That this world premiere is taking place in Seoul of all places feels only fitting. Hardly anywhere else blends technological modernity and a pronounced design sensibility as naturally as the South Korean capital. For Mercedes-Benz, which describes Korea as an important premium market with a strong affinity for sedans and design quality, the launch of the electric C-Class  also takes on a symbolic dimension. During the world premiere, we spoke with Mathias Geisen, Member of the Board of Management of Mercedes-Benz Group AG, Sales & Customer Experience, about the role of the C-Class  in the brand’s transformation, the design latitude of a global core model, and the question of how a Mercedes-typical design language can endure across very different markets.

Chapter  Mr. Geisen, today we’re experiencing the world premiere of the new electric C-Class—a global volume model in the premium segment. What strategic significance does this vehicle have for Mercedes-Benz?

Mathias Geisen  The C-Class  is among the top three of our best-selling models and therefore has a very high importance for Mercedes. It also fills a “white spot” in our portfolio: until now, we’ve been missing an electric GLC and an electric C-Class. We can already see this very clearly in the strong order intake, for example for the electric GLC in Europe, but also in general in the high demand for our new electric models. Whether it’s the CLA, which was named Car of the Year 2026, the GLC  or the GLB—they’re all off to a very strong start. A key reason is that with ranges of 700 to 800 kilometers, the vehicles are now truly suitable for everyday use, and “range anxiety” is therefore largely losing relevance.

The new iconic grille with Mercedes-Benz light signature and 1,050 illuminated dots defines the presence of the new electric C-Class.

Chapter Seoul was likely not chosen by chance as the setting for this world premiere, as an important premium market. What global message is this location meant to convey for the product and the Mercedes-Benz brand?

Mathias Geisen When you introduce a vehicle like the new electric C-Class, you deliberately choose a place that reflects the product’s key characteristics. What sets Korea—and Seoul in particular—apart is its very pronounced approach to tradition and innovation. That fits well with our Mercedes-Benz brand, which looks back on 140 years of automotive history but doesn’t rest on it, instead consistently driving technological and design developments forward. At the same time, Korea is a very important market for us—the fifth-largest worldwide—with a loyal customer base and a very high affinity for sedans. It’s also a market with very tech-savvy customers and high expectations for design, quality, and execution. Last year, we also opened the world’s first Maybach Brand Center here. Against this backdrop, Seoul was a very fitting place for this world premiere.

With its coupé-like, aerodynamically optimized silhouette and short overhangs, the new electric C-Class looks more stretched and elegant than ever—while offering ranges of up to 762 kilometers.

Chapter  What role does design innovation play in such a central volume model as the C-Class ? Are the design parameters more tightly defined here than with niche models?

Mathias Geisen All-electric models like the new C-Class  open up entirely new possibilities for us. Proportions and space change. That’s an opportunity. Design, together with the brand, is the number-one reason to buy in most countries. That’s why it’s highly relevant to us what our vehicles look like. That applies to a C-Class  just as much as to an SL. A volume model in particular has to shape the Mercedes-typical, iconic design, because it carries the core of the brand to the outside world. At the same time, more emotional models like the SL can be more expressive. You can see this clearly in the connecting element of our iconic radiator grille. It’s how our vehicles have differentiated themselves for 140 years. The C-Class  picks up this element just like the GLC  and future vehicles. The grille is derived from the so-called honeycomb radiator, which Mercedes first used in 1901 in the Mercedes 35 PS. Back then, it was a purely technical solution that Wilhelm Maybach implemented to cool the engine. And we’re picking up that motif again today and reinterpreting it—for example with LEDs. It’s a style-defining, very authentic element. As part of the transformation, a lot becomes digital, including the exterior. Our goal is to define design approaches that preserve our iconic, brand-defining elements while also taking our models into the future. I think the C-Class  shows that very well.

Four round star-design taillights and the expressive GT rear end create a distinctive identity—even in nighttime appearance.

Chapter  A model like the electric C-Class  has to work worldwide while also responding to very different customer needs. How does Mercedes-Benz develop a global design language that works across markets—and where is local adaptation necessary?

Mathias Geisen A global brand needs products that work globally. A brand with the reach and recognition of Mercedes-Benz—we’re among the ten most valuable brands in the world—shouldn’t become fragmented. We have a clear brand identity and a consistent global brand presence. At the same time, we respond to local requirements with local adaptations. Specifically, that means we don’t design only out of Sindelfingen. We have design centers in Carlsbad, in Nice, and in Shanghai. This allows our designers to anticipate different cultural trends early and incorporate them into our concepts. That’s how we ensure we remain a leading brand—not only technologically, but also in design. Localization then mainly happens in the execution. For the Chinese market, for certain models like the GLC  and also the C-Class, for example, we offer versions with an extended wheelbase. In the interior, we shape adaptation through trim elements, color concepts, or materials. On top of that comes the digital design of the interior. The large display isn’t just a surface—it opens up entire design worlds and literally connects with the customer. If you change the wallpaper, for example, the ambient and headliner lighting changes as well. With elements like these, we can respond very individually to personal and local preferences without changing the vehicle’s basic design.

Taut surfaces, muscular wheel arches, and the flowing rear end give the electric C-Class a new presence.

Chapter And conversely: How strongly do key markets—such as Asia—influence Mercedes-Benz’s global design language, especially with regard to technological developments and digital expectations?

Mathias Geisen Asia influences our global design language just as much as any other region. What we fundamentally do—and that also applies to design—is test different concepts worldwide in so-called »product clinics.« That’s how we check how our vehicles are perceived in different markets. We show early concepts of new vehicles to Chinese, American, or European customers, for example, and receive important feedback that then flows into the development process. So our customers’ tastes play a major role in developing a new model.

The 101-liter frunk adds an additional,
fully functional storage compartment to the electric C-Class.

Chapter You bring a lot of experience in this area from your career at Mercedes-Benz—across product management, strategy, and portfolio management. How has that background shaped your view of design and the overarching brand strategy?

Mathias Geisen In my career, I’ve actually been fortunate to get to know very different areas. I worked in passenger-car product management for a long time, then led sales and product management for the G-Class—a great job! After that, I was responsible for the Vans business unit, where design plays a very different role again. Before my role at Mercedes-Benz Vans, I also led corporate strategy, and now I’m back in the product and brand context. That gives me a broad perspective and an understanding of the importance of design. Design is one of the key reasons to buy. Accordingly, we attach great importance to design—throughout the entire product creation process. At the same time, Mercedes-Benz has a fundamental aspiration: we want to build the most desirable vehicles in the world. Even a Sprinter has the ambition to be the most attractive commercial vehicle in its segment—just as an S-Class  has the ambition to be the most attractive vehicle in the luxury class. I think the Sprinter is just as design-defining in the commercial space as our vehicles are in the private-customer space.

Inside, the MBUX Hyperscreen spanning the full width of the vehicle, ambient lighting, and new material worlds merge into a significantly more digital comfort zone.

Chapter  Back to the new electric C-Class: You recently described status, personalization, comfort, safety, and intelligence as defining factors in today’s premium understanding at Mercedes-Benz. Where would you place the new electric C-Class within that coordinate system?

Mathias Geisen The C-Class  appeals to a broad customer group and embodies Mercedes’ core values: comfort, safety, quality, and design. In my view, design plays a major role for this vehicle, especially because of the proportions—it has simply become a fantastic vehicle. At the same time, the new C-Class  also makes a very big leap in comfort, safety, and especially in innovation and intelligence—for example in automated driving.

Mathias Geisen, Member of the Board of Management of Mercedes-Benz Group AG, at the world premiere of the new electric C-Class in Seoul.

Chapter Finally, looking to the future of Mercedes-Benz: What is your personal long-term vision for the brand—beyond individual models and technologies? And what role do new brand fields such as branded real estate or other areas in which Mercedes-Benz is increasingly active play in that?

Mathias Geisen No matter what we do, Mercedes-Benz always has the ambition to set benchmarks. That’s deeply anchored in our DNA. It applies to technology in the vehicle just as much as to the entire brand presence. The strength of our brand isn’t defined solely by our great products, but by the interplay of product, brand, and customer experience. Our goal is to deliver the best in every area so that customers feel completely at home with the brand. In short: whatever the customer is looking for—there should be no way around Mercedes-Benz. That has to be our aspiration, and it is our aspiration. [CPS]

Mazda MX-5

By the late 1980s, small, affordable roadsters were scarce—especially in Europe. That changed overnight when the first Mazda MX-5  was unveiled on February 10, 1989 at the Chicago Auto Show, breathing new life into a long-neglected segment. The idea for the iconic roadster emerged during an interview the American automotive journalist Bob Hall conducted in 1979 with Mazda’s then head of development, Kenichi Yamamoto. Just before the end of the interview, Yamamoto asked Hall whether there was a vehicle he felt was missing from Mazda’s lineup. The journalist replied that he wanted an affordable roadster in the tradition of British sports cars. No one could have foreseen at the time that it would become the most successful roadster of all time.

Mazda MX-5 — first generation

Ever since, the MX-5—now in its fourth generation—has stood above all for driving fun. In fact, the roadster doesn’t just follow Mazda’s established ideal of »Jinba Ittai«—the harmonious unity between horse and rider—it takes it to the extreme. Driving a Mazda MX-5  feels like putting the car on. Nothing disrupts the connection between driver and car, and the signature soundtrack is the »click, click, click« of the more-than-direct gearshift that’s typical of the lightweight roadster. As for the question of convertible or coupé—heaven forbid.

Mazda MX-5, current model generation, 2025

Mercedes-Benz SLK

In April 1996, the Mercedes-Benz SLK was presented to the public for the first time at the Turin Motor Show. Two years earlier, designers Bruno Sacco and Peter Pfeiffer had already caused a stir with their SLK concept. Like the Mazda MX-5, the two-seater from Stuttgart stands for freedom and driving fun. What’s more, the compact vehicle was also a technical pioneer: with its folding steel roof as an alternative to the classic fabric top, Mercedes-Benz managed to combine coupé and convertible in one car.

Mercedes-Benz SLK 200, R 170 series, in »yellowstone«

With this new technology and the surprisingly spacious cabin, the manufacturer also found a way to cleverly combine sportiness and comfort. The roadster got its name during the development phase, when engineers—referencing the much larger Mercedes-Benz SL—called it »SL kurz« (short SL). In January 2004, the second generation of the SLK  was introduced. Like its predecessor, it embodied the blend of compactness and sporty driving fun, but featured a new front design reminiscent of the super sports car SLR McLaren. In 2016, the compact roadster was renamed SLC and integrated into the C-Class  family. In 2019, the era of the zippy roadster finally came to an end.

Design detail: Mercedes-Benz SLC 300 »Final Edition«

BMW Z3

With the Z3, BMW entered the race for the best roadster of all time in fall 1995—and had prominent support: in the James Bond classic »GoldenEye«, the two-seater served as 007’s company car. The design of the Z3  was based on three different proposals, with the concept featuring an especially long hood and a strikingly short rear end ultimately prevailing. With its side gills, the sporty roadster also referenced the legendary, highly limited BMW 507. In addition, the Z3—the last one rolled off the line in 2002—featured a flowing, low beltline with strongly emphasized wheel arches. With its sport-tuned suspension, low center of gravity, and direct steering, the roadster also proved a guarantee of limitless driving fun. In 1998, the coupé was introduced, recalling the BMW 328 Sportcoupé  from the 1930s. In 1999, the Z3  received a facelift, with slight changes to the rear and front.

BMW Z3, production period 1995–2002

The Z3  wasn’t the only model in the series to appear in a James Bond film, by the way. The equally iconic Z8, built from 1999 to 2003, also had an approximately 15-minute appearance as the vehicle of the famous British secret agent. The Z8  was designed by Henrik Fisker, who likewise took inspiration from the roadster legend 507.

BMW Z8 Roadster, 2000

Toyota MR2

The first Toyota MR2  from 1984 was the result of a design project from 1976 and an attempt to build a car that was fuel-efficient and, at the same time, a real bundle of fun. Among other inspirations, it drew on the Toyota Sports 800, first introduced in 1962. With its compact, practical body, nimble and athletic handling, strong engine, and optional T-bar roof, the MR2 also presented itself as a car where the joy of driving took center stage.

Toyota MR 2, W10 series

The MR2  was also the first mass-produced Japanese car with a mid-engine layout. Five years later, the second generation rolled off the line, with the Japanese manufacturer moving away from the angular, somewhat more expressive shape of its predecessor. Toyota did, however, decide to keep the original’s mid-engine configuration, continued to focus on driving fun overall, but brought a bit more comfort into the mix. The third generation was introduced in 1999 and built until 2007. For around two years now, there have been rumors about reintroducing the mid-engine car. With the concept vehicle FT-Se presented at the Japan Mobility Show  2023, speculation about a possible return became more concrete. In addition, at the end of 2025 Toyota had the MR  label protected under trademark law in several countries. [SW]

Avatr Vision Xpectra

»The Rise of Emotive Luxury« was the slogan with which the young Chinese brand Avatr presented its current concept car. »With the Avatr Vision Xpectra, we are making the invisible visible—the emotional connection between people and vehicles. Emotive Luxury becomes reality: not status, but resonance. Not possession, but feeling«, explained Nader Faghihzadeh, Chief Design Officer and Executive Vice President of Avatr, during the presentation of the almost six-meter-long vehicle at the IAA Mobility 2025. Faghihzadeh is no newcomer to the automotive scene—he has worked as an exterior designer at BMW, among others, and has around twenty years of experience in automotive design.

The sculptural exterior of the all-electric Avatr Vision Xpectra  radiates presence and clarity, while in the interior, every surface and every detail is designed to create an emotional bond between the vehicle and the driver. At the heart of the interior is an AI-powered Vortex: a perceptive, learning, and interactive companion made of light and movement. It is also striking that both the exterior and the interior are characterized by transparent elements: The upper part of the body consists of a prismatic glass cabin, and the center console and headrests are also made of transparent materials.

Opel Corsa GSE Vision Gran Turismo

The German manufacturer’s current study not only provides an insightful outlook on future GSE models, but also illustrates the great innovation potential that lies in small car platforms. As far as the layout is concerned, the futuristic-looking concept car has similarities to the series Corsa, but the design study has been equipped with much sharper and more precise contours and is also somewhat lower and wider than the series vehicle. In addition, it looks more muscular and sculptural.

The color scheme clearly shows that the Opel Corsa GSE Vision Gran Turismo  is a vehicle that was primarily developed for the racetrack: The body is finished in pearl white, aero elements such as the hood, spoiler and diffuser shine in a strong yellow and thus stand out clearly from the black roof and the black fender flares at the front. With the Opel Corsa GSE Vision Gran Turismo, Opel also wants to draw attention to the GSE  sub-brand, which since 2022 has stood for Grand Sport Electric   and thus for particularly dynamic and emotional models. In addition, the concept vehicle is linked to the company’s origins in motorsport: Since autumn 2025, the all-electric small car has been part of the popular racing simulator »Gran Turismo 7«, blurring the lines between the virtual and real worlds.

Škoda Vision O

With the Škoda Vision O  design study, the brand, known above all for its station wagon models, is preparing for the electrified future. The study builds on the continued success of the Octavia Combi  and the Superb Combi, but at the same time shows the direction in which Škoda could be heading in the future. In terms of design, this means that typical design features of the popular Škoda station wagon models—such as the strongly inclined windshield and the gently sloping roofline—have been retained, but the design language has been further developed and refined, especially in terms of aerodynamics.

In addition, the station wagon scores with a striking lighting concept, in which the T-shaped taillights immediately catch the eye. In the interior, sustainability and simplicity meet intuitive functionality, as Škoda design chief Oliver Stefani explains. »The interior concept of the Vision O underlines our commitment to combining simplicity and sustainability with increased comfort. The combination of clear lines and intuitive functionality reflects our aspiration to create a harmonious and functional interior. It is characterized by materials and design elements that not only represent an aesthetic development of our ›Modern Solid‹ design language, but also emphasize our responsibility towards the environment«, says Stefani.

Mercedes Concept AMG GT XX

The Concept AMG GT XX is based on the vehicles of the legendary C 111  series from the sixties and seventies, which were built for testing then-novel Wankel and turbodiesel engines as well as as test vehicles for plastic bodies. Today, the much-discussed vehicles and prototypes of the time are considered true design icons. The Mercedes-Benz Vision One-Eleven  design study presented in 2023 is also likely to have played a key role in the development of the Concept AMG GT XX. For Gorden Wagener, Chief Design Officer of Mercedes-Benz until January 31, 2026, the concept vehicle embodies the »Hot« aspect of the design philosophy of »Sensual Purity« he developed.

The low-slung front hood, the steeply raked windshield and the dynamic fastback make the Concept AMG GT XX  a sports car as it is written in the book. However, the concept car not only offers an exciting outlook on the future series sports cars from Mercedes-AMG in terms of design, but also in terms of technology. The heart of the vehicle is its revolutionary drive concept, which consists of three axial flux motors and a completely newly developed high-performance battery. An obviously record-breaking system, because in August 2025, the Concept AMG GT XX  covered a distance of 40,075 kilometers in just under eight days on the legendary high-speed test track in Nardò, southern Italy. With this performance, the concept vehicle broke a total of 25 long-distance records. The sports car is actually scheduled to come onto the market in the near future.

Lexus LFA Concept

With the Lexus LFA Concept, the Toyota subsidiary is directly linked to the Lexus LFA—the super sports car with which the brand set new technological standards in the sports car segment in 2010. After more than ten years of development, a strictly limited series of only 500 vehicles was created, which are now traded at high prices. In keeping with this legendary sports car, Lexus has now developed a 4.7-meter-long, all-electric coupé study.

However, this is not entirely new, as the exterior and interior have already been shown as the Lexus Sport Concept  at Monterey Car Week and the Japan Mobility Show  2025. With the new name, however, new information came to light. Such as that the brand with the Lexus LFA Concept wants to achieve three core goals: the lowest possible center of gravity, low weight with high rigidity and maximum aerodynamic efficiency.

The result is a body made entirely of aluminum and a flat and flowing silhouette with classic coupé proportions. The Concept Car also embodies the centuries-old Japanese Shikinen Seng Ritual, according to which the techniques and skills of experienced craftsmen are passed on to the younger generation so that they can develop them further. [SW]

Mercedes-Benz Vision Iconic

Opulent and timeless, the show car presented in October 2025 reinterprets one of the most striking features in automotive history: the iconic Mercedes-Benz chrome grille. The further development of the traditional brand face gives the already anything but restrained vehicle additional presence. »Inspired by the golden age of automotive design of the 1930s, this show car embodies the pure essence of Mercedes-Benz. With its seemingly endless hood, which gives it a majestic presence, sculpturally flowing lines and a touch of Art Deco, it rises to become a true icon of automotive beauty,« says Gorden Wagener, who surprisingly announced his departure as Chief Design Director at Mercedes-Benz in December 2025.

Inside, the Vision Iconic  offers a glimpse into future, luxurious driving experiences: The transformation from the classic driver’s seat to a place of conscious travel and automated driving forms the basis for a new interior concept with a lounge atmosphere. A continuous bench seat made of deep blue velvet replaces the individual seats; the room appears open, calm and—one might say—almost theatrically staged. The center of the interior is the so-called »Zeppelin«—a floating glass construction that combines instruments, displays and handmade details.

BMW Concept Speedtop

There are several influences from the history of the Bavarian automobile manufacturer that come together in this concept vehicle—produced in a strictly limited small series: The striking arrow shape of the sharknose evokes memories of the BMW Z8, which is considered an icon in the roadster segment. The flowing silhouette, in turn, quotes BMW’s traditional touring history. The long hood with two framed air outlets is adorned with a central center bar that extends from the hood over the roof to the rear spoiler and evokes reminiscences of the BMW 503.

All these quotes from the brand’s rich history combine in the case of the BMW Concept Speedtop  to create an elegant shooting brake, which was presented in May at the Concorso d’Eleganza Villa d’Este 2025. It also follows the striking design language of the BMW Skytop. «A real BMW exudes dynamism and elegance even when stationary,» emphasizes Adrian van Hooydonk, Head of BMW Group Design. In addition, this concept vehicle was designed to create a consistent connection between the interior and exterior — through the two-tone color and material concept as well as through the striking roof bar, which is reflected as a light joint in the two-tone, leather-covered headliner.

Audi Concept C

With the Concept C, Audi is ushering in a new design philosophy in which radical simplicity and clarity are central. The all-electric sports car with two seats is the first sign of the new direction, for which Massimo Frascella, Chief Creative Officer at the Ingolstadt-based manufacturer since June 2024, is largely responsible. At the center of the redesigned front is the vertical frame, whose clear, upright shape is inspired by the Auto Union Type C  and the third generation of the Audi A6.

The new brand face gives the concept vehicle presence and identity. In addition, with the Concept C, Audi is introducing a new light signature consisting of four horizontally arranged elements in each headlight and taillight. The roofline underlines the monolithic shape of the vehicle without losing the open character of the concept. The Audi Concept C  is also a concept vehicle with road approval, which allows an even clearer view of future production models.

Bentley EXP 15

In terms of design, the five-meter-long concept vehicle shows some parallels to the three-seater Speed Six, which was first presented in 1930 and was best known under the nickname «Blue Train». The long hood and the slightly rearward-shifted cabin clearly indicate this. The Bentley EXP 15  is the first all-electric model presented by the traditional British brand and is intended to herald a new chapter in Bentley’s design history. The body appears monolithic and sculptural overall, but the aerodynamically optimized rear forms a harmonious contrast. The illuminated radiator grille is also striking, with which the vertical silhouette typical of Bentley receives a new interpretation.

The iconic brand face is quoted, while at the same time a modern, digital light sculpture is created. The logo has also been refined: The iconic Bentley wings have undergone a gentle revision and now present themselves in a more angular and sharper manner.

Hyundai Concept Three

With the Concept Three, Hyundai is offering a glimpse of a future, compact electric vehicle that is considered a harbinger of the Ioniq 3. At the same time, the study serves as a carrier of a new design language: «Art of Steel». This is understood as a creative examination of the material steel—not as a mere surface, but as a structurally and formally formative material. SangYup Lee, Executive Vice President and Head of Hyundai & Genesis Global Design, points out in this context that Hyundai is one of the few automobile manufacturers that produce their own steel. This results in an unusually close connection between design and manufacturing and the design question of how the specific properties of the material can be made visible and tangible instead of merely imitating them.

The approach of designing the vehicle as a hatchback model arose from the desire to stand out from the hatchback models present in Europe. »The silhouette starts low at the front to achieve aerodynamic advantages and then rises to a striking roof profile—with an acceleration point directly behind the rear passengers, giving them maximum headroom. From there, it transitions into a striking ducktail spoiler. And let’s be honest—who doesn’t love ducktail spoilers?« says Loasby. [SW]

The night sky is captivating. Hardly any sphere is so steeped in legend, so mystical. Its mere contemplation offers some a transcendental experience. Such was the case in November 1966, when the residents of Arizona witnessed an unprecedented celestial spectacle. Up to 50 meteors per second shot into the Earth’s atmosphere and burned up before everyone’s eyes in the black night sky. The storm of shooting stars lasted barely fifteen minutes. But even today, stories are told of it; the comet dust was so dense that people believed the sky was sparkling.

Similar events had already occurred in 1833 and 1866. It is now known that the annually recurring Leonid meteor shower only appears with such intensity every few decades. Nevertheless, observing the Leonids every November since their discovery has been a major event for astronomers, stargazers, and night dreamers. As long as it lasts.

Because the night sky is facing its demise. Heads of government and space entrepreneurs are competing for extraterrestrial supremacy. The universe is more contested than ever. While around 750 active satellites were in space around the year 2000, that number has risen to over 10,000 satellites in recent years. By 2030, 60,000 satellites are expected to be installed, and by 2050, hundreds of thousands. Light pollution is increasing significantly more than previously assumed. While an annual increase in brightness of about two percent had been assumed, researchers found that sky brightness is increasing by 9.6 percent per year. A child who sees 250 stars at their birthplace will see only 100 stars by their 18th birthday if the trend continues. And this prediction is optimistic. Reason enough to pull out all the stops to not only see but also celebrate the Leonids this year. Where better to do this than in the Natur und Sternenpark Westhavelland, near the darkest place in the republic, Gülpe, the site certified by the International Dark Sky Association  with the least light pollution.

On the evening of November 17, the sky-watcher is excited as he sets off for Havelland  in no ordinary vehicle. Rolls-Royce offers the bright yellow »Ghostmobile«, and the sky-watcher reverently takes the driver’s seat. Some say it’s perfectly fitting to travel in the most exquisite luxury car with a history of excellence. Others say it’s unusual to speed from Berlin towards Gülpe over rough terrain. An SUV would also do. But it has become this unreal spaceship of a Rolls-Royce, and it is at least befitting of its status. The drive feels like a space journey. So quiet, so imperceptible is the movement of the Ghost, so smooth the driving experience, that rough terrain is not noticeable. And people stare as if one has come from the moon. They haven’t seen anything like it here before. The Ghost  is a monolith. An authority. Originally, Rolls-Royce limousines were designed not for the self-driver, but for the chauffeur.

Originally, the Rolls-Royce was not considered a tribute to driving, but to being driven. A vehicle for kings and maharajas. Hardly any automotive brand ranks higher than the company founded by Charles Stewart Rolls and Frederick Henry Royce in 1904, which just two years later produced the Rolls-Royce Silver Ghost—a vehicle quickly lauded as the best in the world.

The sky-watcher enters the Sternenpark Westhavelland  just as Katy Perry, Oprah Winfrey, and Lauren Sanchez-Bezos recently entered space in the Blue Origin  rocket. Their endeavor lasted longer than the five-minute scheduled extraterrestrial stay. The overall experience includes ascent and descent, breakthrough and downfall; the journey is the destination. And whoever wants to go to Westhavelland  for the Leonids also wants their journey to the meteors to be a galactic overall experience. And so the drive into the dark Brandenburg feels like casting off. Like an astronaut, the sky-watcher glides from the congested capital traffic onto the deserted country roads of Brandenburg. The Ghost is a colossus. It is generously proportioned. It demands its space and power. The interior, however, appears discreet. It doesn’t scream. It doesn’t overpower anything. Driving a Rolls-Royce feels like entering a concert hall. Everything is silent. As if the car absorbed the harshness of the outside world. As if one were enclosed in a cocoon. Lovingly enveloped, carefully woven. Enclosed. But safe.

The outside world falls behind a heavy curtain. An immunity to the unfamiliar emerges. The feeling of triumphant invulnerability in the armored luxury sedan meets the promise of silence and mindfulness. The world’s crises bounce off the car. They bounce off the sky-watcher. He is no longer at the mercy of the world. Unreachable. Unavailable.

In times like these, when even the most materially secure, the supposedly most privileged, are endlessly subjected to demands—through performance pressure, consumer pressure, digitalization, distractions, compensations, and ever-increasing requirements, both professional and private—the place of silence is what constitutes true luxury. Rolls-Royce has been whisking people away behind this curtain of appropriation and control since its founding.

Is the brand’s honor solely due to its tradition? The brand’s success has lasted over 100 years, now under the umbrella of the BMW Group. Rolls-Royce cars have always been surrounded by an aura of triumphalism and untouchability. This may be a counter-narrative in times of political asceticism and uncertainty. Sustainability and reduction were never primary associations. However, modern antipathies are being put to the test with the introduction of the Rolls-Royce Spectre.

In a magazine in 1900, pioneer Charles Stewart Rolls made a bold prediction: »The electric car is perfectly noiseless and clean. There is no smell or vibration. They should be very useful when fixed charging stations can be established.« These words, put to paper four years before the historic founding of the company, would prove prophetic. In 2021, the British automaker confirmed the testing of the first model in the brand’s history to be conceived and designed as an electric car from the outset. Just one year later, the Spectre  (top image showing the one-of-one Spectre Lunaflair) was introduced to the world. Rolls-Royce is seeking the future. This makes the brand forward-looking rather than sentimental.

The sky-watcher turns onto unpaved forest roads. One must not tell the lessor, Rolls-Royce, about this. The Ghost pushes its way through the grasses, past the fir trees, out onto the stargazing clearing. Once there, it appears like a monument of fantasy, literature, and antiquity. It looks a bit like Stonehenge.

In the clearing, the sky-watcher looks up. He targets the constellation Leo. So this is where it’s supposed to happen. And behold—the meteors are flying. It’s impossible to describe what a spectacle it truly is. They trail burning tails behind them. Some make one startle in awe. Others evoke a playful, tender gentleness. Picnic blankets and sparkling wines are retrieved from the Ghost. Thus, one waits for morning in the Star Park.

The return journey is no less dreamlike. Rolls-Royce is said to have a love for the night sky. The LED light points in the headliner of the limousines are a trademark of the British. Above the heads of the sky-watchers, shooting stars continue to shimmer, and in the console in front of the passenger, another 850 LED stars glow around the Ghost  lettering. For the Spectre model, approximately 5,000 LED light points were developed for this special starlit interior in an incredible precision effort of over 10,000 hours. Light choreographies allow for the recreation of real constellations in the night sky and even meteor showers. The project has been verified by the South Downs Planetarium  near the company’s headquarters in Goodwood, England.

Rolls-Royce is one of the brands that defies the trivialization of everyday life. In times when the night sky is being disregarded, the English automotive brand invites reflection. A haven of peace in a world of a thousand storms. Rolls-Royce transports one as if into the eye of a hurricane, into a nearly windless center.

Once in human history, one’s own destiny was believed to be subject to the signs of the heavens. In navigation, people were guided by celestial bodies. Indigenous peoples aligned their cities with the sun, moon, and stars. Some settlements were precisely aligned with the north-south and east-west cardinal directions. Others were meant to orient themselves to sunrise or sunset points at the time of the solstice. Is the imitation of the night sky in a luxury object from an automobile manufacturer not, therefore, blasphemous? One could see it that way. Or one could understand it as a homage to the cosmos as a sphere of human experience, whose destruction would be an irrevocable civilizational rupture. The drive in the Rolls-Royce—it almost made me political.

Text by Diana Kinnert

Since its introduction in 1925, the Rolls-Royce Phantom has been considered the epitome of automotive elegance. A vehicle that, like hardly any other, embodies the spirit of the golden age of Hollywood. However, the history of the Rolls-Royce brand itself goes back further: in 1904, the engineer Henry Royce and the London car importer Charles Rolls joined forces. C.S. Rolls & Co. then received the exclusive sales rights for all vehicles built by Royce Ltd. In 1911, the Spirit of Ecstasy was finally created, the brand’s unmistakable emblem to this day.

Today, one hundred years after its debut, the Phantom is honored with the Phantom Centenary Private Collection, limited to 25 units. It is the most complex and technically sophisticated Private Collection to date from the British luxury car manufacturer. »The Rolls-Royce Phantom Centenary Private Collection is our tribute to 100 years of the world’s most revered luxury item. This uncompromising work of art uses the meticulously engineered Phantom VIII as the canvas to tell the story of Phantom’s remarkable life and the people who shaped it—from the visionaries within Rolls-Royce to the owners who helped create its legend,« Rolls-Royce CEO Chris Brownridge notes on the occasion of the anniversary.

To pay due tribute to the flagship of the Rolls-Royce family, the Bespoke team pulled out all the stops. Specialists from all areas—from design to craftsmanship—came together and immersed themselves in the history of the Phantom, examining every single generation down to the smallest detail. The places and events that shaped the creation of the respective vehicle generations were also taken into account. This resulted in 77 hand-drawn motifs that played a decisive role in the development of the Private Collection.

Despite all the consideration of historical milestones, the Bespoke team was always careful to bring them to life through innovative techniques. »Having the privilege to pay a Bespoke tribute to the Phantom nameplate is a once-in-a-generation opportunity. Seizing on the significance of this moment, a record number of designers spent a year immersed in the motor car’s rich history, uncovering the stories that shaped its legend. Their research was distilled into 77 motifs, each capturing a defining moment in Phantom’s journey and expressed with levels of detail we have never attempted before. The result is a true collective work of art that celebrates the skill, ambition and imagination of everyone at the Home of Rolls-Royce, and the profound respect the marque’s creatives have for this extraordinary motor car,« Martina Starke, Head of Bespoke Design, summarizes the design process.

Exterior: Shimmering shine and a gilded icon

It is not surprising that the exterior immediately conjures up the golden age of Hollywood, after all, the elegant vehicle was once a regular guest at important film premieres and served as the preferred means of transport for numerous screen icons. The vehicles of the Private Collection have a Bespoke two-tone paint finish, the longitudinal paint finish of which is reminiscent of the flowing silhouette of the Phantom models of the 1930s. The side section is in Super Champagne Crystal over Arctic White, the upper part of the body in Super Champagne Crystal over Black.

The specially developed paint finish gives the exterior an extraordinary metallic shimmer, which is further enhanced by the addition of shimmering glass particles to the clear coat. »Developed over three years, this project uses new techniques to blend metal, wood, paint, fabric, leather, and embroidery into a single, stunning composition. The surfaces read like a book revealing 100 years of Phantom’s history, rich with symbolic references for clients to admire and decipher over many years to come,« explains Phil Fabre de la Grange, Head of Bespoke at Rolls-Royce.

The Spirit of Ecstasy also shines in new splendor: it was cast from solid 18-carat gold and then plated with 24-carat gold. The piece was then handed over to the Hallmarking & Assay Office in London, where it was given the specially developed Phantom Centenary stamp.

Interior: Luxurious fabrics and elaborate woodwork

The history of the Phantom is also given plenty of space in the interior. Depending on the area, different episodes of the hundred-year success story unfold. It is no coincidence that the front seats are covered with luxurious, yet durable leather, while fine fabrics were used for the rear seats—but a reminder of the time when chauffeurs in particular took a seat in the driver’s seat. The design of the rear seats is inspired by the Phantom of Love from 1926. They were designed as a modern interpretation of hand-woven tapestries and show different milestones from the history of the Phantom on three different levels, as Bespoke Colour and Material Designer Celina Mettang explained during the presentation of the new Private Collection. The leather of the front seats was also decorated with laser-engraved works of art based on hand drawings.

The Private Collection also includes the most elaborate woodwork ever created for a Rolls-Royce. The door panels, which took over a year to develop and are made of stained Blackwood, show the most important and formative journeys of the Phantom. In each composition, geographical maps, winding routes, vast landscapes, floral elements and depictions of extraordinary automobiles combine to form works of art.

At the top of the dashboard is the centerpiece of the interior—the »Anthology Gallery«, consisting of 50 3D-printed, brushed aluminum fins. Each fin is marked with letters that form quotes from a century of press reports and are subtly highlighted by changing lighting.

The Phantom Centenary Private Collection is more than just a representation of a great heritage. Never before has the idea that the history of a vehicle always rides along been expressed in a more artistic and luxurious way. [SW]

In 1904, Charles Rolls and Henry Royce founded the automotive brand Rolls-Royce. Just over 20 years later, the Phantom  was unveiled to the public—a model that quickly became the flagship of the British luxury automotive brand. Although the car underwent many different stages of development over the decades, one thing remained constant—its connection to the art world. »For 100 years, the Rolls-Royce Phantom  has moved in the same circles as the world’s leading artists. As a symbol of self-expression, Phantom  has often featured in incidents of creative significance – many of them defining moments of the last decade. As we mark Phantom’s centenary, it is the perfect time to reflect on this motor car’s endlessly intriguing legacy and the artistic personalities who played a role in shaping its story,« says Chris Brownridge, Chief Executive Officer at Rolls-Royce. According to Brownridge, the Phantom’s centenary is a good time to explore all the different points of contact between the Rolls-Royce brand and the world of art.

»The King of Rock ‘n’ Roll« in more ways than one: Elvis Presley’s Rolls-Royce Phantom, 1963

Dalí, Warhol, and the Cauliflower—Rolls-Royce Phantom in Art

And there were many such instances: Great artists such as Salvador Dalí, Andy Warhol, Henri Matisse, Pablo Picasso, and Cecil Beaton were repeatedly seen in various models of the brand. Dame Laura Knight, the first woman admitted to the Royal Academy of Arts, even used a vehicle from the British luxury brand as a mobile studio. She was seen with it at racetracks like Epsom or Ascot. The world’s most prominent collectors were also drawn to the brand, including Jacquelyn de Rothschild, Peggy Guggenheim, and Nelson Rockefeller.

»Art is what you can get away with«? Andy Warhol’s exceptionally redesigned 1937 Phantom

However, the Phantom  always held a special position when it came to creative exchange between these two worlds. For instance, in 1955, Salvador Dalí arrived at a lecture at the Sorbonne University in Paris in a black and yellow Rolls-Royce Phantom  filled with 500 kilograms of cauliflower, which he had borrowed from a friend. However, this memorable moment was not the only time Dalí created an artistic tribute to the Phantom. A painting he created in 1934 for an illustrated book titled »Les Chants de Maldoror« featured a surreal interpretation of the vehicle. His artwork depicts the Phantom  in a desolate, icy landscape, abandoned and seemingly frozen. Dalí’s talent for combining opulence with absurdity is particularly clearly and strikingly expressed in this depiction.

Automotive Summer of Love: John Lennon’s psychedelic-looking Rolls-Royce Phantom V, 1967

While Dalí only borrowed the Phantom for his spectacular cauliflower excursion, Andy Warhol actually owned one—a 1937 model that he had converted into a Shooting Brake  in 1947. In 1972, Warhol and his Swiss agent Bruno Bischofberger happened upon an antique shop in Zurich where the vehicle was for sale. Warhol immediately bought it and had it shipped to New York. It wasn’t until 1978 that he sold the car to his friend and manager Fred Hughes.

To mark the Phantom’s centenary, Rolls-Royce invited contemporary artists Omar Aqil and Emmanuel Romeuf to artistically interpret both Dalí’s and Warhol’s connections with the Phantom. However, the tradition of artistic collaboration with the most important creatives of their time dates back to the brand’s beginnings. After all, it was Charles Robinson Sykes, a visual artist, who created the brand’s most important symbol—the Spirit of Ecstasy. Since 1911, the small statue, inspired by the Greek sculpture »The Winged Victory of Samothrace«, has adorned every vehicle from the British manufacturer.

The Rolls-Royce Phantom in Pop Culture

The Phantom  has also left its mark on pop culture. Among other things, the car became known as the vehicle of the villain Auric Goldfinger in the eponymous 1964 James Bond film. In the same year, the episodic feature film »The Yellow Rolls-Royce« was produced in Great Britain, centering on a yellow Phantom II. Numerous musicians also owned a Phantom  or were inspired by it. In 1963, at the height of his fame, Elvis Presley bought a Phantom V  in Midnight Blue.

Centenary staging: A Rolls-Royce Phantom in the swimming pool; Tinside Lido, Plymouth, August 2025

John Lennon also owned a Phantom V. The car, originally painted black, accompanied him through different phases of his musical life. For instance, shortly before »Sgt Pepper’s Lonely Hearts Club Band« was released, he had it painted yellow and brightly decorated. The younger generation saw the car as a perfect embodiment of the Summer of Love, while older people found it scandalous. For example, an elderly woman who saw Lennon’s brightly painted Phantom driving along Piccadilly in London was observed shouting: »How dare you do that to a Rolls-Royce!« Afterwards, she hit the paintwork with her umbrella.

Around the year 2000, the hip-hop scene also discovered the allure of the Phantom. Among others, Pharrell Williams and Snoop Dogg were seen with a Phantom VII in their 2004 music video for »Drop It Like It’s Hot.«

In August 2025, to mark its centenary, Rolls-Royce honored the Phantom legend with an unusual staging: A Phantom Extended, a decommissioned prototype, was submerged in the Art Deco swimming pool of Tinside Lido in Plymouth—the very place where the Beatles were photographed in 1967 during the filming of The Magical Mystery Tour. In the same year, John Lennon unveiled his yellow-painted Phantom V, which remains a symbol of an entire era to this day. Thus, the arc spans from the great artists of modernism to 20th-century pop culture—and shows how deeply the Phantom  is rooted in the history of art and music. [SW]

While Pebble Beach  cultivates the aura of history, The Quail The Quail is increasingly becoming a place for new launches, studies and unique coachbuilt vehicles. This is where brands deliberately choose the stage to place their design strategies, beyond classic car shows. Chapter presents five particularly exciting models that give an outlook on how form, materiality and technical approaches will shift in the coming years.

Statement for the future:
Lexus Sport Concept

Lexus made a surprising and therefore particularly impressive appearance at The Quail  this year with the unveiling of a sports car concept. The progressively designed coupé stood out with its wide, flat shape, clear aerodynamic lines and sharp cuts as well as exciting design details such as huge ventilation openings at the rear.

The manufacturer was conspicuously reticent to provide further information, but the study was intended to »show the way for Lexus design«. In any case, it is a design that looks more like a production car than a concept car.

Double innovation:
Chevrolet Corvette CX / CX.R Vision Gran Turismo

The Corvette made two appearances as a concept car at The Quail: with the electric CX and the quite radically designed CX.R Vision Gran Turismo.

The CX reinterprets classic Corvette features such as the long silhouette, striking »chine«-line and double tail lights—all in an uncompromisingly futuristic form. Instead of doors, a fighter jet-style cockpit hood opens up, while an all-wheel electric drive with four motors and over 2000 hp ensures concept-level performance.

The CX.R Vision Gran Turismo, on the other hand, is a tribute to Corvette’s racing history and is also intended to provide a glimpse of the brand’s high-performance future. With its aggressive aerodynamic design, reduced mass and traditional yellow and black color scheme, it is a fitting celebration of the brand’s racing DNA.

»While the shape of a Corvette has always been expressive and forward-looking, each crease and line has its roots in the generations that came before it. It is aspirational, it is cultural, it is the reason people want to come and work at Chevrolet,« explains Phil Zak, Design Director at Chevrolet. »The CX and CX.R Vision Gran Turismo  demonstrate our design teams stepping away from the constraints of production vehicles and unleashing their creativity. Through this exercise, we’ve added to Corvette and defined the design direction for Corvette moving forward.«

Luxury Grand Tourer:
Bentley EXP 15

EXP 15  the latest design vision from Bentley Motors, made its public debut at the Pebble Beach Concours d’Elegance. Although not intended for series production, the imposing and luxurious Grand Tourer, both inside and out, is intended to give a foretaste of the design of future Bentleys, including the brand’s eagerly awaited first all-electric model.

Parallel to the presentation of the EXP 15 , five design principles were defined, all of which will characterize Bentley’s future production vehicles: »Upright Elegance« defines the profile of the front fender; »Iconic Grille« reinterprets the famous Bentley radiator grille for the electric age. »Endless Bonnet Line« is intended to reflect the brand’s design heritage. »Resting Beast« conveys the visual language of dynamism and power—and »Prestigious Shield« defines the rear trim that frames the redesigned Winged B emblem.

Robin Page, Director of Design, comments: »The visitors at Monterey Car Week  include some of the most discerning collectors, enthusiasts and aficionados in the world, many of whom already own Bentleys. EXP 15 is a strong statement of intent, and it was outstanding to see the concept resplendent in the California sunshine. Feedback received from the audience at Pebble Beach will be used to inform the brand’s design evolution, as we continue the journey to design and develop the next generation of electrified Bentley grand tourers.«

High-performance luxury crossover:
Cadillac Elevated Velocity

With the Elevated Velocity study presented here, Cadillac is shifting its V-Series towards the EV crossover concept  and shows a possible design language for future models: gullwing entry, increased ground clearance including oversized illuminated wheels, an emphatically long hood and aerodynamic lines. »We started the concept with the dramatic proportions of Opulent Velocity, which gave it its characteristic prestigious presence. But evolved them over a high stance and cascaded a fast roofline over the entire vehicle creating an impactful silhouette,« Tom Grech, exterior designer at Cadillac Advanced Design, explains the design concept.

The show car’s striking red interior offers comfort on an almost wellness level: While you make yourself comfortable on the futuristically designed seats, body temperature measurement, air purification and light therapy ensure well-being and regeneration. A concept car with no intention of production that combines the brand’s performance tradition with the future of the electric ultra-luxury class.

Artful homage:
Bugatti Brouillard (Solitaire program)

Bugatti did not present a concept in the classic sense at the Monterey Car Week 2025, but a unique coachbuilt vehicle: the first order from Bugatti’s new customization program Solitaire—an exclusive offer for the creation of unique vehicles. In the case of the Brouillard, this is a tribute to Ettore Bugatti’s horse named Brouillard, whose beauty and elegance embodied everything that the car designer admired and then wanted to translate into automotive design languages.

In this sense, the Brouillard  combines the elegant Bugatti design language as well as the technology that has been continuously perfected over the last 20 years in a bold design concept including a sophisticated color scheme. According to the responsible design team, the harmonious proportions of the Brouillard  are also intended to reflect the principles of classical art.

Taking the volume distribution into account, the lower third of the vehicle is kept in dark tones that visually create a connection to the car’s shadow. While the upper two-thirds help to create a lighter, more dynamic silhouette that appears both lower and longer, making the wheels appear proportionally larger.

Incidentally, the client of the Brouillard  is said to be a passionate Bugatti enthusiast who is not only closely associated with the car brand, but also collects the furniture of Carlo Bugatti and the bronze sculptures of Rembrandt Bugatti. With this in mind, the new owner wanted to unite the entire artisanal and artistic legacy of the Bugatti family in one masterpiece. [CS]

This year, particular attention was given to three world premieres from BMW: Among them, the new BMW M2 CS—a further performance-enhanced version of the compact sports car with 530 hp (pictured below with BMW M designer Oliver Heilmer).

BMW Motorrad presented the Concept RR, an enormously expressive preview of the next generation of RR  Superbike models, as well as the BMW Concept Speedtop—a coupé limited to 70 units with references to the tradition of the Shooting Brake (read more here).

While those three BMW innovations looked to the more or less distant future, an impressive variety of historic vehicles once again delighted visitors and judges alike this year. In the end, the coveted »Trofeo BMW Group — Best of Show« award went to an Alfa Romeo Tipo B (P3) from 1934—a vehicle that still stands for the highest Italian design elegance and outstanding technology today.

The public prize »Trofea Coppa d’Oro Villa d’Este« was awarded to a BMW 507   from 1957—a roadster that is one of the brand’s most influential icons.

The Concorso d’Eleganza Villa d’Este as a stage for past, present and future concepts—in 2025, the western shore of Lake Como once again demonstrated how elegantly different eras and design approaches can come together in a common setting. [Ed.]

Chapter TV Video | Editing Lisa Cassao | Music: Music by Bensound.com/free-music-for-videos, Artist: Benjamin Tissot, License code: EE9AJQ8KUX6FIRQ3 | © CHAPTER TV 2025

PLEASE SUBSCRIBE TO “CHAPTER TV” ON YOUTUBE TO NEVER MISS A NEW EPISODE.

Photographed exclusively for Chapter by Lukas Magerl.

Building on last year’s Concept Skytop, which caused a sensation in 2024, BMW now follows up with the BMW Concept Speedtop—or even raises the bar, as many enthusiastic guests at the Villa d’Este premiere remarked. The two-seater Shooting Brake, which builds on the design language of the 2024 Coupé but develops its very own strong character, is a true masterpiece of exclusivity and elegance.

The silhouette—stretched, flowing, sportily proportioned—spans from the elongated hood to the flowing roofline and the strikingly athletic rear. The colour gradient on the roof from »Floating Sunstone Maroon« to »Floating Sundown Silver« further emphasizes the exciting lines.

The pronounced V-shape of the front in sharknose design, which already characterized the Concept Skytop, including narrow front lights and illuminated kidney grille, is particularly unusual. Two-tone, 14-spoke fan-shaped rims specially designed for the BMW Concept Speedtop  also emphasize the special elegance of the vehicle.

The interior of the Concept Speedtop  features a sophisticated two-tone color and material concept. As befits a special model at this level of exclusivity, all interior surfaces are upholstered in high-quality, handcrafted leather. Leather in »Sundown Maroon« on the dashboard, the center console and the upper door panels as well as leather in »Moonstone White« on the seats and doors also create a link between the exterior and interior.

Instead of the rear seats, the BMW Concept Speedtop  offers storage options with leather straps for travel bags, which can kindly be supplied made to measure: In collaboration with the traditional Italian manufacturer Schedoni—known for the production of high-quality leather goods by hand—these were manufactured and refined exclusively for the Concept Speedtop.

»A genuine BMW radiates dynamism and elegance even when stationary«, emphasizes Adrian van Hooydonk, Head of BMW Group Design. Consequently, what the design language of the exterior—and not least the model name—suggests is also accordingly realized under the hood of this vehicle: The Concept Speedtop is equipped with the currently most powerful V8 in the BMW Group’s drive portfolio.

And speaking of speed: following the Skytop, which was limited to 50 units, a series of 70 BMW Concept Speedtop models is now being produced. The order books were opened—so it was heard on the shores of Lake Como—right at the premiere. And it was also said that they were probably already largely filled by the same weekend. Discreetly, of course — like everything in and around the Villa d’Este. [CS]

With the XC40 Recharge, the first all-electric vehicle from Volvo, the Swedish manufacturer has quickly made a name for itself in the field of electromobility. Now, Volvo has renamed its driving force in the field of electric mobility—The XC40 Recharge is now called the EX40. Fortunately, however, the new successful formula—E + X + 40— does not conceal a new form. The exterior and interior design features established long before the renaming remain the same. This means that visual clarity and a focus on the essentials continue to characterize the appearance of the vehicle.

The electric identity of the compact SUV is recognizable at first glance, but does not impose itself. It can be seen at the front end, which features a clad radiator grille. The grille insert and the surround are in the same color as the car. The cover not only creates a visually striking recognition feature, it also helps to improve drive efficiency and increase the range. The EX40 has a range of up to 573 kilometers. Sharp lines run across the hood from the headlights to the A-pillar. The »Thors Hammer« light motif of the LED daytime running lights integrated in the headlight units, which is probably one of the most striking features of the current brand design language, also ensures that the EX40 is immediately recognizable as a Volvo.

The side view is also characterized by unagitated elegance and straightforwardness—a connection that also distinguishes the Scandinavian brand beyond the individual models. The clear wedge shape emphasizes the dynamic orientation of the vehicle, while the wide C-pillar gives the car stability. The rear end makes the vehicle appear wider and emphasizes the sporty and powerful side of the EX40.
The combination of clarity, sportiness, approachability and elegance is also continued in the interior. When selecting the materials used, the vehicle manufacturer focuses on quality and sustainability. For example, only high-quality leather alternatives are used in the interior. The floor covering in the footwell contains recycled plastics and the upholstery is also partly made from recycled materials. As in all other current models from the Scandinavian car brand, the large, portrait-format touchscreen—with its not always perfectly user-friendly menu navigation—in the center of the center console forms the focal point of the interior in the Volvo EX40. Everyday functionality meets comfort meets sustainability meets attention to detail—This is how the interior of the EX40 could be summarized.

In 2023, Volvo brought back rear-wheel drive for the XC40 Recharge, in addition to the all-wheel drive system. »In doing so, we are interpreting a cherished Volvo tradition in a modern way«, said Herrik van der Gaag, Managing Director of Volvo Car Germany GmbH, at the launch of the new drive concept. One thing is certain: straightforward design and driving pleasure on winding roads are not mutually exclusive. Not at all, as the Volvo EX40 shows. [SW]

VIELEN DANK AN VOLVO FÜR DAS ZURVERFÜGUNGSTELLEN DES TESTFAHRZEUGS.

Polestar has clearly emancipated itself. Founded as a performance offshoot of Volvo, the headlights of the first Polestar models still shone clearly »Thor’s hammer«—a typical design feature of the parent brand. In the new Polestar 4, the Volvo-typical light signature is now cleanly split, as if by an axe blow—the headlights now consist of two independent, L-shaped elements. The Volvo split-off is even more visible at the rear: anyone reaching for the rear-view mirror in the Polestar 4 to adjust it quickly realizes that this is not necessary. Neither the rear seat headrests nor the sloping rear window obstruct the view. Instead, there is a clear monitor view, as the rear window has been replaced by a camera, so to speak. This creates a completely new feeling of space in the rear seat, a feeling of outer space.

The glass roof extends all the way behind the rear seat headrests and makes the interior feel as spacious as it is. Even the rear seats can be electrically tilted forwards or backwards and the closed rear gives a feeling of safety. As a passenger in the rear seat, you almost feel like you’re in a space capsule—this atmosphere is further enhanced in the dark.

Small stars twinkle in the door trim and the ambient lighting is inspired by the color of the planets in our solar system. Minus 65 degrees Celsius is displayed on the central touchscreen. Fortunately, this has no effect on the exterior or interior temperature. Only the lighting now shimmers reddish and Mars rotates on the screen. If you swipe your finger to the left, you land on planets such as Jupiter or Saturn. Even the sun is possible. The Polestar 4 adjusts the light color of the ambient lighting to the respective planet. There’s even more of a space capsule feeling with the traffic light start.

Three, two, one, lift-off. The acceleration feels like a rocket launch. On a dry road, in the more expensive all-wheel drive version and with the right tires, this space capsule on wheels reaches 100 km/h in 3.8 seconds, and only stops at 200 kilometers per hour. Those who prefer relaxed gliding and rear-wheel drive can drive up to 620 kilometers without stopping to recharge. The reason for this long range is the aerodynamic design of the body. The drag coefficient is 0.261, making the Polestar 4 better than any of the brand’s previous models. Together with its futuristic design, this makes it an exceptional electric car.

The design of the Polestar 4 also appeals directly—an elegantly flowing, sporty silhouette with a gently sloping roof. Flush door handles, frameless windows, broad shoulders and powerful proportions give the vehicle a dynamic presence. Slim, continuous LED tail lights extend across the entire width of the windowless rear of the vehicle. Such design elements are also available from other manufacturers, but the closed rear end without a window and the spaceship interior design of the Polestar 4 are unique to date. The Polestar-typical lettering behind the wheel arches, on the seats and floor mats is also special. They provide information on the materials used or the technical data. Many parts in the Polestar 4 are made from just one material, so-called mono-materials, and are therefore easier to recycle later on. Some elements are already made from recycled polyester, PET or nylon (ECONYL). The brand is also proud of the vehicle’s small carbon footprint.

According to the manufacturer, production in Hangzhou Bay, China, only emits between 19.9 and 21.4 tons of CO₂ per vehicle. If you drive with green electricity, you won’t emit any more CO₂ while driving. Nevertheless, the Polestar 4 could be more economical: On an initial test drive on country roads and freeways, consumption was almost 23 kilowatt hours per 100 kilometers. This would still make it possible to drive over 400 kilometers in one go, i.e. a road trip from Munich to Frankfurt without a break to recharge. By comparison, the Hyundai IONIQ 6 can cover a similar distance, but with a battery that is almost 25 percent smaller. Nevertheless, the Polestar 4  has one thing over it: it transports the occupants to Mars with just one finger movement on the touchscreen. Nobody will be asking for a rear window, because it is clear to everyone that this electric car is only looking ahead, into the future. [FJS]

It’s getting serious: after the BMW Vision Neue Klasse  and the BMW Vision Neue Klasse X have provided the first glimpses of the upcoming and largest design and technology transformation in the history of the brand over the past two years, the first production model of the Neue Klasse will now follow at the end of this year. The reduced design language and the striking design leap in the exterior and interior are intended to form the framework for a completely new digital user experience and »BMW driving on the next level«. At the world premiere of the BMW Panoramic iDrive—an innovative display and operating system that will be an integral part of all future BMW models—at the CES in Las Vegas, Chapter  was able to see what one aspect of this transformation looks like in concrete terms.

BMW Vision Neue Klase X: A preview of the Neue Klasse launching end of 2025

»Hands on the Wheel, Eyes on the Road«—this BMW motto is more central than ever to the new technology package. And even if this brand slogan may sound like a truism at first, it is based on a well thought-out design philosophy that characterizes the entire BMW interface design. This has now been taken to a new level with the BMW Panoramic iDrive: From the newly developed BMW Panoramic Vision  head-up display concept to the optional 3D head-up display, which projects navigation data into the depths of the windshield, to the multifunctional steering wheel. BMW’s development and design team presented this new form of intuitive, comfortable and ergonomically optimized operation with obvious pride. »Technology and customer preferences are changing faster than ever before. The design of digital experiences and sound is playing an increasingly important role«, explained Adrian van Hooydonk, Head of BMW Group Design. »The new BMW Panoramic iDrive not only makes our cars smarter and easier to use, it also allows for much more personalization, making every new BMW your very own.«

An oversized mock-up of the Neue Klasse Interior as the centerpiece of the presentation in Las Vegas.

Four central elements of the new iDrive technology package are intended to enable the promised unique user experience through seamless interaction:

BMW Panoramic Vision  is a new head-up display concept developed by BMW for projecting content and reflecting visible information from A-pillar to A-pillar on an area of the lower windshield with a black background. This information is intended to be visible to all occupants in all lighting conditions.

Into the future: BMW Panoramic Vision

For the first time, the new optional BMW 3D Head-Up Display above the BMW Panoramic Vision also provides displays for navigation and automated driving in the driver’s immediate field of vision. According to BMW, the presentation of content in the BMW Panoramic Vision and BMW 3D Head-Up Display should be perfectly coordinated.

Touch and swipe: content from the central display can be transferred to the BMW Panoramic Vision .

On the central display with matrix backlight technology, which is ergonomically ideally positioned next to the steering wheel, the enhanced menu structure with QuickSelect ensures optimum operation of functions and content by touch. The selected content or widgets can be transferred to the BMW Panoramic Vision via the central display using a swiping motion.

The central display in free-cut design

The new multifunction steering wheel is based on the BMW Shy-Tech  concept, in which functions are highlighted by illumination when available and whose buttons provide active haptic feedback. A finely tuned, relief-like surface of those buttons is also intended to ensure the best possible orientation.

Adrian van Hooydonk at the presentation at CES 2025.

Emotional individuality

With the so-called BMW Operating System X, a further development of the current operating system and the future heart of the digital range of functions, the individualization options are also being expanded: Not only can the displays in the BMW Panoramic Vision be individualized, but driving characteristics such as response and steering behavior can also be controlled individually. The upload of personal motifs as a background for the central display or the color selection of the ambient lights and the entire display network according to one’s own preferences are also intended to create an even more personal driving experience.

With the new concept, BMW wants to set a new benchmark for driver orientation.

And finally, the holistic experience of the BMW Panoramic iDrive  will also be complemented by a new sound experience: HypersonX, a development of the BMW Group Sound Design Studio, will be used in all Neue Klasse  models and will include 43 sound cues as well as special driving sounds. The multidimensional sound spectrum is intended to adapt the sounds precisely to the respective driving situation and enable an emotional interaction between driver and vehicle.

This brings a particularly important keyword into focus: ultimately, the broad spectrum of innovations—the symbiosis of high-tech and design, intuitive operation and personalization—is not just aimed at creating an optimized user experience at the cutting edge of technology. It is also about creating the most emotional connection possible between driver and vehicle. A harmonious dialog between innovative technology and people with the aim of making BMW’s »Freude am Fahren« an even more comfortable, aesthetically pleasing and personal experience. [CS]

In an interview with Chapter  in 2022, Alain Visser, then CEO of the Volvo sister company, described the Lynk & Co brand as the »wild horse« in the stable of the Chinese umbrella brand Geely. Visser was referring in particular to the revolutionary subscription model that he and his team had come up with for the brand. Emotion plus experience plus fun minus ownership was the formula with which Lynk & Co tried to score points in Europe. Since then, the wild horse in the Geely stable has covered several kilometers at a stretched gallop. The initial rebellion was first followed by the plug-in hybrid Lynk & Co 01, now a revised version of the SUV and, with the 02, a fully electric SUV coupé. But there have also been other changes at the Chinese manufacturer: Alain Visser turned his attention to new tasks at the beginning of the year and was replaced by Nicolas López Appelgren as the new CEO for Europe.

The 02 is set to herald a new chapter in the strategic expansion and further development of Lynk & Co—that was just he five-door model with an electric range of 445 kilometers is the first fully electric vehicle that the Chinese manufacturer is sending to Europe. In China, the vehicle is marketed under the name Z20. »The all-new 02 represents the next phase for Lynk & Co,« says CEO Nicolas López Appelgren. »We are expanding our business model, growing our product portfolio and entering new markets. These strategic moves underline Lynk & Co’s commitment to offering our customers more choice, flexibility and access.«

Revolutionary emergence

According to the manufacturer’s website, the Lynk & Co 02  is not included in the aforementioned subscription system, but the creation of its design can be described as revolutionary. The 02  was created in Lynk & Co’s global design studio in Gothenburg and brought to life through an industry-first collaboration between the customers of the 01 plug-in hybrid SUV and the internal design and engineering teams. This means that customers had a significant influence on the character and design language of the new vehicle. Lynk & Co received around 6,000 messages.

The result is a vehicle that impresses with its clear lines and at the same time looks modern and dynamic. At first glance, the eye is immediately drawn to the large rear spoiler, into which the rear lights are integrated. The striking front lights and the raised side line are also striking. The interior makes a timeless and uncluttered impression—the focus is clearly on sustainability and comfort. The 02 is also impressively spacious—and there is plenty of room in the rear too. 14 speakers from Harman Kardon, Infinity lighting, panoramic roof, doors with frameless windows and 5G connectivity round off the interior experience.

One interesting function on board is an interface for car sharing. The manufacturer writes: »Cars stand still 96 percent of the time. We can change this by sharing. How practical that a car sharing band is built into the 02. When you pull it (or simply go into the app), the integrated sharing function is activated. Friends, family members and even strangers can then borrow your car. Not a big deal, but it makes a big difference—and is good for your wallet.«

Perhaps the »wild horse« in the Geely stable is no longer so wild after all the kilometers it has already covered, but has now become a little more considered and confident. Calm and revolution are not necessarily mutually exclusive. [SW]

»We’re always trying to express what we love so much: true emotion. In the end, we are coming from Barcelona, a truly emotional city, and we try to transfer the culture of our city to our cars,« explained CUPRA Head of Design, Jorge Díez, in a recent interview with Chapter. »Design follows emotion« is the motto and the »performance brand« from the Volkswagen Group can truly not be accused of a lack of emotional exuberance and honest enthusiasm for all facets of the brand world, from design language to performance and community building. World premiere events for a new CUPRA model always convey a rousing spirit of optimism and bundles of positive emotion, regardless of the more or less revolutionary nature of the vehicle presented.

In this spirit, the CUPRA Terramar, which has now been presented at the America’s Cup in Barcelona, is primarily a strong, emotional and sporty SUV that reflects the DNA of CUPRA through and through. Its design does not necessarily reinvent the still rapidly growing SUV segment, but is nevertheless unmistakably distinctive and expressive.

The dynamic front end in particular, characterized by its sharknose, guarantees the vehicle a strong appearance. Narrow, tapered LED headlights create an almost aggressive look without drifting into exaggeration. A highlight is the new CUPRA light signature with the three characteristic Matrix LED triangles, while two strikingly drawn lines sculpturally define the surface of the hood and lend an additional dynamic touch. The sporty proportions continue to the rear with curved lines, while a gently sloping roofline and flared wheel arches create an equally powerful side view.

The rear of the Terramar, on the other hand, looks quite beefy, almost bulky. An illuminated CUPRA logo with Terramar lettering positioned centrally between the rear lights symbolizes the self-confident brand presence. The strikingly large rear diffuser also immediately catches the eye.

The interior, with its driver-oriented cockpit, is naturally intended to continue the progressive character of the exterior design. An uncluttered, modern-looking atmosphere is supported by the use of high-quality materials, whereby the use of sustainable, recycled or renewable materials has been promoted. Precise lines and ergonomically optimized seats characterize the look, as does the targeted use of characteristic CUPRA colors and materials such as copper (including the air vent surrounds, door trims and copper-coloured stitching).

At the same time, the digital aspect of the vehicle is not neglected: a redesigned and improved operating system is used in the digital cockpit as well as in the 12.9-inch infotainment system with illuminated touch slider. The integrated Sennheiser hi-fi audio system with twelve loudspeakers is also designed to guarantee an all-round perfect sound experience.

With the launch of the Terramar, CUPRA now has its largest SUV and is thus expanding its remarkably extensive product portfolio for a brand that is still very young. Wayne Griffiths, mastermind and CEO of CUPRA, once formulated one of his goals by saying that he didn’t just want to sell cars with CUPRA, but to take people on an emotional journey. And even though the success story of the self-proclaimed challenger brand has only just picked up speed and has written another chapter with the new Terramar, Wayne Griffiths has already impressively achieved this goal with CUPRA.

The CUPRA Terramar will be available with three different drive technologies: petrol, mild hybrid and plug-in hybrid. The first deliveries will start at the end of 2024.

]]> https://chapter.digital/en/about-luxury-time-and-individuality/ Fri, 27 Sep 2024 11:40:25 +0000 https://chapter.digital/about-luxury-time-and-individuality/ In Porsche’s »Exclusive Manufaktur«, perfect craftsmanship and state-of-the-art technology come together to turn individual, often quite extravagant customer wishes into reality. However, the fact that the focus is not so much on achieving a unique result, the delivery of a one-off vehicle, but rather on the diverse and above all intensely creative process, was just one of the exciting findings of our visit to the creative center in Zuffenhausen.

Alexander Fabig, Vice President Individualisation and Classic at Porsche, shows us around the impressive premises of the Porsche Exclusive Manufaktur. “Our customers come with a vision,” he explains as we walk past a Panamera Turbo whose specially created “Leblon Violet Metallic” color has been finished with a clear coat containing gold-vaporized flakes. “We help them turn this vision into reality.”

Panamera Turbo – Porsche Sonderwunsch, 2023

And Porsche is happy to take plenty of time for this. Time for an intensive exchange and a thoroughly emotional collaboration with the customer. It is a dialogical process, emphasizes Fabig: “We work closely with our customers to ensure that each of their ideas is implemented perfectly.” This co-creation approach of deeply involving customers in the creative process also reflects the essential element of a new concept of luxury. Away from the mere possession of luxury goods, towards unique experiences and truly customized exclusivity. The focus is less on the finished product and more on the creative path to it. “Luxury is no longer just about owning something special, it’s about creating something special,” explains Alexander Fabig. “That’s why our customers are part of the entire process – from the initial idea to the finished sports car.”

Taycan Turbo S Celestial Jade – Porsche Exclusive Manufaktur, 2024

Porsche’s Sonderwunsch (special request) program has actually existed since the late 1970s and is now experiencing a renaissance, not least due to the transformation of the concept of luxury. From the initial discussion based on a basic idea to the completion of a Sonderwunsch Werksunikat, as the highest form of individualization, this process can take several years and is basically divided into three phases: It starts with the customer’s idea, the basic technical feasibility of which is checked by Porsche. The spectrum of possible wishes ranges from individualized detailed components in the vehicle interior to striking changes to the vehicle body. After a positive feasibility check, Porsche finally invites the customer to a project meeting where, in cooperation with designers and experts from a wide range of fields, a so-called “specification sheet” is created in which the project is analyzed from all sides and a detailed implementation is worked out. Depending on the degree of customization, this is an extremely complex process that can take up to a year and cost a six-figure sum, depending on the scope. In the third phase, the desired components are finally developed and the individual dream car is manufactured, naturally in strict compliance with Porsche quality standards. Depending on the age of the vehicle, the technical experts at Porsche Exclusive Manufaktur or Porsche Classic are on hand to professionally implement the customer’s sometimes unusual visions.

Our conversation with Alexander Fabig, who gave us exciting insights into the work process and the almost unlimited possibilities of customization, also shows that the (long) journey is in some ways the goal of the Porsche Sonderwunsch  program.

Chapter  The customer journey seems to be a very essential part of the Sonderwunsch program as it is about more than just the question of how quickly a vehicle can be completed. So how important is this phase of intensive exchange to you personally, where perhaps some things work and others less so?

Alexander Fabig  That’s right. That customer experience, that shared journey towards it, is actually the dominant element. Occasionally, when a project is completed, a certain melancholy sets in for everyone involved, because many projects extend over a long period of time and are based on very intensive collaboration, in which emotional relationships also develop between people. The ideal situation is that a strong team spirit develops during this process. The customer is no longer just a customer, he becomes part of a team and leads his own project. For example, if you were to observe some of our so-called “milestone meetings”, where we meet with the customer here on site and bring the respective project team together, as an observer you would probably not be able to identify who is the customer and who is the project manager. And we actually put together an organization chart for each customer project, in which the customer really is the project manager and our Porsche colleagues are listed as a team underneath. And that, of course, is also part of this extraordinary experience – a really special and intensive time that we experience together. The aim is to enable maximum integration for the customer. “As close as possible” is our guiding principle.

911 Turbo S – Porsche Sonderwunsch, 2024

Chapter  Against the backdrop of the experience you have described, how do you assess the current changes in the understanding of luxury, in luxury needs and the new business models based on them, which attach an increasingly important role to individualization in particular? Is it fair to say that true luxury is no longer “off the peg”, so to speak?

Alexander Fabig  We can absolutely confirm this trend. In our view, the trend is clearly moving away from simply buying “off the shelf” towards creating or designing something yourself. And of course we are also trying to meet this increasing demand, both with our catalog offerings from the Exclusive Manufacture Options  range and, of course, with Sonderwunsch. So on the one hand, we offer customers a starting point, but on the other hand, we also offer them the opportunity to become active designers themselves in a wide variety of ways. In the first stage of the Exclusive Manufaktur options, for example, we have an offer called Personalize, where the customer can already personalize scopes using texts or images that they can upload or enter in the configurator. That would be the first level of expansion, so to speak – and the highest level of expansion is the Sonderwunsch Werksunikat. I am convinced that the real luxury, the luxury key figure behind it, is actually time.
Time that our customers can or want to devote to this topic. That’s the luxury I allow myself: For example, I am now taking three years to realize a one-off with Porsche. At the customer’s request, this includes regular visits to the Porsche sites in Zuffenhausen and Weissach.
These are time-consuming and sometimes exhausting appointments, during which we work with the customer on their one-offs.

911 GT3 RS, Tribute to Jo Siffert, Porsche Sonderwunsch, 2024

Chapter  Where do you actually set the limits of individualization at Porsche, at what point do you say “that’s going too far”? For example, when the design language of a current model, as actually defined by Chief Designer Michael Maurer, would be modified too drastically?

Alexander Fabig  Michael Mauer actually looks at every unique piece; he personally is the highest authority, so to speak, who approves projects at the end. The customer is part of the project team in the form of a project manager – but Michael Mauer is and remains the head of design who ultimately decides on approval. The limits you mentioned are usually present in two places: One is the function – the Sonderwunsch Unikate  are subject to the same standards of technical perfection and safety that we set as the benchmark for our series vehicles. In addition the limits in the area of Legal requirements, typifications, that goes without saying. When it comes to design aspects, the limits are actually very broad, but we would cross them, for example, if non-brand elements were to be transferred. So – as a fictitious example – if a customer wants a Testarossa  wing on a 911. But in all the projects and inquiries we have received so far, we have never had any requests of this kind.

Chapter Because customers want a Porsche after all, despite all their individualization wishes…

Alexander Fabig  That’s exactly right – the customer could also turn to the open market and is sure to find someone to fit a Testarossa wing to a 911. However, the customer deliberately turns to us because he wants to realize his dream sports car together with Porsche. According to our credo “You dream it, we build it”. We don’t see ourselves as a contract manufacturer for a customer’s design concept, but rather our customers want to consciously immerse themselves in the Porsche brand world and implement a project with our design philosophy. That’s why our projects to date have been very, very personal, individual and special in many aspects and details, but these are not completely unusual approaches that intervene extensively in our design language. And of course, the fact that all our customers are long-standing Porsche enthusiasts with strong ties to the brand also fits in with this. You wisha genuine Porsche to which they lend their own signature. So it’s primarily about details, for example about lines, about aspects of line management – do we make an angle a little more acute or a little softer, do we make a contour more right-angled or rounder, where does a bead run out… But that doesn’t mean that we won’t also take on larger changes – but this hasn’t been addressed to us yet.

Chapter  From major changes to very small details: what is Porsche’s attitude to the integration of non-brand elements? For example, if a customer wants a certain luxury watch to be integrated into the dashboard…

Alexander Fabig We are very open to this as part of an individual customer project. Of course, there are also external brands that we like to work with in series production. Of course, we check in detail which themes and brands ultimately harmonize.

Chapter If you look back on previous Sonderwunsch  projects, can you give us an example that was particularly challenging to implement?

Alexander Fabig Challenging was actually the realization of the Taycan that we built for the Chinese artist Ding Yi. Ding Yi is an internationally renowned artist who creates huge murals in many variations and colors of dense cross structures. And his idea was to merge one of his paintings into this Taycan, so to speak. Both in the exterior, in the paintwork and on individual interior components. This was by far the most elaborate paint job we have ever done, also because it was a really demanding hand-painted job. Of course, an artist like Ding Yi has very high expectations of our team’s realization of his vision, also because the result becomes part of his artistic creation. This was indeed a very challenging project, the technical and technical implementation of which ultimately allowed us to further expand our own skills.

Taycan Turbo S Porsche Sonderwunsch 2023 for the artist Ding Yi

Chapter  With all the insights into your work that I have been able to gain here, I assume that personality traits such as patience and empathy are essential for your work in the area of Sonderwunsch, in addition to a wide range of technical expertise. After all, customization is less about building the perfect or the most beautiful car and more about making the customer happy.
Can you put it that way?

Alexander Fabig  Definitely, because at Sonderwunsch  we don’t try to create the “perfect Porsche” or the “most beautiful Porsche”, but we work for and with individualists. For this reason, the discussion about taste or perhaps the question “Could we sell it like this?” is inevitable. It’s all about creating the perfect Porsche for the respective customer. And yes, when Michael Mauer designs and configures a Porsche model, it is of course “absolute” in a certain sense: this is what a “perfect Porsche” looks like. But here at Exclusive Manufaktur, only one person has to like it – the customer placing the order. It is important to distinguish here between questions of taste and a fit with the brand: When it comes to taste, the customer decides. If we think that a concept doesn’t work for the brand, we veto it.

Porsche 911 Speedster Sonderwunsch 2024 for designer Luca Trazzi

Chapter  Finally, I would like to know what impact your work has had on you personally. Has the constant, intensive examination of customization options influenced your perception or your definition of beauty in automotive design – one might think that classic “off-the-peg” Porsches have lost some of their appeal for you?

Alexander Fabig  The biggest influence on me – not just in the automotive context – was that it massively strengthened my fundamental openness, my liberal attitude. Because in a certain sense, you break down any reservations with every topic. By working closely with our customers, you also gain an enormous amount of insight into the very personal story behind a project – there is something hidden behind all these supposedly unusual or obscure custom-made products, there is often a very personal thought behind them. And if you know that thought, then everything suddenly makes perfect sense – whether you like it is of course something completely different. So all of this has simply established a very liberal attitude in me: Everything is beautiful, it’s in the eye of the beholder and doesn’t have to please everyone. Even a Sonderwunsch Unikat  only has to please the person who created it for themselves.

Chapter  But do you perceive a classic series model more like an initial product, perhaps like a sculptor the raw material that is only the unfinished basis of his work?

Alexander Fabig  Yes, of course it’s a bit like that, the “movie” definitely starts for me. Not in the sense that sitting in a production car would be an insult to the mind and soul, of course, but of course the possibilities immediately start rattling around in my mind’s eye: Seams, colors and themed pleats… And of course the ideas also bubble up at the start of every new project when you look into the product substance. Of course, our individual experience in the area of Sonderwunsch   provides us with plenty of inspiration for new ideas and a wide range of possibilities. [CS]

“Analogous to the New Class, which stands for the redefinition of the BMW brand with its philosophy of electric, digital, circular , a cross-brand design team will be launched on October 1, 2024, which will take into account the changed demands on future-oriented vehicle design,” BMW announced in a press release. Perhaps the most exciting appointment: Maximilian Missoni(here in an interview with Chapter), who has shaped the design language of Polestar in recent years, is joining the BMW Group design team . In future, he will be responsible for the design of BMW models in the upper mid-range and luxury class as well as BMW Alpina.

In addition, Oliver Heilmer – Head of MINI Design since 2017(here in the Chapter Talks podcast and interview) – will lead the design for all BMW compact and mid-size models as well as for BMW M.

Holger Hampf, previously head of Designworks, the BMW Group’s creative think tank, will take over from Heiler as head of the MINI design team.

A newly created department for color and material design will take into account the BMW Group design team’s even stronger focus on sustainable materials and recyclates in the future. In future, this will be headed by Claudia Braun across all brands – after working at Porsche, Daimler and Volvo, she has been responsible for BMW color and materials since April 2024.

BMW Group Design Team starts with a new line-up.

Domagoj Dukec (here in the Chapter Talks podcast), previously responsible for the BMW Design Studio, will take over responsibility for Rolls-Royce design, including Bespoke and Coachbuild, while the previous Head of Rolls-Royce Design Anders Warming will be responsible for all advanced design topics and for the management of Designworks.

“We believe the time has come to take somewhat bigger (design) steps, including at the core of the brand,” said Adrian van Hooydonk in an interview with Chapter a few months ago.With the newly formed team of experienced design professionals, this redefinition now seems to be reflected in terms of personnel, and it will be interesting to see how the individual design philosophies will (co-)shape the respective brands from now on. [Red .]

]]> https://chapter.digital/en/artistry/ Mon, 22 Jul 2024 13:44:50 +0000 https://chapter.digital/artistry/ To develop the perfect shade of blue, Alena Gersonde, Senior Designer at Mazda, dyed different textiles. This clearly shows that craftsmanship also plays a decisive role in the Japanese manufacturer’s search for new body colors. Gersonde and her team also rely on the proven combination of expertise and a willingness to experiment in their forays into the world of colors.

At Japanese car manufacturer Mazda, the development of new body colors is also closely linked to the brand’s typical passion for craftsmanship. »In this day and age, it’s easy to lose touch with the manual production of objects,« says Alena Gersonde, who, as Senior Designer for Colors, Materials and Finishes, is intensively involved in the search for new colors, among other things. »But the colors and materials we develop are real; they will surround the drivers and passengers in our cars. That’s why we improve the design process when we work with real materials. Even though it is not possible to use self-dyed fabrics in a vehicle, exploring this tradition was a unique source of inspiration.«

This special combination of expertise and willingness to experiment is the breeding ground on which new colors are created at Mazda. Alena Gersonde is currently working with her team on a new shade of blue for future Mazda models, she explains. She was inspired by traditional Japanese denim production, among other things. In the development process, various fabrics were first folded, sewn and bound in different ways before being dyed with indigo or dipped in the dye. To create a unique vehicle color from these indigo hues, the design team painted several sheet metal samples using Mazda’s proven three-layer paint system.

A shade of red with a lot of soul

However, the search for new colors not only takes the Mazda design team deep into the history of craftsmanship, but also out into nature. In order to learn about the origins of the color red, which was one of the first colors produced by humans, it was essential to visit the famous ochre rocks of the Luberon, for example. For more than 300,000 years, people have been using ochre to produce colors, including shades of red. And the epicenters of ochre production have always been the impressive ochre cliffs of the French Luberon mountain range.

With all its different connotations – from ardent love and passion to power and raging anger – red is one of the Japanese manufacturer’s central and most popular body colors. The strong emotional component that emanates from the color plays a central role. With the introduction of the “Kodo” design philosophy, which is based on the powerful and irresistible beauty of natural movement in a still object, a new chapter began for the already popular body color: »Soul Red« was developed – a vibrant and highly saturated hue, perfectly aligned with the design language.

Driven by the goal of creating a red that glows in the light and appears rich and dark in the shade, the search for the perfect shade of red was not yet over. »I wanted a deep shade of red like the translucent red of rubies or red glass,« Senior Creative Expert Keiichi Okamoto once put it in a nutshell –and his team got to work. The result was »Soul Red Crystal«, which was launched in 2017.

Melting Copper

As in so many creative fields, the perfect balance between quickly recognizing trends and the search for timelessness plays a crucial role in automotive design, according to Alena Gersonde, who expects new materials and technologies to push the boundaries of creativity in the future and redefine automotive aesthetics as a result. »The intersection of sustainability, advanced materials and changing customer preferences opens up exciting possibilities,« she summarizes.

The search for new colors is also characterized by the aforementioned balance between emerging trends and timelessness. With the color »Melting Copper«, which is used for the first time in the new Mazda CX-80, the design team tried to answer new questions with old materials and processes. They took their cue from metals such as bronze and copper, which have been used for thousands of years, but bathed them in a new light. To achieve the nuanced shades of »Melting Copper«, colorists and sheet metal model makers created a block beaten from real copper as a reference.

All good things come in threes

At Mazda, color is perceived as an essential element of design. This is expressed, among other things, in the fact that the subtle yet dynamic surfaces that characterize the Kodo design philosophy are accentuated by the color scheme. A strong contrast between light and shadow as well as a smooth surface are the hallmarks of Mazda’s so-called Takuminuri colors. The term is made up of the Japanese words for master craftsman and paint. All Takuminuri paints have a three-layer structure: a reflective layer, a translucent paint layer and a clear coat.

Alena Gersonde emphasizes that the search for new colors in the automotive sector is far from over. This is also due to the fact that trend researchers assume that in future there will be an even greater focus on the physiological and psychological effects of colors – on shades that have a calming, energizing and even unifying effect. And, of course, there are constantly new studies that show just how big a part colors play in the success of a product. One thing is also certain: Mazda will continue to be inspired by the art of craftsmanship and nature in its search for new colors, as well as relying on its proven combination of expertise and experimentation. [Red .]

»CUPRA Design Obsession« was the title of the media event hosted by the still very young car brand from the SEAT and Volkswagen family at the Palacio de Cibeles  in Madrid at the end of April. CUPRA presented itself as an emotionally charged, dynamic and, last but not least, versatile lifestyle brand as part of an elaborately staged visual show, which included avatars walking down a virtual catwalk as models embodying individual brand values and celebrating the (facelift) world premiere of two of the brand’s key models, the new CUPRA Formentor  and Leon. With CUPRA Design, the founding of a new independent design studio was also announced, which from now on will not only be responsible for the (merchandise) products of its own brand, but will also implement cooperations with coherent external brands. Following the event, Chapter  met with CUPRA’s Head of Design, Jorge Díez, and Francesca Sangalli, Head of Color & Trim Concept & Strategy, for an interview and gained exciting insights into the unconventional CUPRA design and brand DNA.

Chapter  With a brand that is still quite young like CUPRA you seem to have the rare freedom to work free from the possible »ballast« of a brand’s heritage and history. But at the same time, it’s now up to you to develop unique design elements and distinct principles so that a CUPRA is immediately recognizable as such. How are you dealing with this challenge, and how would you describe your approach to it?

Jorge Díez I would say that first, it’s all about building a strong character. And I think an important thing is to have some design elements that are transversal to all car models, but on the other hand, not too many elements. Some brands create a new design and then copy-paste it onto all their cars, and in the end, they all kind of look the same. So you somehow lose a bit of the wow effect, like the individual personality. So for us, the target is more like this: all models will be members of our family but have their very own personalities. For example, when you look at the lights, this element will be something more transversal within our product range; you will always recognize that as our new signature, but we will always play with something totally different as well. Every model needs to have its own personality—always very self-expressive and very powerful.

Francesca Sangalli And then, for sure, the whole color concept. I would say that this is something that differentiates CUPRA from other brands. Like copper, which is one of the CUPRA brand identity elements. And also, this rawness of the colors is typically us. When you look at the color palette of CUPRA, it’s really not decided by the marketing strategy. In the automotive industry, there are usually color decisions according to a certain marketing specification, like we sell 30% in red, 20% grey, and so on. We don’t do that, and I think that’s what really makes a difference. When you see a CUPRA passing by, you can recognize it only by its unique colors. And something that is also becoming very, very important to us and all the products that we are creating, is the parametric design as a way to give value to the surface and create a differentiation between surfaces as well. It makes the car very dynamic, also very graphical, and very vibrant—it’s never flat. So I would say all that is definitely very CUPRA.

The new CUPRA Formentor

Chapter  We’ve just experienced the world premiere of two very important models for CUPRA, the new Formentor and Leon. Are there any specific design elements that you would like to point out, and what are your personal design highlights of these two redesigned models?

Jorge Díez  I think with the new CUPRA Leon and CUPRA Formentor we’re trying to express what we love so much: true emotion. In the end, we are coming from Barcelona, a truly emotional city, and we tried to transfer the culture of our city to our cars. The result is a very expressive car that somehow reflects the way we are. Both redesigned models have a stronger front and some new iconic design elements, like the triangular matrix LED lights-our unmistakable new signature. The same triangular lighting design also acts as a framing point for the central CUPRA logo illuminated in the rear, which for us represents the heart of the car. So all in all, I think it’s a very expressive design, very characterful.

Francesca Sangalli  Inside the car, we tried to create three very differentiated interiors. And all of them are following very much—or even reinforcing—the DNA of CUPRA design. We are trying to create a lot of different textures, enhanced with new materials, while also embracing a more sustainable approach. The entire idea of the parametric design, for instance, is applied to the deco part in the front. And the parametric technology is also used for the perforations that add sophistication and refinement to the parts. This makes everything very vibrant in the interior. All in all, we have three interiors, one is made of textile, which gives the sportiness a new look, with a lot of graphical elements that really catch your attention. Also, the leather interior with embossing and metallized particles creates this special color effect. And of course, the colors we used—the whole color palette is very, very CUPRA. I’d say it’s neutral with a twist, with a special focus on the finishing effects, which are making all colors kind of undefinable. It’s actually not so easy to pinpoint which colors these are; that’s why we are creating their own names too, like Century Bronze, Enceladus Grey—all inspiration is drawn from nature. And it’s all a little bit raw, which is really the essence of CUPRA, I would say.

Interior CUPRA Formentor

Chapter  Talking of the essence of CUPRA, what always strikes me is the brand’s strong connection to its origins, its roots in Barcelona. How important is it for you, as a designer, to emphasize this Spanish heritage?

Jorge Díez The city of Barcelona is amazing! You can see and feel this special, vibrant vibe everywhere. And it is sometimes said that CUPRA’s design is inspired by local architecture. I prefer to say that we are inspired more by the people, how they behave, and who they are. Because in the end, people make the brand—the attitude, the passion they have for things. Even sometimes, we are a bit louder as well. And this loudness is probably also reflected in the expressivity of our cars.

Chapter  So, would you say that it’s essential for any new designer joining your team, that he or she has a profound understanding of these mentioned roots and thus of the social and cultural environment that influences the brand?

Francesca Sangalli Well, I think even if they don’t have to obviously be Spanish, they definitely have to understand the character of the brand. And I think everyone, once you come and live here, really feels the vibe. I’m Italian, for instance, but I immediately felt very much at home here. And Barcelona, above all, has a lot to offer in terms of inspiration.

CUPRA Formentor

Chapter  You’ve already mentioned the people of Barcelona and the culture, but also the local architecture that inspires you. Where else do you both draw inspiration for your creative work as designers from?

Jorge Díez For inspiration, we always try to move away from the automotive industry. Because sometimes people who work in car design are observing too much of what their competitors are doing. But we try not to look at others, because if you do, you won’t be able to create something really new. So actually, we draw inspiration from completely different things, such as nature and a lot of other things and areas that have nothing to do with car design.

Francesca Sangalli Yes, absolutely. And actually, that is also the purpose of all the partnerships outside the automotive world we enter into. Because when we talk about CUPRA, it’s not only about the cars that we are making, it’s the entire world, the entire feeling, and the entire lifestyle. And these partnerships, like the one with MAM, the sustainable jewelry brand from Barcelona, we’ve just presented, also play a major role in identifying and reinforcing those values on which our brand is based.

Jorge Díez And the most important thing about our brand partners is that they have the same mindset as we do. And talking of mindset, I think you can see our vision as well in the CUPRA Garages. We want everything that you touch or feel—everything related to the brand—to feel like CUPRA. And we really go down to the smallest detail here, even our offices, of course, our whole communications, our advertising campaigns, literally everything that we do.

The new CUPRA Leon

Chapter  Something I always notice about CUPRA is that the tone of voice is mostly characterized by really strong emotions, with the use of quite strong terms such as rebellious, revolutionary, radical, or even aggressive in relation to the exterior design. While rather common descriptions in automotive design, such as harmonious or elegant, are rarely used with CUPRA…

Jorge Díez Yes, absolutely. I think most car brands, when they talk about design, use terms like harmony or elegance. So this is very, very different at CUPRA. Of course, some people are looking for perfection, but sometimes you also need to break this harmony, so you can also have different details that give you a strong personality. This is why we want to create emotion, and changing some things is part of our philosophy of breaking rules and breaking limits.

Francesca Sangalli What you said about the tone of voice is absolutely true. It’s like a statement, in a way. As a brand and company, we want to communicate something different with regard to the homogeneity that often prevails in the automotive industry. It’s about seeing things from different perspectives, being authentic, and being bold about what we offer. And as Jorge said at the presentation, it’s not for everybody to like us. But it’s good that some really love us.

CUPRA DarkRebel show car

Chapter  And I also assume that it gives you an unusual amount of freedom in your work to have a CEO like Wayne Griffith, who is also very design-savvy.

Francesca Sangalli Yes, I think what you are mentioning is definitely the strength of this company. Honestly, from the perspective of a person who works at CUPRA, the strength is that everybody is going in the same direction, and everybody really believes in that direction. So all the departments are working really well together, and we have a CEO who is always open to something new. All that gives us the confidence to go ahead and constantly try to explore new territory.

Jorge Díez Absolutely, and as mentioned, we always try to find things that you’ve never seen before. And even if they are a bit crazy or over the limit. All that is part of the culture of our company, and also to be able to make mistakes. And with Wayne (Griffith), this is really easy because he always tells us: Jorge, Francesca, provoke me! Go, don’t worry. And you can see this in cars like the Dark Rebel showcar, where we had absolutely no limits in the creative process. So as a designer, it’s a privilege to work for CUPRA. [CS]

Without wanting to overdo the currently omnipresent theme of quiet luxury, the legendary manufacturer of British luxury sports cars Aston Martin—in the broader understanding of the brand a synonym for style, luxury, performance and exclusivity—certainly belongs to this category. It is a symbol with exclusive appeal far beyond the world of the automobile, a lifestyle statement and, last but not least, a statement of outstanding engineering skill.

The degree of exclusivity in the ultra-luxury segment is now not only measured by how large—or rathter small—the pool of buyers is, but increasingly also by the pronounced semiotic aspect. Accordingly, Aston Martin’s brand language is strongly defined by a restrained vehicle design that dispenses with ostentatious design rhetoric, but is by no means less striking for that. Even after the model update in 2024, the DBX707  front section features the classic radiator grille and also makes reference to some features of Aston Martin models of the past, such as the legendary DB5 which Sean Connery alias James Bond 007 drove in 1964 in the legendary spy movie »Goldfinger«. In this context, of course, association as an emotional component should not go unmentioned, because the desirability of a brand like Aston Martin results above all from the brand’s understanding that its range must not be inexhaustible, but irreplaceable.

The most significant changes to the new DBX707 are the extensive modifications to the interior. For example, a lot of attention was paid to the confidence aspect, which makes sense considering of the immense power of 697-hp. Translated, this means, among other things, a driving position that offers more freedom of movement, a clear view of the road and surroundings and of all controls and screens (with a state-of-the-art new infotainment system)—including impressive head- and legroom. The impressive amount of space can be seen from the external dimensions alone—the DBX707 is over five meters long and has a wheelbase of over three meters. The clear, contemporary lines convey a feeling of security by creating a concrete sense of space and thus suggesting control.

Additional customization options such as a more personal cabin design naturally also play an important role: there is a choice of three different interior trims, each with its own characteristic details, including Inspire Comfort with matrix embroidery and quilting, Inspire Sport with vector embroidery and Accelerate with Alcantara for an even more dynamic touch. However, Aston Martin not only pays precise attention to the luxurious basic equipment, the so-called Service Q by Aston Martin also offers a wide range of tailor-made options for comprehensive, individual vehicle design.

And to stay true to its claim, the legendary British luxury sports car manufacturer states that the Aston Martin DBX707 drives like no other luxury SUV thanks to its raw power, breathtaking performance and sumptuous comfort. In technical circles, for example, people talk about the refined, class-leading dynamics of the DBX707 a new calibration of the electronic dampers and air springs and the resulting optimization of the response, precision and driver confidence with which the DBX707 further extends its dynamic superiority in its class as a super sportscar among SUVs.

So if you ask about the most desirable version of luxury, there is no doubt that Aston Martin has excellent prerequisites in its DNA to provide a discreet but convincing answer. [DM]

Once again this year, it is an impressive potpourri of historic vehicles—most of them highly polished and almost in their original condition, but a few with the proud patina of an eventful history, dents and a little rust. But for many, the real stars of the Concorso d’Eleganza Villa d’Este, on the last weekend of May 2024, are less the classics of past decades than the automotive works of art and design visions that will debut on Lake Como in astonishing harmony with the historical splendor. Concept cars from BMW and BMW Motorrad, as well as the 20th Art Car by Julie Mehretu, demonstrate the exciting relationship between mobility, design and art. Chapter presents some of the highlights of the wonderfully multifaceted event organized by Villa d’Este and BMW Group Classic.

The design visionaries: BMW Concept Skytop

The BMW Concept Skytop, which celebrated its world premiere at the Concorso d’Eleganza Villa d’Este 2024, shows a pioneering vision of the luxury class. Inspired by models such as the BMW Z8 and BMW 503, the design of the Skytop combines stylish elegance with an athletic, muscular appearance structured by a few clear lines. From a bird’s eye view, the strongly arrow-shaped hood, the typical BMW sharknose design with illuminated kidney grille and the retracted rear end also catch the eye. The interior and exterior of the two-seater concept car are presented in monochrome, warm, appealing colors, while the use of high-quality materials and traditional craftsmanship give the vehicle the expected level of luxury. »The BMW Concept Skytop shows a unique and exotic design in the tradition of the Concorso d’Eleganza Villa d’Este,« says Adrian van Hooydonk, Head of BMW Group Design.

The nostalgic innovators: BMW Motorrad R20 CONCEPT

BMW Motorrad also celebrated itself and the great history of the brand with an exciting special edition, which was presented for the first time at the Concorso d’Eleganza Villa d’Este. The BMW Motorrad R20 concept pays homage to legendary BMW Motorrad Big Boxer roadsters and combines a large portion of nostalgia with state-of-the-art technology and flashy accents in its design. Around the Big Boxer engine as the center of the bike, the expressive tank presents itself like a sensational sculpture, while at the same time the rear remains reduced to the essentials to emphasize the clear lines and powerful presence of the R20 concept. A special highlight and eye-catcher: the aluminum tank has a progressive new design in the bright »hotter than pink« color from the 1970s. »The R20 concept is a bold interpretation of the BMW Motorrad DNA,« says Alexander Buckan, Head of Design BMW Motorrad. »It combines modern technical elements with classic roadster design. The oversized proportions and minimalist aesthetics make it an unmistakable character.«

The outstanding artist: Julie Mehretu’s 20th BMW Art CaR – Art in Motion

This year’s BMW Art Car, designed by the renowned artist Julie Mehretu (Chapter reported), adds a new dimension to the tradition of Art Cars. Mehretu’s complex, multi-layered art merges impressively with the dynamic design of the BMW M Hybrid V8—a truly impressive work at the intersection of mobility, speed, design and art.

Automotive grandeur: Rolls-Royce Cullinan Series II

And finally, another BMW Group brand wanted to join in, Rolls-Royce, was not stingy with grand appearances at the Concorso d’Eleganza Villa d’Este and not only celebrated the brand’s 120th anniversary with a historic class as part of the Concorso d’Eleganza Villa d’Este, but also presented the Rolls-Royce Cullinan Series II also an exciting further development of its impressive luxury SUV.

The classics: winners of the Concorso d’Eleganza Villa d’Este 2024

Among the numerous automotive gems, two outstanding vehicles received special recognition. The winner was the Alfa Romeo 8C 2300, a spider with a body design by Figoni from the 1930s—the vehicle was honored with the coveted Best of Show title. Helmut Käs, Head of BMW Group Classic, and Wilhelm Schmid, CEO of A. Lange & Söhne, presented the proud owner from Belgium with the coveted Trofeo BMW Group and an exclusive 1815 Chronograph watch in white gold. The exclusive watch was created by A. Lange und Söhne especially for the winner of the Best of Show.

The 1995 McLaren F1, an iconic supercar, won the Coppa d’Oro Villa d’Este, voted for by the public. This vehicle, presented by Tony Vassilopoulos from Great Britain, fascinated visitors with its impressive history and performance.

This brief overview of some of the highlights of the Concorso d’Eleganza Villa d’Este alone shows that the year 2024, with its many facets between iconic automotive past, present and view into the future, will probably go down in the great history of the event as a particularly exciting one. The bar is therefore set challengingly high for 2025. [CS]

»The Chrysler Halcyon Concept  brings to life a fully electric tomorrow through new technology suites from Stellantis, that integrate simple and pure aerodynamic design and a seamless, connected and immersive cockpit experience,« says Chrysler CEO Chris Feuell. The brand speaks of »Harmony in Motion« in its vehicle design and of harmony with the planet in its choice of materials. In the interior, 95 percent of the materials are to be sustainable. By this Chrysler means synthetic leather alternatives combined with natural elements such as real wood and a high proportion of recycled materials. The brand-typical wing logo on the steering wheel, door sill trims and front seats is made from 100 percent recycled CDs. The brand is thus integrating not only sustainability, but also a piece of US history into its concept vehicle.

The recycled CDs represent the music culture and heritage of the city of Detroit. For a long time, the city in the state of Michigan was the most important production site for cars from the USA. At the same time, a musical cultural center was created in the industrial environment of the factories. For example, the world-famous record label Motown was founded here. The music producer Berry Gordy Jr. helped black artists to achieve such great success that, for the first time, they were able to overshadow the previously dominant white musicians. If Chrysler has its way, the brand’s electric cars will be similarly successful in the future, outshining all combustion engines with their range. Streamlined body design is essential for this.

A headlight cannot sit much lower. A thin and continuous LED draws a clear edge on the front of the Chrysler Halcyon Concept. An illuminated brand logo is set centrally above it. The windshield of the concept vehicle extends to the edges of the front end. There are no door handles. The doors and transparent roof sections with butterfly hinges are designed to open automatically via biometric identification of the owner. Instead of side mirrors, there are blade-like camera arms. Aerodynamic efficiency is also the top priority for the 22-inch rims in turbine design. However, we know from experience that large rims are counterproductive for the range. This is because the larger the rim, the higher the rolling resistance and thus the power consumption. But Chrysler confidently states »unlimited« as the predicted range.

But for an unlimited range, the car brand from the USA naturally needs more than radical aerodynamics. Chrysler therefore refers to a technology called Dynamic Wireless Power Transfer (DWPT). Inductive charging plates already work to some extent today if electric cars equipped for this purpose are parked on them. To charge the battery while driving, however, this technology would of course have to be installed under the road. The Stellantis car company, which now owns the Chrysler brand, is already experimenting with DWPT technology on a racetrack in Italy – but it will be decades before public roads can actually be equipped with this technology. This fact also shows that Chrysler’s concept car is not a vision of tomorrow, but of the day after tomorrow. [FJS]

After the limousine BMW Vision Neue Klasse , presented at the IAA 2023 (Chapter reported), had already given a first impression of the future of the brand, particularly in terms of aesthetics, design, technology and sustainability, the next outlook now follows: The BMW Vision Neue Klasse X  has now been officially unveiled on March 21, 2024 and shows the new design direction for the future X Models, as the Neue Klasse will be rolled out across the brand’s entire product range.

Monolithic, with a clear design and an impressively strong, powerful presence – that was the first impression after the carefully staged unveiling of the Vision Car. A 2-box design with a lot of character, futuristic and elegant but still very robust. The long wheelbase and short overhangs naturally continue to ensure typical BMW proportions, while the generously proportioned window areas and panoramic glass roof create a new, light and airy feeling of space. Particularly exciting: the massive front section shows a new interpretation of the BMW face, in which chrome in particular has been replaced by light. At the center of the front is now the vertically designed BMW kidney grille (to be understood as a quote from the brand’s history) as a three-dimensional sculpture with vertically aligned and backlit contours. The vertical shape also emphasizes the classic upright appearance of an SUV/SAV.

The rear is also massive, yet athletic. The rear lights have been drawn far into the center and are intended to provide a horizontal interpretation of the typical BMW L-shape. Their 3D-printed elements are controlled with variable light intensities to achieve a particularly expressive depth effect. The so-called Hofmeisterknick in the rear section of the side windows, which has become part of the brand identity, is not shown as a chrome surround in the BMW Vision Neue Klasse X, but with a »Reflective Print«, which forms a transparent or reflective surface depending on the viewing angle.

As with its Vision Car predecessor, the interior is friendly, bright and spacious. In addition to the redesigned steering wheel with multifunction buttons, the generous BMW Panoramic Vision Display  will clearly form the centerpiece and will be found in all future models. The display is designed to offer both passengers in the front seats optimum access to all infotainment and a wide range of individualization functions. In particular, the special light and sound staging enhances the intuitive digital user experience in the next generation of the BMW iDrive.

And to ensure that despite all the great leaps in design and digitalization, the traditional BMW »Freude am Fahren« does not fall by the wayside, the drive and chassis control system developed exclusively for the Neue Klasse and the sixth-generation BMW eDrive  technology will be used. »Neue Klasse – this will take BMW driving to the next level but one,« is the self-confident prophesy.

»We see that the time has now come to take somewhat bigger steps, including in the core of the brand,« Adrian van Hooydonk, Head of BMW Group Design, explained to us in an interview a few months ago. With the second Vision Car on the way to the Neue Klasse, the BMW team has once again underlined the brand’s innovative strength in terms of design, electrification, digitalization and circularity. The Neue Klasse will indeed define a completely new BMW generation – and unsurprisingly, probably to the displeasure of some brand traditionalists. And despite its designation as a Vision Car, the Vision Neue Klasse X seems to be very close to what we will be able to experience as a Neue Klasse X production model at the end of next year. [CS]

]]> https://chapter.digital/en/electric-evolution/ Wed, 24 Apr 2024 17:55:13 +0000 https://chapter.digital/electric-evolution/ It is undoubtedly one of THE automotive design icons and an off-road legend without equal. The Mercedes-Benz G-Class is a vehicle that works equally well on and off the road, combining performance with modern luxury and distinct pop-cultural appeal. Now the longest-built passenger car model series in the brand’s history starts a new era: Chapter was present at the eagerly awaited world premiere of the electric G-Class in Los Angeles.

L.A., on April 23, 2024. There could hardly be a more fitting place to celebrate the opening of a new chapter of the iconic Geländewagen than Beverly Hills. After all, since its market launch in 1979, the G-Class  has not only left its mark on the automotive world, but has also gained a firm place in pop culture – from numerous appearances in blockbuster movies to music videos and fashion campaigns. Hip-hop musicians in particular quickly discovered that a G  was well suited as a boost for new tracks and wrote songs of praise for the German carmaker’s flagship model. Designers such as Virgil Abloh have also dedicated themselves to the iconic off-road vehicle in highly acclaimed art projects, and a list of the self-confessed celebrity fans of the »G-Wagen« would go beyond the scope of this article anyway.

So it is hardly surprising that a number of celebrities from the worlds of music, fashion, film and culture attended yesterday’s international world premiere in the impressive setting of Franklin Canyon Park Los Angeles to celebrate the Mercedes-Benz G-Class ‘ entry into the age of electric mobility. From Bradley Cooper and Kendall Jenner to hip-hop musician Travis Scott, who wowed the invited guests with a surprise gig.

Iconic design language meets state-of-the-art drive technology – that’s how you could describe the electric G-Class  in a nutshell. Unsurprisingly, it continues to impress with its classic, distinctive boxy design and the design details that have always been typical of the model, but is enhanced with new E-specific accents – including the optional black radiator grille, a redesigned, raised hood and the so-called »Air Curtains« in the rear wheel arch extensions.

In addition, an innovative drive concept will of course also raise the driving characteristics to a new level. The four individually controllable electric motors not only guarantee maximum performance – or off-road talents, of course – but also offer new e-specific functions. For example, the G-turn allows you to turn almost on the spot, while the G-steering function enables a significantly smaller turning circle when driving off-road. With the so-called G-Roar, a new and individually controllable sound experience will also be available.

»The G-Class is a true legend. We are very excited to celebrate the long-awaited debut of the electric model here in Los Angeles. It feels just as much at home here as in open terrain. Our new electric G-Class can do everything that the familiar G-Class can do – and even more,« announced Michael Schiebe, Chairman of the Board of Management of Mercedes-AMG GmbH and Head of the Mercedes-Benz G-Class & Mercedes-Maybach divisions, visibly proud of the launch of the electric off-road vehicle icon.

With the electric G-Class , Mercedes-Benz is opening what is probably the most important new chapter in the history of this legendary model series to date. A vehicle that combines proven off-road capabilities with state-of-the-art technology. It transforms an icon into the age of electromobility while remaining true to its unique history and iconic design language. [CS]

Progressive and dynamic

The new BMW X2 (and its all-electric counterpart ix2) achieves this balancing act with its pronounced coupé silhouette and otherwise striking design language. The upright front provides the desired self-confident presence, striking LED headlights including the hexagonal BMW kidney grille, which can be equipped with the BMW Iconic Glow contour lighting.

The roofline mentioned at the beginning, which flows continuously into the rear, ensures a successfully elegant silhouette and thus proportions in the typical style of a BMW Sports Activity Coupé. At the rear, the clearly flared wheel arches and the powerful shoulder sections in particular ensure an expressive appearance, while the horizontally aligned contours of the model-specific rear lights provide exciting individual accents.

Obviously, the increase in size also benefits the comfort of the five seats and the luggage compartment volume. The interior is»premium« in every detail, as you would expect from BMW, but still pleasantly minimalist. Particularly noteworthy are the flat dashboard with the BMW Curved Display and an almost floating armrest with integrated control panel. In addition, a wide range of assistance systems as well as comfort and individualization functions underline the premium claim of the new sporty X2 – available in various engine versions – as well as the electric iX2, which in our opinion is even more unagitatedly elegant and at the same time more dynamic to drive.

Charismatic driving pleasure

The presentation of the Countryman Electric represents a hugely important milestone for MINI on the road to becoming an all-electric brand. And it manages to combine the charisma of the brand, the individual Countryman character and the typical go-kart feeling with locally emission-free mobility. As the largest member of the MINI family, both the first electrified version and the version with a combustion engine have grown once again in terms of both height and length.

An upright silhouette, the usual short overhangs and the newly designed octagonal front grille, which, along with the striking LED headlights and tail lights, is one of the few truly eye-catching exterior elements, make a particular contribution to the appearance of the new Countryman. Otherwise, the exterior also has a purist design, which is continued in the vehicle interior in line with the new brand design philosophy of »reduction to the essentials«.

In that spacious interior, the brand-typical round (OLED) display is – unsurprisingly – also at the center of the new Countryman. From now on, all infotainment and assistance systems can be operated via the slim central instrument. Particularly noteworthy here are the so-called »MINI Experience Modes« which are actually very entertaining – and allow the appearance of the cockpit to be individualized with an interplay of visual design, ambient lighting and particularly exciting sound design. All driving functions can still be controlled via the characteristic MINI toggle bar. MINI’s specially developed knitting process, which enables a special textile structure made from recycled polyester, also sets exciting visual accents. The curved dashboard is also made of this textile surface for the first time and creates a really successful, homely feel-good atmosphere.

The driving experience: As expected, vehemently sporty: both the top-of-the-range John Cooper Works Countryman variant tested by Chapter, which is ideally suited to a racetrack, and the no less powerful Countryman SE, which thrills with impressive performance combined with relaxed, quiet electric gliding over the roads.

Born to be different

Truly extraordinary and an absolute eye-catcher on the roads: The BMW CE 02 ‘s design alone sets it apart from classic scooters/motorcycles. You can see at first glance that the BMW Motorrad design team under the direction of Alexander Buckan (a recent guest on the Chapter Talks podcast) wanted to make a strong statement with this vehicle, to create something independent and special, far removed from the conventional and the familiar.

Consequently, BMW does not refer to the CE 02 as either an e-scooter or an e-motorcycle. It is intended to be an eParkourer and stands for dynamic driving pleasure and a new type of mobility for a primarily young, urban target group. Its design is boldly different, yet reduced to the bare essentials. It looks robust, not least because of the large wheels and wide tires, and thus signals that it is ready for all kinds of terrain. Nevertheless, the overall impression is by no means ponderous, but exudes dynamism and driving pleasure.

While large parts such as the frame, wheels and fork bridge cover are kept in black, the matt granite gray metallic of the engine cover is just as exciting a contrast as the use of both matt and high-gloss surfaces. In the Highline option, on the other hand, the new CE 02 is much more eye-catching, with the gold anodized fork in particular providing exciting accents.

With a maximum output of 11 kW (15 hp), the CE 02 can be ridden in Germany from the age of 16. In a separate, 4 kW (5 hp) version with a throttle speed of 45 km/h, it can also be used by anyone over the age of 15 who has a driver’s license (of course, different legal regulations may apply in different countries).

In both versions, however, the powerful drive also demonstrates during our test drive that it has all the prerequisites for a dynamic electric driving experience. The CE 02 accelerates quietly and quickly, is extremely maneuverable and offers easy handling and great riding fun after a (very) short familiarization period thanks to its low seat height. It also offers two driving modes, »Flow« and »Surf«, as standard. »Flow« is designed to offer the optimum drive set-up for relaxed gliding in urban traffic, while »Surf« is intended to provide a faster driving experience outside the urban environment. [CS]

]]> https://chapter.digital/en/nothing-is-sacrosanct/ Thu, 07 Mar 2024 11:12:11 +0000 https://chapter.digital/nothing-is-sacrosanct/ With the new, electric Macan, Porsche has taken a great leap into the future. In this interview, Michael Mauer tells us how far he has leapt in terms of design and what role intuition plays in design decisions.

Chapter What does the new, electric Macan tell us about the future of the brand? To what extent is it forward-looking from a design perspective?

Michael Mauer  On many different levels. We know from history that there are always discussions within the community when the Porsche brand makes a drive or technology change. This was also the case when we switched from air to water cooling, although this was a relatively small step compared to the generation change in the Macan. When the successor to an established model becomes a purely electric vehicle, this generates a little more attention than would probably be the case with other brands. In addition, the predecessor was very successful in its segment. From a design perspective, I also found the Macan to be quite successful, although as a designer you are of course never one hundred percent satisfied. As far as the future of the brand is concerned, the new Macan underlines that it is not our strategy to design new vehicles in such a way that they no longer have anything to do with their predecessors. Ideally, when we introduce new design elements, we do so in such a way that these features reflect how we as a brand want to think about design and develop it further.

Chapter At the beginning of electromobility, cars were created that were very different from the rest of the model range due to their futuristic appearance – to visualize that the future was happening here. We got away from that more and more. How did you perceive this development?

Michael Mauer  There were brands that did exactly as you describe. Presumably also to suggest that their new, electric vehicles no longer have anything to do with the old, dirty world. With other brands, the cars looked exactly the same as always. It is a fundamental question of how you want to deal with it. I firmly believe that a strong brand would be ill-advised to change something in a product in such a radical way that it can no longer be clearly assigned to that brand. With a strong brand, the new car must fit in with the brand identity, but should visualize in detail that it is entering a new era in terms of drive technology. These are interesting strategic questions that we have to deal with every day in this profession.

Chapter So basically it’s always about standing out from the crowd and still remaining true to the brand identity and not just the design philosophy?

Michael Mauer   The question is always how far you want to go. I always say: far enough, but not too far. If I have founded a start-up and want to be successful in a saturated market, I have to develop a product that is also completely different in terms of design – in order to stand out at all. With success comes market analysis, and then it often happens that companies forget what actually made them successful. I believe that it’s about having the courage to do things that you might not necessarily expect from a particular brand, even in the face of continued success, but without losing sight of the brand identity. This is an exciting task and I have the feeling that designers and creative people could be even more involved in these discussions.

Chapter In an interview, you once said: »If the board is initially skeptical about a decision, I’m in good spirits. Because that means that the design breaks with familiar visual habits.« That also sounds like a tightrope walk to me.

Michael Mauer  We are finalizing the design and then it will be another year or two before the cars actually come onto the market. If there is instant enthusiasm on the day of the presentation, the question is whether it will still be as strong by the time the car actually rolls off the production line, or whether it will sink because the world has moved on in the meantime. However, it can also happen that the step is too big. There have always been products like this, especially in the automotive sector. The Lancia Stratos, for example, was light years ahead of its time. Even the first Porsche 911 was not really well received at the beginning, because it was designed far into the future. I find it extremely exciting, but also very challenging, to find exactly the right time window.

Chapter Are there things where you know that if you change that, Porsche fans will go on the barricades?

Michael Mauer In my opinion, nothing is sacrosanct. I’ve been in this profession for almost 40 years and from this experience I would say that you can definitely go further today than you could 20 years ago. And even must. But the things you rethink and change must also be done well. Just doing it differently is not enough. It’s also a good sign when people are watching closely and discussing a lot, because it shows that people are paying close attention to the brand.

Chapter Do you sometimes have to consciously go beyond these limits in terms of design in order to then scale them back again—even if it’s only for your own head or drawer?

Michael Mauer Definitely. This is actually extremely important. And I also believe that some companies completely underestimate this. I am very lucky that the Board of Directors gives me and the team the freedom to let off steam and come up with new ideas. Only by jumping far into the future, detached from schedules, budgets and technical restrictions, and questioning everything that makes up a Porsche today, can I get a feeling for how far I can go in the end. We call this process forecasting. From there, we then do a backcasting to move back again. Always with the maxim in mind that something might not work today, but tomorrow it might. I also think that you can sometimes see brands when they don’t deal with it enough and therefore don’t jump far enough.

Chapter What is »typically Macan« or »typically Porsche« about the vehicle and which features have so far tended to be perceived as new?

Michael Mauer We have roughly divided our design process into three stages, starting with the architecture and proportions. After that comes the styling phase and then we deal with the details. Proportions are very important to us in all our vehicles and I think we’ve improved a little more in this respect with the new Macan. I’m thinking in particular of the larger wheels, the shorter overhangs and the roofline. The way we treat surfaces is always typical Porsche, but there are always subtleties that are different. You can also see it in the front fenders, which are a little higher than the hood. This transition is still very soft in the 911 and not quite as defined in the predecessor of the current Macan as it is now in the successor. For us, in this transitional phase that we are currently in, the headlights at the front are a symbol that we use to give the car a clear electrical identity. The interior is a bit more radical because we have a lot more space in the center console area due to the fact that there is no longer a drive tunnel. However, we haven’t completely cleared this space because it’s important to us that you still feel like you’re sitting in the car. As a result, the center console is relatively high despite its airiness. These are not radical changes, but continuous developments of certain elements.

Chapter Is it the case that the great importance of aerodynamics in electrically powered vehicles means that there needs to be even more intensive collaboration between the design team and the engineers?

Michael Mauer I wouldn’t say that it has become more intense, but the focus has shifted. First and foremost because aerodynamics play a central role in electric vehicles due to their range. On the other hand, aerodynamics have always been very important at Porsche, because the cars sometimes travel over 300 kilometers per hour. Compared to the past, however, it is now more about range than downforce. I also find aerodynamics an exciting field because the laws of aerodynamics are the same for everyone and cars are therefore becoming more and more similar in their basic proportions. This can now also be seen in road traffic. The greater the expertise in this field, the better I can differentiate myself. It’s also exciting that it’s all about millimeters. I like to compare it to the fact that it sometimes bothers you when a single hair sticks out—even though it’s so thin. Sometimes you don’t like something and you can’t put your finger on it. Or you find something beautiful and don’t know why. Sometimes it’s just a few millimeters that swing the pendulum in one direction or the other.

Chapter You mentioned earlier that you were very satisfied with the predecessor. Did this make it more difficult to work on the successor?

Michael Mauer I’ve been through this process so many times now that I know by now that there will come a point when the work on the successor starts. It is also important to be convinced that the successor will be even better (laughs). Of course, the bar is a little higher in this case, but at the same time, we do nothing but develop things further every day. And as I mentioned earlier, we have the opportunity to test things out in Advanced Design. When the work on the successor starts under all the time pressure, we have usually already tried out a few ways beforehand.

Chapter To a certain extent, the design process is also determined by intuition or so-called gut feeling. How important is it in your profession to be able to explain intuitive decisions rationally?

Michael Mauer I once read a text in which intuition was described as perceived knowledge. That’s exactly what it is. When you are in this profession, you look at something and know relatively quickly whether it is good or not. But at the end of the day, it’s just a feeling because there’s no data on it. If the board of directors isn’t immediately on fire at a presentation just because a designer has said they have a good feeling about it, I can understand that. After all, countless jobs and large sums of money depend on this good feeling. Then comes the point where I often think to myself that in my next life I might study rhetoric and take an evening course in design (laughs). In the end, as a designer and creative you also have to learn how to package things well in order to sell them. However, if I have to spend hours selling and explaining a design and it doesn’t at least support itself to some extent, then it won’t work.

Chapter Timelessness is a major theme for Porsche. How difficult is it sometimes to approach current trends with the necessary distance?

Michael Mauer I always say that you shouldn’t be so arrogant as to not deal with it at all. I think it’s important to deal with what’s happening right now. Then this perceived knowledge comes into play again, as well as the awareness that as a designer you are actually always traveling in the future. It is therefore important to consider what role the respective trend could play in the future—and whether it is relevant for the brand and the product at all. I see the greatest danger in simply adopting trends uncritically and without reflection. As a rule, you then get a characterless product. The fulfillment of all customer wishes also leads to a characterless end result. All of this has become more difficult—partly because loyalty to certain brands is no longer as strong as it used to be. I think it is all the more important to not just look at the product, but to always consider what the product means for the brand and vice versa. In other words, not only the design of the product, but also the design of the entire brand cosmos.

Chapter You have been working in automotive design since 1986 and have been head of the design department at Porsche since 2004. How has the profession changed during this time?

Michael Mauer Since I started at Mercedes in 1986, there have been radical changes, particularly in the area of technology. With the support of digital technologies, many processes have become significantly faster. When I started, the first color copier had just arrived in the studio – it was almost like a moon charge(laughs). What has also changed is that brands are increasingly realizing how closely brand and product are connected. In the past, designers were not so involved in these processes, everything was handed over to the technical department and then it went to sales. Today, these things happen much more interactively and much more in exchange with each other. Sometimes I wish I was back in the old days, because we were able to concentrate much more on our core competencies. On the other hand, I find it incredibly exciting that we designers are becoming more and more involved in shaping the overall brand image. This has also changed the significance of design as a whole. In management positions, you are suddenly part of the company’s overall direction.

Chapter Do you react differently today than you did at the beginning of your career when you realize that the creative process has come to a standstill?

Michael Mauer I would say: the grace of early birth. Or to put it another way: When I was born, the rainbow was still black and white (laughs). I can still remember that as a young designer I sometimes got stuck and my bosses at the time were breathing down my neck. I still remember what that pressure felt like. With increasing experience, however, I know that the solution is already there, I just have to find it. I have become more relaxed. It also helps me to let a model rest from time to time. Continue working on something else for two or three days and not frantically try to find the solution. Of course, this is sometimes difficult because there are deadlines.

Chapter When do you consider a car to be a success?

Michael Mauer As a designer, you naturally want to go on indefinitely. In every vehicle I sit in, I see a detail and think that it could have been done better. However, it is important to weigh up the costs and benefits. In this respect, one of the most important criteria for me is customer relevance.

Chapter What do you mean?

Michael Mauer I ask myself whether this one thing that bothers me is probably also bothersome to an untrained eye and has such relevance. When I give someone a lift in the car, I find it exciting to observe which details people notice and which they don’t. It can also happen that I’m 80 or 90 percent satisfied with a car and then I’m stuck in a traffic jam behind it and think to myself that I could have noticed this one thing back then. As designers, we are people of the eye.

Chapter Your Instagram account reveals that you are an avid skier. Skiing and driving a Porsche—what do they have in common?

Michael Mauer The ideal line(laughs). I would say that I drive a car like I ski. There are many parallels. I’ve also had people say to me that they’ve never experienced someone who slows down so little and is so much in the flow. But skiing is primarily important for me to get some distance from something and to give my subconscious the opportunity to process impressions rather than always being fired up. When I’m back in the studio on Mondays, I’m usually more creative than on Fridays. [SW]

Perhaps the most astonishing thing first: in its constant search for innovation in the automotive industry, Polestar presents the Polestar 4, a production vehicle that surprises at first glance with a truly remarkable design solution: the lack of a rear window. This exciting design decision, which was already used in the concept car Precept promises a completely new approach in terms of aesthetics, functionality and, last but not least, comfort, as Maximilian Missoni, Head of Design at Polestar, emphasizes: »The Polestar Precept had already given a preview of a breathtaking new vehicle experience by dispensing with the rear window for the first time. The rear head area, which plays an important role in safety, has also been moved further back. This means we can now offer passengers in the back seat a unique experience in our SUV Coupé.«

A high-resolution screen replaces the function of the rear-view mirror and shows a real-time image from the rear-facing camera mounted on the roof, which also provides a significantly larger field of vision. Due to the absence of a rear window, the glass roof fitted as standard then extends over the heads of the rear passengers, creating a thoroughly unique interior ambience.

The appearance of the third Polestar model is also bold and full of character in other respects—which, of course, is more of a duty than an optional extra in times when new EV brands are constantly entering the market. The new headlight graphics with the two-part twin headlights on the elegantly flat front also signal a new and unmistakable brand face. Complemented by the Polestar emblem, which—as a particularly beautiful design solution— does not illuminate itself, but is instead backlit in white. A composition that is sure to give the Polestar 4 the unmistakable presence on the road that it desires.

However, the design of the Polestar 4 is not only aesthetically pleasing, but also functionally well thought out. The aerodynamic efficiency (of the fastest Polestar production vehicle to date) is supported by the aforementioned low vehicle front, the retractable door handles, the flush glazing with frameless windows, the rear aero slats and the optimization of the air flow around the rear light bar.

The 15.4-inch landscape screen of the Android-based infotainment system forms the visual centerpiece of the interior, which is already characteristically tidy and of high quality for Polestar. Thanks to the integration of Google, including services such as Google Assistant or Google Maps, Polestar offers a truly connected driving experience that is also – as Chapter has already been able to see for itself during test drives – pleasantly self-explanatory, clear and intuitive to use. By working closely with Google on an ongoing basis, Polestar also aims to constantly expand and further optimize the capabilities of its system.

The materials in the interior have been designed under the motto »Soft Tech« and are inspired by the fashion and sportswear industry, explains Polestar. New materials used include a tailor-made knitted textile made from 100% recycled PET, as well as »MicroTechVinyl« with organic content and traceable leather from the Scottish manufacturer Bridge of Weir.

These tailor-made fabric covers are also a novelty in the automotive industry. The textile also shown in the Precept concept vehicle is made from 100% recycled polyester. The material and design were conceived by Polestar designers in collaboration with the Swedish Textile College(Borås Textilhögskolan). According to Polestar, it is to be manufactured with such precision that hardly any waste is produced and overall waste is reduced. [Red .]

Sunbeam Alpine Series II

In the 1962 film »Dr. No«,, which marked the beginning of what is probably the most famous series of agents in film history, James Bond – then played by Sean Connery – is on the road across Jamaica in a Sunbeam Alpine Series II. The film crew rented the car from a local resident for the shoot. The striking shape of this sports car is the result of the work of the two engineers Kenneth Howes and Jeff Crompton. In 1956, the two were commissioned to design a sporty vehicle that was to ensure high sales figures, particularly in the USA. The model could have been the Ford Thunderbird .

Aston Martin DB5

The DB5 achieved fame through its appearance in the Bond film »Goldfinger« and is still regarded as the car most closely associated with the secret agent. The Aston Martin DB5 also attracted attention because it introduced the famous Bond gadgets – including the ejector seat and the retractable tire slashers.

»I did a sketch of the car, and then discussed that with [special effects supervisor] John Stears«, recalls production designer Ken Adams in an interview with BBC Top Gear. »I had a Jaguar, which was continuously being damaged by people parking badly. Having guns at the back of the Aston Martin and the over-riders becoming like boxing gloves and so on, became part of me releasing my frustrations. I’m a sports car freak myself, you see, so all the ideas for the gimmickry and gadgets were no problem. They were just my own dreams! I got rid of a lot of my inhibitions when it came to designing the Aston Martin.«

Lotus Esprit S1

It is not without good reason that Roger Moore’s angular Lotus company car is nicknamed »Wet Nellie«, as the vehicle can be transformed into a submarine if required. The Lotus Esprit can be seen in the films »The Spy Who Loved Me« (1977) and »For Your Eyes Only« (1981), whereby the vehicle in the film first shown in 1981 was a Lotus Esprit HC Turbo. The Lotus Esprit S1 Submarine version was – as you can imagine – never intended for public sale, it was a film production by engineers at Perry Oceanographic Inc. from Riviera Beach in Florida. Side note: Many years later, Elon Musk bought one of the vehicles specially converted for the film at auction for GBP 550,000.

Aston Martin V8

The 1987 film »The Living Daylights« marks James Bond’s return to Aston Martin, but this time his official car is a V8 Volante. In keeping with the tradition of Bond vehicles, this is of course not a normal one, but a specially upgraded version for the secret agent – with a laser cannon attached to the wheels, retractable skis and a rocket engine. Several variants of the V8 are used in the film, a Volante with a Vantage engine as well as a V8 Saloon, which made its debut a decade before Timothy Dalton’s incarnation of the secret agent. The vehicle was both the fastest four-seater production model of its time and Britain’s first genuine »supercar«.

BMW Z3

In »GoldenEye« (1995) with Pierce Brosnan, there is a sudden switch to BMW and with it the switch to the sporty convertible as the official company car. James Bond drove the 1.9-liter four-cylinder with 140 hp, whereby the nimble roadster was of course equipped with a few extras – including all-round radar, Stinger missiles behind the fog lights and a self-destruction system. Apart from the all-round radar, however, James Bond did not use any of the gadgets in »GoldenEye« because the German car manufacturer did not want one of the brand’s top sellers to be seen as a vehicle equipped with weapons.

BMW Z8

In »The World Is Not Enough« from 1999, 007, once again played by Pierce Brosnan, drives a BMW for the third and final time, this time a Z8. BMW only produced a total of 5,703 units of this model between March 2000 and July 2003. Pre-production models were used for the filming. The vehicle is sawn in half in the movie.

Aston Martin DBS

With »Die Another Day« (2002), James Bond returns to the British sports car manufacturer Aston Martin. What’s more, from now on it’s no longer Pierce Brosnan but Daniel Craig as a secret agent in Her Majesty’s Secret Service – in a 460 hp Aston Martin Vanquish. In »Casino Royale« they remain true to this line, but swap the Vanquish for a DBS, which is also used as the official company car in »Quantum of Solace«. The shape of the new DBS is unmistakably an Aston Martin, albeit a little stronger, wider and more muscular. From 1967 to 1972 there was already a Gran Turismo from the Aston Martin brand with the name DBS. This also appears in some Bond films.

Aston Martin DB10

Bond’s company car in »Spectre« (2015) is an Aston Martin DB10 built just for the movie. A total of ten copies were made, eight of which were used for filming and the remaining two for PR purposes. Aston Martin Design Director Marek Reichman is responsible for the design of the DB10 . »Sam Mendes wanted us to create a kind of poster car for those young people who are seeing James Bond for the first time«, says Reichman in an interview with Top Gear. »I interpreted the order to mean that Sam had a brand new DB5 in mind. The DB5 is pure, it is simple, it has a radiator grille that is so beautiful it makes you want to die. It is a scalpel, not a kitchen knife. That’s what Sam wanted Bond’s car to be, a simple, pure Aston Martin, like the original DB5 was.« [SW]

8 minutes and 20 seconds – that’s how long it takes for a ray of sunlight to hit the Earth’s surface. At a distance of around 150 million kilometers, this means that light travels through space at a speed of just under 300,000,000 meters per second. »8 Minutes and 20 Seconds« is also the name of the interactive installation that Marjan van Aubel designed in cooperation with Lexus for Miami Art & Design Week. Unlike what we are used to in the automotive context, this is not about the »0 to 100« figure, but about the speed of light. This is no coincidence, as the Amsterdam designer is known for using solar technology to create interactive design experiences. It is also working continuously to integrate solar energy as seamlessly as possible into our environment.

For her solar sculpture created in cooperation with Lexus, which was on show in Miami in December, she used organic photovoltaics (OPV) to transform the LF-ZC concept car into an impressive, dancing figure of light. It was very important to her to show that photovoltaics is more than just a technology, but can also be integrated into everyday life in an aesthetically and artistically appealing way.

»It’s been a joy to bring the LF-ZC concept car to life! Lexus’s ethos towards innovation, craftsmanship, and new material use resonates with my design practice. This installation invites people to interact with light and color and engages them to imagine a more sustainable, positive future. Through this partnership, I could tell a new narrative of generating energy beautifully«, says van Aubel, whose most important works include designing the roof surface of the Dutch pavilion at the 2020 World Expo in Dubai. She has also worked with brands such as Cos, Timberland and Swarovski. The sculpture, conceived by Marjan van Aubel, was created by Random Studio—an Amsterdam-based design studio specializing in immersive design experiences. The Lexus concept car is set to go into series production in a similar form in 2026. [SW]

]]> https://chapter.digital/en/shaping-the-future-with-mazda-2/ Thu, 14 Dec 2023 10:15:46 +0000 https://chapter.digital/shaping-the-future-with-mazda-2/ Six pioneering and exciting design concepts emerged from the cooperation between the Japanese car manufacturer Mazda and Department of Design at the Munich University of Applied Sciences. In a two-part feature, Chapter presents some of the most outstanding projects.

New perspectives on the Japanese automotive brand Mazda were provided not only by students Leon Galuzzi, Niklas Künzler and Austin Reimann, whose design projects were presented in the first part of this feature, but also by Valentin Binder and Nina Kellermeier.

»My Ma«

With his »My Ma« concept, Valentin Binder took second place behind Leon Galuzzi in the cooperation. His kei-car  (note: Japanese subcompact car) he designed especially for students in future big cities, the budding car designer explains in the interview. To define the basic idea of his design project more precisely, he adds: »The car with minimal dimensions is intended to offer young adults a place of retreat and a space for personal development during their training or studies. Even now, many people living in big cities such as Tokyo have very little space available, even within their own four walls.« The basic aim of his project is therefore to combine mobility with private space. »The concept is therefore fully autonomous and is made available to users through an affordable and flexible subscription system. As Mazda radiates a consistently positive and friendly character for me and the concept is intended for young people, the car should also be shaped by these attributes.«

In terms of design, Binder decided to define the geometry of his concept vertically using two levels. »I have thus created a high, airy space with a constant footprint«, he sums it up. His goal of creating an interior that offers its users the opportunity to spend time together in the smallest of spaces was inspired by Verner Panton’s »Living Tower«.

Because the project was ultimately intended to serve as a second home in the big city, its exterior is also influenced by contemporary architecture. »I deliberately used geometric shapes such as the cylinder and combined them with a sculptural, soft body«, says Valentin Binder, who counts Oki Sato and his design studio Nendo among his great role models. »My Ma« was also influenced by her work. »Nendo’s projects are bursting with creativity. It’s typical Japanese product design, which always includes a small, funny twist and is so much fun. In addition, a certain imperfection gives the products and exhibitions the all-important charm that I believe a convincing project needs«, the design student sums up.

»Ma‘ Trail«

Nina Kellermeier already had the proportions of her project in mind after the kick-off presentation for the cooperation between Mazda and the Department of Design at the Munich University of Applied Sciences. She explains the starting point of her »Ma‘ Trail« concept as follows: »Due to the ever-increasing lack of space in cities as well as in the countryside, I opted for a single-seater«, says Kellermeier. She found inspiration in the iconic Mazda MX5, which embodies an incredible amount of dynamic driving fun in a compact, not overly powerful vehicle. »It was precisely this character that I wanted to retain and develop in my concept.«

However, the result was not a convertible or roadster, but an off-road vehicle for one person, which should make it possible to leave the stressful everyday life behind and explore nature in a special way without a large purse or extensive know-how. »Right from the start, I was aware that it would be a challenge to combine the typical (and in part technically necessary) rather aggressive off-road look  with the friendly character of Mazda with its flowing, sculptural lines. In addition, the topic of off-roading is usually very negative due to the destructive effects on nature, as well as the risk to one’s own health in the event of an accident. That’s why three requirements were particularly important to me: the safety of the driver, the affordability of the vehicle and the harmony between the driver, the vehicle and its environment through new technologies«, says the budding automotive designer, summarizing her project.

Because tires cause the most damage to nature when off-roading, she used parametric design to create lightweight, nature-friendly tires. Their concept is also equipped with cameras and lidar scanners to register important external influences and forward the information collected to the car’s artificial intelligence. This then generates an individual trail that allows the rider to concentrate fully on nature and active riding fun. »The vehicle is therefore designed like a slightly open shell, the field of vision is opened 180° around the driver like a visor, so that he can perceive smells, noises and the nature around him in the best possible way«, explains Kellermeier.

She develops new ideas and solutions primarily through excursions into other sectors. »However, it is important to maintain the right balance with the original character, the heartbeat of the brand, despite constantly striving for automation and renewal«, she concludes. She cites the French industrial designer Matali Crasset as a role model, in whom she greatly appreciates, among other things, the »almost childlike questioning of everyday things that are taken for granted« . [SW]

Bespoke Phantom »Inspired by Cinque Terre« is the name of the special model made exclusively for an – unnamed – client, which incorporated the essence of this idyllic landscape into its design. Even the vehicle’s exterior color, a deep, rich blue, is meant to evoke the waters of the Ligurian Mediterranean, accented by a hand-applied double coachline in Navy Blue and Jasmine. A subtle grape motif also adds another exceptional touch to the exterior design.

A motif that is also found in other elements of the vehicle, such as the elaborate inlay on the two integrated stainless steel picnic tables complete with gold-plated elements, or in the form of delicate vine branch embroidery on the rear doors. According to Rolls-Royce, the latter finishes, which can truly be described as works of art, consist of 9,215 stitches and were produced using two different techniques: The grapes were stitched in satin stitch, with the threads carefully aligned according to the angle at which the light hits the surface. This is to give each grape a natural hue and luster. For the vine leaf, in turn, the Bespoke team used a so-called Tatami stitch, which provides a textural contrast and enhances the tactile qualities of the embroidery.

Another embroidery masterpiece can be found on the Bespoke Starlight Headliner, which is decorated with a map of Italy embroidered in 14,338 individual stitches. Five luminous stars, precisely hand-positioned on the edge of the coastline, are meant to symbolize the picturesque villages of the Cinque Terre – Monterosso al Mare, Vernazza, Corniglia, Manarola and Riomaggiore. The completion of that embroidery work is said to have taken more than a month.

One of the other highlights is found in the expansive dashboard – also known as »The Gallery« – which features a specially commissioned artwork that likewise echoes the colors and architecture of the Cinque Terre villages. The composition was first digitally sketched, then hand-applied with water-based acrylic paint to achieve the finest possible detail before finally being covered with several coats of clear lacquer. Also, the elements of the painting were positioned in the Gallery so that the details of the artwork can easily be admired by all vehicle occupants.

The cost of this custom Rolls-Royce Bespoke Phantom »Inspired by Cinque Terre« was not communicated, but the model is said to have already taken its place in the – certainly illustrious – collection of the anonymous client. [RED]

Not just a new chapter, a completely new book is being opened with this vision vehicle, BMW announced at the presentation of the Vision Neue Klasse in Munich. And indeed – the almost monolithic vehicle body, the strong recesses at the front and rear, or even the large window areas show a new, very bold and especially also futuristic-elegant aesthetic – even if classic BMW characteristics such as the recessed greenhouse, the »Shark Nose«-style vehicle front protruding far forward or the »Hofmeister-Knick« are still retained or even more strikingly presented.

»On the one hand typical BMW and at the same time so progressive that it looks as if we have skipped a model generation», is how Adrian van Hooydonk, Head of BMW Group Design, whom Chapter met for an interview directly after the world premiere of the Vision Neue Klasse, describes it. We talked to him about the courage to seek out too much change in design, the role of AI in automotive design, and why designers need particularly fine antennae for future trends and developments.

(Note: The interview was conducted in German and translated into English)

Chapter  Today, we have witnessed perhaps the greatest transformation in BMW’s design and have been given a first glimpse of the future design language of all models. But to what extent are such design studies presented in advance also a kind of »provocation« – meant in the most positive sense, of course – in other words, a testing of reactions, for example, to evaluate whether consumers’ perceptual habits are already ready for new proportions or design approaches?

Adrian van Hooydonk  Well, we naturally try to take a little more freedom with a show car or vision vehicle than we have in series production. And for good reason, because that naturally stretches the perception of what a brand can or »may« do. But provocation wasn’t really in the foreground here, that wasn’t in the catalogue of goals, if you will. Of course, we also want to do a bit of testing and preparation, because the Neue Klasse will actually be implemented and there will actually be these big leaps in technology and in design. We believe that this is necessary because the times around us are simply changing so quickly and so strongly – and now we see the moment has come to take somewhat bigger steps, and also in the core of the brand. For example, we already designed an i3 and i8  almost 15 years ago, and they were also progressive, if you will. But those were more additions that happened on the fringes of our product line. Now, on the other hand, we’re talking about the core of the brand, not just a couple of products on the fringe, because we’re going to roll out the Neue Klasse across the entire product range. And we also deliberately chose a sedan for this vision car because it’s so typical of the BMW brand – when you show a sedan, that’s the best way to explain how big the changes would be or what kind of changes we’re aiming for. Those have been the goals – so not necessarily provocation, but already a bit of softening of what is understood or known as BMW and a preparation for what is to come.

Chapter  I remember a quote from you the last time we talked, namely that in the current time it would be a greater risk to look for too few changes in the design than perhaps to implement too much at times. Related to the Neue Klasse – are there specific elements where your design team may have deliberately »risked« a bit too much bold change?

Adrian van Hooydonk  So I still stand by that quote today. And as I mentioned, a concept or vision car is also allowed to exaggerate a bit, it doesn’t have to fulfill all the laws. But it is still too early to evaluate the reactions to this concept. We have already tried to pay attention to the initial feedback, but it will take a few days, maybe even weeks, before we can draw a conclusion. And yes, of course we know ourselves where we have perhaps deliberately exaggerated and where we will be a little different in series. And now, of course, we’ll know even better in a few weeks whether we’re on the right track.

Chapter  In the current print edition of Chapter, our author Prof. Lutz Fügener asks why automotive design has been inspired so little by the Bauhaus. Today’s look at the design language of the Neue Klasse  with its clear surfaces without beading, almost monolithic in appearance, brought this article to mind – one could almost speak of Bauhaus aesthetics in the design of the Vision Neue Klasse …

Adrian van Hooydonk  Well, thank you, of course we are honored by that, but of course everyone has to interpret that for themselves. But what we definitely wanted to do is a design that is very clean, because we believe that this naturally also has a modern effect, but it is also more durable, because we also want this generation of vehicles to run longer than the previous ones, which also makes sense in terms of sustainability. And at the same time, we are trying to simplify the design not only because we like the look of it, but also in order to have significantly fewer components, because a car today is already very small – both in the interior and in the exterior – and we are trying to counteract this here. And yet we want our customers, our fans, to clearly recognize a BMW as such, even if we use fewer means to do so: Among other things, very few lines – and that is perhaps something that is also similar to Bauhaus. Nevertheless, we don’t want it to look static, because of course it’s a product on four wheels that can move under its own power.

Chapter Now, a design team designs and plans several years in advance and therefore has to anticipate many future developments: How the market changes, society, culture, architecture and so on. Can you give us a little insight into the day-to-day work of the design team, how long do you have to look ahead and what market research data or other forecasting tools can you use for this?

Adrian van Hooydonk  So in 2023, we are currently working on products that will come to market in 2026/27. We have to decide or define them in the design this year, after all they will come out and then they will be on the market for about seven to eight years. In other words, we are already working on products that will still be on the market in 2033/34. And there is actually no market research on this. Of course, there are trend analyses that can be done, even in fashion, for example, but they don’t look that far ahead, maybe a year or so.

Chapter So is this anticipation that you’re talking about largely the talent of a designer?

Adrian van Hooydonk  I would say yes, or at least it should be part of the skillset that you need to have. Of course, with our design we try to anticipate things that are going to happen in society, and it’s often the case that these things are foreshadowed. If you have fine antennae, you already perceive them, even if they are not yet ubiquitous. So let’s say, you have to have these fine antennae, that’s helpful.

Chapter  Can you perhaps describe this in more detail using a current, concrete example?

Adrian van Hooydonk For example, the area of artificial intelligence – there is currently a lot of discussion and thought about this, and here it is of course also important for us not to chase after every hype, but to distill out of this multitude of developments what could really be relevant to us, for our product category and customers, and what could this lead to? Because many developments can of course lead to things that do not yet exist today, but which will be very normal in five years’ time. And here it is very important to anticipate this. That’s not always easy, of course, but I also often say that if you can imagine something, then these days you also have a very good chance that it will actually happen. And something else that helps us, I think, is our worldwide studios (ed. note: DesignWorks), in Shanghai, Los Angeles, Munich, England, because changes and the speed of those changes are quite different in different regions: The topic of digitalization is developing much faster in China than here, some things are already normal there that we haven’t even seen here yet. The issue of sustainability, on the other hand, is perhaps more of a European issue; Europe is very progressive in this respect, at least in terms of thinking. And then, of course, America is traditionally a country where there are actually no limits to change, »change is always good«… and so you can see a few new players coming in now that are definitely producing interesting things. In addition, you have to be creative, of course, and also design several scenarios, depending on how you think the world could develop, and try to create appropriate designs that can fit the respective scenarios. And then you discuss in the team, how likely is this or that scenario and how attractive do we find the solution based on it? And only then you go into the implementation and the deeper elaboration of the design. But, of course, it also has a lot to do with risk and taking a position. Because if you wait until you know exactly what’s going to happen, you’re usually too late. At some point you have to make some decisions and have the courage to say, we believe that this and that is right for the BMW brand, and that’s exactly how this vision vehicle came about.

Chapter  Because the topic of AI has come up, what role can artificial intelligence play in this forecasting process or in automotive design in general?

Adrian van Hooydonk  Well, I think human creativity is hard to top. Of course, in automotive design, many designers are already using AI as well. But ultimately, what does AI do? It siphons off the entire internet and then combines that with a few keywords that you’ve entered. And somehow the result seems new, but also strangely familiar. And that’s not surprising because it’s based on that suction of everything that’s already out there. So I would say that people, we designers, have all this in our heads as well, as a kind of database. And then there is the issue of creativity when we draw. And I always tell my designers that you shouldn’t always evaluate the result immediately, but just draw for a week and then at the end of the week think about what you’ve created – and then you’ll immediately recognize that this is new and that isn’t, that reminds you of something else that already existed. And well, AI may speed up this process, it can make 100 sketches overnight, but are they all good? No, you have to sort out a lot. So it’s still difficult to say where the development will lead, I think ultimately, the human being is still the decisive factor – first with AI, which parameters do you introduce, and then, secondly, in the decision-making process. I think this will never be automated, a computer will not be able to determine whether with this design you will be the winner. [CS]

It’s a dreary week for the members of the exclusive and, with a members’ fee starting at $18,000, not exactly well-heeled Pebble Beach Golf Course: Every year in mid-August, when Automotive Week and the Concours d’Elegance are held, the golf equipment has to stay at home in the family estate, because the world-famous dream course on California’s Pacific coast, between the no less idyllic towns of Carmel-by-the-Sea and Monterey, becomes an opulent stage for the most exclusive car brands and a playground for car lovers from all over the world.

Think big

It’s unusually warm this year for the famously temperate climate in Pebble Beach, California. A challenge for the many visitors strolling through the grounds in stylish but not exactly airy robes. And there is plenty to see, even on the days leading up to the final Concours d’Elegance, which regularly marks the grand finale of the event: Many of the leading automotive luxury brands, from Ferrari to Aston Martin to Maserati, have rented their own representative villas here to present themselves and their most exclusive models – including many world premieres. Mercedes-Benz did not miss the opportunity to build its own – there is no other way to put it – impressive presentation palace in order to raise the diverse brand experience to a new level. In addition to historical gems from a wide variety of eras, the »Mercedes-Benz Star Lounge« will also showcase the latest Mercedes-Maybach highlight models from the top-end luxury segment and present the in-house MANUFAKTUR customization program, which customers can use to put together their Mercedes according to their personal wishes and ideas and thus give it a personal touch. With the Vision One-Eleven and PROJECT MONDO G, innovative concept cars from the brand’s recent design study history can also be admired. The highlight, however, will certainly be the eagerly awaited world premiere of the Mercedes-AMG GT.

»At Pebble Beach Automotive Week, we would like to invite you on an epochal journey through time and show with selected icons of our brands why Mercedes-Benz has fascinated for 137 years. Among the international automotive platforms, this event enjoys an incomparable status for us«, says Bettina Fetzer, Head of Communications and Marketing Mercedes-Benz AG, explaining the significance of the event and the accompanying, truly impressive effort behind the brand’s presence on site.

World premiere

There is probably no more fitting setting and location for the new presentation of such a vehicle that fuses sportiness with comfort and audibly screams »road trip« than this dream setting located on the legendary California 1 Highway. The new AMG GT  is now the fifth vehicle developed entirely in-house by Mercedes-AMG. In its new edition, the AMG GT presents itself with a somewhat modified dimensional concept that ensures additional comfort compared to its predecessor (which, among other things, brings better all-round visibility and optional 2+2 seats), but still remains true to its sporty attitude: long wheelbase, short overhangs and steeply raked windshields give the new AMG GT a dynamic and at the same time powerful appearance.

The balanced proportions, the compact greenhouse with fastback silhouette and the enormously expressive front view are particularly impressive at first glance. Flowing surfaces without beads and edges, including recessed door handles, characterize the side view. The expressively designed rear shoulder area gives the vehicle its additional sports car appeal and completes the overall truly outstanding harmonious design – a true masterpiece of balance between elegance and sportiness.

Visions and works of art

By no means overshadowed by that world premiere, two absolute highlights of Mercedes-Benz’s recent creative history were showcased as eye-catchers in the »Mercedes-Benz Star Lounge«: the Mercedes-Benz Vision One-Eleven sports car study and the PROJECT MONDO G art project.

The Mercedes-Benz Vision One-Eleven , which was presented for the first time a few weeks ago, pays homage to the legendary C 111 experimental cars from the Sixties and Seventies. With its highly dynamic design language in one-bow design combined with a front design in iconic high-tech look, the sports car study is also proving to be an absolute eye-catcher and crowd puller at Pebble Beach, which is truly not lacking in automotive attractions.

The PROJECT MONDO G. artwork, presented at the beginning of 2023, was the result of a collaboration between Mercedes-Benz and Moncler and combines the characteristic features of the iconic G-Class off-roader with the style-defining Moncler puffer jacket. A play on the contrast between the angular design of the G-Class and the soft, flowing lines of the quilted textile.

Grande Finale

Every year, Monterey Car Week culminates in the Sunday highlight: the traditional Pebble Beach Concours d’Elegance, which is being held for the 72nd time this year, is a beauty contest for classic automobiles that awards prizes to the most outstanding models in a wide variety of categories. The jury decides according to a point system based on the criteria of originality, functionality and elegance.

The abundance of outstanding automotive gems on display this year on the immaculately manicured lawns of the Pebble Beach golf course is indeed overwhelming, and an illustration with even a slight claim to a representative selection would go beyond the scope here. (At this point we refer to the comprehensive picture gallery)

This year, there are once again over 200 breathtakingly beautiful cars from more than a dozen countries competing for the coveted class wins.

Every year, the international audience awaits with particular interest the decision as to which of the classic cars will take home the especially coveted »Best of Show« prize. Unsurprisingly, Mercedes-Benz, as the oldest automobile manufacturer in the world, is one of the most successful brands in the history of that honor, and so it seems like a perfect rounding-off of these impressive days that the Mercedes-Benz 540 K Special Roadster from 1937 (pictured below), of all things, wins the prestigious title of »Best of Show« at the Pebble Beach Concours d’Elegance 2023. An almost overly idyllic ending to this Swabian-Californian storybook story of several days, in the perfect parallel world of Pebble Beach. [CS]

How much can you leave out so that something still remains a well-rounded affair? Where do you have to start so that something still runs smoothly even if a little corner has been cut out beforehand? When are a few rough edges necessary to give something more charisma? All these questions and many more were discussed during the development of the new MINI design language »Charismatic Simplicity«. It is now being used in the interior design of the new MINI Cooper Electric for the first time. In an interview with Chapter, Oliver Heilmer, Head of Design at MINI, explained the meaning of the adjective »charismatic« for the brand as follows: »What I like about the term »charismatic« is that it is not judgmental in an aesthetic sense. Many people have an extreme amount of charisma through quite a lot of elements, and in this it is least of all the appearance, interestingly enough, it is rather the way one speaks, the way someone behaves. And that, we believe, is just as much more important to MINI.«

»Reduction without renunciation« – that’s how the new MINI design philosophy can be summed up in a nutshell, and it was first unveiled with the presentation of the MINI Concept Aceman, which already points the way forward for the new design language. Attention is focused on the essentials, allowing the essence – or rather: the charisma, the character – of the brand to come across more effectively. In order to implement the latter in the interior as well, the design team led by Oliver Heilmer focused on all the »round things« – both literally and metaphorically – that have always distinguished the brand: the steering wheel and the central instrument typical of the brand. In addition, the toggle switch bar has also been brought more into focus. The clever combination of traditional and brand-historically relevant design features with the latest digital technology is intended to ensure immersive driving experiences in the new MINI Cooper Electric in the future.

On a design level, bridges have been built to the classic MINI from 1959, but the new MINI Cooper Electric is equipped with a significantly smaller, as well as sportier steering wheel. The brand-typical central instrument retains its original position and, as a circular OLED display with touch function, becomes the digital interface between the human and the vehicle. The characteristic toggle switches also provide a classic, analog operating experience in the new all-electric MINI Cooper .

Creative scope

Reducing the interior design to the essentials created additional creative scope, which the MINI designers were able to use to develop new digital effects and intensify the interaction between driver and car. Among other things, with a newly developed welcome mode, with which the MINI Cooper Electric will greet its passengers in the future. A carefully coordinated interplay of light and sound, an animation on the round OLED display and a colorful projection is designed to create an immersive user experience that begins when the driver enters the car and continues throughout the journey. In this way, MINI aims to make an even more personal driving experience possible.

New worlds of sound

Since the individual character of a vehicle is conveyed not only through its look and feel, but also through its soundscape, MINI has also been busy in recent years giving the MINI Cooper Electric a suitable sound garb. »The new sounds are an elementary part of the digital experience and individually tailored to the character of the new models. They make an emotional contribution to passengers in the interior and shape acoustic perception in the exterior world. This also creates unmistakable, typical MINI recognition features at the acoustic level«, Oliver Heilmer explains.

A total of four driving sounds are available. These are designed not only to provide the driver with acoustic feedback on the acceleration process, but also to help emotionalize the driving experience. The driving sound »Core« is the only sound that can be perceived not only inside the vehicle but also outside as acoustic pedestrian protection. »Go Kart« is a driving sound for sporty driving, characterized by strongly pronounced pitch and load curves. Tradition and progress are combined in the MINI »Timeless« driving sound. Engine sounds of conventionally powered models from the classic Mini to the MINI John Cooper Works GP  were sampled and combined with a futuristic interpretation of the MINI »Core« driving sound to create an acoustic journey through time. The fourth sound world called »Balance« is based on those sounds that can be perceived in forests at different times of day and night.

Does everything sound like a pretty well-rounded affair? True. But one with a big dose of charisma. [SW]

]]> https://chapter.digital/en/new-minimalism/ Mon, 04 Sep 2023 11:48:59 +0000 https://chapter.digital/new-minimalism/ Like hardly any other manufacturer, MINI knows how to keep its finger on the pulse of times through constant transformation without, however, throwing its own history and tradition overboard. On its way to becoming an all-electric brand, MINI is now presenting two of its most important models in a new, pared-down design language that is more digitalized and customizable than ever.

Nothing less than a »reinvention of the original« has been announced by MINI in recent months – with the Concept Aceman concept car presented in July 2022, there was already a first glimpse of the future design language, the immersive digital experience and the new material concept that will shape all future model generations. On September 01 2023, the time had come and MINI presented its first two members of the new model family in the run-up to the IAA: the new all-electric MINI Cooper and the equally new MINI Countryman.

Both vehicles are united by the now electrified, but still brand-typical go-kart driving experience, comprehensive digitalization and the completely revised modern design, which aims to focus on the essentials. at MINI, »Charismatic Simplicity« is the name given to this new, very reduced design language, which repeatedly borrows from the original MINI by Alec Issigonis. It thus combines the traditional values of MINI with forward-looking innovations and the »MINImalistic« design approach.

Short overhangs as well as a long wheelbase and large wheels: the proportions of the new MINI Cooper and the Countryman – which is also significantly taller and longer than its predecessor – are more »typically MINI« than ever. The visual division into three parts in the vehicle body, the all-round window area and the contrasting roof also underscore the desire for the design to return to the traditional core values of MINI. Flush door handles, the absence of fender flares and side scuttles also emphasize the clear and modern overall impression. The defined shoulder area gives the new MINI models a decidedly athletic vehicle body.

Inside, the front-end design cites the minimalist design of the Classic Mini with a sleek and spacious dashboard. The central OLED display aims to set new standards with its particularly precise display – thanks to its high resolution – and contributes to the increased presence of the round instrument. The newly designed and equally reduced toggle bar with five switches is located directly below it, one of the few analog relics in the otherwise largely digitalized new model family.

Up to seven »Experience Modes« bring the interior to life optionally. Special light projections then extend the colors of the circular instrument across the entire dashboard, extending the overall experience of the user interface into the interior, while new customization options give customers the opportunity to add their own personal touch to the vehicle design.

The textile surfaces dominate the overall impression of the interior. A specially developed knitting process creates a special structure of the two-tone textile design, which, like the yarns for the seat, knitted surfaces, vehicle headliner and floor, comes from recycled materials. In this way, the new MINI family also clearly wants to signal the brand’s responsible attitude and shows that an innovative sustainable material concept and an emission-free drive are in no way at odds with comfort and premium mobility. Sir Alec Issigonis, known to be a visionary when it comes to resource conservation and energy efficiency in harmony with the greatest possible driving pleasure, would probably be quite pleased and might even have implemented the current reinvention of the original in exactly the same way. [RED]

This much in advance: With the eleventh generation of the series, Mercedes has once again succeeded in raising its classic business sedan to a new level. With its usual harmonious proportions and the brand design philosophy of »sensual clarity«, which is based on simple elegance and is intended to define the design principles of all models of the Mercedes-Benz Group, the new E-Class inspires at first glance. Designed in the classic three-box sedan style, a short front overhang and the long engine hood are followed by the passenger cabin, which is set far back. This »cab-backward« design is rounded off by the balanced rear overhang. A visually pleasing, well-proportioned car whose harmonious design is particularly effective in the side view. In addition, however, the two separate character lines on the side give the vehicle a clear sporty, dynamic note.

The design of the new E-Class also unites the tradition of a classic with the innovation of (more) avant-garde models from the electrified Mercedes EQ series: black panel-like surfaces connect the radiator grille with the headlights, for example, a visual reference to the EQ series. The three-dimensionally designed radiator grille has a progressive or classic design depending on the equipment line, LED high-performance headlights are standard, while »Digital Light« will be available as an optional extra with or without a projection function. In any case, all headlight variants impress with an expressive daytime as well as nighttime light design. As a special accent at the rear, the two-part LED lights not only feature a new contour but also a thoroughly eye-catching star design – you may like it, but you don’t have to.

In terms of interior design, the immense MBUX Superscreen naturally dominates the look and forms the center of the interactive digital experience. If the E-Class is equipped with the optional passenger screen, the large glass surface of the MBUX Superscreen extends to the central display. Visually detached from that, you can find the additional driver display in the driver field of vision. The models without passenger display have a large trim panel that extends to the center. Visually detached, the central display appears to float above the concave surface of this trim part.

The front section of the instrument panel is illuminated by the so-called ambient lighting, which is already known from other models. In a large arc, it leads from the windshield past the A-pillars into the doors, creating a spacious feeling on the one hand and offering drivers and passengers the increasingly important option of customizing the vehicle on the other. Depending on the mood and situation, from relaxing, muted tones to the funky flashing »disco mode« called »sound visualization«.

What the visuals promise is then also delivered by the truly impressive range of entertainment, comfort and driving assistance features: digital innovations everywhere you look, from the digital vehicle key to the installation of third-party apps (enabling, among other things, video streaming on the passenger display, participation in video conferences and much more). Diverse and in some cases very unusual programs for the well-being of the occupants (»anti-sickness program«) or AI learning, which learns the occupants’ routines and then automates them, as well as numerous new or further developed driver assistance systems make the new E-Class even more comfortable and intelligent in an impressive way, and it really does reach a new level of digitalization, personalization and interaction.

And since editors of a design magazine also like to glide comfortably over – in this case eastern Austrian – country roads and enjoy the agile handling, we would also like to make brief reference to the following: We experienced the new E-Class as a floating comfort suite with not only excellent, precise handling, stable straight-line stability, but above all sensitively responsive suspension, even on bumpy terrain. Suspension subframe (front) and axle carrier (rear) noticeably and efficiently decouple chassis and body from vibrations and noise. There are six engine variants, half of which are plug-in hybrids with a range of around 100 kilometers.

When you’ve reached your peak, you should stop, they say. And reportedly, the eleventh generation E-Class now on display will also be the last of its kind on an internal combustion engine platform – the all-electric EQE will take over in the future. »Say goodbye quietly«, legendary Viennese entertainer Peter Alexander sang in one of his best-known hits. Possibly not at all unfitting then, that of all places, it was the Austrian capital where this iconic sedan was able to shine in impressive fashion once again. [CS]

On the initiative of French racing driver and art lover Hervé Poulain, BMW launched the »Art Cars« series in 1975. Together with the then BMW Motorsport boss Jochen Neerpasch, Poulain asked his artist friend Alexander Calder to paint a car. This was the birth of the BMW Art Car Collection. Since then, the most renowned artists of their time have always been won over for this extraordinary art project.

Julie Mehretu designs the 20th BMW Art Car, 2023.

Mobility and art

»Julie Mehretu is the perfect artist for the early 21st century. Merging her work with the shape of a speeding vehicle borders on perfection«, said jury member and Pritzker Director of the Museum of Contemporary Art Chicago Madeleine Grynsztejn about the choice.

In her large-format works, in which she creates an unconventional link between painting and drawing, Mehretu deals with the symbolism of mobility and dynamics – from early geological history to the social conditions of the present day. »I have loved cars all my life, as toys, as objects, as possibilities«, says the artist.

Julie Mehretu has received numerous awards for her work, including the MacArthur Award and the U.S. Department of State Medal of Arts Award. Her work has been exhibited at LACMA (Los Angeles), the High Museum (Atlanta), the Whitney Museum of American Art (New York) and the Walker Museum of Art (Minneapolis), among others. Julie Mehretu has been a member of the American Academy of Arts and Sciences and the National Academy of Design since 2021. Julie Mehretu is represented worldwide by the Marian Goodman Gallery and also exhibits at White Cube, London, and Carlier Gebauer, Berlin.

Julie Mehretu
See Gold, Cry Black, 2019
Ink and acrylic on canvas
243.8 x 304.8 cm

Art and motorsport

Julie Mehretu has been dealing with the aspect of speed and questions of scale for years, says Madeleine Grynsztejn, explaining the unanimous choice of an international jury of museum directors and curators. She would therefore have the perfect prerequisites for creating a »rolling sculpture« that can be grasped from a distance, »because you have to look at many of her large commissioned works from a distance to really understand them. It fits perfectly with the BMW Art Car, as it has a special understanding of space and speed.«

Or as Okwui Enwezor, former director of Haus der Kunst, Munich, put it: »Julie Mehretu’s work encompasses various questions of movement, she brings dynamism into form.«

BMW M Hybrid V8 – serves Julie Mehretu as a »canvas« for the 20th BMW Art Car.

Like her famous predecessors – from Andy Warhol to Jenny Holzer, David Hockney and Jeff Koons – who were able to freely implement their authoritative artistic positions and immortalize their individual handwriting, Mehretu also maintains comprehensive creative freedom in the design of the 20th BMW Art Car – »as long as it makes the car even faster«, as Timo Resch, Vice President Sales and Marketing, explains. BMW M, added with a laugh at yesterday’s announcement at the Solomon R. Guggenheim Museum in New York.

In keeping with the almost 50-year tradition, this year’s 20th BMW Art Car, designed by Mehretu, will also compete in the 24 Hours of Le Mans after its completion in June 2024. »The thrill of speed, the 24 Hours of Le Mans and the innovative possibilities of hybrid and fully electric vehicles to open up and explore completely new terrains of mobility and motorsport in the future«, is how Julie Mehretu describes her anticipation of this special aspect of the collaboration.

Julie Mehretu, Rolex 24, DAYTONA, 2023

Multifaceted concept

With their collaboration, Mehretu and BMW are creating a concept that goes beyond a car. Together with Mehret Mandefro – Emmy-nominated producer, author and co-founder of the Realness Institutewhich is committed to strengthening the media ecosystem in Africa – the artist with Ethiopian roots will organize workshops in eight African cities over the course of nine months, creating a forum for artists to meet, exchange and collaborate on a translocal level. The results of the workshops will be presented together with the 20th BMW Art Car at the Zeitz Museum of Contemporary Art Africa in Cape Town. [Red .]

Julie Mehretu
Haka (and Riot), 2019
Ink and acrylic on canvas
365.8 x 457.2 cm

All info on the new BMW i7 can be found in the Chapter CONTRIBUTION on the launch of the new 7 Series.

video Production: Clemens Steinmüller | Videography: David Rose | Edit and Sound: soju.studio

© Chapter TV 2022 | Executive Producers: Dzenana Mujadzic, Clemens Steinmüller

SUBSCRIBE TO »CHAPTER TV« ON YOUTUBE and don’t miss out on new episodes.

Chapter Talks – Design | Episode 28 | Host Timo Schmitt | Production Miri Marijanovic, Clemens Steinmüller | Music XTMPLX – »Mind Control«

»To draw a Porsche 911, you really only need two strokes«, former Porsche designer Tony Hatter said in an interview a few years ago. In the fall of 2020, he ended his career at Style Porsche after a total of 34 years. If you replace the word »strokes« with »lines«, it quickly becomes clear what the designer is alluding to. The classic lines of the 911 rise briefly and then fall long and gently again. These lines, which are as characteristic as they are clear, ensure that the Porsche 911 is still recognizable as such at first glance today. This view is also shared by Peter Varga, Director Exterior Design at Porsche: »The 911 thrives on its unique design language. The silhouette alone speaks for itself: everyone immediately recognizes the 911 on the basis of its ingeniously drawn silhouette line.« Tidiness, as Porsche’s chief exterior designer calls the purist appearance of the entire 911 model series, lightness, and suitability for everyday use are at the top of the list of priorities.

The silhouette of the 911, as we still know it today with minor variations, was the work of Ferdinand Alexander Porsche. He joined Porsche in 1958 after dropping out of his studies at the Hochschule für Gestaltung in Ulm. The 911, which at that time still went by the name 901, was created from his sketches. It was presented at the IAA in Frankfurt in September 1963. However, the design idea of equipping the car with the now iconic sloping rear goes back much further – namely to the VW Beetle, from which Ferdinand Porsche developed the 356 – the sports car that started the brand history of the car manufacturer in Gmünd, Austria. This tradition also resulted in the commitment to rear-wheel drive that continues to this day, which in turn influenced the typical »friendly« facial expression of the 911. The Porsche 911 does not have the aggressive-looking radiator grille that is often found on sports cars. The round headlights also contribute to the fact that a friendly expression is readily attributed to the front of the car.

Since then, the Porsche 911 has been very carefully modified from one generation to the next. Always with an eye to not interfere too much with the characteristic silhouette. Overall, the cars always became a little longer and also a little wider. »From my point of view, the 911 has been given better and better proportions over the years«, Peter Varga explains at the presentation of the eighth generation. »We have continued this development by widening the front and rear of the new generation. In this way, we want to make the 911 even crisper, sportier and more pithy. The fact that the front end has now become wider does the 911 very well in general.« As a designer, he explains, the rear end is the most exciting area for him because of the aerodynamics: »The 911 needs a lot of downforce on the rear axle; at the same time, the goal was to further improve the Cw value. These requirements – combined with the sloping roofline – were a very big challenge that we dealt with intensively.« [SW]

CHAPTER TALKS – DESIGN | EPISODE 25 | HOST TIMO SCHMITT | PRODUCTION MIRI MARIJANOVIC, DZENANA MUJADZIC, CLEMENS STEINMÜLLER | MUSIC XTMPLX – »MIND CONTROL«

Chapter Talks – Design | Episode 24 | Host Timo Schmitt | Production Miri Marijanovic, Dzenana Mujadzic, Clemens Steinmüller | Music XTMPLX – “Mind Control”

Chapter Talks – Design | Episode 22 | Host Timo Schmitt | Production Dzenana Mujadzic, Clemens Steinmüller | Music XTMPLX – »Mind Control«

Chapter Talks | Episode 17 | Host Timo Schmitt | Production Dzenana Mujadzic, Clemens Steinmüller | Music XTMPLX – “Mind Control”

Chapter Talks | Episode 16 | Host Timo Schmitt | Production Clemens Steinmüller, Dzenana Mujadzic | Music XTMPLX – “Mind Control”

Chapter Talks | Episode 14 | Host Timo Schmitt | Editors-in-chief Dzenana Mujadzic, Clemens Steinmüller | Music XTMPLX – “Mind Control”

CHAPTER TALKS | EPISODE 12 | HOST TIMO SCHMITT | EDITING AND PRODUCTION DZENANA MUJADZIC CLEMENS STEINMÜLLER | MUSIC XTMPLX “MIND CONTROL”

One look at the ceiling-high shelf at the side of the dining table reveals why Jo Stenuit, Design Director of Mazda Motor Europe, calls himself a collector. It contains countless vases in various shades of red, many of them flea market finds or souvenirs from abroad. However, the Belgian-born designer’s passion for collecting is not only focused on colorful clay vessels – old and new objects with different functions, all of them carefully selected and placed, are lined up in the designer’s home. He is particularly proud of his Braun record player – by design legend Dieter Rams. As with the interior of a car, he tries to combine a sense of well-being and functionality in his home. »I firmly believe that you can have that special feeling of coming home even when you get into a car. At Mazda, we try to create that primarily through reduction, a clear design language and the choice of materials«, the designer explains. These three parameters also seem to apply to Jo Stenuit’s interior design style. In addition, Mazda’s focus on carefully manufactured craftsmanship is reflected in the choice of furniture and decorative elements.

© CHAPTER TV 2021 | a film by david fischer | assistance jasmin VALCarcel | post production michael titze | interview sarah wetzlmayr

Subscribe to »CHAPTER TV« ON YOUTUBE TO NEVER MISS A NEW SEQUENCE!

CHAPTER TALKS | EPISODE 06 | HOST TIMO SCHMITT | EDITING AND PRODUCTION DZENANA MUJADZIC, CLEMENS STEINMÜLLER | MUSIC XTMPLX “MIND CONTROL”