During the Car Design awards ceremony, Auto&Design held a Talk in Milan on the theme “Emotional connections”. As in previous editions, the discussion took place within the prestigious ADI Design Museum, alongside the winning objects of the Compasso d’Oro over time, with the involvement of actors and actresses belonging to multiple fields, not only related to mobility. In fact, the following participated: Domitilla Dardi, design historian; Joaquin Garcia, head of style at Italdesign; Eugenio Lolli, president and CEO of Alcantara; Andrea Rosati, at the helm of strategic design at Lotus Cars.

To structure the theme, an interesting dichotomy of our times: on the one hand, cars are becoming more and more technological (starting with virtual assistants and driving aids), on the other hand, the designers’ care for human experiences on board is growing. How do these different and complementary spheres interact?

Lolli, at the helm of a very refined company and partner of the event, begins by illustrating with a video the processes that bring the material closer to the sensitivity of those who elaborate or enjoy the final result, that is, through a flexibility capable of satisfying multiple personal or brand identities. A perfect approach for Dardi to emphasize the importance of “creating connections by looking at neighboring fields“, for example by formulating the discourse on the automobile starting from the inside and from the “domestic”. There is no shortage of historical examples in this direction, including the famous Kar-A-Sutra by Mario Bellini (1972), a precursor of MPVs based on the idea that the body could assume different positions in the passenger compartment. Even the notion of “common sense” – again reported by Dardi with reference to the inventions of two women, at the end of the nineteenth century: the heating system of the passenger compartment by Margaret Wilcox and the windshield wiper by Mary Anderson – exemplifies a non-obvious modality of the man-machine relationship.

Garcia’s point of view is grafted onto this subject, agreeing on concrete reasonableness since “the important thing is not the product, but rather what people do with it”, so it is necessary to “fully explore user behavior” and make it central. Later on, the concept will re-emerge in his words in a very interesting key, according to which “rationality itself represents an emotion” and the relationship with people is also created “in owning an object for a long time, becoming attached”, thus respecting an apparently “cold” criterion of sustainability and durability. First, however, it is up to Rosati to suggest a further reflection: if someone (especially the youngest) moves away from the emotional bond with the car, the interest can be reconstructed by telling the stories behind a metal creation, with special regard for participatory values such as collaboration and courage.

Again moderated by Silvia Baruffaldi, editor of Auto&Design, the debate then revolves around the “central dimension of feeling safe, in a physical sense and beyond” (Dardi), the car “extension of the home” (Lolli), the proposal that designers become “less self-referential, reducing the spectacularity of the dashboards to allow passengers to concentrate on the outside” (Garcia),  the use of advanced but human-oriented solutions, such as “seats with air padding capable of gently vibrating  to send driving signals thanks to a fabric with integrated air chambers, which therefore uses air as a material. In fact, we started from the concept of a wearable car, our co-founder Colin Chapman used to say that a Lotus is worn like a glove” (Rosati).

A kaleidoscope of ideas that is very varied and certainly a harbinger of future developments, which concludes with a promising intervention by Dardi: “We are now moving towards ‘technocraft’, a term capable of blending absolute modernity and craftsmanship”. Therefore, “synthetic materials will lose the negative aura associated with the ‘fake’, generating, instead of an imitative effect, a sort of ‘super-nature'”. It will soon be understood how much such a tendency can unfold on the car and on the personal interest it arouses.

What happens when certain components of engineering excellence are separated from their original context to become autonomous masterpieces themselves? We find out thanks to an unprecedented initiative by Maranello, which reinterprets multiple essential technical elements (brakes, exhausts or even entire engines) detached from their original performance location and made to rise to individual aesthetic representations into collectors’ items. From speed to beauty, from beauty to speed, reads the description of the initiative.

‘I really like this cut,’ explains Flavio Manzoni, Ferrari’s design director. ‘It illustrates well the process by which we conceive our cars, starting from racing-related needs that then, inevitably, generate aesthetics. As if beauty were necessary, or rather a direct consequence of aerodynamic and functional requirements: nothing, for us, is detached from the rationality of the result. It is a concept I hold dear’. Having trained as an architect, Manzoni then goes on to illustrate the relationship between small everyday objects and the enormous imagery of the automobile, intrinsically confirming that mechanical components can become exhibition-worthy.

However, we have to treat them as creative proposals: ‘Each one required specific elaboration, even if only to imagine a physical support, as these are always different parts normally mounted on cars. For example, we strongly desired the introduction of transparent elements precisely to highlight the metal’. Some of those present, then, note how surprising is the static pleasantness of elements always imagined to rotate at very high speeds, thus here totally decontextualised with success. Perhaps it is precisely in this singular capacity for transformation, not without a sort of peculiar tension towards ameliorative recycling, that the truly powerful alchemy of this collection lies.

– Tipo 048B Formula One engine: a 3.0-litre, aspirated V10 that delivered 790 CV at 16,300 rpm, it saw Ferrari scoring its ninth Constructors’ World Championship in 1999;
– 6.3-litre V12 engine that powered the LaFerrari (2013), one of the most remarkable in the company’s 78-year history because of the F1-derived HY-KERS. This special piece comes from a LaFerrari prototype, which was created during the model’s development process, representing a real one-of-a-kind item;
– Camshaft from a Ferrari F2003-GA, a single-seater F1 car that scored seven race wins and two World Championship titles with Michael Shumacher;
– Exhaust from the 2.4-litre aspirated V8 in the Ferrari F60, as raced in the 2009 Formula 1 world championship by Kimi Räikkönen;
– Crankshaft from the Ferrari F10, the car that allowed Fernando Alonso to win his debut racing for our team in the 2010 F1 world championship;
– Carbon fibre brake disc from a Ferrari SF71H, as driven by Sebastian Vettel and Kimi Räikkönen in 2018 season;
– Conrod and piston from a 2011 Ferrari F150° Italia driven by Fernando Alonso;
– Piston from the Ferrari F2002 single-seater, as raced to spectacularly successful effect by Michael Schumacher and Rubens Barrichello.

Creative dialogues, conferences, a book: Renault approaches Milan Design Week by structuring a kind of symposium around the culture of the car-object. From the design path linked to the latest innovations, to the relationship between past and present, to a debate on the book ‘R4. Da Billancourt a Via Caetani’, which investigates the vicissitudes of the historic car up to the Moro kidnapping. In three encounters, between 7 and 12 April, a more articulate and complex range of ideas is outlined than a single, classic event. Three leading figures in the design world of La Spezia – Laurens Van den Acker (head of the group’s style department), Gilles Vidal (who directs design for the Renault brand) and Sandeep Bhambra (in charge of concept cars) – will animate the reflections, plus the intriguing contribution of one of the world’s best-known French designers, Ora Ïto.

The latter begins: “I really enjoy living in Milan these days, I’ve been coming specially for twenty-five years and this time for a very special occasion”. He shows off the R17 whose restomod he designed, inspired by two examples provided by the official Renault The Originals collection: “One blue, one brown. I took the second colour because I wanted an almost “production” effect. As it was a one-off, I didn’t aim for colour exaggeration, as I could have if there had been more units in different colours. In any case, I personally detest matt cars and wanted a shiny finish from the outset. ‘I too am delighted to be here, it reminds me of the time when I started working in car design in Italy, in Turin,’ Van den Acker adds. ‘Being able to celebrate our quest for style in this context, also representing it through the latest R4, is a source of enormous satisfaction’.

Shortly afterwards, Vidal emphasises, among other things, how much the generous customisation possibilities of the newborn correspond to the variety of proposals that the design of utility products gives to each individual: a “human” element of variety thus emerges, alongside the “technical” authenticity of a small crossover that focuses on functional content inherent in its own nature. Finally, in his talk, Bhambra talks about retro-futurism, collaborations with universes far removed from the automobile, and boundaries that prototypes can circumvent.

At the Stellantis Style Centre in Via Plava, Turin, the atmosphere is that of the never-to-be-repeated occasion. At the entrance, as if Giugiaro himself had just laid down his pencil, stands a red Panda from 1980, its legacy soon to become apparent. The climate is vibrant and enthusiastic: a blend of freshness and corporate commitment that seems to have also left its mark on the formal design study.

The first Panda remains the guide
“The original Panda was our benchmark right from the start and we constantly referred back to it to refine our choices in a positive feedback loop”, François Leboine, head of Fiat and Abarth design, states. “After all, this was not just about aesthetics. The original Panda forged a genuine connection with its owners, and that connection remains our guiding principle today even more than its form”. The design process was intertwined with new industrial demands that, when the project began four years ago, prompted “the need to create a much more globally marketable car”.

Lines playing on practicality and vibrancy
“Durability and simplicity were the key principles, reinterpreted in a contemporary, distinctly Italian way, which we compare to a well-executed recipe”, Leboine jokes. The front light clusters, capable of “reimagining the square theme of the 1980s by evolving it into pixels” that are both digital and retro, are just one example of this ‘flavour’. The entire design language, however, plays on the dual level of practicality and vibrancy, highlighted by details such as “the bars of the old Fiat logo, which have become four instead of five because the human eye perceives them in the same way, or the iridescent badge on the rear door that creates a striking optical effect”.

Great quality of craftsmanship
Right up to an element that really excites designers: “On the electric car, the front badge not only recalls the graphic asymmetry of forty-five years ago, but points to the location of the retractable charging cable, a unique marketing feature of ours”.
And how could one possibly overlook the letters embossed on the sides? “Inspired by the name on the tailgate of some 4×4 versions, the result of fevered discussions among managers and engineers”, they add a bold touch of “pop” creativity and showcase the quality of the sheet metal work. In fact, the car’s sharp lines stem directly from this craftsmanship.

Interior heritage remodelled
About the passenger compartment, continues Michele Longo: “Our first idea was to go with a 1980s layout, but there was a risk of a “cold”, self-referential result with little connection to the present. The heritage has therefore been remodelled through the notions of “essentiality, research and the marriage of form and function”, concentrated in a panel that at once pays homage to the historic suspended “control block” and follows the track on the roof of the Lingotto plant.

Materials and colours playing a defining role
While the seats retain their traditional versatility for platform reasons, “we aimed to enrich the environment with materials and colours, which immediately took on a defining role”. First of all, the compartment facing the passenger turns out to be available with brand new upholstery (thanks to which it is renamed Bambox). “Using bamboo is an absolute novelty and an enormous challenge”, argues Vincenzo Vullo, head of colour&trim for the Fiat brand. Longo resumes: “We started from a witty idea, Panda food, and obtained one of the car’s most signature components”. “In addition, the seven exterior colours celebrate the territories of the Peninsula”, concludes François Leboine looking at an example in Aqua Azure. And no grey, as the Fiat brand demands: on the Grande Panda, functionality becomes funky.

(Full article in A&D no. 271)

A word rarely found in the automotive universe flourishes around the N°8, the latest expression of French refinement: poise. An unusual notion that Thierry Metroz, Head of Design at DS, illustrates as “fundamental to ‘the art of travel’, the mission our vehicles propose. In some ways, it consists of comfort and driving safety, but designers interpret it visually: with very pure, fluid, ‘regulated’ and therefore pleasing forms. We don’t pursue baroque elements or contrived aggression. An essential principle, at least since the Aero Sport Lounge concept of 2020.”

Concept car experimentation
Another peculiarity then emerges: “The N°8’s development ran parallel to our concept car experimentation. It began in late 2019, while the ASL was unveiled in March 2020. It’s rare to see such a short gap between a concept study and mass production development.” This coincidence naturally informed the final choices, “starting with the daytime running lights and illuminated grille, as well as the important two-tone bonnet. An innovation we’re very proud of.”

Sustainable Painjet
Instead of paint, they utilize the Paintjet technique, similar to an ink film, to eliminate manual interventions, colour liquid atomization, energy-intensive oven curing, and the need for masking, efficiently generating a single piece in two shades. “And in the future, we’ll be able to aim for different shades than black, which is currently preferred to recall, among other things, the Art Deco opulence of Bugatti, Delage, Delahaye, or Voisin masterpieces.”

Intense design phases
Underpinning the desire for excellence is the STLA Medium platform, shared with the recent Peugeot 3008, compared to which “the roofline is lowered by 6 centimetres, the bonnet by 5, and the dashboard by the same amount.” Several intense design phases followed: “The initial silhouette was validated against mechanical requirements back in 2019. By the following year, we were evaluating clay models in natural light and developing the distinctive eight-point lighting signature headlights, before presenting our work to Carlos Tavares.”

An essential year
2021 proved to be an essential moment: “The first clinic test was performed on a vehicle that was 80% complete, with French, Italian, and German users who in 76% of cases would have preferred it to five other renowned competitors. The best result in DS history.” Obviously, the following year, after further feedback on a 95% complete specimen, the style was “frozen” and tooling for construction was prepared. In 2023, pre-series units accumulated test kilometres, leading up to the presentation in late 2024, with sales beginning next summer.

A monolithic dashboard
While working on the exterior, a progressive push for balance between sensual surfaces (for the sides) and taut ones (front and rear) emerged, and the interior evolved in parallel. “The four-spoke steering wheel concept had been with us since 2018,” explains Metroz. “It’s our contemporary interpretation of the iconic single-spoke design from the original 1955 DS, reimagined with a modern luxury aesthetic.” The dashboard design embraces a monolithic aesthetic, with a ‘seamless’ appearance enhanced by a continuous metal strip. The speakers are elegantly integrated into the aluminium trim, reinforcing the sense of unified luxury.

(Full article in A&D no. 271)

If the three-door Mini sticks diligently to Alec Issigonis’s primitive concept, starting with the collected forms and the absence of rear access, the canvas roof does not distance the most famous Englishman from the groove of continuity. Giving it, if anything, a slightly more playful spirit. Low height, urban-style length (3.88 m) and crucial finishing touches: the chrisms of the formal conception remain unchanged, as does the body partly taken from the previous generation. The Charismatic Simplicity language, however, is ingrained in the recipe, evident in the revised front (octagonal grille, new light clusters, clean, geometric bumper) and above all in the cabin, dominated by the essential dashboard with 24 cm circular instrumentation.

‘Inspired by history, we have given each new model a strong character through simple, minimalist styling cues, intuitively centred on the core elements of the brand,’ said Oliver Heilmer, head of Mini design at that time, in 2023. The Convertible now confirms that direction, replicating three of the saloon’s four powertrain-independent trims. The Classic is joined by the sophisticated Favoured, enriched with details in the golden shade Vibrant Silver and a beige or Nightshade blue faux leather interior, and the John Cooper Works with much more aggressive bumpers, miniskirts, bonnet sticker stripes, dedicated wheels and red stitching upholstery.

For all of them, the same dark convertible top settles into the boot in 18 seconds under 30 km/h, but can also become a ‘sunroof’ thanks to the 40 cm sliding of the front portion alone, unfortunately lacking a wind deflector. The canvas is not available in colours other than black, despite the twelve exterior colours (including the launch Copper Grey), but it can bear an optional Union Jack in light grey on its surface. The motif inspired by the British flag also illuminates the rear light clusters, otherwise identical in shape to their predecessors, drawing a pattern that mimics the pseudo-triangular cut proposed on the latest edition of the hatchback sibling.

‘We are convinced that the conscious reduction to a few, but expressive elements allows for unthinkable innovations,’ said Heilmer. Certainly, especially in terms of freshness and technology. But the convertible, which turned two decades old last year and is now being produced again at the Oxford plant, undoubtedly represents a modern open-top tradition.

The large LED eyes are immediately intercepted in traffic. “This is a strongly desired element of sympathy,” explains Nicola Danza, director of exterior design for Europe. If you then look at the other lines, youthful and devoted to the originality of the Inster (“Each car is a specific project for us”), the smile blooms spontaneously. Yet, despite appearances, the secret of the smallest electric Korean car is not to be found in the cunning and somewhat cartoonish liveliness.

When you can access direct contact, as during a test drive in the hyper-metropolitan maze of Milan, you are hit when a door is opened. A rear one, possibly. Because the particularly generous wheelbase, 2.70 meters out of 3.83 meters in length overall, is transfigured into an “empty space” in front of the sofa that immediately suggests hospitality. And at the same time, it launches perception towards a more practical area: functionality triumphs at the center of the project.

The second-row seats, for example, slide 16 cm with a 50:50 split and provide an adjustable backrest, perhaps for naps on the way to school, while the front seats can be folded down (depending on trim levels). Not only that: for those sitting in the front, a curious driver’s side seat with built-in cup holder makes its debut, whose padding widens towards the passenger in a sort of “bench” that enhances the sense of welcome. “We have emphasized as much as possible the availability of centimeters longitudinally with a limited width, two aspects related to the platform derived from the smaller Casper (not sold in Europe, ed.). Thus, the car becomes significantly different.”

It is no coincidence that the test also becomes an opportunity to present the Cross variant, expected in April, with specific bumpers, side skirts and 17″ wheels, a flashy optional roof rack and passenger compartment with dedicated fluorescent upholstery and details. Meanwhile, on the traditional body in XClass trim, you can order at no extra charge, next to the dark interior anodyne, the eccentric Newtro Beige-Khaki Brown equipped with houndstooth fabric and even yellow-brown plastics. The ideal for the Buttercream Yellow launch varnish. “One of Inster’s goals remains to stand out, promoting a Korean and unconventional vision of aesthetics,” concludes Danza. Those who have seen it circulating would confirm.

While the successful R5 takes us right back to the legacy of charm and charisma of the 1972 three-door of the same name, the project aimed at re-evoking its sister R4 evokes a more nuanced vision. “The idea was to reverse the historical positioning of the two models”, explains Paula Fabregat-Andreu, head of B-segment car design for Ampère’s electric vehicle division: “The R4 becomes the more chic option”. The ground clearance and vaguely off-road character that once represented “rustic” traits, therefore, now allow the car to compete as a small crossover, “often considered more contemporary and desirable than a saloon”.

Soft shades for the exteriors
The sense of volume typical of the original thus combines with a new urban, “velvety” character. Starting with the colours: “Dusty shades have been favoured, such as the Hauts-de-France green launch colour, which pays homage to the soft Île-de-France blue of the past while at the same time echoing the name of the region where the car is now produced”.
The same sophisticated approach is extended to reinterpret the most pregnant formal aspects, such as the grille or the three thin ribs on the doors The 18-inch wheels and 18 cm ground clearance complete the visual consistency.

The cure for the slope of the tailgate
The process of enhancing perceived quality has, however, run into a major criticism, paradoxically centred on one of the most significant elements of yesterday’s R4: the rear panel. “As much as the lines of the R5 could be directly replicated in an eye-catching effect, here we had to be very mindful of the slope of the tailgate, which did not provide convincing results in all cases. This is something we have worked hard on”, Fabregat-Andreu points out, acknowledging the challenges of reimagining a product with a distinctly utility flavour.

Roomy rear passenger space
Moreover, the past is faithfully revisited in the functional layout, even down to the height of the loading sill (just 61 cm off the ground). “On the outside, you are attracted by the aesthetics, on board you discover unsuspected versatility: the electric architecture has provided a generous wheelbase and roomy rear passenger space, details such as separate mobile phone pockets appear, the 420-litre boot offers hooks, elastic bands and a clever dual-access double floor, and the front right-hand seat can fold down into a table”.

Satured shades for the interiors
The dashboard, adapted from the R5, plays something of a secondary role in this pursuit of practicality, while remaining thoroughly modern with screens of up to 10.1 inches. “The upholstery fabric, however, is unique to this model: here we’ve used more saturated tones even in the entry-level Evolution version to coordinate them with the shaded body colours. On the Techno trim two rather intense shades of denim are combined, and the range-topping Iconic introduces TEP eco-leather, with yellow applications inspired by sports watch straps, for a question of washability”.

The tout-terrain evolution
The feeling of airiness also triumphs on the Fl4wer Power prototype displayed at the Paris Mondial, an unexpected variation on the theme enriched with specific upholstery and a decidedly elevated stance. “It prefigures a tout-terrain evolution that is only the first of many experiments in the pipeline. The car is OK with it and we will surprise you!” promises Paula Fabregat-Andreu. In the meantime, the production car can be ordered in 670 combinations of accessories and customisations: volume has never met style so much.

(Full article in A&D no. 270)

When confronted with a performance-oriented style, one often encounters successful manifestations of functionality, especially in terms of aerodynamics and cooling, mixed with pure visual pleasure. When mechanics claim their reasons so much, there is rarely room for irony. Faced with the most refined expression of Aston Martin, however, we catch the “confidential” observation of a designer at an event of the British brand: if the Vanquish were an animal, with that rear it would look like a peacock.

Far from ducktail. The comparison makes you smile, but it also appears well-founded by observing the other sisters present, two Vantages in orange and absinthe green and as many DBX 707s. All modeled around the same curve just below the rear window. On the Vanquish, however, this section rises to a key element. It proves to be a synthesis between the inspiration derived from the Le Mans prototypes of the Sixties and the most advanced downforce profiling, in an extraordinary orchestration of spoilers, truncated cut with contrasting shield, extractor and exhausts. When looking at the car from behind, the emotion is greater than from the front. And seven light blades on each side complete the effect.

Of course, the formal approach also ennobles the view from different angles, starting with the distance between the front end and the windshield pillars: a measure that builds contemporary and at the same time ultra-classic proportions, with a nose designed to place the V12 as far back as possible. In addition, in line with Aston Martin’s intention to consolidate its position in ultra-luxury and thanks to the unprecedented surface language, many details become carefully sophisticated: from the front light clusters to the UV-resistant glass roof, to the opulent luggage set integrated behind the passengers’ shoulders.

There is also no shortage of unexpected design features, such as the lightened bonnet of the active mechanisms for pedestrian impact, thanks to a study of deformation that does not require additional devices. Charm is realized through invisible subtleties. It is no coincidence that Marek Reichman, Executive Vice President of Aston Martin, said: “Our flagship model is a culmination of fearless creativity and human ingenuity”.

Decidedly Latin, starting with the marked sensuality of the surfaces, but permeated with a welcoming spirit and volume: the latest expression of the most dynamic brand in the Volkswagen galaxy, the culmination of a successful evolutionary path, moves into new areas of use without denying too much of its usual character.

Sense of tension
Even the proportion between body work and windows, designed by a decidedly sustained belt line, “suggests a protective approach for the passengers” in the words of design director Jorge Díez, “and at the same time contributes to creating a sense of tension”.

“Young and defiant”
Quest’ultimo termine pare animare l’intero progetto, insieme a una più ampia visione comunicativa: «I tratti decisi producono un’aggressività utile non solo a fini formali, bensì perfetta per trasmettere la nostra immagine di Casa giovane e combattiva». Non a caso il dialogo fra curve sensuali e geometrici gradini si dispiega uniformemente sull’intero corpo vettura, segmentando la coda e trionfando nel frontale «a muso di squalo, che permette di allungare il cofano e imprimere una spinta in avanti al profilo, come già accaduto per il restyling della Formentor».

Dual nature
Despite having an overall length that is only seven centimetres longer, the Terramar is therefore a “big sister” capable of topping the range in a markedly more mature and family-oriented key, making use of the more advanced MQB Evo platform. “We are aiming very much at modern couples with children, who love the progressive liveliness of Spanish products while still wanting sobriety and content. On the other hand, the very name of the model, split between ground solidity and wave motion, represents this dual nature”.

Cupra’s mission
Above all, the bodywork resonates with a subtle intent to provoke, which “recalls Cupra’s mission to create desire, and manifests itself not through fixed criteria – a risk for the differentiation of individual cars – but through the quest for a certain overall taste and the specific development of an element like the triangle, both pungent and tribal to the right point”.

Energy and comfort

“In the cabin, too, we play on an energetic and comfortable approach”, explains Díez. “The driver-oriented console and the specific seats induce the driver to enjoy the best of driveability; the three trim variants focus on different atmospheres rather than qualitative parameters, and the boot can hold up to 630 litres with the rear seats in use”2. A balance between untamed and user-friendly.

(Full article in A&D no. 269)