s AGM in Neckarsulm, Germany. Chairman Rupert Stadler said: “We are rejuvenating our model portfolio enormously and will renew five existing core model series by mid-2018. “In addition, we will expand our successful Q family by 2019 with two new concepts – the Audi Q8 and the Audi Q4 – and we will launch our battery-electric e-tron models.” The Q4 and Q8 will have coupe-like rooflines similar to BMW’s X4 and X6 and the Mercedes-Benz GLC Coupe and GLE Coupe. Three new electric Audis will appear by 2020, and the brand will then introduce electric versions across its core model ranges. Audi is also taking over the development of autonomous car technology across the Volkswagen Group and the first examples of driverless cars will be launched early in the next decade. Meanwhile the new ‘myAudi’ programme will establish a digital platform for online services across the range. The latter half of 2017 will see Audi update its luxury flagship models. A new A8 will be unveiled later this month and will be followed by a new A7. Audi haven’t confirmed yet but it seems likely we will soon see replacements for other older models in the range such as the A1, A6 and Q3. email@example.com
Since its launch back in 2009 the Q5 has become Audi’s most popular SUV, with more than a million sold. Now an all-new second generation model has been revealed at the Paris Motor Show and will go on sale in the UK early next year. The new car is approximately 90kg lighter than the model it replaces, but is also bigger inside and out. The new car also gets Audi’s fantastic Virtual Cockpit display in place of more conventional dials. Five engine options will be available at launch – a petrol and four diesels. The petrol has 248bhp and four-wheel drive. A 2.0 litre diesel can be had with 148, 161 or 187bhp and two or four-wheel drive. Higher up the range is a 3.0 litre V6 diesel with 282bhp. An SQ5 with 340bhp and an RS Q5 with more than 500bhp will join the range later on. The updated Q5 takes design inspiration from the Q3 and Q7, with a large, angular, chrome grille at the front flanked by LED headlights. It’s not a radical redesign. The car’s overall silhouette is the same, but has stronger shoulder lines, larger wheel arches and a lower roofline. As standard, the Q5 will ride on 17in alloy wheels, although wheels as big as 21in will be available as optional extras. On the gadgetry side of things, the Q5 has an in-car wifi hotspot system that gives you permanent web access on the go, supported by a sim card charged at a flat rate for data, and free for the first three years. An optional tablet can be fitted to act as a rear entertainment screen, and massage seats are offered for the first time. The sat-nav system now has a ‘Personal Route Assistance’ that learns your most regularly driven routes, tally that information with where you park it in the evening, and pre-programme the sat-nav to the destination it thinks you’re most likely to want next. The new Q5 will be built at an all-new factory in Mexico, with first deliveries in January 2017, and the base starting price in Germany for the 2.0-litre TDI is the equivalent of £38,000 – although final UK spec and prices will be announced closer to the launch.
Art and design lie at the heart of the creative industries in Dundee, industries which have often been inspired by the leisure pursuits and interests of Dundee’s population. These interconnections are clearly shown in the Archives of the University of Dundee; art and design is woven through many of the collections. This article features a few items which highlight the diversity of design related material held in the Archives. Dundee Art Society started out as the Graphic Arts Association in 1890, changing its name in 1904. From the outset the group welcomed both professional and amateur artists as well as art patrons and lovers. As the Art College in Dundee grew, many of the staff joined the Society and used its platform to exhibit their art and network with other artists. The striking design for the cover of the centennial exhibition catalogue produced in 1990 echoes to the artistic trends of the early twentieth century. The longevity of the society reflects the continuing desire of artists within the community to join together, curate exhibitions and share their passion for art. Many of these artists had connections with the Dundee Institute of Art and Technology which was dissolved in 1975 to create Dundee College of Technology and Duncan of Jordanstone College of Art. The Art College remained independent until 1994 when it became a full part of the University of Dundee. All of these bodies are represented in the exhibition material, posters, photographs and student guides in the Archives. Furthermore, alumnus of the College have contributed to our on-going Oral History Project. Former textile students, Pauline Hann and Sheila Mortlock, were interviewed to capture the personal stories of their time at the College, their career paths and interests. Hann and Mortlock were founding members of Embryo – Dundee Creative Embroiderers, formed in 1980, which developed from the frustration felt by numerous students at the lack of opportunities to exhibit contemporary embroidery within Scotland. The remit of the group was to promote the highest standards of workmanship, achieving this by restricting membership to graduates and undergraduates of Duncan of Jordanstone College of Art. Embryo actively promoted their work through various exhibitions not only in Scotland but across the UK, eventually joining forces with two other textile groups to form Edge – Textile Artists Scotland. Edge is still going strong and attracting new members from a broader background albeit with a recognised education in textiles. The Archive’s Embryo collection includes exhibition publicity material, photographs and correspondence. Textile samples can be found in other collections, such as The Wilson Bros Ltd collection who were taken over by Pringle of Inverness. The pattern books of the woollen and cloth products they manufactured from 1927 to 1967 are fascinating. They show the changing trends in pattern and colour combinations and how design comes in and out of fashion over the decades. Other samples in the Archives show how design blended with the mass production of durable textiles as seen in the printed designs on linen which form part of the D. J. MacDonald collection. Using only two colours, the rising sun motif for the MacDonald company is bold and graphic whereas the design for Louise, seller of lingerie and hosiery has a more delicate touch with the female form and the name of the brand printed in signature style picked out in red. Jute and linen bags adorned with colourful printed designs are still popular today. Textile design in the city is thriving. Local fashion designer, Hayley Scanlan, studied textile design at DJCAD. Her oral history recording in the Archives tells of her desire to remain rooted in the city despite her burgeoning international career. Proud of her Dundonian heritage, Hayley’s designs are influenced by the changing city and she will soon open her first shop a stones throw from DJCAD where her talents were honed. Records held in the Archive are accessible to everyone. For further information about the Archives and its collections see www.dundee.ac.uk/archives Sharon Kelly is assistant archivist at Dundee University's Archives Services
Music has been a lifelong passion of mine and although I’ve been playing drums for many years, the decision to move away from that instrument to start writing and composing my own music was a fairly recent one. I’m not classically trained in any way and I don’t have any significant music theory knowledge but I think that can also have advantages. I try not to overthink and beat myself up over my work, instead taking enjoyment from a creative design process of experimenting, making mistakes and learning along the way. As well as recording and releasing music under the Kinbrae moniker with my twin brother where we produce a mix of ambient, modern classical and experimental songs, I have also written bespoke commission pieces for exhibitions. I’ve become more and more interested in composing music for TV and film and have recently started composing music for library albums for use in documentaries and commercials on TV. Composing music for a wide range of projects always requires approaching each one differently. My music software of choice is Ableton Live. Having used other platforms in the past I’ve found Ableton to be the most intuitive and creative when composing. When writing music for my own work I try to experiment with sound as much as I can and inspiration can come from pretty much anything – I’ve built songs round simple brass, synth or piano lines but also in some cases from field recordings of wildlife or urban noises such as factory machinery, people talking in cafes etc. Designing music for TV has its challenges but has also been a hugely rewarding experience. The briefs for this work are very specific with extremely tight deadlines and although stressful, I’ve found that it’s allowed me to really hone my processes and gain a better knowledge of how this side of the industry works. It is a less creative process than having the freedom to do what I want when working on my own material and is more about concentrating and fulfilling certain requirements. For example, to keep track length under 3 minutes, to get into main melody within first 20 seconds of the song and that sort of thing. From a creative point of view, I’ve always found it important in my work to bring a sense of place and personality into my compositions and this is done through utilising aspects of sound design. I was awarded the Tay Landscape Partnership Art Award in 2016 to record music inspired by the Tay Landscape – a project celebrating the landscapes where the Rivers Tay and Earn meet. The area stretches from Newburgh on the south side of the Tay Estuary around to Perth and along the Carse to Dundee. I approached this project by first going to a wide range of locations within the area to gather field recordings. These included contact microphone recordings from fences next to the train station at Errol, hydrophone recordings of the River Tay at Perth as well as recordings of wildlife. I then collated the resulting audio and manipulated chosen snippets of the recordings in Ableton; running hydrophone recordings through resonator and reverb plugins to create ambient atmospheres as well as micro-sampling audio and heavily treating with effects to create big ambient synth pad sounds and creating drum parts out of contact microphone recordings of the percussive sound of wire fences. Sound design has also been a big aspect in my compositions when using real instruments as well. For a recent commission I took frozen reverb samples of brass recordings that I then used to create slowly evolving drones that made up the background atmosphere of the song. I always try to approach composing music with an open mind. I think this way of working really helps open up opportunities for interesting sound palettes and it allows me to constantly find and develop new ways of working. Andy Truscott is a musician and composer who tours, records and releases music.