BlackBerry Apps

Frendzy PlayBook – Renault Teams Up With BlackBerry In Latest Concept Electric Car

The latest BlackBerry PlayBook has been integrated into Renault’s latest concept electric car and turns it into an innovative office on wheels, doubling up as a commerical vehicle plus passenger car.

For business users on the road, the ultra-portable BlackBerry PlayBook simply plugs into the dashboard, delivers advanced performance, uncompromised web browsing, with support for Adobe® Flash®, HD multimedia and advanced security features and out of the box enterprise support.

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Connecting directly into the centre console, its 7 inch touchscreen is easy to operate and as soon as it is plugged in, becomes an integral element of the vehicle, configuring itself into the Renault environment, but also allowing work to continue when the device is removed.
 
BlackBerry PlayBook also plays an important role in the customization of the vehicle, transforming the exterior screen and controlling useful messages or information and can also be used as a mobile advertising board, either while parked or on the move. Come the weekend, the vehicle transforms itself into a family vehicle, with a comfortable passenger seat and, in the rear, a big bench seat. Children can watch a film or play games on the touch-sensitive pad which slides out from the back of the driver’s seat. They can even draw on a special slate integrated into the sliding door.

Outside

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On the passenger’s side, there’s no glazing and no centre pillar, just one conventional door and one sliding side door which incorporates a 37-inch widescreen display. This is the world of work. The driver’s side, complete with side windows, still no centre pillar, but with centre opening doors represents the world of the family. Ease of loading and ease of entry go without saying in both worlds!

Exterior designer, Deyan Denkov: "The concept of an asymmetric body design was the most logical way to express this vehicle’s two roles. From the very start, I wanted to move away from the traditional format for commercial vehicles and, in doing so, show that this type of vehicle could also be more emotional, more dynamic and more attractive. I took inspiration from a wide variety of sources, including unconventionally shaped aircraft such as the Airbus Beluga and the Antonov 224.”

On weekdays, FRENDZY is a vehicle that adapts to the requirements of the business user, with a large external screen that can display useful messages or information (such as “making deliveries” or “back in five minutes”, the battery-charging method or the remaining charge) or advertising messages, either whilst parked or on the move. Come the weekend, the vehicle transforms itself into a family vehicle, with a comfortable passenger seat and, in the rear, a big bench seat. Depending on their mood of the moment, children can watch a film or play games on the touch-sensitive pad which slides out from the back of the driver’s seat. They can even draw on a special slate integrated into the sliding door.

The driver, likewise, can adapt the vehicle to his or her needs. In ‘work’ mode, the rear-view mirrors sit upright and the interior lighting is green; in ‘family’ mode, the mirrors swivel round to the horizontal position and the interior is bathed in a radiant orange ambience. Coloured repeater lights in the headlamps and tail lights provide an external indication of the mode in which FRENDZY is operating.

Inside

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The driver’s side cockpit is designed along the theme of a futuristic ‘work bench’ featuring a structure which appears to be made from molten metal. Green light emanating from the dashboard brings this smooth and organic architecture to life. These lights signify the ‘work’ mode and tie in with the colour displayed on the exterior of the vehicle.

In the ‘family’ mode, the atmosphere becomes warmer as the green lights turn orange – a subtle reference to the colour of the previous concept car, the family-oriented R-Space.
Dominant throughout is the sense that the interior forms a cosy cabin which echoes the simple yet practical world of camping, and this is further reflected by extensive use of wood. Indeed, as much a symbol of warmth as it is of strength and timelessness, wood forms a link between the two modes. The leather latticework seats and removable accessories also refer to the camping metaphor.

Antoine Génin, Design Director, Interior and Colour/Materials: "Our research into materials centred on the area where the technology of industry meets the cosy softness of the family nest. This modern combination of wood and metal picks up on Renault’s strategic design values of simplicity, sensuousness and warmth.”

On a practical level, the fabric roof adapts itself to the shape of bulky objects, magnetic fixings allow the load to be secured to the floor, and modular stowage systems are a practical bonus for business users. The single-piece rear seat is integrated into the floor, while the front seat folds forward in order to free up space. Thanks to its practical, modular interior, FRENDZY lends itself perfectly to the requirements of traders and tradesmen.

Interior designer Ana Zadnik explains: “The interior of the vehicle reflects its double identity: on the one hand, it provides a roomy, uncluttered cargo carrying space and, on the other hand, a space that’s fun and interactive and which seats up to four people. The organic volumes of the dashboard and rear door panels are extruded by strikingly shaped “nozzles”, which become “receptors” for accessories, which can be plugged directly into the dashboard and door panels.”

Joanne Carter is a British photography journalist, editor, curator, and the founder of *TheAppWhisperer.com*, one of the world’s leading platforms dedicated to mobile photography and art. Since its launch in 2009, TheAppWhisperer has become an international hub for artists of all levels to discover, learn, exhibit, and engage with contemporary photographic practice.Built on principles of inclusivity, accessibility, and artistic excellence, Joanne has spent almost two decades championing mobile photography as a serious artistic medium. Through interviews, critical essays, exhibitions, competitions, and education, she has helped shape and document the evolution of mobile art on a global scale.Her work has taken her internationally, lecturing on photography and mobile art at institutions and events including the Museum of Art in Seoul, South Korea, alongside appearances in the UK and Europe. She has served as a juror for international photography and mobile art awards across Portugal, Canada, the United States, South Korea, Italy, and the UK.Joanne is also the founder of *TheAppWhispererPrintSales.com*, one of the first online galleries dedicated exclusively to collectible mobile art, connecting artists with collectors across Europe, the United States, and Asia.Before founding TheAppWhisperer, Joanne worked extensively in print journalism and photographic publishing, including roles at a paparazzi photo agency and as deputy editor of a leading photography magazine. Her freelance journalism, criticism, and commentary have been published widely in both the UK and the US, with bylines in *The Times*, *The Sunday Times*, *The Guardian*, *Popular Photography*, *NikonPro*, *DPReview*, *Which?*, *Vogue Italia*, *LensCulture*, the *BBC*, and more recently, the *Financial Times*, where her published letters on photography continue to contribute to wider conversations around the medium.Alongside her editorial and curatorial work, Joanne’s own photographic practice has been exhibited internationally across the UK, Europe, South Korea, and the United States. Her work increasingly explores themes of grief, loss, death, memory, and the body.Her current research interests centre on grief, death, and poverty, with forthcoming postgraduate study leading towards doctoral research in these areas.Joanne is currently developing new long-form writing and photographic projects and is available for commissions, editorial projects, speaking engagements, and collaborations.Contact: joannetheappwhisperer@gmail.com)