The Spanish brand’s new compact electric pushes the boundaries of automotive design, opening up an entirely new interplay between additive technology and sensory perception. Jorge Díez, Chief Design Officer, and Francesca Sangalli, Head of Colour & Trim at Cupra, take us inside a cabin conceived as a manifesto for sustainability and emotional engagement.

Identity and formal attitude
Jorge Diez reflects on how the brand’s identity is bound up with its geographical roots: “In designing the Cupra Raval, aligning with Spanish culture was essential. We are intrinsically more emotional and expressive; when you bring the soul of a country to bear on a car, something authentic emerges. We are not after a static or restful design: we want a formal tension that speaks to the ambition of pushing boundaries, the hallmark of a young brand unconstrained by a long history.”

A reverse path
That determination is written into a silhouette that defies the physical limitations and roof lines typically dictated by electric platforms. “From an engineering standpoint, we worked hard on the proportions”, continues Díez. “The production Raval sits 48 millimetres lower than the Urban Rebel Showcar, which runs counter to standard industry practice. To achieve an aggressive, muscular silhouette we worked on the lower body surfaces, introducing cladding defined by a taut, angular line that lends visual stability and a purposeful stance within a compact footprint.”

The triangle motifs
The Raval’s visual language is governed by iconic geometric motifs. “We wanted a signature that was recognisable from a distance,” says the Chief Design Officer. “Where the square conveys solidity and is suited to SUVs, and the circle reads as friendlier, we chose the triangle as the brand’s defining element. For us, the headlights are the eyes of the car, and we sought a humanistic approach inspired by muscular anatomy: when they activate, the illumination starts from the inside outwards, as if the car were waking up.”

Aerodynamics solutions
Aerodynamic efficiency is woven in as a sculptural opportunity too. “Managing airflow is always a complex challenge,” admits Díez. “We integrated solutions such as the rear spoiler, which creates graphic tension whilst optimising flow separation, and the front air intakes that channel airflow through the wheel arches. The wheels feature enclosed lenticular surfaces to reduce turbulence. We have kept the emotional character of Cupra’s DNA intact, delivering a car with a total range of 446 kilometres.”

A three-dimensional cabin
The dynamism of the exterior finds its answer in an interior layout designed to wrap around the driver. Francesca Sangalli describes the development of the cabin: “Everything orbits around the architecture of the cockpit, conceived to enclose and focus the driver’s attention. When you design a driver-oriented dashboard to communicate control, the materials have to follow that logic. On the Raval we established a material hierarchy: the upper section of the dashboard is soft, whilst the lower section is structural, rigid, and dominated by parametric patterning.”

(Full article in A&D no. 279)

Denza’s arrival on the European market is a direct challenge to the luxury paradigms that have taken hold on the Old Continent. We discuss this with Stella Li, Vice President of BYD – the group the Denza brand belongs to – and Wolfgang Egger, Head of Design of BYD.The Denza Z9GT stands as the ambassador of this revolution, a vehicle that does not seek to imitate the past, but to invent a future where technology is the primary source of elegance.

Creative synthesis
Wolfgang Egger heading up design means that Denza is guaranteed an aesthetic and styling language familiar to Europeans, whilst retaining a deeply innovative technological spirit. The choice of the “shooting brake” silhouette for the Z9GT is the result of this cultural fusion. “In the Denza, we do not view design and engineering as two separate or conflicting worlds”, explains Egger. “Quite the contrary, we see them as a single, unified expression of the principle that technology drives elegance. The Z9GT reflects this philosophy perfectly”.

Functional environment
As for the human-machine interface (HMI), an immersive, intuitive system has been developed for the Denza, dominated by a floating central display and a dedicated passenger screen, designed for natural interaction. The stated aim is to create an environment that is not only functional but capable of offering a relaxing, deeply contemporary experience.

Vertical integration as a competitive edge
While many manufacturers work with third-party companies for technologies and components, one of Denza’s strengths lies in its total control of the value chain. This approach translates into a fluid driving and user experience that Stella Li identifies as the true watershed compared to the competition. “The Denza Z9GT is the most advanced embodiment of our philosophy of vertical integration, brought to life under the banner of technological elegance. What makes it profoundly different is the level of systemic integration”. However, the European market has been tied historically to the concept of heritage and prestige associated with established brands. To compete in this context, Denza does not aim to replicate the language of traditional luxury, but to offer an alternative and coherent vision

Interiors blending craftsmanship and immersive HMI
While the exterior is designed to convey power and dynamism, the interior of the Z9GT has been conceived as a sensory sanctuary, where the silk-inspired concept of ‘softness’ guides the choice of every material and interface. “The cabin has been designed as a space where high technology and sensory comfort merge”, explains Egger. The Z9GT, therefore, is not intended to be an isolated exercise in style or a product for its own sake. Stella Li and Wolfgang Egger agree in describing it as a true manifesto: the first step in a broader journey aimed at establishing a solid and consistent presence in the global premium segment.

Manifesto for a global future
The arrival of the Z9GT in Europe is just the beginning of a broader strategic journey. The challenge to legacy brands is not based on nostalgia, but on consistency and modernity. “Authenticity comes from coherence”, concludes Egger, reflecting on the competition with historic brands. “We have worked tirelessly on proportions to achieve a visually balanced look that is instantly recognisable, but also on perceived quality through finishes that convey refinement”.

(Full article in A&D no. 278)

From a design perspective, the Kia Sportage Tri-Fuel reaffirms the strength of a silhouette that has broken the mold in its segment. The front end remains dominated by the large Digital Tiger Face grille, framed by the distinctive boomerang-shaped LED daytime running lights that define its lighting signature. Despite the addition of the third fuel option, the aesthetic impact remains unchanged:

It drives well

Unlike its “sister” model, the Niro, the Sportage Tri-Fuel features a more powerful engine: a 1.6-liter turbocharged four-cylinder paired with a 1.49 kWh hybrid system. Total output stands at 237 horsepower, just two less than the standard HEV, a difference that is imperceptible while driving. The thirty-year partnership with the Italian company BRC (Westport Fuel System) has enabled sophisticated software integration: the transition between the three power sources is seamless, with the electric motor and turbocharger working in synergy to ensure lively acceleration and smooth power delivery.

The Interior: Digital Ergonomics and Control

Inside, the in-car experience remains centered around the large curved display that integrates the instrument cluster and infotainment system, a true showcase of the brand’s technology. The only reference to the vehicle’s “triple” powertrain is the dedicated LPG control located on the center console, above the shift-by-wire gear selector. On the road, the total range of nearly 1,500 km transforms the Sportage into a tireless long-distance traveler, where acoustic comfort and material quality—a hallmark of Kia’s latest designs—ensure a relaxed atmosphere.

In the transformation journey undertaken by BMW, the Neue Klasse is much more than a new platform: it is a statement of intent, a paradigm shift articulated primarily through its visual identity. The new i3 leads the charge with a cleaner, back-to-basics aesthetic that is still deeply distinctive.

Less complexity
“We have retained the muscularity and emotive surfaces, but have modernised them by reducing complexity”, explains Oliver Heilmer, head of design for the brand. “It is a return to our roots: the first BMWs of the Neue Klasse and the first Series 3 were sporty, dynamic and muscular, but never overly complex”.

A front end between tradition and innovation
The most delicate work was concentrated on the front end, which has always been a signature feature of BMWs. Two key themes come together here: the reinterpretation of the double kidney grille and the return of the “shark nose”, the forward-sloping front. “The biggest test was reinterpreting the double kidney grille”, says Heilmer. “We combined the DNA of the 1960s with modern technologies: sensor integration, lighting elements and a new visual signature”.

Minimalism becomes an experience
Inside, the new i3 takes a further step towards dematerialising the interface. The almost complete absence of physical buttons gives way to an environment dominated by seamless surfaces and projection systems. “We’ve drawn inspiration from the BMW Vision Next 100 concept”, explains Heilmer. “Hands on the wheel, eyes on the road” is the guiding principle. Information is organised architectually across three levels: “The first is the central display with controls on the steering wheel. The second is Panoramic Vision, visible to all passengers. The third is the 3D head-up display, dedicated to the driver.”

Luxury through Circular Design
The sustainability theme is incorporated into the project through what is known as Circular Design, which goes beyond the choice of materials to redefine how they are perceived. “One example is the new Veganza material”, says Heilmer. “We use it in the doors and dashboard as well as on backlit surfaces”.

Valuable recycled materials
Thanks to the focus on tactile quality, the result is a far cry from the traditional idea of recycled material. “It is soft, refined and exclusive. And it offers great freedom in terms of colour customisation”. But the key point is another: “The customer must not perceive it as being recycled. What matters is the aesthetics, the quality and value it conveys.”

(Full article in A&D no. 278)

In the prestigious setting of the ADI Design Museum in Milan, the Car Design Award celebrated its 2026 edition, reaffirming its status as one of the most anticipated and significant events for the global creative community. On this occasion, Auto&Design organized a moment of collective reflection on the monumental challenges the sector is facing, caught between the advance of artificial intelligence and the urgency of sustainability that is authentic and not merely declared.

The design talk, titled “Sustainable Intelligence: Design in the Age of AI” featured: Chris Lefteri, Design Ambassador at Alcantara; Luca Borgogno, Strategic Director of Transportation Design at IAAD; Florian Seidel, Design Manager at Lavazza; and Alessandro Belosio, Assistant Chief Designer at Toyota ED², moderated by Silvia Baruffaldi, Director of Auto&Design.

The Three Intelligences of Contemporary Design Education According to IAAD.

Luca Borgogno, Strategic Director of IAAD, outlined the pillars for tomorrow’s designers during his presentation. The first is manual intelligence: “Physical know-how, from drawing to sculpture, remains the essential foundation for managing the relationship with form.” Next comes social intelligence, which requires “designing with full responsibility for the environmental and human impact that every new object will have on the community.”

Regarding artificial intelligence, Borgogno clarified that the goal of the school’s internal observatory is to train professionals capable of using this tool consciously: “We must master AI with a critical eye to prevent automation from replacing the designer’s creative thinking.” A call for practicality that also touches on digital ecology: “Being responsible also means reducing the energy footprint of the digital processes and servers required for the project.”

Material as a bridge between technical data and aesthetic appeal

Chris Lefteri, Alcantara’s Design Ambassador, explored how algorithms can accelerate the use of circular raw materials. “AI is essential for transforming complex data into aesthetic predictions, helping us create low-impact materials that are also visually compelling.”

The challenge, according to Lefteri, is to transform sustainability from a duty into a pleasure, moving beyond the “poor” aesthetics of the past: “The designer’s task is to make eco-friendly materials so extraordinary that they are desirable for their beauty, not just because they are good for the planet.” In this new vision, the success of clean technology depends on its ability to generate a genuine “emotional and sensory experience for those who use it.”

Analog Rituals and new digital tools

Florian Seidl of Lavazza shifted the discussion to the realm of everyday life, where the user experience is “rooted in the naturalness of the gesture and the tactile pleasure of physical interaction.” Despite the rapid pace of progress, Seidl calls for a pragmatic evolution: “New digital tools are available to everyone: today, it’s no longer enough to know how to design well; you have to know how to integrate these technologies to innovate production processes.” One example is the Tablì project, where sustainability becomes an industrial reality: “We’ve eliminated plastic and aluminum by creating a machine that uses only pressed coffee, completely reinventing the capsule system.”

The Challenge of Sustainable Modularity

In the automotive sector, Alessandro Belosio of Toyota ED² reiterated the centrality of the cabin as a space for physical contact, where “emotion must guide every design choice.” Belosio warns, however, of the risk of standardized design driven solely by data: “The designer must maintain creative control to avoid flat, characterless interiors, always retaining a strong provocative edge.” The true opportunity of AI lies in managing technical complexity: “We can finally integrate intelligent modularity that makes cars more premium, easier to update, and simpler to repair, drastically increasing their longevity.”

The Hyundai Ioniq 3 is not just another step in the brand’s electrification strategy, but the result of a philosophy that places the user and their aspirations at the heart of the creative process. For Hyundai, compact mobility isn’t about compromise, but about greater attention to detail and a more intimate experience.

Nicola Danza, Head of Exterior Design at Hyundai, explains the vision behind the project: “It’s designed around their lifestyles, their needs, their different mindsets, and their ambitions. The approach is customer-centric: in compact mobility, we seek not only the smallest dimensions but also the most meticulous attention to detail, the most intimate experience, and—in reality—the closest connection to all of our daily lives. At Hyundai, we never create a concept just for the sake of it; it’s a tool for exploring what will eventually go into production.”

The debut of the Ioniq 3 marks the introduction of a new aesthetic paradigm for the brand, aimed at balancing aerodynamic efficiency with a strong emotional impact. A pursuit of purity expressed through the tension of the metal surfaces. “The car was born from the search for the perfect balance between movement and practicality, between efficiency and emotion,” says Danza. “To translate this balance into form, we’ve introduced a new design language we call the Art of Steel. The goal is to reduce the exterior surfaces to the essentials, letting the tension, precision, and authenticity of the materials define the car’s forms. The surfaces of the hood, for example, flow seamlessly into the fender, reflecting the behavior that the sheet metal has taken on under tension.”

The Ioniq 3’s design breaks the mold of traditional compact cars. Thanks to its electric platform, the proportions are pushed to the extreme to maximize interior space and visual efficiency, creating what Danza calls a modern “Hot Hatch.” “It is characterized by its Aero-Hatch profile: an efficient, spacious form and an emotional interpretation of the sporty hatchback,” continues Nicola Danza. “The profile is defined by proportions specific to electric vehicles, starting with a sloping front end, a steeply raked windshield, a horizontal roof, and a vertical rear surface. This combination creates a modern look while maximizing interior space efficiency. The black front fascia and open-grille inserts reinforce the sporty impression, along with the horizontal light strip. The pixelated daytime running lights serve as a link to every Ioniq model, while the four central pixels evoke the letter ‘H’ in Morse code: a small detail but one that’s highly recognizable from a distance.”

The Cupra Raval isn’t just a new electric compact car; it’s a manifesto of how the brand intends to translate its philosophy of sportiness into an urban and sustainable context. The starting point remains driving pleasure, reflected in an interior architecture that puts the driver at the center. Francesca Sangalli—Head of Color & Trim at Cupra—explains the creative approach: “It all starts with the architecture itself, which brings us back to the driver-pilot. This means building a structure where the human-machine connection is expressed at the highest level. The chosen materials also play a role in this.” For this reason, “you’ll see a dashboard where the hierarchy of elements is defined by different material treatments: we have a soft section in the upper part and a more structural one in the lower part, which enhances support through a parametric design.”

Materials and Design in Dialogue

Customization and variety are fundamental pillars of the Raval, with the goal of offering a car that is never bland or monotonous, but capable of expressing different personalities through the skillful use of technology applied to materials. “It’s a genuine dialogue,” continues Sangalli, “this interplay of graphic design and materials is what gives the interior its sophisticated look. In fact, you’ll see four types of interiors, four different trims, and each one uses technology to highlight a distinct aspect of the car’s character. They aren’t all the same; they’re very distinct, yet they all share that Cupra spirit.”

The Challenge of Premium Sustainability

One of the central issues in contemporary design is the tension between sustainability and the perception of quality. For the Raval, Cupra chose not to compromise, seeking solutions that eliminate environmental impact without sacrificing the brand’s sophisticated aesthetic. Francesca Sangalli approaches the issue pragmatically: “Sustainability and premium design are often at odds with each other, because even the quality of materials isn’t necessarily sustainable; in fact, leather isn’t sustainable at all. The solutions we’ve adopted to make Cupra interiors more sustainable without sacrificing quality involve a completely new method. We’ve used seats made entirely of 3D-knitted fabric: the covers are created through a digital design. We’ve gone into defining the very structure of the piece, which comes straight out of the machine.”

Zero-impact manufacturing innovation

According to Cupra, the future of manufacturing lies in additive manufacturing, a technology that drastically reduces waste and supply chain complexity while delivering a striking aesthetic result. “Generally, when building a seat, to give it sophistication you have to add layers of craftsmanship, such as perforations or embossing, and this involves many suppliers,” concludes Sangalli. “With additive manufacturing techniques like 3D knitting for seat covers or 3D printing, everything is done with a single machine. The result is a complete seat with a very striking aesthetic, without involving numerous production processes and with zero impact in terms of waste and carbon footprint.”

In the design of a contemporary electric car, aerodynamics is no longer just a final technical refinement, but an element that enters the creative process from the earliest stages. This is precisely the case with the new Hyundai Ioniq 6, where efficiency and form have been developed in close collaboration between engineers and designers. “We have a very close relationship with design, both with the European and Korean style centers,” explains Giulia Ludovici, Group Manager Performance and Aerodynamics at Hyundai Europe. “Every design proposal is reviewed by our team of aerodynamicists, both here in Europe and in Korea. We analyze the surfaces, evaluate the behavior of the air, and then propose any changes that can improve the car’s aerodynamic performance.”

CFD and new tools: when technology accelerates design

The digital tools available to engineers today make this process smoother and faster. Numerical flow simulation, using CFD (Computational Fluid Dynamics), allows the aerodynamic impact of stylistic choices to be quickly assessed. “Modern tools are essential for speeding up development,” explains Ludovici, who, together with his team, is committed to developing the aerodynamic efficiency of the vehicle. “Design often presents us with new ideas or modifications and asks us to evaluate them from an aerodynamic point of view. Thanks to CFD, we can quickly set up calculations and respond in a very short time.“ In this way, aerodynamics becomes a tool at the disposal of design, not a constraint. ”These tools allow us to speed up the process and support the work of designers, helping them find solutions that are both aerodynamically effective and consistent with the stylistic identity of the car.”

When the shape is already aerodynamic

In the specific case of the new Ioniq 6, the dialogue between style and engineering proved particularly harmonious. The car was born from a formal design that was already very favorable from an aerodynamic point of view. “Honestly, there were no particularly strong conflicts between design and aerodynamics on this car,” says Ludovici. The most significant change concerned the configuration of the rear aerodynamic elements. “The main aspect was the removal of the double ducktail compared to the previous version and the introduction of a single spoiler,” he explains. “It was the most innovative change.” The result was a balance between different disciplines. “It was a mix,” concludes Ludovici. “The technical aspect was very important, but the final result always comes from the dialogue between engineering and design.”

When BMW announced that the new iX3 would be an electric car “like no other before it,” the reference was not just about technology. The project was developed around the Neue Klasse platform—the largest investment in the brand’s history—also as a stylistic manifesto for the next generation of models. The electric SUV is not simply a zero-emission alternative: it is a design laboratory that anticipates the future of the brand, inside and out.

Proportions and identity Neue Klasse
The new iX3 interprets the electric SUV theme with solid yet clean proportions, where the mass of the bodywork is lightened by taut surfaces and very precise lines. The front end reinterprets classic BMW elements in a contemporary key: the double kidney grille retains its iconic role but is integrated into a more graphic and minimalist whole, while the slim headlight clusters contribute to creating an almost architectural expression. The result is a formal language that combines presence and simplicity. The volumes are full but controlled, with sculpted wheel arches and a side profile that favors large, clean surfaces. Aerodynamics also become an integral part of the design: elongated proportions, a sloping roof, and functional details are designed to optimize the efficiency of an electric powertrain capable of offering up to 805 km of range.

The digital minimalism of Panoramic Vision
While the exterior anticipates BMW’s new stylistic identity, the interior represents an even more striking paradigm shift. The traditional dashboard concept gives way to an extremely clean and technological environment, dominated by the Panoramic Vision system: a dark strip at the base of the windshield onto which key information is projected, transforming the glass into a continuous visual communication surface. At the center of the dashboard is a large 17.9-inch display that manages most of the on-board functions. The result is an environment that is more reminiscent of a lounge than a traditional interior, where materials, light, and surfaces contribute to creating a feeling of space and lightness. Beneath this sophisticated exterior lies a cutting-edge technical base: a 108 kWh battery, 800-volt architecture, and twin electric motors delivering a total output of 469 hp. But on the iX3, more than the numbers, it is the design language that marks the real generational leap.

A one-off that reinterprets Ferrari’s heritage without nostalgia. Flavio Manzoni and his team describe a project that mixes up sculpture, graphics and technical discipline. A potential ambiguity underlay the SC40: evoking the F40 without becoming a replica of it. “There was no way we could pay tribute to an icon like the F40 for just one client”, Flavio Manzoni says. “It would have looked like an exercise in nostalgia. Instead, we chose to work on a few evocative elements – the fixed wing, the embossed lettering, the kevlar – while building a totally new language”.

Consistency with the brand
According to Ferrari’s Chief Design Officer, the project does not consolidate a style, but challenges it. “I am interested in creating a fusion between sculptural form and graphic elements. This contrast generates something fresh, almost disruptive”.
Johann Lemercier, Head of One-Off Design Projects, sets out the role of custom-built cars: “The one-off is an outsider. It is not intended to preview the future lineup, but to explore a very personal vision together with the client”. This freedom does not mean isolation: “We work with the same team at the Style Centre precisely because these cars must remain consistent with the brand”.

Solids, voids and performance
In formal terms, the SC40 works by subtraction. “We start with solid volumes, almost fused together, which we then hollow out”, explains Riccardo Angelini, Exterior Lead Designer. “The air intakes, the side NACA ducts and the rear louvres are not decorative details: they arise from specific cooling and flow requirements”.

Intuition and simulation
The most obvious compromise involves the rear wing. “In the early sketches, it was lower”, says Manzoni. “But aerodynamics requires a certain distance from the car body to work best. These are compromises that we accept, because performance is part of Ferrari’s identity”. On the relationship between intuition and simulation, Manzoni is uncompromising: “It is correct to say that a Ferrari is designed by aerodynamics, but that does not mean styling is sacrificed. Even on extreme projects such as the 499P, we have demonstrated that beauty and performance can go hand in hand”.

Material, memory, identity
In the interior, creative freedom has a free rein but is still regulated. “A one-off is not a showcar”, Lemercier points out. “It is a real Ferrari and must comply with safety, durability and homologation standards”. Cristina Fiò-Bellot, Colour & Trim One-Off Designer, explains what approach was used for materials: “We have fewer constraints than with the standard production lineup, but we only use validated content. The difference is that we can develop ad hoc solutions”. Carbon kevlar, for example, has been reinterpreted. The red jacquard fabric also recalls the F40 without copying it. “We are inspired by the past, but we translate it with contemporary technologies”.

The team that worked on the Ferrari SC40, led by Flavio Manzoni together with the project managers: Johann Lemercier, Riccardo Angelini, Francesco Avesio, Cristina Fiò-Bellot, Enrico Gatto.

A postmodern project
If the SC40 were to become a benchmark in twenty years’ time, what would make it representative? Manzoni chooses a precise definition: “Postmodern, in the most elevated sense of the term. Recovering elements of tradition and recombining them, breaking certain dogmas of car design”. The identity of the SC40 plays out in this tension between memory and experimentation: not a nostalgic exercise, but a statement of method. Exploring, daring, without ever ceasing to be Ferrari.

(Full article in A&D no. 277)