Sustainability is, of course, a term that’s quickly stated. More difficult is the daily work behind it: decisions about materials, supply chains, energy sources, and production processes. Especially in the automotive industry, this reveals whether a commitment goes beyond communication. Polestar is trying to make this level visible. The Swedish electric car manufacturer doesn’t just talk about goals but discloses where emissions can actually be reduced.

In the Polestar design studio, which opened in 2023, sustainability is a fundamental part of the creative development process.

Growth and climate impact should be decoupled from each other, explains CEO Michael Lohscheller. »If you don’t reduce emissions while growing, you’re consciously deciding against it. Electrification offers customers clear added value: lower operating costs, reduced emissions, and greater safety—while volatile crude oil prices and fuel scarcity are increasingly replacing range anxiety with pump anxiety. With the availability of clean energy, electric vehicles are becoming not only the sustainable choice but also the smarter and more reliable one.«

The design studio in Gothenburg is Polestar’s creative home and the place where the brand’s future models are created. Designers work closely here with the engineering and sustainability departments.

While Polestar has been very focused on numbers since the brand’s founding, it’s not exclusively on seconds, kilowatts, and newton-meters, but also on CO₂ emissions. »Our focus on performance doesn’t end with acceleration or charging speed. It equally encompasses performance in the context of sustainability. And in this regard, I’m pleased to say that we’re well positioned,« Lohscheller sums it up.

Translated into concrete numbers, this means: Since 2020, Europe’s only pure EV manufacturer has reduced its greenhouse gas emissions per vehicle sold by 31%, while annual sales simultaneously rose to over 60,000 vehicles. The reduction primarily results from Polestar’s focus since 2020 on increased use of renewable energy in battery production and manufacturing, as well as on the use of low-carbon materials. Last year, the increased production of the Polestar 4, the brand’s lowest-emission model to date, contributed significantly.

With the design studio and the Mission 0 House, Polestar has two central locations in Gothenburg for design and sustainability research.

The Swedish manufacturer’s stated goal is to develop a completely climate-neutral vehicle by 2035. Polestar 0 Project  is the title of this ambitious endeavor, where zero doesn’t function as some kind of code word but actually means zero. To achieve climate neutrality, however, methods and production processes must first be developed that make it possible to manufacture every single part in the vehicle completely emission-free. Because this can’t be done alone, but only through the skillful pooling of knowledge, the Gothenburg-based automaker has started collaborations with companies whose goals point in the same direction. »The Polestar 0 Project  holds immense potential. While large parts of the industry are investing in hybrid and combustion technologies, we’re focusing on solutions that completely avoid emissions. The innovations from this project demonstrate the power of collaboration and materials science—and how well positioned we are to drive the industry forward,« says Fredrika Klarén, Head of Sustainability at Polestar.

With the Polestar 4 SUV introduced in 2026, Polestar is expanding its model range—in line with its commitment to increasingly anchor sustainability in development and design.

Since 2025, Polestar’s climate research has been conducted at the Mission 0 House  in Gothenburg, officially founded in 2025, where industry and science collaborate to eliminate emissions from particularly emission-intensive materials, products, and processes. Current collaboration includes five Swedish universities and six companies jointly researching and working on different solution approaches. Currently, the focus is on a large-scale pilot project for low-emission steel, research on battery materials, and the development of bio-based textile alternatives. Additionally, work is being done on technologies that could make it possible in the future to convert CO2 into new materials.

All these measures show that climate neutrality begins less with a single technological breakthrough than with a multitude of decisions consistently pursued over years. Ambitious or utopian? For Michael Lohscheller, the answer is clear: »Our aspiration is simple: to build the most sustainable vehicles in the world without compromising on performance or design.« [SW]

Originally, automobiles were primarily technical artifacts where form followed function. Over time, however, the formal level increasingly moved into the foreground, and design became the central instrument through which brands make their identity visible. This changed not only the meaning and field of activity for automotive designers but also the influence that design philosophies exert on the strategic direction of major manufacturers. But what role does history play when it comes to further developing the identity of major brands? When must established frameworks and forms be broken? And how thin is the line between icon and dogma really? Many questions meet one irrefutable fact: It is still the front of a vehicle that tells the most about a brand’s identity. In short: the brand face.

What would a Porsche 911 be without its typical front? An intervention that the loyal community of the Stuttgart-based sports car manufacturer would almost certainly perceive as an absolute affront? A loss of face in both senses of the word? »Nothing is untouchable,« Porsche design chief Michael Mauer said a few months ago in a conversation with Chapter. But if everything is vulnerable, can a brand like Porsche — during major evolutionary leaps — still remain tangible in the same way? What is certain is that the design of a vehicle, especially the exterior design, contributes significantly to brand identity — presumably even making up the largest part of the DNA. Because even when performance or technical innovation are in the foreground, the associated factors will always be reflected in the design language. This means: When an automotive designer like Michael Mauer puts pen to paper, the result will most likely always be something that establishes identity. But what if the headlights he sketches with quick, practiced hand movements were suddenly no longer round but square? Even if the roofline still featured the sloping appearance typical of the Porsche 911, it could happen that the vehicle would no longer be immediately recognizable as exactly that when glancing in the rearview mirror. But that is precisely what it is about when a strong brand identity is to be created through certain design features.

The round headlights are one of the defining design features that contribute to the unmistakable identity of the
Porsche 911 — as seen here on the Porsche 911 GT3 Touring.

Chief Creative Officer Massimo Frascella is opening a completely new chapter at Audi. His design philosophy is based on the aspects of »clarity, technology, emotion, and intelligence.« The Audi Concept C was the first tangible manifestation of his concept.

The front of a vehicle plays the most elementary role, as design professor Sam Livingstone is also convinced. Brands like Porsche or BMW have understood that the front is the best place to position trademarks that are as simple as they are strong, says Livingstone, who, in addition to his work as a Visiting Professor at the Royal College of Art, also co-founded the agency »Car Design Research,« which operates at the interface between design, product, and brand. »The front fascia of the car — the shape of the grille and the headlamp or the combination thereof — is in many respects the face of the car. It is what you typically see most and think of most when you think of a vehicle,« he attests in an interview with Chapter.

ICON OR DOGMA?

When it comes to the front as an immediate recognition feature of a brand, the double kidney grille typical of BMW must also be mentioned. For over 90 years, almost every vehicle from the Bavarian manufacturer — whether a concept car or a production model — has been equipped with the two-part, rounded radiator grille. However, the BMW kidney grille did not always look the same but went through various evolutionary and developmental stages. For example, the narrow kidneys of the BMW 1500 heralded a turning point. For the first time, they were connected, slightly narrower than on all previous models, and placed between two horizontal grilles. With its arrangement of primary and secondary air grilles, this ensemble formed the blueprint for the front design of BMW core models until the 1980s.

With the front design of the all-electric BMW i3, which came onto the market in 2013, the original technical function of the BMW kidneys receded completely behind their aesthetic one. The decision was made to equip the flat, relatively wide double kidney with closed surfaces and blue accents to identify the vehicle not only as a BMW but also as an innovative electric car. With the two vehicles presented in 2019, the BMW X7 and the BMW 7 Series, the kidneys became significantly larger, more striking, and more present. The electric BMW i7, first introduced in 2022, is in no way inferior to those two models in terms of presence and conspicuousness, yet the double kidney had largely lost its original function as an open cooling air intake and now served primarily as a signature design element. On the i7, the shape of the kidney can even be further emphasized by an illuminated contour.

For over 90 years, almost every BMW — whether a concept car or a production model — has been recognizable by the brand-typical kidney grille. Those of the Neue Klasse model BMW 1500 (1961) were connected for the first time, even narrower than on all previous BMW models, and placed between two horizontal grilles.

With the Neue Klasse introduced in 2025, the most important design feature of the German manufacturer — alongside the Hofmeister kink — is now undergoing a reassessment. Previous vision vehicles already showed that the front will look slightly different in the future: more restrained, clearer, and — as the vertically aligned kidneys of the first Neue Klasse production model BMW iX3 presented in September of this year make clear — clearly referencing the brand’s history.
This corresponds to the German manufacturer’s fundamental stance of appearing somewhat more unobtrusive in design in the future. And in doing so, exposing the brand core in an even clearer way, as design chief Adrian van Hooydonk emphasizes. However, sticking to the form at a time when the function of the double kidney as a cooling opening has long since become obsolete also meets with criticism. As automotive designer and visionary creator Daniel Simon explains in an interview with Chapter, maintaining this form is an implicit prevention of radical new beginnings — an abstraction of the origin to the point of absurdity. »References are important. But it troubles me how much history we have to live with. The design library and the amount of unspoken requirements are already enormous,« says Simon. Mass manufacturers are inevitably committed to the past, and only a few manufacturers, such as the supercar manufacturer Koenigsegg, are exempt from this obligation, he adds. The design of major brands therefore always carries the baggage of the past with it.

So does it happen that dogmas are transfigured into iconic features and design elements that seem essential for the brand turn out to be baggage accumulated over the course of history? Is the front of the Porsche 911 not a well-rounded thing in both senses of the word, but a dogma disguised as an icon? Sam Livingstone waves it off and puts things into perspective: »Clearly, for any brand to lose everything that it stood for is essentially nonsensical, whilst to keep everything exactly the same is also nonsensical.« He shares the view that nothing should be untouchable with Michael Mauer. The question is to what extent changes take place. »The fundamental process of creating something new is to disturb something which is old,« says Livingstone, who has already worked with numerous brands when it came to finding out which design path they would like to take in the future.

For Sam Livingstone, the following insight is often missing in the discussion about automotive design: »That the semantic delivery of meaning through design is a massively important factor. But I think there’s another one which many people in the field fail to recognize, which is that it also performs a role to signify the brand.«
The automotive design strategist is convinced that design has the role of a signifier — that is, the design expression of a deeper meaning. Therefore, in the opinion of the expert and consultant, it would also be nonsensical to tinker with it too much. However, this does not mean that trademarks must be unchangeable and rigid — as if they were made of a material that cannot be deformed under any circumstances. Movement must be possible as long as the underlying level of meaning is not distorted, blurred, or shifted. Applied to BMW, this means: The two-part division of the radiator grille, deeply anchored in history, remains. Within this framework, which can be both expanded and reduced, Adrian van Hooydonk and his team have numerous creative possibilities to explore it sufficiently — without breaking it and risking the loss of the brand face.

BRITISH DESIGN ICONS

Marek Reichman, Chief Creative Officer at the British sports car manufacturer Aston Martin, has a similar perspective. In a conversation with Chapter, he emphasizes: »The design elements that are part of Aston Martin’s identity give my team a strong foundation on which to envision an exciting future. It informs our creative process but does not define it. We have tremendous freedom in what we do.« He identifies the elegant radiator grille as one of the most brand-defining design elements, which, as he points out, still fulfills the same function as at the beginning of the brand’s history — »to provide exceptional cooling performance.« However, the size and shape of the element, which is anything but aggressive, change slightly with each generation, Reichman notes. »The most significant change occurred in the post-Second World War era when company engineers intelligently combined three radiators into one connected system.«

For Marek Reichman, Chief Creative Officer at the British sports car manufacturer Aston Martin, the Side Strake is considered one of the brand’s identity-establishing features. The element is particularly iconic on the legendary DB5: »That sports car is an exemplar of Aston Martin design beauty and simplicity. The Side Strake never fails to catch the eye on such an impressively fluid and clean form.«

As a second identity-establishing feature, the British-born designer mentions the Side Strake, which was designed in the early 1950s as a reinforcement strut made of lightweight aluminum in which an opening could be made large enough to meet the cooling requirements of the vehicles. Since then, there have been a number of brands that have tried to copy the Side Strake as a pure design element, the designer says. The element is particularly iconic on the legendary DB5, Reichman adds. »That sports car is an exemplar of Aston Martin design beauty and simplicity. The Side Strake never fails to catch the eye on such an impressively fluid and clean form.« For all design elements developed or further developed at Aston Martin, however, it is always about improving performance. In this context, the automotive designer mentions the two supercars Valkyrie and Valhalla. He does not find any of the brand-defining elements limiting. »I see the design elements carefully developed throughout the rich history of Aston Martin as the most tantalising ingredients imaginable, to include in the design ›recipes‹ of the new sports and luxury cars we create. They provide a framework of opportunities — far from being limitations. Together, they create recognition and my job is to evolve them. The historic DB5 and the all-new Valhalla are light years apart both literally and philosophically, yet the blend of fundamental Aston Martin design elements applied in the right way makes their lineage undeniable.« It is also undeniable that vehicles from the English luxury car manufacturer Rolls-Royce are recognizable at first glance as belonging to the brand. The most important identity component of all models manufactured in Goodwood is the Pantheon Grille, which with its vertical slats is reminiscent of the architecture of Greek temples. »Among the elements we consider unchangeable are also the Spirit of Ecstasy, which adorns every hood, and the Badge of Honour with the double ›R‹,« explains Domagoj Dukec, Director of Design at Rolls-Royce since 2024. Every vehicle is also defined by its proportions, he adds — the 2:1 ratio between wheel and body height has shaped the brand’s silhouette since the first Silver Ghost introduced in 1907. He also mentions the three most important lines — the waft line, the waistline, and the silhouette.

Indispensable identity components of the English luxury car manufacturer Rolls-Royce: The iconic »Spirit of Ecstasy,« which adorns every hood, and the Pantheon Grille, which with its vertical slats is reminiscent of the architecture of Greek temples.

Black Badge is the subversive alter ego of Rolls-Royce introduced in 2016. »Black Badge stands for the bolder expression of our design philosophy. A contemporary reinterpretation that has not only become part of our identity but has also attracted a new, younger audience,« says Domagoj Dukec, Director of Design at Rolls-Royce since 2024.

While at Aston Martin much revolves around performance, at Rolls-Royce elegance and timelessness are at the center. »These are vehicles that stay in families for generations. That’s why it’s essential for us that they are still recognized as cars from Rolls-Royce decades later,« Domagoj Dukec notes in a conversation with Chapter. However, this does not mean that there is no room for reinterpretations. Dukec alludes to Black Badge — the brand’s subversive alter ego introduced in 2016. The central elements remain the same, but the dominant black color contributes to a different, somewhat bolder appearance. »It was an unexpected but convincing statement, and exactly this creative tension makes Black Badge so effective. Today, Black Badge stands for the bolder expression of our design philosophy. A contemporary reinterpretation that has not only become part of our identity but has also attracted a new, younger audience,« Dukec sums it up.

RADICAL NEW BEGINNING

The Ingolstadt-based car manufacturer Audi is currently opening a completely new chapter in terms of design. This also includes a new design philosophy which, according to Chief Creative Officer Massimo Frascella, is based on four aspects. »We have established four key principles, which are: clarity, technology, emotion, and intelligence. These elements must be present in every development step we take in design.« However, the brand credo »Vorsprung durch Technik,« known far beyond the borders of Germany, is not being discarded but integrated into the new design philosophy that Audi wants to span not only over the coming models but over the entire brand. »The Radical Next« was the claim with which Frascella introduced the new direction and the Audi Concept C, the first tangible manifestation of his philosophy. The concept vehicle is »a confident reinterpretation of the brand identity. The study shows a clear, sculptural presence, as if the vehicle were made from a single piece of metal — free from distractions, determined by tension and pure form.«

»I guess the radical next has a time frame on it. You can only be the radical next thing for a short while,« Sam Livingstone judges. He attaches significantly more importance to the four pillars that Massimo Frascella recently presented than to the short credo. Overall, it can also be observed that design philosophies are currently much more elaborate and profound than in the past decade, says Livingstone. If you rewind to the very beginning, cars were technical artifacts, he adds. The importance of form initially played hardly any role. »And then progressively the role of design was both made evident and recognized. And to some degree the importance of it has just continued,« the Briton sums it up and adds: »I think that J Mays, the Chief Creative Officer of Ford, was one of the first people with that title in the business.«
Mays left Ford in 2013. Since then, much has changed, not only at the American brand, when it comes to recognizing and using design philosophies as central brand-building blocks. »At the moment design philosophies are maturing beyond just some slightly pretty words to describe a sense of form language to ones which seem to connect to a wider purpose and also a bit more to the brand.«

It also fits that Chief Creative Officers, such as Massimo Frascella at Audi or Marek Reichman at Aston Martin, are responsible for much more than just the design of production vehicles or concept cars. They are not exclusively automotive designers but brand creators. This means that their field of activity is many times larger and more differentiated than was previously the case. Sam Livingstone sees a great opportunity in this: »For Massimo and for other Chief Creative Officers to be able to not just affect the styling and the appearance of the interior, but the entire behavior of the vehicle and the wider ways in which the brand is disseminated, is a really strong and important thing.« Porsche design chief Michael Mauer also appreciates the additional creative freedom. In an interview with Chapter, he notes: »Sometimes I wish for the old days back because we could concentrate much more on our core competencies then. On the other hand, I find it incredibly exciting that we designers are increasingly involved in the design of the entire brand image. As a result, the importance of design as a whole has also changed a lot. In leadership positions, you are suddenly part of the entire corporate direction.«

Of course, the round headlights of the Porsche 911, the double kidney at BMW, the Side Strake from Aston Martin, and the Pantheon Grille from Goodwood are not the only design features that have co-shaped the brand identity in such a decisive way. Many more could be listed, for example, the wedge shape of Lamborghini sports cars, which is spectacularly expressed in the Countach originally designed by Studio Bertone. »There are works of art that always remain contemporary, and the shape of the Countach is one of them. From the stylistic viewpoint, it is a perfect inspiration because even if we modify the rest, it takes form as an element of visual continuity between past and present. It is the summa of the DNA of all of Lamborghini’s design, the tradition of the stylistic language from the origins up until the present day,« says Lamborghini design chief Mitja Borkert about the iconic vehicle.

Incidentally, Sam Livingstone only uses the word »iconic« in exceptional cases. It is »heavily overused,« according to him. »I do wince slightly when I hear design directors or brands talk about something being iconic, when clearly iconic really is a judgement made over time by an audience, by the consumer, by the user, the customer and the market. You cannot legitimately tell people that something you have made is iconic. You might talk about the iconic kidney grilles of BMW or about the iconic grille of a Rolls-Royce. And maybe you talk about the iconic lights of a Porsche, but let’s be frank — the lights on the Porsche were exactly the same as the lights on every other car. It’s just that Porsche was unusual in not changing them very much.«

FIRST PUBLISHED IN CHAPTER №XIII »IDENTITY« — WINTER 2025/26

Identity is a productive force. In crowded markets, every product has its competitors, and the battle for the attention of potential customers is fundamental. The first goal is always perception; the second is a positive perception of the brand and its products. The tools for this are well known, and the most prominent among them is design. A proven method — yet rarely the most popular one. For senior managers, the relationship with design is often deeply ambivalent, because the results of this cauldron, operating according to its own rules, can neither be reliably evaluated nor calculated in advance. For a CEO with an engineering background — shaped by a world of precisely measurable values — it can certainly trigger traumatic states to be so fatefully dependent on the work of more or less eccentric designers when making billion-dollar decisions.

Lucky are those who can rely on other, ideally exclusive, instruments to achieve distinctiveness and visibility for their products. Tesla, the world’s most valuable car manufacturer by market capitalization, is one of these exceptions. The identity of products with the stylized »T« on the hood rests on at least several pillars. Design is one of them, but probably not the most important. The design of Teslas does not polarize; it is fine — good craftsmanship, nothing more, nothing less. The exception, of course, is the Cybertruck. It seems to exist to defend the honor of Tesla’s design department, proving that it can design disruptively, right up to the pain threshold if necessary — a matter of honor for designers. However, Tesla’s identity is based more on the narrative of the American Dream, the saga of the intrepid adventurer and resourceful entrepreneur. In the recent pioneering period of electric mobility, the products carried the aura of innovation and forward thinking. The spirit of Silicon Valley  to take home. Because once you are in it, you are part of it. Future technology, innovation, entrepreneurial success, non-conformity, and the guarantee of being on the right side when it comes to climate protection — a booster for one’s own identity and well worth the money. And as a bonus, owning a Tesla relieved its users of the suspicion of having fallen victim to a clever marketing campaign, because design is often perceived as an accomplice to manipulative marketing. Admittedly — not entirely unjustified.

Introduced as a concept car in 1971, the Lamborghini Countach went into production in 1974, writing a new chapter in automotive history: the pioneering supercar broke with all visual habits and deliberately polarized.

The Tesla phenomenon is interesting because recent events have produced an effect that reveals the motivations of its users with the clarity of a laboratory experiment. Through clumsy interference in US and global politics, CEO Elon Musk has created unpredictable dynamics in the perception of the brand, and some formerly convinced Tesla disciples now find themselves, through no fault of their own, on the wrong side, or at least in an unfavorable light — without having moved at all. The boundaries simply shifted beneath them. And so one now sees the apologetic confession on the rear of some Teslas: »I bought this before Elon went crazy.« At least for these customers, it can be considered proven which part of the brand’s original identity was an important, or even decisive, impulse for the purchase decision. This kind of revealing statement from users of an automotive product is rare — but to rise above it would be cheap. Let he who is without vanity cast the first stone!

The design of the Tesla Cybertruck was inspired by the DeLorean DMC-12 — known from the film trilogy »Back to the Future.« The 5.68-meter long and 3.1-ton pickup seems to show that the Tesla design department can also design radically disruptively if necessary.

Identity through cult status: The Yugo’s high level of recognition to this day is remarkable. Produced from 1981 to 2008 by the former Yugoslavian, and later Serbian, car manufacturer Zastava, the model gained its ultimate breakthrough in America after being voted the »worst car in the USA« — Americans, after all, love underdog stories.

It is in the nature of things that, in a costly purchase decision such as that of an automobile, not only the product itself — in its technical design and properties — represents a compromise; the reasons that ultimately lead to the purchase are also the result of a weighing process. It is difficult to say which argument prevails in each case, because the attributes to be considered form a long list, from A for everyday usability to Z for reliability. D for design is always present, but its effect is usually difficult to quantify. Only in the exotic world of so-called supercars is comparison sometimes easier, since they are freed from many constraints — above all, that of having to be practical in the conventional sense. Even the criterion of value for money, which ranks high for family vehicles, is secondary or even irrelevant in this elite sphere. These adult toys therefore offer a useful example of the effect and creation of identities.

Traditional protagonists of this market segment are Ferrari and Lamborghini — two brands that seem fatefully linked. If the stories are to be believed, the successful tractor manufacturer Ferruccio Lamborghini once felt taken advantage of, and even disrespected, by the manufacturer of his own Ferrari 250 GTO. So, in 1963, he decided to produce his own sports cars from then on — and to do it better. The history of the young company was thus marked from the beginning by a very particular challenge: the permanent comparison with the industry leader based in Maranello, only 35 kilometers away. This is especially interesting because, for this type of automobile, there are essentially two identity-forming disciplines: design and performance. Lamborghini was already doing quite well in both, but creating an identity of its own for the young brand — beyond the claim of being an anti-Ferrari — proved existential.

The Miura was Lamborghini’s first major emancipatory step in its constant comparison with market leader Ferrari. With its innovative technology and aesthetics, it would profoundly shape not only Lamborghini’s own history, but also the supercar segment as a whole.

The Countach is considered the most influential model in Lamborghini’s history. Like the Miura, the vehicle was designed by legendary Italian designer Marcello Gandini, then chief designer at Studio Bertone.

But today — in times of rapidly developing electric drives — completely different rules apply: the power of an electric drivetrain is, de facto, almost arbitrarily scalable. For example, the battery and car manufacturer BYD has already exceeded the 3,000 hp mark with its Yangwang U9 Xtreme model and shows no signs of stopping there. Even four-door sedans can now boast electrically generated outputs of more than 1,500 hp and accelerate to 100 km/h in less than two seconds. These new horsepower acrobats now reliably deliver the racetrack records and lap times necessary for image building. Those who continue to run their engines on gasoline can no longer win in this discipline due to technical limitations.

To what extent the cyberpunks in their innovative electric rockets are poaching customers from traditional manufacturers in Italy and England cannot be analyzed in detail. However, there should be no reason for pessimism: the number of people who qualify as potential buyers solely by virtue of their wealth is constantly growing — currently, around five new billionaires are emerging worldwide each week. So the pie is getting bigger, and the fight for shares is more worthwhile than ever.

The Lamborghini Design Study Manifesto was presented on the occasion of the 20th anniversary of Lamborghini Centro Stile and has the makings of a »Countach effect«: independent, simple, timeless. Transformed into an actual product, this design has the potential to become the new benchmark for Lamborghini’s future identity.

While the market continues to grow, the classic strengths of traditional brands are losing traction. The toolbox of established competitors is visibly emptying, and the focus is increasingly shifting to aesthetics — and not only formal ones. For many customers, the electric motor cannot yet replace the emotional and sensory quality of an internal combustion engine. If mechanical complexity becomes technical sophistication and noise emissions become sound, then the eight- to twelve-cylinder engine relates to the electric motor like a mechanical luxury chronograph to a digital watch. Aesthetics decide success and failure — at Lamborghini, this responsibility has rested with chief designer Mitja Borkert since 2016.

On the occasion of the twentieth anniversary of the design studio in Sant’Agata Bolognese, Borkert presented a design intended to define Lamborghini’s design language for the future. The study, named Manifesto, is not a concept car, not even a visual model of a car, referred to in the industry as a mock-up. Manifesto is a form study, high-gloss painted and predominantly made of hard foam. One could dismiss it as a hastily created treat for the festive celebration of the aforementioned anniversary. However, one could also view the design as a decision about the fate of the brand at a time when the profits of traditional sports car manufacturers can collapse almost overnight and the cards are being completely reshuffled in this elite part of the industry as well. Borkert is always faced with the task of reaching the level of his mostly red-painted competition and all other old and new competitors, without getting too close to them thematically — not easy when all must enclose a technical package that is almost identical in its dimensions and proportions. Often, the designs from Sant’Agata Bolognese have stood out through distinctiveness, excessive angularity, even deconstruction. Manifesto, however, has the makings of a »Countach effect«: independent, simple, timeless. Transformed into an actual product, this design has the potential to become the new benchmark for Lamborghini’s future identity.

In these currently turbulent times, Stephan Winkelmann — Lamborghini’s eloquent president — will also have to jump into the deep end. Borkert has at least shown him a spot where it is deep enough.

FIRST PUBLISHED IN CHAPTER №XIII »IDENTITY« — WINTER 2025/26

Few automobiles feel as intuitively attuned to their drivers as McLaren’s hypercars. Within McLaren Automotive’s bespoke division, this guiding principle is not merely sustained but brought to its most exacting expression. A visit to MSO—McLaren Special Operations—where customization is not a promise, but standard practice.

Anyone who has ever sat in a McLaren knows that these vehicles are far more than mere machines. They react precisely and directly, every movement finds its echo—cars that sometimes feel like an extension of one’s own body, a unity of human and technology. This feeling is not accidental: it is the result of the uncompromising tuning that McLaren has elevated to its own discipline—from the exact feedback of the steering and the precise response of the brakes to the balance of the chassis.

During the customization process, customers can draw on the concentrated craftsmanship and expertise of the McLaren MSO team. The possibilities for giving the interior (pictured in the W1) a personal touch are also diverse.

The department at McLaren responsible for customization and restoration takes things several steps further when it comes to the car as a reflection of one’s own personality. From subtle adjustments to complete one-offs, almost anything is possible at MSO, McLaren’s Special Operations Unit, to design a McLaren that not only matches one’s taste but also becomes a moving expression of one’s identity. Moreover, all those who embark on this path of personalization also write themselves into the brand’s history. Jonathan Simms, who previously headed the Bespoke department at Rolls-Royce, among other roles, serves as »Director of MSO McLaren Special Operations«. In Goodwood, he learned what it means when bespoke is part of the brand’s core, meaning customers know exactly the wide range of possible customization options. And, of course, they are happy to make use of them. That’s exactly what he now wants to achieve at McLaren, Simms explains.

Jonathan Simms heads McLaren Special Operations—with the goal of making the three letters
MSO synonymous with desirability.

We are in the premises above the legendary Silverstone Circuit. Here, customization options are explored and paint finishes inspected in a specially designed area. Fingers glide over fabric samples, leather, and Alcantara. Below us, McLarens whiz through Copse, Maggotts, Becketts and Chapel — from the new Artura  to the Senna GTR and the Solus GT, almost the entire model range is on display as part of the »Pure McLaren Trackdays« at Silverstone. The latter vehicle, in particular, is impossible to overlook or ignore. However, the most photographed hypercar that day is certainly the brand new W1. The car, equipped with 1,275 hp and incorporating numerous technical achievements and experiences from Formula 1, was limited to 399 units and is a hypercar  par excellence. Its name alone reveals that the W1 was developed to join the lineage consisting of the two legends F1 and P1. Unlike other McLaren models, each individual W1  undergoes a tuning and customization process whose extent varies from vehicle to vehicle.
Jonathan Simms explains that the largely untapped potential played a significant role in his move to McLaren. »The level of expertise and craftsmanship at McLaren, for example when it comes to paintwork or airbrushing, is immensely high. I am confident that with this large pool of possibilities, we will succeed in further increasing MSO’s appeal. For the future, I hope that these three letters immediately evoke desire.«

ONE PLUS ONE EQUALS ONE

When it comes to the customization process, the first step is usually the most difficult, Simms adds. »I constantly meet people who have long considered designing a McLaren to their specifications but don’t know how or where to start. Therefore, it’s also important for me to educate much more about the possibilities we have at McLaren for customization. Once this first step is taken, the probability is high that a second car will follow. But of course, only if we have done our job well.«

»The level of expertise and craftsmanship, for example when it comes to paintwork or airbrushing, is immensely high at
McLaren,« confirms Jonathan Simms, Head of McLaren MSO.

Jonathan Simms laughs. And he has good reason to, as he knows about the concentrated craftsmanship and expertise he can draw upon as Head of MSO. As the most important agent of his special unit, Simms also knows that »personal« and »private« are not synonymous, but he is also aware that private experiences often play a decisive role in designing a vehicle tailored to one’s own personality. »I find it exciting to observe that at the beginning of the collaboration, the vehicles usually exhibit all the brand’s typical characteristics. They are distinctly sporty, and hardly any vehicle comes without Papaya. The longer the journey together lasts, the more elements are added that reflect the customer’s personality.«
Ultimately, the main goal is always to reconcile two identities, Jonathan Simms summarizes. However, it is by no means his job to dictate a certain taste, he adds. »Of course, in the end, there are cars I like, as well as those that don’t quite match my taste. I really like it when personal details are incorporated. Just recently, we airbrushed a cartoon from a customer’s childhood onto a door—very small at the bottom. We also always encourage our customers to bring a memento or inspiration to the first session.«
The first session is usually followed by two more. Although Jonathan Simms is the person at the well-oiled lever between vision and implementation, there are still some technical limitations. »We certainly don’t want to stand in the way of our customers’ imagination. They should view the vehicle as a blank canvas. However, for example, with the W1, there’s a part in the rear area that we cannot modify because it gets extremely hot and therefore must be made of a specific material,« he notes.

Named after Ayrton Senna, the McLaren Senna GTR is a tribute to McLaren’s close connection with motorsport.

The tuning process often goes more smoothly and fluidly when things that the future owners don’t like are also discussed, Simms remarks, adding: »If you don’t like something, it usually brings out a pretty strong emotion—you can articulate the reasons for it better and pinpoint them in detail than with things you do like. This process helps us a lot in figuring out what the car should look like in the end.«
Before Jonathan Simms has to return to the lever between vision and implementation, one last question arises: Which part of the entire tuning and customization process does he enjoy the most? Simms laughs and immediately has an answer ready: »I love the moment when extremely successful business people suddenly develop a childlike curiosity and fascination again. It’s always a very special moment when they dare to share their designs with us and are truly proud of what they have created.«

»WE WANT THE CARS TO BE DRIVEN«

MSO originally emerged as an exclusive customer service for the legendary McLaren F1, produced between 1993 and 1997. Today, the scope of work for Jonathan Simms and his team is much broader. In addition to customization, they also handle the restoration and preservation of value for all historical models from the British manufacturer. The fact that the McLaren Special Operations department team includes people who were involved in the development of the F1  is invaluable. The iconic vehicles are restored with original parts and based on design drawings, shining in new splendor. If desired, they are also reinterpreted with modern accents. In this way, the British sports car manufacturer ensures that McLaren’s legacy remains tangible and experienceable for future generations.

McLaren W1 & McLaren 750S Le Mans – a special edition of the 750S Coupé for the 30th anniversary of
McLaren’s victory at the 24 Hours of Le Mans in 1995.

One could take a cue from the fashion industry in this regard, as Jonathan Simms notes during our conversation. »I hope that we, too, will have these moments at regular intervals that all McLaren fans eagerly await because they finally want to know which historical model we have restored. Or which special custom build we will release next.«
Crucially, driving pleasure must not be neglected. Or rather: it can and should, of course, take place on racetracks, but it also unfolds on road trips or daily commutes. Because you don’t own a McLaren just to look at it. Even the W1, which has everything it takes to push a little further to the limit during a track day, is suitable as a vehicle for a weekend getaway. Even a coffee cup can be comfortably placed in the center console. »We want the cars to be driven,« says Heather Fitch, W1 Product Manager, summing up one of the British manufacturer’s most important principles. A good cue to check one last time how well the Silverstone Circuit  actually lends itself to getting a little closer to the aforementioned unity of man and machine. Because one thing is certain: the core of the McLaren experience lies in driving.

In Collaboration with McLaren Automotive | FIRST PUBLISHED IN CHAPTER №XIII »IDENTITY«—WINTER 2025/26

As is well known, we are in the midst of an automotive »paradigm shift«: New drive technologies are changing vehicle design, for example, because batteries and electric motors require different spatial arrangements within the bodywork. Another indication of change is the tendency for automotive groups and manufacturers to numerically reduce the sales and maintenance services previously provided through brand dealerships and authorized dealers, and to significantly modify presentation areas. A lot is therefore in motion, and for all involved — from engineering to design, marketing, and infrastructure providers, right up to the customers. But such a »paradigm shift« is not new. With a little courage to look back at history, one can go back over 100 years and find oneself in the midst of a veritable revolution in mobility.

This can be experienced in an inspiring way at the Stuttgart Mercedes-Benz Museum. Here, in the first room of the exhibition, one stands opposite a millennia-old vehicle, or rather, companion of humankind — the horse. And then come the ancestors of the car: still carriage-like machines. The threshold of transition from the old to the new era is very broad in Europe and had to be overcome over many years until comprehensive mechanization.
The spread of the automobile into society proceeded very differently, which is understandable in the first decades due to the high prices and complex technical maintenance. Initially, the wealthy classes owned the new mobile, and among the protagonists of this movement, then still understood as a fashion, were also ruling princes such as the German Emperor or the Russian Tsar.
Within this mobile revolution, it eventually took some time until producers began to think about the first professional sales rooms, the precursors of today’s authorized dealers and showrooms. Initially, manufacturing companies presented their vehicles individually to customers at home; later, the first locksmith workshops used by private motorists for customer service set up small showrooms, a »Point of Sale« so to speak. Interestingly, national and international sales in their early phase often ran through a few exclusive wholesalers who had secured this contractually and were thus also responsible for high prices.

Mercedes Palace in Berlin-Mitte: Exterior view of the elaborately designed branch of Daimler-Motoren-Gesellschaft, which opened on September 30, 1913. Exterior view with passers-by, photographed around 1913.

Daimler, for example, could only sell 20 percent of its vehicles itself — in 1913, the manufacturer opened a large branch for this purpose on Berlin’s grand boulevard Unter den Linden, the Mercedes Palace. The sales representatives of the young Mercedes brand certainly did not lack sophistication when they took care of one of the very first car dealerships in the early days of product marketing.
On the one hand, they relied on magnificent architecture and a large sales salon, equipped with curtains and Greek statues, which attracted the wealthy clientele with the slogan »See, buy — drive«. On the other hand, the special quality of stay succeeded in defining a new kind of meeting point for Berlin society — the appeal of the location was further enhanced by the spatial combination with a well-known wine house. Our automotive shift thus seemed to have started successfully.
From the second half of the 1920s, the larger European manufacturers increasingly established their own extensive showrooms in reputable and frequented locations of important major cities. With the advent of modernity, a characteristic marketing and sales culture developed, which quickly shed the representative-conventional style of the early 20th century and aimed to place the automobile as a technical product, and above all as a bearer of a new, namely the »modern« lifestyle, in an authentic setting.

With the slogan »See, buy — drive«, the wealthy clientele was recruited. (Mercedes Palace, Berlin, 1913)

The most architecturally and for the automotive culture of that time certainly most exciting concept was realized by the office of Laprade Bazin in 1929 in Paris for Citroën: The ten-story, 10,000-square-meter Department Store for Cars, located not far from the Champs-Élysées, displayed automobiles as if in a shop, on shelf-like galleries. The foyer was 17 meters high, completely open to the city, thanks to a fully glazed facade. It is understandable that such presentation spaces, along with cleverly designed corporate branding, set standards for the brand’s international dealer network.
The principle of »Brand Spaces« was born and now communicated not only product-specific technicality and modernity but also, with the size of its presentation spaces, corresponded to the significance of a vehicle purchase for the private household. With the first halls or building complexes dedicated exclusively to car sales and potential branch and workshop functions, the consumer-oriented building type of the »car dealership« also established itself in the post-war period. It replaced the previous separation of inner-city sales salons and customer service workshops in the outer districts and offered new opportunities for outdoor advertising and brand self-presentation.
Early examples used the typical industrial and gas station architecture for this purpose, although these differed from other company buildings primarily by the applied signage — the large brand logos or wordmarks along with the corporate colors on signs, facade panels, or flags. Still, the vehicles stood factually isolated in the sales halls. Nevertheless, during the following decades, the emerging and globally popular styles of high-tech architecture and postmodernism led to a significant intensification of the communication capability of buildings and facades.
Undoubtedly, the architectural aesthetic supported the external impact of those »Brand Galleries«, which, from the perspective of engineers and brand managers, correspond to the rapid pace of innovation in automotive technology and should reflect the state of the art of their vehicles both atmospherically and stylistically. For the introduction of a new concept or production site, the accompanying campaign was soon no longer sufficient. It was recognized that special brand architectures, ideally even »signature buildings«, proved particularly valuable in this regard. Not only because they made the new product visible in the clearest way, but also because the »special« could quickly provide effective brand advertising independently via »viral marketing« with the advent of internet communication.
One of these successful eye-catchers was the Smart Tower, which has been placed sixty-five times in Europe in front of a Smart or Mercedes-Benz dealership since 1998. Those glass towers, in which small cars were stacked on thin, elevator-like frames, conveyed not only an impression of lightness but also of unproblematic fun with mobility, which could noticeably lower the access threshold of young urban consumers to the product. They cleverly played with the psychological effect that products in illuminated display cases are perceived as higher quality, and products shown as widely available are perceived as more affordable.
Similarly, the by no means less spectacular, yet gigantic display case of the Mercedes-Center Munich, opened in 2003 as part of the local branch. Its six-story glass facade stages the global brand with countless silver vehicles, arranged like objects on a shelf. A magnificent serial aesthetic in the brand’s traditional corporate color. Who wouldn’t want to at least briefly »drop by Mercedes« after that?

Mercedes-Center, Munich Branch, 2003

One recognizes: The modern car dealership as a building type is a consequence of the insight into the importance of the buying experience. In the mid-nineties, a textbook states: »The process of realizing that the car is no longer the focus of all contacts with the dealership has long begun for customers. He, the customer, will be the human center of all efforts his dealership makes for him.«
New and redesigns of corresponding branches are geared towards buyers, from operational processes to spatial atmospheres. Not only sales, but also after-sales service and image building need to be managed. The sales halls continue to grow, not only to present even more vehicles from the expanding range, but also because of the emerging concept of event marketing, which demands additional space. Small shops, seating areas, and bistro offerings have long joined the reception desks and glass-enclosed booths for consultations — now, themed islands connected with temporary campaigns and event possibilities are following. The showroom becomes a veritable showplace — almost beyond improvement, Coop Himmelb(l)au’s Munich BMW Welt then entered architectural history in 2007.

BMW Welt, Munich, 2007

A few years later, the next evolutionary step for car dealerships followed — reacting to the general establishment of the latest techniques in information and communication media. The Ingolstadt-based company led the way: In 2012, the first cyberstore concept Audi City opened in exclusive London-Mayfair. Audi combines the real with the possibilities of an extended virtual space on a limited area — due to the expensive inner-city location. A single vehicle is sufficient as a physical contact point with the brand; the presence of the remaining offering of 45 types and versions in one million configurations is managed virtually: Using freestanding multi-touch tables, the virtual vehicles can be configured 1:1 and also moved on large wall screens. The display and the experience shift into the illusionistic representation and the fascination of interactive play. The Audi House of Progress in Autostadt Wolfsburg further developed the concept of the now-closed Audi City in London, thereby setting new standards for the brand’s staging. There, a Table of Vision now presents the latest state of automotive futurology.

Behind the timeless exterior architecture of the Audi Pavilion in Autostadt Wolfsburg, Audi makes the four brand values of digitalization, design, performance, and sustainability tangible for visitors.

The trend of showrooms established in London, which supplemented the usual, decentrally located branches, prevailed in the following years — the urban flagship store became the model, combined with the experiences of successful automotive museums. The VW Group, for example, uses Berlin’s prime location, Unter den Linden, for its DRIVE. Volkswagen Group Forum with exhibitions, conference rooms, and gastronomy. Test drives are also arranged, and the Volkswagen Bank is located next door. Some of the brands displayed ideally match the nobility of the location: Bentley and Bugatti, whose distinctive grilles become ideal attractors in the shop windows. One would have to say, buying a car has never been so cultivated.
Even in 2023, the dynamic of the paradigm shift in mobility has by no means diminished, but it is developing on two tracks. On the one hand, the industry is reducing pure exhibition and sales areas — inner-city shops with a single display vehicle are preferred. Almost 90 percent of interested parties enter the sales room already pre-informed, and 60 percent have already decided on the model and price. Instead of branches and authorized dealers, an agency model is envisioned — like Mercedes-Benz. This manufacturer plans to reduce its showrooms by one-fifth by 2028 — supported by temporary small pop-up stores. At the same time, numerous online shops are already planned for the present.

DRIVE. Volkswagen Group Forum, exhibition »Driven by Dreams. 75 Years of Porsche Sports Cars.«, 2023

Marketing and sales have long expanded their platforms and switched from analog customer conversations to multi- or omnichanneling. All communication channels are served. Instead of the revolving door into the car salon, today the landing page, i.e., the brand’s web presence or its activities in social media channels, primarily takes its place.
On the other hand, there must still be a physical place for analog encounters with the product — the automobile is not yet suffering from habitat loss. Nevertheless, spatial concepts are noticeably changing — and this is the second path of current development, which is primarily based on sophisticated interior architecture and spatial scenography. While the pleasantness of a dignified sales salon originally relied on traditional, luxurious lounge qualities such as armchairs, sofas, displayed magazines, and free drinks, these are now complemented by emotionally designed and quasi-familiar, or at least individually customer-appealing, atmospheres.
The guiding narrative changes depending on the brand and target group — from gentle mall-like strolling to an active-sporty experience like at a Mercedes-AMG Experience Center with racing simulators.

NIO House in West Lake, Hangzhou, China, 2018

Café in the NIO House in Tianjin, China, 2019

For the increased volumes of sales architecture and the significantly higher budget that comes with it, these investments seem justifiable, considering the recently realized locations, especially of the new Chinese premium brands such as the NIO Houses, which are referred to as »Flagship Automotive Gallery and Clubhouse«. Their interior design strives to incorporate surface materials and design language that reflect vehicle design, such as that of a NIO ES8 or EVE, especially since in many areas, no automobiles are deliberately present. Here, Living Rooms and Member Areas and play areas for the children of customers and guests are set up, as if one were in a hotel or a private club. To manage this creatively and at the same time meet the technical demands of the brands, manufacturers commission renowned offices such as Schmidt Hammer Lassen Architects or MVRDV. Planning ideas use the motif of a »journey« that one wants to offer visitors: »A succession of layered concatenated spaces organize the different functions and give hierarchy with levels of privacy and connections.«
Anyone who then actually visits such a house and has left the aesthetically cool areas of pure car presentation towards the hotel-like, family-oriented living zones will be overcome by a feeling, depending on the type, either irritating or comforting: How much they have changed, the presentation spaces of our new cars.

What the oil-smelling customer service workshop once directly communicated, namely the technology and the sensory-craft element of driving, is now apparently strictly reconditioned and oriented towards the detached stay in the upholstered and media-dominated living space of the vehicle. It is understandable that the most prominent exhibits in 21st-century car dealerships are precisely those cars that suggest autonomous driving to their new owners.
But for those who think differently, there are still the company branches with their archaic experience spaces, where car-loving customers can authentically pursue their passion, even if one sits in a soft lounge chair and the glass pane pleasantly separates one from the real wrenching work. »Nothing is impossible« — to quote Toyota.

ARTICLE FIRST PUBLISHED IN CHAPTER №VIII »ELEMENTS« — SUMMER 2023

The term designer is too narrow to do justice to Daniel Simon. As a visionary multi-talent, he not only inspires the shapes of exclusive boutique sports cars, but also Hollywood’s wildest cinematic fantasies. The German moves like a somnambulist between the realms of realism and fiction. He narrates, invents, doubts and dreams. With this free spirit, we talk about the obvious – such as formal language. About the unavoidable—like artificial intelligence. And the surprising—such as time, distinction and longevity.

Daniel Simon is primarily attracted by contrasts. He tracks them down. Not always on purpose, but with absolute accuracy. Then he devotes all his attention to them. And unites what is often mutually exclusive. Past and future, for example. Or function and form. The clever moderation of this dialectic, which creates friction, makes stories exciting and things come alive, is perhaps his greatest talent—alongside his obvious talent for outlining the contours of an entire galaxy with just a few pencil strokes.
He achieved his international breakthrough in 2007 with the overwhelmingly detailed illustrated book Cosmic Motors, after studying transportation design in Pforzheim and designing concept cars for Volkswagen and Bugatti for several years. However, the automotive industry was and is just one of the 47-year-old’s playing fields, and he is passionate about questioning everything. This is how he became Hollywood’s favorite utopian overnight in 2013. Blockbusters such as »Tron: Legacy«, »Oblivion« or »Top Gun: Maverick« visibly benefit from his creativity, which creates more than cinematic superficiality.

Tron: Legacy Hero Light Cycle, 2010

Cosmic Motors already makes this clear. Daniel retreated to Brazil for two years in the mid-2000s to create this utopian work in the spirit of his role model Syd Mead. »Syd or Harley Earl had a big influence on me«, he still says today. The fictional world of Cosmic Motors revolves around vehicles from a fantastic galaxy that are a mixture of de-militarized fighter jets and racing and luxury cars inspired by the breath of the past. But it is not only the content of the book that is remarkable, but also its form. As a reader, you can really feel how the ideas came to paper, from the first draft to the final artwork to the digital rendering. »The play with timelines, i.e. the blending of past, present and future, is totally fascinating for me. What-if mind games are like a drug for me. This creates spaces without rules and alternative worlds that don’t even seem that impossible given the infinity of the cosmos.«

Time, it quickly becomes clear, is a major theme in Daniel’s oeuvre. His second book, The Timeless Racer even has the theme in its title and is dedicated to a time-traveling racing driver who commutes between the years 1916 and 2615. »I am fascinated by the thought of what will become of racing teams or traditional brands in the distant future when they look back not just a few decades, but entire centuries. What would a Porsche collection look like in the year 2600?«

For Daniel, these are not questions driven by materialism. He only asks them because for him they always involve people. He goes to great lengths to create elaborate backstories that inevitably raise the question of how much we as subjects cling to the past. Legacies, according to Daniel, can also be a burden. »References are important. But it does bother me how much history we have to live with. The design library and the amount of unspoken guidelines is enormous. Only a few car manufacturers are exempt from this, Koenigsegg for example.« Mass manufacturers are inevitably more committed to the past. The convinced enthusiast, who sees mobility as an uplifting form of existence, is aware of these constraints, but nevertheless questions every convention: »At a motor show in the 1920s, there was no reference to the past. The question of looking back did not even arise.« Today, the design of major brands always carries the baggage of the past with it, especially in terms of design.

The Timeless Racer Masucci X-7A

The mass market has thus been robbed of a large part of its revolutionary power. As an example, Daniel cites BMW‘s kidney grille, whose actual function as a radiator opening has been obsolete for decades, but is indispensable for the brand’s recognition value. An implicit prevention of radical new beginnings—and an abstraction of the origin, to the point of absurdity. It is clear that creative courage seems rare for designers who think far beyond normal boundaries. »Renault had a progressive design in the early 2000s that I really liked—with Vel Satis or Avantime. Economically, however, it was a disaster; the masses found these cars rather challenging.« You begin to understand why Daniel is not head of design at Volkswagen today, but instead works for Singer, for example, where small series of Porsche cars modified down to the last detail are produced for absolute enthusiasts. But he points out: »Even with such expensive prestige brands, sentimental buyers are the majority. It’s mostly about looking back and longing.« As a result, there is no need to reinvent everything when it comes to restomods. Daniel has therefore found his own personal niche, where he experiences creative freedom in various projects. »Many industrial designers establish themselves in a genre and are constantly looking for new forms of expression. The automotive industry is very receptive to this. I do it the other way around and have found my own individual design language. I then apply this to different genres.«

1990 Porsche 911 restored and modified by Singer Vehicle Design

His recognizable signature is an advantage in our noisy world. But it also comes with the risk of falling victim to an inner coziness or a dangerous, misunderstood sovereignty. »Routine can quickly lead you down a slippery slope.« But Daniel seems far removed from this. He designed a very real, autonomous racing car for Roborace back in 2015. »You can’t download a template. You don’t have a visual library for this product class, you can’t look anywhere to see how others do it. Such projects are the cream of the crop in vehicle design.« His Robocar was a blessing, but also a challenge. Radical design is rarely perfect straight away. »We had to massage the shape for a long time. There are unwritten rules, like a beat. You have to learn them, because the laws of aesthetics cannot simply be overridden.«

Robocar, Roborace

Anyone who creates real racing cars, Formula 1 designs or luxury sports cars, advises Elon Musk’s SpaceX, designs motorcycles for Lotus or airplanes for the movie »Top Gun« needs their own design language. For Daniel, this means: industrial elegance without too much provocation, plus genuine futurism despite tangible timelessness. »This is helpful for my work on the film, because the current zeitgeist has no place in a sci-fi movie like »Oblivion«. You want to create as much distance from the real world as possible.« As a creative craftsman, he always starts from the three-dimensional object and merges simple basic volumes into a complex whole whose original geometric forms remain legible. This creates sovereignty. »I find many other designs too loud, too tinkered with, and therefore tiring after prolonged viewing.« Paradoxically, this makes them uninteresting in the long term, says Daniel. As is so often the case, the great art lies in omission. »With simple designs, everything has to be right: Balance, surface quality, proportion. Nothing should be hidden behind anything else.«

Top Gun: Maverick Darkstar Jet, 2022

The vehicles in Cosmic Motors or The Timeless Racer are up to the task. And they look amazingly functional—just like his movie vehicles. »There’s a reason for that«, says Daniel. A future in which everything is wireless and completely digital would not be visually entertaining. »When it comes to certain fantasy machines, I’m a fan of real switches, screws and rivets.« He gives an example: »The Bubbleship in »Oblivion« stands for a very special feeling in the movie—it has to convey that. If an actor has to flee from a dicey situation and has nothing to do, there’s no drama. That’s why we gave the spaceship classic toggle switches for a key scene—and not a touch screen, which would be closer. That’s a creative decision.«
Director Joseph Kosinski has relied on Daniel’s talents for many years. The current »Top Gun« remake with Tom Cruise at the wheel of the Darkstar Jets was once again an absolute dream job for Daniel. Even if the discourse with a fictional world means hard work and a lot of research in the industry. »It’s the best part of my job, reading into new industries and opening new doors.« Given the many meta-levels in art, it’s surprising how analytical he is, tracing the mechanics of our world. »I love airplanes and their design, but I immediately asked myself: How do we approach this now? The design has to be worthy of a blockbuster, but also impress professionals—and not confuse the average moviegoer. A balancing act.«

Hollywood’s Oblivion Bubbleship, 2013

In the case of »Top Gun: Maverick«, Daniel worked closely with Lockheed’s research department. He took the SR-71 Blackbird as his model—still the fastest airplane in the world today—and then embarked on his typical mental journey through time. What, he asked himself, would the Lockheed engineers from the 1960s be doing today? It’s a role play, very similar to method acting. It is precisely this approach that makes Daniel’s work so authentic, detailed and coherent.

What’s more, even as a boy he scribbled cars on the back of technical drawings. They were the documents of his father, who worked as an engineer. The family lived on the Baltic Sea in the GDR in the 1980s. The icons of those years were Ferrari Testarossa or Lamborghini Countach. But Daniel didn’t paint any specific brands, just »visions of tin cans making noise and thundering off somewhere«. He would certainly have become a brilliant engineer. Today, Daniel lives in Florida with his wife and daughter and designs for international clients, quite a few of whom remain a secret. The fact that he found his dream job is down to chance: As a 15-year-old, he read about the profession of vehicle designer in a car magazine while getting bread rolls. Until then, this world had been completely hidden from him. He still owns the newspaper today, which underlines his romantic inclination, which also flows into his work. He is a sentimental futurist, without a doubt. And he is aware of the privilege of engaging in an activity so well aligned with his talents. Perhaps the involuntary reinvention of his person—largely decoupled from his German origins and his supposed predestination as a car designer—has also helped him to maintain a very special freedom of spirit. Life in the USA is certainly conducive to this. Unlike in Europe, Daniel is not confronted with his past on a daily basis. Instead, he is shaped by unstoppable progress. He grew up without the internet, had his first home computer as a teenager, was studying when Photoshop was released and was working his first jobs while Google Images and YouTube were taking off. He sees this radical change as great, but accidental luck: »As a student, it took me a whole year to find out which pen certain designers were working with. Today, there are 16-year-olds who are super-talented in illustration techniques. The internet and tutorials are changing the way creative minds develop. The discovery process has shrunk from years to minutes. That has consequences.« Daniel leaves it open which ones.

Daniel Simon — a visionary all-rounder

His opinion on the disruptive power of digital technologies and artificial intelligence in particular changes on a weekly basis, he confirms. »Basically, I do have extreme reservations.« He by no means rules out the positive impact of technological progress on our collective society. »However, we are already insidiously yet inexorably dependent on algorithms and are constantly connected to networked devices. The matrix is real!« Nevertheless, Daniel works intensively with AI design software. »Midjourney and Vizcom are unbelievable, they seemed to come out of nowhere. But these are just harmless creative examples. Nobody can imagine where we will be in ten years’ time. Especially as we have great difficulties with exponential growth. People tend to be linear.« He is deeply surprised at how easily people are taken in and distracted by the playful element of artificial intelligence.
Because the extent of the threat is unforeseeable. And already real today. Artists rightly feel threatened by AI. »We believe we can create things that no one has ever seen before. That’s arrogant! Because all forms have actually already been invented. So we are more likely to mix what already exists. Only the possible combinations are infinite. So designers are curators, DJs so to speak. How we design the mixing process is what makes us unique.« Daniel is convinced that the only thing that sets us apart from AI and its brute force design is our inability to achieve astronomical computing power—in other words, a deficit.

DSX Mistral Concept Helicopter

»A computer makes art? How laughable! A computer writes a screenplay? What the hell! What is art?«, he asks. His answer: In art, much cannot be quantified—or judged without bias. In design, it can. That is where the difference lies. »Therefore, it is conceivable that in the future we will prefer to rely on the work of human curators—if we can afford to. However, AI will then flood the market of the lower consumer classes. Which will further separate the elite. This theory can also be applied to car design.«
A world with even more demarcation and even more tensions does not seem to be in his interest. Daniel relies on humanity where he can afford it. It is his commandment of creative existentialism. For him, the creative process has a high quality in its lengthiness, its complexity and the inherent risk of failure. Nevertheless, he knows that AI will revolutionize vehicle design, which is extremely resource-intensive. Car manufacturers would certainly not miss out on this savings potential. The believer in the future sees too much temptation in the sweet fruit of artificial intelligence.
He recently read a comment by author Laura Preston, who described how an AI bot was meant to make her work easier—but instead tempted her to start thinking like a bot herself. The bot started to train her. Daniel sees a familiar and recurring pattern in this feedback loop, which fatally sidelines the human element: »Our efforts to maximize likes mean that virtually all content looks the same. The machine has decided what is cool. And the algorithm lulls us into believing that we are creative. That sums up my concerns about AI very well.«

Sketch Robocar, Roborace

As a true utopian, Daniel therefore takes a decidedly critical view of innovations. In his opinion, many trends are not subjected to sufficient scrutiny. In addition, capitalism has discovered design as a sales tool and is squeezing every last drop out of it. A strong opinion from someone whose business thrives on progress. But someone like Daniel can afford to criticize the system from within. He makes his point: »We don’t really need the amount of new vehicles and extremely short model cycles. That drives me crazy. This inherent obsolescence is ethically indefensible. My work is directed against this wastefulness every second.« But he also knows that our world is complex and his voice is very quiet. As a designer, he nevertheless pleads for more longevity. His simple and smart shapes have a deeper message. »I have long since withdrawn from the vortex of more and more. It’s a hamster wheel that can be very tiring for a creative mind.«

Robocar, Roborace

The examination of Daniel’s design thus reveals a subliminal agenda. It is personal expression, bold speculation and imaginative dreaming. But it is also a reflection on social responsibility. He clearly distances himself from a political interpretation, but admits: »Economy, science and our coexistence do play a role.« The man for whom utopias are part of everyday life is shocked, for example, »by how much dystopias fascinate the masses. The previews at the movies are almost all carnage—with shallow heroes who save the world«. So his job in entertainment is definitely fraught with conflict—philosophically and very practically.
Nevertheless, he has no doubts about his work. He simply sees himself as having a great responsibility. »I do wonder what I will look back on one day. What will people remember about me and my work? A question that AI certainly doesn’t reflect on.«

PUBLISHED FOR THE FIRST TIME IN CHAPTER №IX »WORK In PROGRESS« — WINTER 2023/24

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]

The chief designers of BMW, Mercedes, Porsche and Audi agree that strong brands can afford to make big leaps. With new design concepts, a great deal of courage and a clear commitment to reduction and clarity, they want to successfully defend the pioneering role of German automotive design in the future. And they intend to do so offensively rather than defensively. We spoke to Adrian van Hooydonk, Gorden Wagener*, Michael Mauer* and Massimo Frascella about the future of German automotive design.

*This article was originally published in Autumn 2025. Gorden Wagener and Michael Mauer are no longer the Chief Designers of Mercedes-Benz and Porsche, respectively. The titles used in the article reflect their roles at the time of the original publication.

When does evolution become a revolution? And how do you succeed in jumping far, but only taking off literally and not metaphorically? Or: How do you stay closely connected to the community that has formed around a brand, but at the same time create a new, unusual tension in the strong bond between product and fan community? Adrian van Hooydonk, Massimo Frascella, Michael Mauer and Gorden Wagener have different answers to these questions. However, there are also a number of common threads—including the knowledge that big leaps in automotive design are perhaps more important than ever before. But also that they must not lose sight of their respective brand histories in the process. And: they are all convinced that German automotive design is still successfully defending its pioneering role.
As in soccer, however, a more offensive style of play is often the more effective strategy for staying in the lead in automotive design. Massimo Frascella, Chief Creative Officer at Audi since the beginning of June this year and an avowed Juventus fan, puts it this way in our interview: »There are many things that link soccer and automotive design. First of all, both areas are about teamwork—you can’t be sure of success in either design or soccer if you only send eleven superstars onto the pitch. But if you have eleven people with the same goal and the same vision, you are more likely to win. I also believe that it is necessary to take risks and differentiate yourself from the others with a clear message. Playing the game the way everyone else plays it? That wouldn’t be Audi.«

Among other things, the following can be deduced from this: The leap, which has already been mentioned here several times, can be a long and risky one, but it should never lead to you ending up in the so-called »Sea of Sameness«—and drowning in it. Gorden Wagener, Chief Design Officer of Mercedes-Benz Group AG since 2016, is certain that this can only happen to brands that do not have a strong brand identity. When it comes to not losing the aforementioned pioneering role, this plays a key role.

Gorden Wagener has been leading the global design division of Mercedes-Benz and its affiliated brands Mercedes-Maybach and Mercedes-AMG since 2008. For him, beauty is an intuitive feeling—an ideal one strives to approach, he explains in an interview with Chapter.

The Mercedes-Benz design philosophy of »Sensual Purity« fuses emotion and intelligence and is continuously developed further by Gorden Wagener’s design team—without, however, going beyond its defined scope. (In the picture: Mercedes-Benz EQS 580 4MATIC)

Porsche Head of Design Michael Mauer shares this view. He states: »One issue that distinguishes German automotive design from new competitors is the brands that have grown over the years. Porsche in particular has built up a very strong, unique and internationally established brand identity with its design over more than 75 years. We have perfected the balance between ›typical Porsche‹ and innovative, new design elements over a very long period of time. However, the new designs, which mainly come from Asia, are getting better and better. What years ago was still reminiscent of modified designs from German manufacturers is increasingly establishing itself as independent solutions. I find it exciting to observe the development of these brands.« Mauer is convinced that without a strong brand identity, there can be no identification with the brand—and this is what is needed to remain desirable in the long term.

Born in Rotenburg an der Fulda, Michael Mauer has been shaping the design of Porsche sports cars for 20 years. When he started in 2004 in Stuttgart-Zuffenhausen, Porsche only had three model series—the 911, the Boxter and the Cayenne. If you ask him about the last big leap at Porsche, he answers: »That was clearly the introduction of the first all-electric Porsche sports car. Long before we got to grips with the actual product design, we looked at the purely strategic question of how we wanted to position the car from a design perspective. At the heart of this consideration was the decision as to how far we wanted to visually differentiate the new drive type from the classic combustion engine. We made a conscious decision to give the Taycan a clear Porsche identity. From our point of view, it was important to clearly emphasize the affiliation to the Porsche brand visually. In concrete terms, this begins long before the pure styling process with the packaging: The arrangement of the components was crucial for the proportions and therefore a very significant issue at the beginning of the development cycle.«
For a traditional sports car brand in the luxury segment in particular, switching to a different type of drive is a big gamble. But if Michael Mauer has his way: »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.«

For 20 years, Michael Mauer, born in Rotenburg an der Fulda, has shaped the design of Porsche sports cars. For him, continuity and consistency are two of the most important aspects of a strong brand identity.

When designing the first all-electric Porsche, the Taycan, it was also important to Michael Mauer to ensure a clear Porsche identity despite the new type of drive. (In the picture: Taycan Turbo Cross Turismo, 2024)

Adrian van Hooydonk, Head of BMW Group Design, is convinced that major advances in technology require equally major advances in design. The Bavarian manufacturer is responding to this with a development that is definitely on the borderline between evolution and revolution: From end of 2025, the first Neue Klasse models will come onto the market—a new, greatly enhanced design approach that will gradually permeate the entire model range. In addition, the design team has been partially reorganized—Maximilian Missoni, a new but very experienced designer, has joined the management team.
»The Neue Klasse is so modern that it’s almost as if we’ve skipped an entire model generation. At the same time, of course, we are doing it in such a way that our customers also want to take this step. We don’t want to lose anyone along the way«, says Hooydonk. Reduction is the top priority. While at the same time exposing the core of the BMW brand. The Dutch-born designer explains what constitutes this in the following way: »For the BMW brand, it has always been sporty elegance. Dynamism paired with light-footedness. If you look at the designs from the 1970s, this was already the case at that time. In our new edition, we want to do this with even fewer elements—even more unobtrusively. Nevertheless, the essence of BMW will be even more clearly perceptible in these few elements. We are convinced that this will fit extremely well into the next decade.«
In addition, the focus will continue to be on combining design and technology as seamlessly as possible. This means: »If something looks fast, it is fast. We want to harmonize the driving experience with the design and vice versa. This requires an early exchange between technology and design. I believe that this will set us apart from many new competitors in the long term.«
After all, says Hooydonk, although cars are highly complex, technological products, the technologies between the brands are not all that different. »In the end, it’s all about the mixture of ingredients. Like a chef who manages to cook a different tasting dish with the same ingredients.«

For Adrian van Hooydonk, Head of BMW Group Design since 2009, good proportions are the cornerstone of successful car design. »Then comes the surface. Then come the lines and only then the details.«

Since June 2024, Italian-born Massimo Frascella has been responsible for the perfect blend of all design ingredients at Audi. He began his career at Stile Bertone, and other stations in his design career included the Ford Motor Company and Kia. From 2011 to 2024, Frascella held senior positions at Jaguar Land Rover. As Chief Creative Officer at Audi, he wants to promote creativity even more as part of the brand core. This is also reflected in the German car manufacturer’s organization, as the design department has recently been anchored directly under the Chairman of the Board of Management. »In my opinion, creativity is something that should permeate the entire company—not just the design department. For me, this also includes the courage it takes to take risks. But also the belief in the things you initiate. And in your own intuition«, Massimo Frascella states.
At the time of the interview, the designer is not yet allowed to show concrete images of the directions in which he would like to steer the company’s creative potential in the future. But he can already reveal some of the ingredients, he says with a laugh and begins to explain: »We have established four key principles, which are: Clarity, Technology, Emotion and Intelligence. These elements must be present in every development step we take in design. When we talk about clarity and reduction, this means, among other things, that all the design elements we create must have a raison d’être and should also fit authentically into the brand image. When it comes to technology, we naturally refer to our brand credo »Vorsprung durch Technik« (English: Advantage through Technology)—it’s all about precision, progress and sophistication. Emotion means desirability—in the sense of: You don’t have to own an Audi, you absolutely want to own one. For me, this also goes hand in hand with a certain degree of self-confidence and an elegance that should by no means look contrived. The last point—intelligence—refers to major transformations in the industry. This includes how the consumer interacts with the product, but also all aspects relating to the imperative of sustainability.«

Since June 2024, Massimo Frascella has been Chief Creative Officer of Audi AG. His Design philosophy is based on simplicity, elegance and clarity—values that he wants to incorporate into all aspects of the brand.

At Mercedes, Gorden Wagener and his team have it in their hands to continuously develop the established design philosophy of »Sensual Purity«, which fuses emotion and intelligence, into the future—without going beyond its scope. However, this does not stop the Mercedes design team from constantly putting this framework to the test. »That’s why we have ›Advanced Design‹, our global design network. I would like the designers who work there to continuously review ›Sensual Purity‹ and explore the entire spectrum of the philosophy. Although the basic idea remains the same, we have to reinvent ourselves a little every day and challenge ourselves.« The French fashion brand Chanel is a good example of how a brand has constantly evolved without major disruptions, Wagener adds in our interview: »Karl Lagerfeld understood what Coco Chanel once created, but was not afraid to challenge it. However, he never violated the brand’s DNA. Strong brands and styles allow you to play with them.« In addition, the head designer of Mercedes adds that the luxury sector anticipates many developments and the mainstream gradually copies them. »This means that luxury defines taste for an exclusive group and then goes mainstream. For this reason, luxury must always evolve.«
Approaches such as that of Massimo Frascella, who demonstrates how the entire organization can be inspired by the creativity of the design team, show that »design-driven« is more than just an empty buzzword in the automotive industry. This also goes hand in hand with the fact that automotive design is no longer just about developing production cars and show cars, but that it is also part of the design team’s job to help shape the entire brand identity. »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«, is how Michael Mauer sums it up. After all, to be at the forefront, the combination of brand and product has to be right.

When it comes to what makes a good design—what might even turn it into an icon—there are some parallels to be found across all four brands. Among other things: Proportion is (almost) everything. Gorden Wagener puts it like this: »You have to build the house right. The right proportions make up 80 percent of the rent.« And Adrian van Hooydonk describes the hierarchy of the individual steps in the design process as follows: »If the proportion is bad, you won’t get a good design. Proportion is the cornerstone, then comes the surface. Then come the lines and only then the details. However, our customers see this in the reverse order: they see the details first and may not even be aware of the proportions.«
The second important thing they have in common is their unwavering commitment to reduction and clarity. What does that mean in concrete terms? »If you like it, take one line off. If you still like it, take another line off«, is how Gorden Wagener sums it up. At best, this results in longevity, timelessness and, at best, inclusion in the Olympus of design icons. Massimo Frascella also quickly reveals himself to be a designer who was probably not too keen on decorative lines at school. Clarity, precision and perfect proportions—these are the cornerstones of his design philosophy. The big challenge is therefore to create his own signature with as few clear lines as possible.
If you succeed, are you close to the perfect form? Massimo Frascella laughs and answers: »There is no such thing as perfection. Of course, as designers we still strive for it. For me personally, the first-generation Audi TT  is the car that I would say is very close. I say that because I wouldn’t do anything differently with this car. No, even from today’s perspective, I wouldn’t change anything about it.« The first-generation TT  is a car that is more rational than almost any other, but makes its impact on an incredibly emotional level, continues Frascella. »That is also an important part of what makes Audi what it is: a form of rationality that goes straight to the heart.«

»In my opinion, creativity is something that should permeate the entire company—not just the design department«, emphasizes Massimo Frascella in an interview with Chapter. (In the picture: Design sketch of the Audi A5)

However, the fact that the perfect shape may not even exist does not detract from the perfectionism of Audi’s chief designer. »I am very proud of many of the cars I have worked on. But that doesn’t stop me from thinking about small adjustments or changes when I see them on the road.« His biggest critic is himself, says Frascella. »Maybe I’m even too hard on myself sometimes. On the other hand, that’s something I always encourage my team to do: be critical of your own ideas and don’t be satisfied with the first one you come up with. Check it out, maybe you’ll even come back to it in the end.«
Gorden Wagener also has a lot to say on the subject of perfection. »I am a friend of perfect aesthetics«, he says. For him, beauty is an intuitive feeling—an ideal that we try to approach. »Knowing that we will never achieve the perfection of creation. Nevertheless, we try. In addition to the visual definition, there is also the intellectual level that tells me: this is new and unexpected—the extraordinary. And it is precisely these two sides that constitute the Mercedes design philosophy of ›Sensual Purity‹.«

The design process itself also has these two sides—it is intuition and mental strength in equal measure. This means, among other things, that it is not enough to have good ideas, you also have to sell them successfully. »Design is a mental game, just like soccer. It’s a competition and we play in the Champions League, so to speak«, says Gorden Wagener, who wants to emphasize the close relationship between product and designer. »A car always embodies the philosophy of its designer, which in my case is ›Sensual Purity‹. And that’s why my current favorite car is always the one I’m currently working on.« To a certain extent, Michael Mauer also shares this statement: »Designers identify to a high degree with their work and the projects they are working on. Positive feedback boosts motivation all the more. However, not every design can win a strong competition—even in an internal comparison of different designs. That is why I am firmly convinced that dealing with supposed failure is also an important learning field for young designers.«

And what was that again about intuition? Massimo Frascella answers: »Of course, there is always a foundation based on data. But from this starting point, intuition and gut feeling come into play. Intuition is also what makes the difference in the end, in my opinion. Because if only the facts were important, everyone would come to the same conclusion.« Then the leap into the so-called »Sea of Sameness« wouldn’t be too far. Unlike soccer, where players run around the pitch in the here and now, trying to find the perfect balance between offense and defense, automotive designers live in the future—at least professionally. And are—in the best case—ahead of their time, but without losing touch with the present. »I always say that we live in a different time zone in design, because we are currently working on the cars that will be on the market at the end of the decade. With studies and show cars, we are going even further into the future. So if you ask customers today how they like the car you are currently working on, you will always get an answer from the present. If he or she doesn’t like it today, that’s often a better sign than immediate enthusiasm«, is how Gorden Wagener describes the unusual time zone in which he spends his professional life. Towards the end of the interview, we ask Massimo Frascella whether he sometimes feels anxious about helping to shape the future of mobility in such a decisive way. With his typical openness, he replies: »It’s important to find a balance, because it ensures that you don’t lose respect for the task and still remain creative and curious. In my opinion, these are the most important qualities when it comes to staying relevant and successful. With experience also comes self-confidence and the knowledge that we can anticipate the future well and thus create emotional, even iconic models.«

According to Gorden Wagener, passion also plays a central role: »For me, design is an aristocratic occupation. Every design task is a fulfillment and an opportunity for further development.« And sometimes all these aspects come together perfectly and, on top of that, »happy accidents happen«, as Michael Mauer likes to put it. During the conversation, a concrete example of this comes to mind: »Years ago, we were discussing the design of the rear end of a 911 together as a team on a clay model—I leaned against the model and accidentally broke off a part. The result: the disruptive feeling we had previously discussed was gone—problem solved.« Only a small fraction of the problems that affect the future of mobility will probably be solved in this way. It may well take a revolution or two. What this will look like is in the hands of the four people we spoke to for this article, among others.

FIRST PUBLISHED IN CHAPTER №XI »TASTEMAKERS« — WINTER 2024/25

A car must appeal to all the senses, because it is not just about driving from A to B. Rather, it is an intense sensory experience in which sight, touch and hearing come together and which should evoke strong emotions, says Tobias Sühlmann, Chief Design Officer at McLaren Automotive. The German automotive designer has been responsible for the design language of the renowned British sports car manufacturer since September 2023 and has ambitious goals. In particular, he wants to establish a new visual expression of a characteristic design DNA that builds on the 60-year motorsport heritage with legendary lightweight supercars, but at the same time takes the brand into a new era – with »Performance by Design« at the center. On the occasion of the chapter photo production with the McLaren 750S, the lightest and most powerful production McLaren of all time, we talked to Tobias Sühlmann about a supercar as a design piece, the (design) language of speed and, of course, his personal design philosophy and strategy for McLaren Automotive.

Photography: David Fischer Assistance: Aurel Salzer Ivan Dobrovolkyi Digital Operator Retouch: Sascha Rebrikov Prompting: David Fischer, Sascha Rebrikov Studio: Oatmilk

Chapter You have been McLaren’s Chief Designer since September 2023. How will your personal design philosophy and signature change the design of the brand?

Tobias Sühlmann When a new Chief Designer joins a company, this naturally always means a change for the future design language of the brand. For me, it was important that the McLaren brand and its heritage are at the heart of what we do – at the same time, we are embarking on a new design era, with new vehicles, more product differentiation and with »Performance by Design« at the center.

Chapter To what extent can we expect this new era to bring design even more into the focus of McLaren product development in the future?

Tobias Sühlmann We already work very closely with our engineering department, more so than I have experienced with other manufacturers, and I would like to develop this relationship even further in the future. To develop a high-performance sports car, the individual teams – Engineering, the Aero Dynamic Team and ourselves – have to work hand in hand, and that’s exactly what McLaren has done over the last ten years. It’s a real team effort to bring a super sports car like the 750S to life.

Chapter Let’s stay with the 750S – what design aspects or features of this model would you particularly like to emphasize?

Tobias Sühlmann The 750S is indeed an amazing design piece. The front view is defined by two symmetrical main elements with horizontal alignment and the typical low front. This is a typical feature of the 750S design. The rear view is defined by an open rear – a design feature introduced with the McLaren F1 and found on virtually all modern McLaren supercars. Both brand-typical design elements can be found on the 750S.

Chapter Which other design elements in the vehicle do you consider »typical McLaren« or quotes from racing history and which features can be defined as new, perhaps even progressive and innovative?

Tobias Sühlmann A very typical element is the pronounced shoulders and the short rear overhang. These are design elements that we see in all McLaren cars over time. If we want to look to the future together, we are defining some new features, for example advanced aero targets, which can lead to completely new shapes.

Chapter For this look into the future, McLaren also introduced the new design philosophy »Performance by Design« at the beginning of 2024, based on 5 core principles (Epic – Athletic – Functional – Focussed – Intelligent), which will determine the next generations of McLaren supercars and hypercars. To what extent does the 750S already reflect those brand attributes?

Tobias Sühlmann Epic: The butterfly doors of the 750S Coupé swing dramatically upwards when opened. Athletic: Efficient packaging of the high-performance drivetrain and chassis components. Functional: Innovative approaches to advanced aerodynamics and cooling, as in the double-walled doors of the McLaren 750S. Focused: The new driver-centric, steering column-mounted instrument display, flanked by rocker switches to control Active Dynamic settings, is a McLaren innovation that allows chassis and powertrain modes to be changed with your hands on the steering wheel. Intelligent: The exclusive new McLaren Control Launcher (MCL) function allows the driver to save a preferred combination of aerodynamic, handling, powertrain and transmission settings and recall them at the touch of a button.

Chapter And what makes good design for you personally?

Tobias Sühlmann A clear design that allows you to recognize the brand of a vehicle without having to search for a logo.

The great Michelangelo is said to have claimed that a form is already hidden in the stone and is simply waiting to be freed by man, hammer and chisel—all that is needed is to knock away the superfluous. Katharina Sachs, Senior Exterior Designer at Volvo Cars, probably takes a similar view when she says that the work of a designer is similar to that of a sculptor, because one of the special challenges in design is to harmonize form and function and to free their harmonious combination from superfluous details. It also seems fitting that she cites the moss-covered, velvety green-yellow shimmering stones, which are abundant in the Swedish landscape and therefore easy to overlook, as one of the sources of inspiration for the new Volvo EX30 —robust, self-contained, close to nature.

The formal language of nature has always been regarded not only as a natural source of inspiration, but also sets creative processes in motion and promotes innovation in the sense of a solution-oriented design approach. According to Sachs, finding a connection between heart and mind is the top priority in car design. It almost seems to be a matter close to her heart to place particular value on closeness to nature and emotional connection in the design process. With this in mind, the windows of the new EX30, for example, have been opened as far as possible to allow maximum natural light into the vehicle.

The moss, crystal, pine and indigo tones of the exterior and interior colors of the compact SUV were, how could it be otherwise, borrowed from the Swedish landscape. And in order to make the calming effect of Scandinavian nature as tangible as possible, there is also the option of simulating it with the interior sound and lighting in the passenger compartment.

Besides heart, mind is also a fundamental keyword when it comes to the minimalistically designed interior of the EX30, which strives for maximum sustainability. This is of course leather-free, with a focus on bio-based, recycled and renewable natural materials such as denim, flax and wool. The use of Pixel Knit, made with a flat knitting machine and consisting of 100% recycled polyester, and Nordico can also be categorized as innovative. The latter is a progressive and technically advanced material developed by Volvo, consisting of recycled PET bottles and organically grown material (pine oil) from Swedish and Finnish forests.

Under the creative direction of Katharina Sachs, Volvo has shown with the EX30 that nature and art, study and execution, have always complemented each other—some things are carved in stone. [DM]

Space, movement and energy have always been central motifs in Julie Mehretu’s work. For the design of the 20th BMW Art Car, she transformed a two-dimensional motif into a three-dimensional representation for the first time, with which she succeeded in bringing dynamism into form. »Julie Mehretu is the perfect artist for the early 21st century. Merging her work with the shape of a speeding vehicle borders on perfection,« says Pritzker Director of the Museum of Contemporary Art Chicago Madeleine Grynsztejn. According to her, the perfect prerequisite 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.« Her special understanding of space and speed is brought to life by the former director of the House of Art in Munich, Okwui Enwezor, summed it up as follows: »Julie Mehretu’s work encompasses various questions of movement, she brings dynamism into form.«

Julie Mehretu used the color and form vocabulary of her monumental painting »Everywhen« (2021 – 2023), which is currently being presented as part of a major retrospective at the Palazzo Grassi in Venice and will subsequently become part of the permanent collection of New York’s Museum of Modern Art (MoMA), as a basis.

»I saw the model of the BMW M Hybrid V8 in front of the finished painting in my studio and wondered what would happen if«, says Julie Mehretu. »Now the BMW Art Car is a remix of my painting, and it looks as if its radiator grille kidney grille has breathed in the painting.« Here, the artist evokes the abstract visual form of the vehicle, which is the result of digitally altered photographs overlaid with several layers of dot grids, neon-colored veils and the black markings characteristic of her work.

The fusion of image and vehicle was realized with the help of 3D mapping, with which the motif was transferred to the contours of the vehicle, and elaborate foiling, which makes it possible to use the fully designed BMW M Hybrid V8 at the 24 Hours of Le Mans. »I saw the car at Daytona and the experience was overwhelming. Designers, engineers, aerodynamicists and so many other creative minds are working on taking this vehicle to its limit. So many dreams come true when it’s time to hit the racetrack,« says Mehretu.

With their collaboration, Julie Mehretu and BMW have created a concept that goes beyond the design of the 20th BMW Art Car. Together with Mehret Mandefro—Emmy-nominated producer, author and co-founder of the Realness Institute which 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 then be presented together with the 20th BMW Art Car at the Zeitz Museum of Contemporary Art Africa in Cape Town. [Red.]

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]

The project by the trio Jo Rychlik, Lukas Treibenreif and Rio Grande is preceded by a journey during which they use the new all-electric Kia EV9 as a mobile laboratory for their creative exploration. These led the art collective through natural landscapes, which they captured and digitized with the help of innovative technology. Her most important tool was photogrammetry, a type of 3D scan that takes thousands of images of an object and converts them into three-dimensional data using an algorithm—human impressions are thus transformed into digital data before they are translated into a physical work of art. »By using resin, a liquid resin, we were able to bring our digital impressions back into the physical world through 3D printing, creating an artifact that symbolizes both our connection to nature and our technological advancements,« explains Jo Rychlik, Co-Founder of OBJ.Studio, adding: »It’s about exploring and reflecting the connections between the natural and the technological.«

The resulting artwork »Anthropogenic Artefact: #001«, a transparent, 25x26x29 cm artifact, is a physical enclosure of memories, a symbiosis of nature and technology. »This work is an appeal to perceive not only the beauty but also the complexity of nature as we embark on the path of technological innovation. It represents the challenge of shaping our technological progress in harmony with nature without destroying it any further,« the artists’ statement says.

With this in mind, the collective used the stylish and exceptionally spacious Kia EV9 not only as an environmentally friendly mobility partner and mobile studio during their data collection, but also as a way to be reliably supplied with sufficient power for the elaborate scans in the midst of nature. In other words, a mutually beneficial connection that, in a broader interpretation, should be read as an appeal for a more harmonious coexistence between the artificial and natural worlds. The collaboration between OBJ.Studio and KIA is also an invitation to everyone to explore and re-evaluate the fascinating and often complex relationship between man, nature and technology. [Red.]