Compared to its predecessor, it features more compact dimensions (3,885 mm in length) and a reduced weight of 955 kg (-100 kg), achieved thanks to the use of high-tensile steel for the body-in-white construction.
This, together with the drag coefficient of 0.31, allows for a combined fuel consumption of 5.4 litres per 100 km(1.3 liter version).
Below we report the official information about the exterior and interior design.
The new Mazda2 looks extremely dynamic despite its compact exterior dimensions. The natural-seeming interplay between soft forms and sharp contours, along with carefully modulated transitions, ensure a controlled variety of reﬂections across its exterior, characterized by the wedge shape, its focussed placement of contoured edges and strong sculpturing in the area of the doors and fenders.
Despite the more compact outer dimensions, the designers targeted high dynamism and solidity, a rhythmic interplay between soft surfaces and sharp contours , as well as subtle effects of light and shadow at points of intersection.
For example, the B-segment vehicles are very popular among women in Japan, who appreciate a soft, friendly design. In Europe, however – with a much more mixed target group – a sportier and more conﬁdent design is preferred by many customers.
With an eye to the future Mazda2, Mazda incorporated the positive Sassou feedback from motor show visitors during the last phases of work on the new production model. The solution for a dynamic design, with a clear Mazda identity, was the combination of sharply cut contours and soft transitions.
The designers’ main goal was to create the impression of athletic movement despite the car’s compact dimensions. Also important was the balance between the exterior design, a cabin laid out for maximum spatial functionality and the use of forms that appear especially simple and precise.
A second design theme for the exterior was called ‘coordinated movements’. Mazda2’s body lines, and the light effects created by them, combine to produce forms of expression that are many-facetted.
This impression of movement is further enhanced by the car’s wedge shape and by the character line that ﬂows from the front fender to the rear of the car. And the swage line in the lower area of the doors that climbs as it moves towards the rear wheels, plus the front wings echoing the style of the Mazda RX-8 , contribute to the Mazda2’s dynamism.
The sporty look can be further enhanced by choosing the Sports Appearance Package, which includes side skirts, a lower front spoiler and a trapezoidal front lower air intake, a special upper front grille design and a rear roof spoiler.
The team under Chief Designer Ikuo Maeda achieved tby emphasising forms that possess natural-seeming movement, and which also express high levels of build quality. The balance between organic and contoured elements is really only harmonious, because the designers consistently followed the primary objective of ‘coordinated movements’.
Seen as a whole, the Mazda2 looks both dynamic and solid, because "it is free from unnecessary ornamentation or decoration."
The design of the car makes it appear as cast from a single piece of metal.
Thanks to a generous underbody cover beneath the engine bay, to optimized bumpers and reduced turbulence in the area of the A- pillar and side mirrors, the Mazda2’s Cd value was lowered from 0.32 to 0.31 .
Even the front grille structure is designed in such a way that the components behind it are difﬁcult to see from outside the car.
As a result, the Mazda2 looks very neat and tidy from every angle.
Well-contoured forms combine a conﬁdence-inspiring solidity with strong visual movement. Despite the ﬁnite amount of space available, a cabin with a roomy spatial feel was created by skilful design.
Visually, the dashboard panel is divided horizontally in two halves and thanks to this stylistic technique, the dashboard does not dominate the cabin and the interior seems enjoyably light.
The upper dashboard is smooth and uncluttered, while the outer edges taper slightly away from occupants, so they do not feel cramped.
The gear shift lever is integrated here, mounted high and close to the driver’s hand.
The contrast between silver accents (in the area of the outer air-vents, the steering wheel, the speakers, the gearshift, the cupholder, the stereo, the speedometer and the door panels – depending on grade) and the dark keynote colour of the cockpit create a very contemporary ambiance.
Other distinctive elements are the white speedometer and a repetition of ‘rounded’ elements.
Circular forms are used for the four air-vents, the instruments, centre stack display and the controls for the heating and air- conditioning.
These forms have become a Mazda design signature and are reminiscent of those used in the Mazda3, Mazda6 and the MX-5.
The Mazda2’s three-spoke steering wheel with integrated audio controls, also presents visual parallels to the wheel of the famous roadster.
The seats are slim and, with their vertical fabric bands and discreetly patterned materials, help to give the cabin a general impression of airiness and friendliness.
Final Design Decisions
December 2004: After 18 months of intense preliminary work, Mazda designers threw away all the submitted designs made until then by the three design studios in Hiroshima, Yokohama and Oberursel (Germany).
According to Chief Designer Ikuo Maeda “Looking for a signiﬁcantly more dynamic starting point with an even sharper Mazda identity, we began working again with a blank piece of paper. Our goal was to create the maximum amount of dynamism in a length of 3.88 metres without sacriﬁcing functionality.”
In early 2005, two designs were competing to become the ﬁnal design, when the decision was made in Milan, Italy.
“I was there on a business trip and received a telephone call from a senior manager in Japan,” Maeda recalls.
“He said ‘You make the choice!’ I spent a week walking around Milan imagining the two cars in the city’s streets and squares. After that, I had my winner. This car would be instantly recognisable as a member of the Mazda family, not only in Italy, but also in Tokyo and in every other city.”