Sleek and low-slung, in a styling blend that blurs the lines between saloon, coupé and MPV, the Vision Meta Turismo seems to be the perfect choice for the brand’s 80th anniversary celebrations (in December 2025) as well as the glamorous backdrop of the Milan Design Week (last April). However, Kia’s latest concept reaches far beyond this, offering a profound glimpse into a future of ideas that are masterfully concealed by the exterior.

Inspiration from video games
“We began by focusing on the aspirations of young people, those who have grown up in a fully digital world”, explains Jochen Paesen, Vice President of the Future Design Group. “The challenge was to engage with a generation that may not yet have established consumption habits and may not even like cars. We found our inspiration in video games, which offer new forms of expression and help counter the short attention spans and boredom that readily arise today”.

Progressive mobility device
The result is a vehicle that combines the familiar concepts of autonomous driving and driver-focused operation with a third, deeply immersive experience. At the heart of this vision are extensive glass surfaces that double as interactive screens, creating a digital environment that remains functional even when the vehicle is parked. “We wanted to create a “progressive mobility device” capable of looking towards the future and reinterpreting established conventions”, continues Oliver Samson, head of Kia Design Europe.

Real and digital world
The generous four-door layout is paired with a highly liveable cabin for all passengers, as well as being tailored to the driver, with carefully designed seating and a deliberate emphasis on physical controls. “The young tend to draw a sharp line between the physical and the virtual”, says Paesen, “so we’ve offered both worlds, specifically through a lever that simulates gear changes and multiple buttons for managing, among other functions, lightning-fast starts, bursts of power and engine noise”.

Stop at a “game room”
Not to mention a steering wheel with a grip reminiscent of a video game controller, through which three “digital experiences” (Speedster, Dreamer and Gamer) pivoting around augmented reality can also be selected: “The latter makes use of dynamic images displayed on both the windscreen and the side windows, transforming the interior into a sort of “games room” during stops, or offering a discreet yet effective navigation system for quick use”.

Reconnectin with the road
In other words, true “immersion” sometimes consists of limiting visual clutter and reconnecting with the road, carefully balancing the countless practical aspects of technology. As the conversation proceeds, the designers’ need to manage complexity becomes abundantly clear.

(Full article in A&D no. 279)

The Temple of the Golden Pavilion is Yukio Mishima’s masterpiece and one of the cornerstones of Japanese culture. Among its themes, the almost spiritual quest for the perfect form stands out, beauty seen not as something static but as something alive, in constant motion, reacting to light. I mention this because it was constantly on my mind during my visit to the Mazda R&D Centre in Oberursel, near Frankfurt, the brand’s European design hub. It wasn’t my first visit, but it was one of the most memorable: the pursuit of movement in a stationary object is part of Mazda’s philosophy. Jo Stenuit, Design Director at Mazda Motor Europe, explains this. “Our aim is for a car to give the impression of moving even when stationary”.

©Photos by Nathalie Zimmerman

Mazda is one of the very few manufacturers not to have abandoned modelling (it had done so, but has reintroduced it), and above all to continue experimenting. Upon entering the centre, you are immediately met by sculptures that represent tension and movement. “We are independent, free from the constraints of large conglomerates and often ahead of the curve. That’s why my team of 21 people has the time and freedom to experiment”. The designers work on blocks of various materials, sketching out shapes that evoke the car’s key features.

This approach is embodied by Kodo (“soul of motion”), the philosophy that has guided the brand for 16 years. Previously, Mazdas had more taut and angular lines, inspired by the cheetah’s sprint; Kodo has given way to sensual, flowing surfaces, allowing “reflections to dance” as the car moves.

Stenuit himself came to the car industry as a digital modeller, yet the department has brought manual work back to the fore: milling, clay modelling, painting and four modellers working by hand. Making them by hand, he reflects, gives them a personal touch and offers something that digital methods cannot provide. Technology remains invaluable, but it is the human hand that sets the standard which the machine then refines.

Spectrum
Another hallmark of Mazda is its research into materials. The CMF (Colour, Materials and Finish) team was present at the studio; they investigate visual and tactile sensations and which colours and materials are in vogue or have already passed their prime – which is why they attend events such as Milan Design Week.

When it comes to colours too, the common thread remains the brand’s Japanese roots: indigo, ceramics, washi paper. Mazda is famous for Soul Red Crystal, a colour introduced not without some hesitation (red inevitably invites comparisons with Ferrari) but which is deeply loved. However, research has always continued: following discussions with Japan, a blue shade developed in-house gave rise to the Navy Blue Mica of the latest CX-5, a choice rooted in heritage rather than trends; the CX-6’s Nightfall Violet Mica, on the other hand, shifts from black to violet depending on the light. A colour, they say, must be viewed at an angle and in sunlight, because when viewed flat it conveys something entirely different.

Genesis is the brainchild of Luc Donckerwolke, Chief Creative Officer and Chief Design Officer for the Hyundai Motor Group, who is clear about how the brand must evolve after its first ten years. “A luxury brand must have many facets: it must be premium, sporty, and cool. So you have to create a passion, as emotions fuel the desire that is at the heart of the brand.

Off-road weekend
Ten years ago, Genesis was just luxury sedans. Five years ago, we introduced SUVs, a lifestyle. Then we moved into the sporty side, with the Magma cars. But many of our customers, especially in the Middle East, have active lives that push them off-road on the weekends, and that’s why we created cars for them and for their dune bashing.”

The crown jewel
Thus, in the Rub’ al-Khali desert in the fearsome “Empty Quarter” of the Arabian Peninsula, a new series of concepts debuted. Three are derived from production SUVs: the GV60 Outdoors Concept, the GV70 Outdoors Concept, and the GV80 Desert Edition, which join the newly launched Gran Equator, a luxury SUV with off-road capabilities. But the crown jewel of this new facet of Genesis is called X Skorpio Concept.

The desert skorpion
The name says it all, because it truly is a mighty desert scorpion. This extreme off-roader is destined to be produced in extremely limited numbers and only to order — 5, 10, maybe 20 at most, priced around 1.5 million dollars — and brings Genesis luxury to the world of off-roading. It won’t be homologated for road use to maintain its exclusivity and extreme power.

Californian toy
The X Skorpio concept was designed and built in California (“That’s where they make those toys,” smiles Donckerwolke) by Senior Chief Designer John Krsteski’s team, joined by Edward Tseng for the exterior and Christopher Ha for the interior. The work had already begun at the end of 2023: the car would have been ready a year ago had it not been for the Los Angeles fires, which meant the best time for the presentation was missed (before Ramadan, because afterward it would have been too hot in the desert).

Three distinct parts: front, centre and rear
“From the beginning,” Donckerwolke recalls, “the resemblance to the black desert scorpion was intentional.” The designers maintained a clear distinction between the front and the middle and rear, just like a scorpion. And the air vents, created by offsetting the surfaces, accentuated that effect: “Creating elements similar to the scorpion’s armour,” suggests Donckerwolke, “in a play of contrasts and opposites.” The black paint fused with a vibrant blue gleams in the desert sun as X Skorpio bounds across the dunes: it’s like redefining the concept of luxury in the world of the most aggressive off-road vehicles.

(Full article in A&D no. 278)

Restrained, rational, utilitarian in the noblest sense of the term. At the same time the concept car ELO is playfully appealing, you might even say visionary. A design oxymoron that brings together the many different souls of the Double Chevron, drawing inspiration from a deeply authentic creative process. With a nod to the smart simplicity of the 2CV and plenty of carefree spirit perhaps borrowed from the Méhari, solutions worthy of a 1990s minivan and, of course, an ultra-modern emphasis on sustainability and the brand’s role in the Stellantis line-up.

Short lenght
“The starting point was a meeting called to discuss how to reinvent the cabin within a very cramped footprint”, says design chief Pierre Leclercq. “Length-wise, even when a dedicated electric platform is adopted, the comparison is with the 4.01 m of the C3. The exact contrary of some of the bloated SUVs out there”. Three pillars lend a structure to the concept and give it a name: rEst, pLay, wOrk, a celebration of today’s multifunctionality.

The ultimate experience: sleeping on board
“Six years on from Covid, many users deploy their car as an extension of the office, even if only to send emails, or even as an occasional substitute for home during weekends away”. A trend towards “digital nomadism” that is shifting people towards a renewed interest in camping and “a freer, more frugal lifestyle.” Curiously, therefore, the ultimate way to enjoy the vehicle is to sleep in it: when necessary, a comfortable mattress, developed in collaboration with Decathlon, is inflated with an electric pump.

Revolutionary interiors
Despite the spectacular “nighttime” configuration, the entire interior architecture has been turned on its head. While the dash has developed the current strip running below the windshield (“perhaps with a production future”) and the steering wheel is a reinterpretation of the single-spoke heritage, the single central rotating driver’s seat shatters convention, while two extra rail-mounted seats can be added alongside it as a surprise.

Flat surfaces extending to the windows
On the outside, the elaborate livability of the interior translates into a decidedly basic design language consisting of clean-cut sections, flat surfaces extending to the windows (“making them less expensive”) and a lowered beltline to ensure driver visibility “comparable to the C3” from his unique position.

A well-established team
The ELO experience, although not aimed at future production, reveals Citroën’s unique creative maturity: “We have designed and created a similar laboratory of ideas because we have a well-established team and, above all, the perfect mindset”, concludes Leclercq. “Sometimes we even explain to other divisions how to optimise components, calibrate costs, or highlight exceptional features”. Very Citroën.

(Full article in A&D no. 277)

What matters is the number 3 written out in full and in capital letters, THREE, to indicate that this concept isn’t simply a show car but a prelude to a production car – the Ioniq 3, it’s easy to assume – with which the Korean manufacturer is offering two firsts: after its medium and large electric models, this is its first compact EV, but it’s also the first Hyundai to fully adopt, following the previews with the Ioniq 9 and Nexo, the new Art of Steel design philosophy that will now accompany every model.

Inspired by steel
“The effects of this new philosophy,” says Nicola Danza, “are particularly visible in the lateral intersection of volumes between front and rear. The inspiration came precisely from steel and its malleability, which gave us the opportunity to refresh our design language.”
Danza is Head of Exterior Design at Hyundai Motor Europe, where the THREE concept was developed. He worked closely with the top management in Korea, particularly with Simon Loasby, who serves as vice president alongside Head of Hyundai Design Center, and SangYup Lee, Head of Hyundai Global Design.

A language of sculptural beauty
Because the automotive world is a world of steel, the Korean manufacturer’s designers respond in unison. Art of Steel, in their intentions, transforms the strength and flexibility of steel into a language of sculptural beauty. Inspired by Hyundai’s advanced technologies, the natural formability of this material reveals fluid volumes and precise lines that evoke the characteristic aesthetic quality of steel: powerful, gentle, and timeless.

A protective film
Manuel Schöttle, the designer behind the initial project who then collaborated with Danza on the concept, speaks of “authenticity in the way we treated the steel,” and then adds: “It was a natural thing to make the THREE concept extremely pure. And I hope it brings a smile to the face of those who look at it.” THREE, precisely to reveal its true nature, was not painted but simply covered with a protective film that, explains Danza, presents it “as when that material comes out of the steel mill in coils.”

The Aero Hatch is born
But that’s not all. THREE also features another important design innovation. It’s called Aero Hatch. “We asked ourselves if everyone wants an SUV these days,” explains Danza. “So we said: why don’t we try something else? Something, for example, reminiscent of a hatchback from days gone by, with an excellent aerodynamic profile, so important in the world of electric vehicles. We played with volumes and arrived not at a traditional hatchback with a vertical rear, but at something more modern and sportier.

Mr. Pix
The interiors were designed by Raphaël Brétécher, Head of Interior Design at Hyundai Motor Europe, the same designer who had already given shape to the Ioniq 9 interiors. He developed them with the help of three other designers: Zdenek Borysek, Vitto Bonnemayers, and Alex Suvorov, while Emilie Grimm took care of C&T. And then there’s Mr. Pix, developed jointly by Brétécher and Danza and described as a “humorous communication with the car.” Born from the pixels that characterize the graphics of the headlights throughout the Ioniq sub-badge, pixels which in turn are linked to the Korean alphabet, it lends itself to a treasure hunt, a challenge to find the most Mr. Pix.

(Full article in A&D no. 276)

The automotive world is moving at breakneck speed and, with almost sixty years under its belt, Italdesign knows that staying competitive means adapting quickly to ever-changing scenarios. Joaquin Garcia, Head of Design at the Turin-based design house, explains how the company is gearing up to face new challenges.

“Let’s start with a simple truth: for us, cars are “the house speciality” and we take great pride in this, as we do in our origins and our history. It’s crucial to remain focused on this, because in the automotive field we have to be able to meet any request. In certain cases, we initiate a co-creation process, working side by side with a client who needs expert collaboration to bring a project to life. We can step in at different levels and adapt to any need, even managing the entire project from start to finish when required, because our structure mirrors that of a real car manufacturer. This gives our clients a huge edge and is the real difference compared to other companies like ours”.

“On other occasions”, continues Garcia, “clients reach out not to develop a specific model, but to define a brand vision. The challenge there is more demanding obviously, but also more stimulating because we have more creative freedom. We also work with car manufacturers that have a long and storied history. They turn to Italdesign because we are in the game of imagining the future and can come up with unexpected proposals that offer a different perspective. I see this approach steadily gaining ground in a world where competition is intensifying and where having a clear vision makes all the difference. This is especially the case with the arrival of Asian manufacturers, who are growing fast but struggle culturally to project themselves five or ten years into the future. For us, by contrast, looking ahead comes naturally”.

This approach is not confined to makers from the East. “European and American manufacturers have also long since recognised how important it is to embrace a broader perspective. These are companies with powerful brand legacies, but they are well aware of how quickly their corporate identity can erode. Brand identity is a delicate object and must evolve in the right way. We have been doing this for over half a century: first with European brands, then with the Japanese, Koreans and Chinese. Building a brand from scratch is embedded in Italdesign’s DNA, but there is more to it than that. We provide access to the Volkswagen Group’s platforms, which is a great advantage. Recently, we worked with the Indonesian government in this very way, culminating in the creation of the first national electric SUV: the TMI i2C”.

The automotive sector therefore remains key, but today, being competitive means getting involved in different areas. Italdesign also has a long history in the field of industrial design, a sector in which it began working in the mid-1970s, founding a specific division in 1981.
“Industrial design has given us satisfaction in many domains”, continues Garcia, explaining how the company’s design focus has changed. “Currently, the most compelling scenarios are in robotics and aerospace. We have already engineered a groundbreaking humanoid robot that will be presented shortly and is different from anything seen to date. For the moment, it has been widely acclaimed from a styling point of view, but we also want to develop it in terms of engineering and prototyping to bring the full strength of the company into play. It is an area that offers a great deal of potential and one in which we feel perfectly at ease, as we are deeply human-centric. The pharmaceutical and medical sector is also experiencing explosive growth. We already have a number of collaborations in play and our involvement will undoubtedly expand in the years to come. Our approach to user experience is pivotal: we are able to design the experience before the product, regardless of the sector. What we have learned in the automotive industry is readily transferable elsewhere”.

Italdesign is also deeply committed to advancing Clean Tech, i.e. the sustainable manufacturing of products through innovative techniques and approaches. “This is not greenwashing”, Garcia clarifies. “Here we work with 3D printing to avoid waste, we use new recycled materials and we combine design, engineering and production to create innovative and highly functional objects. Like the ReSedo seat presented at Volkswagen’s Future Mobility Days. We used different technologies and materials, collaborating with esteemed partners such as Nike Grind, the division of the American giant that transforms manufacturing waste and recycles shoes and clothing to create new materials. Ours is a “learning by doing” approach, and I really like it because it allows us to learn constantly”.

It is therefore among new opportunities in the world of automotive, industrial and transportation design, exploring the latest technologies, that Italdesign is laying the foundations for its future. “Always bearing in mind”, concludes Garcia, “that this company is imbued with an Italian spirit that is the envy of the world. An Italian spirit made up of history, culture, craftsmanship, innovation, elegance and aesthetic sense. Those who live in this country take it for granted, but it shouldn’t be”.

Full article in Auto&Design no. 275. Browse it on A&DCollection

With the Tindaya, Cupra unveils the manifesto of its future identity. Lines inspired by the power of a volcano, natural materials and a human approach to technology define Jorge Díez’s vision: an electric car that is driven by emotion and connection, not just efficiency.

The name of a sacred mountain
Design in the new Cupra Tindaya becomes a living material, infused with primordial energy. “Our aim was to create a car that conveyed life, not just power”, explains Jorge Díez, Cupra’s Head of Design. “The Tindaya was born out of a desire to build an emotional connection between driver and car, something going beyond function and touching the senses”. The car is named after the sacred mountain of Fuerteventura, a volcano that unites earth and sky, matter and spirit. “We wanted to capture that suppressed force, the feeling of warmth and movement that a volcano exudes even when it is dormant”.

Cupra’s Manifesto for the electric era
The result is a body of muscular tension and fluid lines, where every surface seems to be shaped by the wind. The proportions are new and more daring, with a sculpted front and a rear that conveys solidity without sacrificing elegance. The Tindaya is Cupra’s manifesto for the electric era: a 365 kW project, but one in which technology is only part of the story. “Our idea of performance is connection, not competition”, explains Díez. “The interior design puts the driver at the centre, giving him back control and the physical pleasure of driving, even in an electric world”.

Sustainability and autenticity
Front and centre of the cabin is the multifunctional steering wheel, which redefines the human-machine interface. Not just a control interface, but a sensory bridge: it uses touch-based feedback, adaptive lighting and three driving modes. Inside, the work on materials reflects the brand’s philosophy: sustainability and authenticity. Natural fibre replaces carbon, the leather is bio-based and animal-free, while 3D-printed aluminium components reduce weight and add personalised touches. Cupra has also introduced new-generation materials that combine texture and light under layers of glass, creating visual depth and dynamism.

The car interior: not a computer on wheels
“Light had to become a material, not an effect”, says the designer. The environment is warm and enveloping, a far cry from the cold minimalism of many electric models.  The lighting follows the rhythm of the drive, while the surfaces shift tone like living skin. “We didn’t want a car that looked like a computer on wheels”, says Díez.  “The Tindaya speaks a Mediterranean language, one of warmth, emotion and controlled imperfection”. The language also evolves on the outside: goodbye chrome, hello matt trim and dark metals that enhance the volumes. The proportions give a fresh take on sporty design, with short overhangs and a low hood, while aerodynamics are seamlessly integrated into the overall design.

“A bold, young brand”
With the Tindaya, Cupra redefines how emotional the concept of an electric car can be. It is a manifesto of Mediterranean design and technological vision, where every line, material and interface restores warmth and identity to a form of mobility that is often perceived as cold. “Cupra is a bold, young brand”, concludes Díez. “The Tindaya is not a styling exercise, but a laboratory of emotions. It is proof that the electric future can be visceral, vibrant and intensely human”.

(Full article in A&D no. 275)

“Design is the driving force behind innovation in the automotive world.” With these words Nader Faghihzadeh, Chief Design Officer of the Chinese brand Avatr, introduces the concept Vision Xpectra, a car that anticipates some of the contents that we will find on the future models signed by Avatr and which aims to revisit the concept of luxury and the emotional experience that is created in the encounter and interaction of man with the vehicle. “Design means capturing the energy of the moment and translating it into a form that touches and inspires,” explains Faghihzadeh. Design is a living process, a choreography of movement, light and emotion that transcends the visible.”

The redefinition of the concept of luxury takes into account the continuous change: if once it was defined by the status achieved, today it is more related to individuality and emotional connection. “The concept car is no longer just a machine, but an intelligent travel companion that perceives, responds and adapts to its user. It’s not about showing more, it’s about feeling more,” Faghihzadeh observes.

Obviously, technology also plays a fundamental role in the project and is not intended as a useful but cold tool, incapable of transmitting emotions, but rather, explains the designer, “as an empathetic and collaborative companion designed to simplify and enrich the lives of the occupants”. The designers opted for clean, flowing surfaces and achieved monolithic exteriors in favor of aerodynamics, a high beltline, glass roof, wafer-thin pillars, and warm, enveloping interiors. Emotional and sensory elements have been integrated through dynamic cabin lighting that combines soft-touch materials (such as nubuck leather for seats and door panels and silk for floor mats) and an intuitive user interface.

The interior has been conceived as a capsule that conveys safety, but at the same time offers the occupants the opportunity to admire the landscape. For greater comfort, passengers can count on the AI in the cabin, called Vortex, capable of anticipating their desires and intuiting their emotional state and thus adapting the music and lighting environment to their needs. “AVATR Vision Xpectra is a project unlike any other. It aims to become a projection of the self, in which emotion meets form and soul meets surface.” continues Faghihzadeh. “The result is a vehicle that is both a mirror that reflects the image and desires of the users and a travel companion that shapes the future of mobility through the artistic fusion of technology and emotion. Luxury reborn as emotion, mobility reborn as companionship.”

“Radiantly pure, precious as a pearl”. It is no coincidence that the SAIC brand Roewe has named its latest concept car, a luxury super saloon with a commanding but elegant design, the Pearl. The model was unveiled at the latest Shanghai Auto Show to showcase Roewe’s interpretation of the future of luxury mobility.

“Underlying this car is a new philosophy that blends perfectly with our brand: during their travels or daily commutes, every individual and every family should always feel elegant and pampered by the unparalleled comfort of our cars”, said Jozef Kaban, Vice President of SAIC Design.

The showcar has a completely closed front end – anticipating the adoption of a 100% electric powertrain – to enhance aerodynamics, inlaid with a LED lighting strip combined with the Roewe logo (this too backlit): “Our styling decisions make this concept car instantly recognisable”, says Kaban, but there are also numerous nods to the brand’s British heritage, including the side profile of the car, which echoes the classic lines of a British cigar.

To lighten the profile, the A-pillar is the same shade as the body, while the roof profile has a contrasting colour to create a floating effect. These are small tricks to bring the Pearl concept closer to the world of coupés and to streamline its design. However, there is no lack of details to denote a certain opulence, such as the decorative gold stripes on the mirrors and at the front part of the roof.

The interior has been designed to make journeys as comfortable as possible. Passengers are surrounded by quality materials and technology, while the cabin layout features four independent seats with integrated headrests and a host of possible configurations. The LED lighting effects on the exterior are also reflected in the interior, which features orange light strips in the door panels and around the air conditioning vents.

The elliptical steering wheel and huge floating display in the centre are particularly striking, but the real “wow” moment is guaranteed by the coach doors, which open without a central pillar. “It’s a feature that sharpens the perception of a car and is perfect even for ceremonies”, say the Saic design centre people, pointing out that the doors are all frameless, once again recalling the architecture of high-performance cars. Will these solutions be appearing on future production models? We’ll just have to wait and see.

Full article in Auto&Design no. 273

I believe Colin Chapman would not hesitate to put his signature under the Theory 1 project with which the brand he fathered, the legendary Lotus, launches with this futuristic concept the vision of an intelligent, high-performance electric car, the result of a new design manifesto that will be the basis of all Lotuses to come. I asked Chapman many years ago, while Jim Clark’s Lotus 25 was overwhelming all its opponents in Formula 1 in the early 1960s, what the secret of that success was. “Lightness, therefore simplicity,” he replied.

Simplicity in Lotus DNA
And with Theory 1 Ben Payne follows, along the lines of that tradition, a concept of simplicity that the automotive world has perhaps forgotten. “Simplicity – insists Payne, Vice President for Design – is in Lotus’ DNA, but it must be applied in the right way”. In this case, adapting it harmoniously to the driver and his needs. Theory 1 could only be a sports supercar, which would fit very well in the Lotus catalogue were it not for the fact that production is not – for the moment – in the books.

Sustainability and tradition
Payne says: “It is rather a laboratory of new theories, made to test technical innovations and style directions that will end up in production.” The magic word in today’s automotive industry is sustainability, but in this case rigorously encapsulated in the Lotus tradition. “It is a way of communicating to today’s public, for whom the name Lotus may not recall the sporting glories of the past, where this brand comes from and what traditions it relies on.”

References to the Formula 1
It is no coincidence that specific references are made to two of the Formula 1 cars, the Lotus 49 that revolutionized the structure of the racing cars of the time with the engine and gearbox used as an integral part of the chassis (in the Theory 1 concept it is the large battery that performs that function) and the Lotus 72 which was the most successful single-seater.

Physical and tactile interaction
In this concept the relationship between machine and man takes on new forms: physical, tactile, not just digital. The fabrics of the seats, the steering wheel cover communicate with the driver, “touching” him at special pressure points with a compressed air system governed by a computer. The doors are the subject of an international patent. They rise like wings: the front part rotates along a groove above the sills and it is the rear part that lifts. But that’s just one of the unique aspects of Theory 1. In the name of sustainability (and the simplicity-lightness combination), the coverings on the technical parts are eliminated.

“From one hundred to ten”
DIn front of the driver, who is at the centre of the car, with one passenger on each side and slightly set back, there is no dashboard as such, but the very structure of the car is visible, from which the suspension terminals emerge. “Everything in the passenger compartment is there because it’s functional,” Payne points out. And this – the combination of functionality and sustainability – leads to another challenge. “From one hundred to ten” was the watchword for Lotus designers in the three years they thought about the new course. “This leads us, as a design philosophy, to look for simpler ways, celebrating the technical material exposed, in a purity of expression that says a lot about the history of the brand,” concludes Payne.

(Full article in A&D no. 272)