Skoda’s Inflatable Car Installation at Milan Design Week Looks Like a Bouncy Castle Grew Wheels

Cars belong to the world of hard surfaces, precision tolerances, and engineering constraints measured in fractions of millimeters. Ulises Studio works in the opposite direction. The Barcelona-based spatial design practice has spent years creating immersive environments that transform architecture into something tactile and experiential, turning rigid spaces into soft, inviting landscapes. Their installations have activated cultural venues and public spaces across Europe, and their approach is immediately recognizable: inflatable forms, vibrant color palettes, and a commitment to making people rethink how they interact with the built environment. When Skoda asked them to collaborate on an installation for Milan Design Week 2025, they brought that same philosophy to something designers rarely get to touch: an actual production car.

The Epiq, Skoda’s new electric SUV, became the canvas. Ulises Studio covered it entirely in inflatable fabric panels, each one a horizontal tube running across the body in a sequence of cheerful colors. Mint green, burnt orange, soft pink, butter yellow, pale turquoise. The effect is disarming. What should feel like a parked vehicle instead reads as a sculpture, a comment on automotive design language filtered through the lens of spatial intervention. Skoda staged it at Palazzo Senato with multiple Epiq vehicles, each wrapped in different inflatable treatments, creating a dialog between the engineered reality and Ulises Studio’s playful reinterpretation.

Designers: Ulises Studio & Skoda Design

The genius of the installation lies in how completely it transforms the car’s character without altering its underlying form. Every crease, every character line, every panel gap gets translated into soft, pillowy geometry. The horizontal tubes follow the Epiq’s actual contours, which means the inflatable version retains the proportions and stance of the real thing. You can still read it as a compact SUV, but now it feels approachable in a way sheet metal never could. The tactile quality is impossible to ignore. Your brain knows you’re looking at air-filled fabric wrapped around a vehicle, but your hands want to reach out and squeeze it anyway.

Ulises Studio didn’t stop at wrapping cars. They transformed the entire courtyard at Palazzo Senato into what they’re calling a “clay landscape,” an inflatable environment that extends the material language across the entire space. Oversized typography spelling out “Ooooh, that’s EpiQ” dominates one wall, each letter constructed from the same air-filled tubes. Smaller inflatable elements populate the courtyard like sculptural furniture, creating zones where visitors can pause and take in the installation from different angles. The floor itself gets treated to a matching mint-green surface that ties the whole environment together. This is spatial design at its most comprehensive, where every element reinforces the central idea.

What makes the collaboration work is that Ulises Studio treats the Epiq as part of a larger environmental narrative rather than the hero object that everything else orbits around. The cars are embedded in the landscape, surrounded by inflatable forms that share their material language and color palette. This creates a sense of cohesion that most automotive installations never achieve, where the vehicle feels like it genuinely belongs in the space rather than being awkwardly dropped into it. The studio’s background in creating immersive experiences shows in how they choreograph movement through the courtyard, using the placement of vehicles and sculptural elements to guide visitors through different zones of the installation. You don’t just look at the inflatable Epiq, you move around it, through the landscape it inhabits, encountering different perspectives and color relationships as you navigate the space.

Ulises Studio has always understood that spatial design is a form of storytelling. Their inflatable installations communicate ideas about accessibility, transformation, and how we experience objects in space. The Epiq installation applies that same thinking to automotive design. By swapping metal and glass for inflatable fabric, they strip away the aggression and seriousness that define most car launches and replace it with something genuinely delightful. The oversized inflatable typography spelling out “Ooooh, that’s EpiQ” reinforces the tone in a fairly Gen-Z coded way, allowing the brand to resonate with younger generations. This is design as spatial play, a reminder that objects can be functional and joyful simultaneously.

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Mohab Altus quick-deploy hardshell rooftop tent turns any rugged truck into comfy, all-season camping rig

Clumsy extensions, flimsy fabrics, and cumbersome installation of rooftop tents have often marred the camping experience for many, including the creators of the Altus – a mobile habitat. This was essentially before the hardshell tents made it to the scene. These tents are growing in number, and their differences in functionality are just making the space more clustered with undeniable options.

The Altus – Hardwall Rooftop Cabin – lands in an undeniable category, considering the well-rounded approach it brings to the rooftop tents. Created in Standard and XL models (difference based on size rather than functionality), the Altus by Denver-based Mohab is positioned as a hard-sided rooftop cabin that automatically goes from 8.7-inch drive height to 45-inch, livable quarter, in under 60 seconds.

Designer: Mohab

The claim is unsubstantiated at the time of writing, but if it’s anywhere around the quick timeframe, the setup definitely gets a five-star from me. That said, the way this electric-lift system of the cube really deploys is what makes the setup even more intriguing. As the videos on the product listing page on Mohab’s website show, on the click of the deploy button, the sidewalls of the cabin flex up to form a living space. The walls on the front and back flip down independently later, once the walls on the side have been erected. The Altus series comes with a manual deploy system as well. It allows users to set up the cabin without power.

Sitting atop the cuboid – they call the Altus – is its pop-up roof. This roof hinged at the rear, rises up on the front, creating standing headroom and a significant perch for your panoramic sighting of the surrounding vista on a clear day. You’ll want the all-weather housing (provided with heating and air conditioning) of the Altus to remain completely shut and airtight amid a downpour.

Coming to the construction, the Altus series hardwall rooftop cabins feature aluminum alloy frames and PET panels. The material used in construction allows the cabin a lightweight form factor: Altus weighs 120 kg, and the Altus XL is just 5 kg heavier at 125 kg. The former measures 93 x 54 inches, which is enough space for a double mattress. The XL model, on the other hand, measures 101 x 54 inches, which should provide space for an extra person to fit in. Both models have a similar design with slider windows on either side and a hinged pop-up roof.

The boxy, hard-walled Altus can conveniently mount on a range of rugged trucks and 4x4s with Mohab’s Fortis rack systems (sold separately). Of course, that’s a bump in the overall cost of the rooftop tent, but with the convenience and efficiency offered, the Altus definitely makes up for the extra cost. Price for the Altus rooftop cabin starts at $5,139 with a pickup bed rack. The Altus XL with a pickup mount starts at $5,449.

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Gunther Werks Project Endgame is a bespoke 911 Speedster infused with Iron Man DNA

There’s always been a theatrical edge to Gunther Werks’ reinterpretations of the Porsche 911 (993), but Project Endgame pushes that idea into full cinematic territory. Conceived as a one-off Speedster commission and effectively the closing statement for the California-based restomod specialist’s open-top series, it fuses extreme performance engineering with a design language. Something that openly channels Iron Man’s energy in both form and function.

Built on the bones of a 993-generation 911, Project Endgame undergoes a complete transformation. Its most radical element is the twin-turbocharged 4.0-liter air-cooled flat-six, developed in collaboration with Rothsport Racing. Producing an immense 840 horsepower and 660 lb-ft of torque, the engine delivers its output through a six-speed manual transmission. This preserves the tactile, mechanical connection that defines analog driving, which purists absolutely value.

Designer: Gunther Werks

This combination of old-school air cooling paired with modern forced induction in more ways than not mirrors Iron Man’s own blend of legacy ingenuity and futuristic power. A classic example of how engineering evolves into something far more advanced. Weight reduction is equally obsessive with the experienced tuner. Extensive use of carbon fiber throughout the body keeps the car at roughly 2,600 pounds, creating a power-to-weight ratio that borders on hypercar territory. The aggressive stance, widened bodywork, and sculpted aerodynamics echo the armored silhouette of Iron Man’s suit.

The mirrored ethos of a machine that’s muscular, purposeful, and unmistakably engineered for speed and impact. The Speedster configuration, with its low windscreen and open cockpit, adds a sense of exposure that parallels the vulnerability beneath the armor, reinforcing the duality between raw human control and overwhelming machine capability. The Iron Man influence becomes even more explicit in the detailing. The exterior’s red-and-gold finish directly mirrors the superhero’s iconic suit, but it’s not just cosmetic.

Functional components such as intercoolers receive gold plating, a detail that reflects both performance optimization and visual storytelling—much like Tony Stark’s tendency to fuse engineering necessity with stylistic flair. The interplay of metallic tones across the bodywork gives the car a glowing, almost reactor-like presence, as if energy is constantly pulsing beneath its surface.

Inside, the cabin is a symphony of narrative space. A central design element between the seats evokes the arc reactor, the fictional energy source that powers Iron Man’s suit. This sculptural feature isn’t merely decorative; it anchors the interior’s identity, turning the cockpit into a symbolic command center. The gear shifter, embedded with gemstone accents, subtly references the precision and complexity of Stark’s technology, while bespoke materials and finishes throughout the cabin create an environment that feels engineered rather than assembled. Every surface, control, and accent appears intentional, reflecting the meticulous craftsmanship associated with Stark Industries.

Despite its dramatic theme, Project Endgame remains grounded in performance authenticity. The chassis, suspension, and braking systems are all engineered to handle the immense power output, ensuring that the car’s capabilities extend far beyond its visual impact. It’s not a static showpiece; it’s a fully realized driver’s machine that demands engagement and rewards skill.

As the final evolution of Gunther Werks’ Speedster program, Project Endgame serves as both a technical milestone and a creative culmination. It demonstrates how far the restomod concept can be pushed when engineering excellence meets narrative ambition.

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BRABUS Urban E First Edition bring cyberpunk flair to premium electric motorcycles

German tuning specialist, BRABUS, has shown to what extremes four-wheeler modding can go when you’ve already got a powerful machine at hand. They’ve now partnered with DAB Motors to bring those surreal tuning exploits to the two-wheeler world with electric bikes revealed at Milan Design Week 2026. Built on the trusted DAB 1α electric platform, the trio of bikes is designed for urban riders, combining minimalist design with performance-driven engineering.

The standard DAB 1α BRABUS sets the tone with its stripped-back aesthetic, lightweight construction, and premium finishes that elevate it beyond a conventional electric motorcycle. Crafted with high-end materials like CNC-machined aluminum and carbon fiber, the bike reflects BRABUS’ signature approach, which prides itself on precision, exclusivity, and bold styling.

Designer: BRABUS x DAB Motors

The electric powertrain 1α BRABUS is tuned for city agility, offering brisk acceleration and a smooth, near-silent ride. This makes it ideal for navigating dense urban environments. The collaboration emphasizes craftsmanship as much as performance, with each component carefully designed to deliver both visual impact and functional efficiency. The bike has a starting price tag of €16,590 (approximately $19,500) and is currently up for pre-order with deliveries slated for the end of Q3 2026.

BRABUS Urban E

The BRABUS Urban E builds upon this foundation with a sharper focus on accessibility and everyday usability without compromising on the brand’s premium DNA. Designed as a more approachable model in the lineup, it retains the core elements of the DAB platform while introducing a refined aesthetic tailored for modern city commuters. The Urban E features a clean, understated design with subtle BRABUS detailing, blending seamlessly into urban landscapes while still standing out through its craftsmanship.

Its lightweight frame and compact proportions make it highly maneuverable, while the electric drivetrain ensures responsive performance suited for short-distance commuting. With an output of around 27 kW and torque figures pushing into high-performance territory for its size, the bike delivers quick acceleration and a lively riding character tailored for city use.

Positioned as a premium urban machine, the Urban E is priced at around €22,900 (approximately $27,000), reinforcing its place as a design-forward electric motorcycle rather than a mass-market commuter. Orders are open, with deliveries expected to begin in late 2026 across Europe and select global markets.

BRABUS Urban E First Edition

At the top of the range, the BRABUS Urban E First Edition takes exclusivity and design expression to another level. Limited to just 40 units globally and offered in distinct colorways, it is conceived as a collector’s piece rather than a conventional production bike. Each version carries a fully coordinated finish across body panels and structural elements, elevating it into a cohesive design object.

Visually, the bike carries a strong futuristic presence, with its sharp lines, minimal bodywork, and sculpted stance drawing comparisons to the iconic red motorcycle ridden by Shotaro Kaneda in Akira. While not a direct homage, the resemblance lies in its bold proportions and cyberpunk-inspired silhouette, giving the First Edition a cinematic quality that sets it apart in the electric mobility space.

This exclusivity is reflected in its pricing. The Urban E First Edition starts at around €32,500 (approximately $38,000) and can climb beyond €38,000 (approximately $44,000) depending on market and taxes, placing it firmly in the realm of collectible design rather than everyday transport. Availability is limited to select regions, including Europe and the UK, with deliveries also scheduled for late 2026.

With this surprise collaboration, BRABUS and DAB Motors are translating high-performance tuning philosophy into a new category, one where electric mobility meets bespoke craftsmanship, shaped for a future where even the daily ride carries a sense of occasion.

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Lexus LS Concept First-Look: The Six-Wheel Flagship Turning Heads at Milan Design Week 2026

Six wheels on a Lexus, at a furniture fair in Milan, sounds like either a provocation or a punchline. At this year’s Milan Design Week, Lexus is betting it’s the former. The brand rolled into Superstudio Più in the Tortona district with its LS Concept, a long-body, flat-roofed, twin rear-axle machine that first appeared at the Japan Mobility Show in 2025. It’s a chauffeur-driven vehicle built entirely around the passenger, and it’s Lexus’s clearest statement yet about where its flagships are going. In fact, Chief Branding Officer Simon Humphries said it plainly: the “S” in LS no longer stands for Sedan. It stands for Space.

The car sits inside an installation called SPACE, a fittingly simple name for a big idea. The LS Concept is wrapped in a cylindrical LED screen that’s always moving, cycling through textures and color palettes that wash over the car’s matte metallic finish. The whole thing sits on a low turntable, rotating slowly so you can take in every angle while the screen behind it blurs the line between the vehicle and its environment. From the back, the body is dark and geometric, with red light cleanly tracing the corners and the LEXUS wordmark centered like a final statement. The front has no grille at all, just a wide bar of white light, a dark glassy face, and some sharp diagonal cuts at the lower corners. The side profile is what really sells the scale of it all; the greenhouse is so long and flat it forces you to rethink what a luxury car is supposed to look like.

Designer: Lexus

You’ll notice those sharp diagonal white light signatures at the corners of both the front and back, and they do a great job of anchoring your eye so you don’t get lost in all that surface area. The front is an exercise in restraint, especially for Lexus. There are no intakes, no heritage cues, and definitely no spindle grille, which defined the brand’s look for fifteen years. Instead, a single, clean bar of white light carries the Lexus name across the top, and below it, dark glass sweeps down like a theater curtain. The back is just as clean, with black geometric planes and red light tracing the corners so precisely it feels more like sculpture than taillights. There’s also a louvered panel on the rear quarter that looks both cool and functional, the kind of detail you have to go back and look at a second time.

The twin rear wheels are probably the first thing that throws you off, but the more you look at them, the more they make sense. A six-wheel layout, something you usually see on overland vehicles or high-end coaches, lets Lexus pack in a huge amount of interior volume without the big wheel arches that eat up space in most long cars. The turbine-style wheel covers keep the look clean, where normal spokes would have ruined the effect. When you see it from the side, the lower body looks like a single sculpted piece, and the way it tucks under itself makes the whole thing feel like it’s floating. Lexus is basically saying that a vehicle with the footprint of a small bus can be the next word in luxury, and after a few minutes, you start to believe them.

Step through the door, framed in a bright white light, and you see what they mean by hospitality. A slatted wood panel runs up the entire wall of the cabin, a single rear seat is finished in cream and burgundy leather, and the floor is so open you get the sense it was designed for standing as much as sitting. The real achievement here is how Lexus managed to package so much genuine room inside; it feels more like a small, well-designed living space than a stretched-out car. Whether any of this makes it to production is anyone’s guess, and Lexus seems happy to leave that question hanging in the air.

What Lexus is showing here is a clear signal of where its design thinking is headed, and that alone makes it one of the most interesting things you can see in Milan this year. If you want to see it for yourself, you can experience the SPACE installation and the Lexus LS Concept at the Daylight Hall in Superstudio Più, located in the Tortona district, from April 21st to the 26th.

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Aston Martin Veil Concept Reimagines What Comes After the Valkyrie Hypercar

Aston Martin’s hypercar trajectory over the past decade has followed a clear arc: the Valkyrie brought F1 aerodynamics to road car design, the Valkyrie AMR Pro pushed that concept to track-only extremes, and the Valhalla promised a more accessible (relatively speaking) interpretation of the same philosophy. Hyunwoo Kim’s Veil concept asks a different question entirely. What if you took that same performance intent but wrapped it in surfaces that flow like liquid metal rather than faceted carbon fiber? The result is a hypercar concept that trades the Valkyrie’s angular muscularity for something closer to organic sculpture, where every surface transition happens so smoothly you’d need calipers to find the break points. The teal paint, a near-perfect match for Aston’s current F1 team livery, catches light like water, emphasizing the continuous curves that define the entire form language.

Kim developed the concept through an unusual process that started with paper mock-ups, physically exploring three-dimensional forms before committing to digital modeling. The approach paid off in ways that pure CAD work rarely does, producing proportions and surface relationships that feel discovered rather than designed. From above, the Veil reads like a manta ray or a fighter jet, with massive rear fender volumes extending from a central spine that bisects the cockpit. The track photography showing the concept alongside Aston Martin F1 team members suggests this caught someone’s attention at Gaydon, which makes sense. This is the kind of design exploration that belongs in a manufacturer’s advanced studio, where production constraints can be temporarily suspended in service of pushing the brand’s visual language into new territory.

Designer: Hyunwoo Kim

The cockpit architecture is pure Le Mans Hypercar, with a central spine running the length of the cabin that appears to house structural elements while creating a visual separation between driver and passenger space. The canopy looks like a single piece of formed glass, which would be a nightmare to federalize but makes perfect sense for a track-focused prototype where visibility and weight reduction matter more than crash regulations. That spine continues rearward past the cabin, creating a vertical stabilizer element that would provide high-speed stability without the drag penalty of a traditional rear wing. It’s smart aero thinking disguised as sculptural drama.

The rear fender volumes are doing the heavy lifting here, both literally and aerodynamically. They’re not just aesthetic flourishes but functional channels that guide air along the body sides and over the rear diffuser, creating the kind of ground-effect downforce that current regulations are pushing Le Mans prototypes toward. The negative space carved between those fenders and the central body creates tunnels that would accelerate airflow underneath the car, feeding the diffuser with high-velocity air for maximum suction. You can see diffuser strakes underneath, multiple elements suggesting active management of that airflow to prevent stall at different speeds and ride heights.

From above, the silhouette becomes even more dramatic. A central spine runs from the nose through the cockpit and terminates at the rear, bisecting the car into two distinct halves. This isn’t purely stylistic theater. That spine likely houses a vertical stabilizer fin, the kind of element you’d find on the Valkyrie AMR Pro or the Mercedes-AMG One, designed to provide high-speed stability without the drag penalty of a massive fixed rear wing.

The front end is deliberately minimal, almost to the point of being featureless. There’s no traditional grille, because there’s likely no traditional front-mounted radiator. Cooling has been pushed to the side intakes, which are substantial enough to handle serious heat rejection from what would presumably be a mid-mounted hybrid powertrain. The headlights are slim horizontal elements that emphasize width rather than aggression, a departure from the angry-eye aesthetic that dominates the current hypercar segment. It’s a more mature approach, one that prioritizes visual cleanliness over intimidation.

The diffuser dominates the rear view, with multiple vertical strakes channeling air from underneath the car. This suggests the Veil relies heavily on ground effect for downforce, using the floor as a giant wing to generate vertical load without the drag penalty of traditional aero elements. It’s the same philosophy underpinning the current generation of F1 cars and Le Mans prototypes, where managing airflow underneath the car has become more critical than what happens above it. The exhaust outlets are integrated into the diffuser structure, which is both aesthetically cleaner and functionally smarter than the typical quad-pipe arrangements you’d find on a Lamborghini or Pagani.

What makes the Veil genuinely compelling is how it navigates the tension between heritage and innovation. Aston Martin’s design language has always leaned heavily on elegance, even when building something as unhinged as the Valkyrie. The Veil preserves that elegance while acknowledging that the next generation of hypercars will be shaped more by aerodynamics and electrification than by nostalgic callbacks to DB5s and vintage racers. The form is contemporary without being aggressively futuristic, a balance that’s harder to strike than it looks. If Aston’s internal advanced design studio isn’t already exploring something similar, they should be.

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Tonke Basecamp: Most robust, self-sufficient, and luxurious VW Transporter camper van arriving in May

It hasn’t even been 24 hours since I reported on the new Sprinter 144 AWD–based, highly versatile Vanspeed Album camper van, and already another high-quality Volkswagen camper van is knocking at the door. This one is being transformed in the workshops of Dutch converter Tonke and is aptly called the Basecamp, which should be with us any time next month, if the camper van’s webpage on Tonke’s website is anything to go by.

If all goes as planned, Tonke is likely to launch the Basecamp, its most robust, self-sufficient, and luxurious camper van, in May 2026. The adventure vehicle perceived will be based on the latest generation Volkswagen Transporter with a well-thought-out interior, enhanced by underfloor insulation, off-grid power systems, and the structural integrity to go where life takes you.

Designer: Tonke

Basecamp will be a pop-top camper van, the Tonke notes on its website. With sleeping and daytime sitting accommodation for four people, the camper van will be equipped with a spacious kitchen, toilet, shower, and storage for longer trips. Of course, being based on the VW Transporter, the van will be offered with a choice of three powertrains, depending on buyers’ travel needs and carbon footprint preferences.

“Tonke Basecamp will be available as a hybrid camper, an electric camper, and as a traditional diesel variant. In addition, there will be a powerful 4×4 version.” Buyers can go with an all-electric Basecamp camper van version for the zero-emissions adventure, or the hybrid variant would allow “smooth and quiet electric drive,” with the assurance of extended range as compared to a combustion engine. The regular diesel powertrain will provide maximum towing capacity and endurance for longer journeys.

Irrespective of the powertrain you choose, Basecamp will provide a customized Volkswagen Transporter “hand-built to Tonke’s quality standards.” The pop-up roof Basecamp is confirmed as a four-person sleeper, with a 91 x 47-inch bed in the pop-out and a convertible 79 x 39-inch bed in the lower section. The cabin will function as a lounge area during the day with an extendable dining table and a lounge area for four people.

A smartly designed Volkswagen Transporter Basecamp camper van will, Tonke notes, “comfort level of a large Mercedes Sprinter camper.” To that accord, it will embed a spacious kitchen with a 60L water tank, a 16L boiler for hot water supply, and an 80L refrigerator. There are no other details about the kitchen setup at the time of writing. But we learn that the van will have a wet both complete with a shower and a toilet.

What’s really interesting is the fact that the Basecamp will be provided with an underfloor heating system, preparing the camper van for all-season comfort. The entire package is likely to arrive in May for a starting price of €50,668 (approximately $60,000).

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This 2026 Lamborghini F1 Livery Proves the Raging Bull Belongs on the Grid (Even If It Never Happens)

The 2026 F1 season marks the biggest technical reset the sport has seen in over a decade, with new power unit regulations that push electric deployment even harder and a reshuffled grid that includes Audi’s factory entry and Cadillac arriving as a legitimate constructor. It’s the kind of moment when the paddock genuinely opens up to new possibilities, when manufacturers who’ve been sitting on the sidelines start doing the math on whether an F1 program could actually make sense. Lamborghini will almost certainly remain on those sidelines, because spending nine figures annually to race in a series where your parent company already fields a team (Audi, also owned by Volkswagen Group) would be corporate redundancy at its most wasteful. But that didn’t stop designer Daniel Rodriguez from asking what a Lamborghini livery would look like if Sant’Agata Bolognese decided to crash the party anyway. If it did, it would be the third bull-based team on the track after Red Bull and Racing Bulls!

Rodriguez’s concept wraps a 2026-spec F1 car in Arancio Borealis and gloss black with a geometric lattice pattern that pulls directly from Lamborghini’s current design vocabulary. The hexagonal graphics echo the Revuelto’s taillight treatment and the angular obsession that defines the brand’s styling language, flowing from dense at the cockpit to sparse at the rear wing. Italian flag accents trace the halo and nose cone, sponsor logos for Macron and Eni add commercial credibility, and the raging bull emblem sits on the rear wing endplates where it would photograph beautifully in the pit lane even if TV cameras never caught it. The renders are good enough to pass for official press shots, lit with the kind of moody amber-to-black gradients that Lamborghini’s own marketing team would approve.

Designer: Daniel Rodriguez

What makes this livery work is that Rodriguez doesn’t try to make the F1 car look like a Lamborghini road car, because that’s impossible and also beside the point. An F1 car is a regulatory sculpture shaped by wind tunnel data and the FIA’s technical rulebook, and no amount of vinyl wrap changes that fundamental reality. Instead, the livery translates Lamborghini’s graphic and color vocabulary into a form factor that has nothing to do with mid-engine supercars, and it does so in a way that feels both authentic to the brand and appropriate for the paddock. The Arancio Borealis orange sits somewhere between molten lava and a traffic cone, instantly recognizable as Lamborghini without requiring the car to sprout scissor doors or a V12 exhaust note. The gloss black creates genuine visual tension rather than just contrast, breaking up the body in a way that emphasizes the car’s aerodynamic surfaces instead of fighting them.

The hexagonal lattice pattern running down the sidepods and over the engine cover is the detail that sells the whole concept. Lamborghini has been obsessed with hexagons since the Aventador introduced them as a recurring motif back in 2011, and they’ve since migrated to every surface the brand touches. Taillights, grilles, interior stitching, wheel designs, all of it hexagons. Rodriguez takes that obsession and applies it to the F1 car’s sidepods in a way that creates visual density without cluttering the canvas. The pattern starts tight and geometric at the front, creating a sense of structural integrity, then gradually opens up as it flows rearward, giving the eye a path to follow from cockpit to diffuser. It’s a graphic solution that respects both the brand’s identity and the car’s aerodynamic purpose.

The Italian tricolor is handled with restraint, running as a thin accent stripe that outlines the halo and reappears on the nose cone. It’s subtle enough to avoid looking like a generic tribute to the brand’s Sant’Agata Bolognese heritage, but prominent enough that the car reads as distinctly Italian when parked next to Ferrari’s red. The sponsor integration is equally thoughtful. Macron, the Italian sportswear brand that already kits out Bologna FC and the Italian national rugby team, appears on the sidepods and rear wing. Eni, the Italian energy giant with deep motorsport ties, gets placement on the engine cover. Both partnerships feel plausible rather than fantastical, the kind of commercial relationships Lamborghini could actually secure if they showed up to the grid tomorrow.

Even the mandated wheel covers, which the 2026 regulations require for aerodynamic efficiency and which most teams treat as blank canvases or necessary evils, get the hexagon treatment here. It’s a small detail that maintains visual consistency across every surface, ensuring the car reads as a cohesive design rather than a collection of sponsor panels held together by regulations. The raging bull emblem on the rear wing endplates is rendered in white against black, a detail that would be nearly invisible during race broadcasts but would photograph beautifully in static pit lane shots and pre-race media coverage.

Will Lamborghini actually enter F1 in 2026 or beyond? Almost certainly not. The economics don’t justify it, the brand’s identity doesn’t need F1 validation, and their motorsport budget is better spent on GT3 programs that connect directly to road car sales. But Rodriguez’s concept does something more valuable than predicting the future. It proves that Lamborghini’s design language is strong enough to survive translation into a form factor it was never intended for, and it shows what the 2026 grid would look like with a raging bull parked next to the prancing horse.

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This Cybertruck-Inspired Electric Trike Solves Urban Delivery Problems Tesla Never Bothered With

Three-wheeled vehicles occupy this weird liminal space in transportation design. Too substantial to park with bicycles, too small to merge confidently on highways, weird enough that most traffic laws forget they exist. The tuk-tuk owns this category in Southeast Asia, the Reliant Robin became a British punchline, and the Piaggio Ape dominates European deliveries despite looking like a Vespa that ate too much pasta. Most attempts to electrify and modernize this form factor end up either too expensive, too fragile, or too obviously designed by people who’ve never actually navigated a city during rush hour. The Scooter P-Two from Voyager feels different because it acknowledges these problems up front and builds around them.

Belgian designers Jeroen Claus and Fabian Breës published this concept on Behance in February 2025, positioning it as purpose-built micro-mobility for dense urban environments. Enclosed cabin for weather protection, modular cargo area that adapts between hauling mode and passenger mode, classic trike geometry that keeps the profile narrow enough to slip through traffic. The styling borrows from Cybertruck’s angular vocabulary and Rivian’s adventure-utility aesthetic, but executed at a scale where those geometric moves actually make practical sense. Voyager describes the P-Two as small on the outside, spacious on the inside, which usually signals marketing delusion, but the visualizations suggest they might have actually solved that packaging puzzle through clever interior architecture and a glass area that doesn’t compromise sight lines.

Designers: Jeroen Claus & Fabian Breës

What’s interesting is how this tackles the last-mile problem from a completely different angle than Tesla’s robotaxi approach. Autonomous ride-hailing solves personal transportation, sure, but it does absolutely nothing for the grocer who needs to deliver three bags of produce, the courier hauling packages, or the mobile coffee vendor setting up at a street market. Those use cases require cargo capacity, weather protection, and the ability to park in spaces where a Model 3 would get towed. The P-Two addresses all three without requiring a silicon valley-scale AI development budget.

The front fascia carries that now-familiar horizontal light bar spanning the full width, a move Cybertruck popularized and every EV startup has since borrowed. A vertical red accent element breaks up the horizontal monotony and gives the face definition without resorting to fake grilles or busy details. That two-tone split (charcoal gray below, off-white above) does real visual work, breaking up what could read as a bulky form into something that feels lighter and more considered. The surfacing stays clean and geometric, channeling that angular confidence Tesla brought to trucks but rendered at tuk-tuk proportions where it actually looks intentional rather than confrontational.

The cargo solution tells you these designers actually think about how people move things around cities. That roll-up door in back solves problems that hinged and sliding doors create. Hinges eat precious loading width and force awkward angles when you’re trying to maneuver boxes. Sliders need tracks, seals, and mechanisms that add cost and failure points. A simple roll-up shutter gives you the full cargo opening without mechanical drama, and the modularity extends beyond simple package hauling. The concept shows configurations for mobile retail, delivery work, passenger mode, which suggests the platform could adapt across use cases instead of forcing you to pick one function and stick with it forever.

The trike layout means this handles more like a powered two-wheeler than a micro-car, which changes the entire feel of how you’d navigate traffic. That exposed front wheel carries conventional tire sizing rather than the pencil-thin rubber most stand-up scooters use, which matters for stability over rough pavement and confident braking. The rear axle provides your planted base when stopped and your drive traction when moving. You trade four-wheel planted feel for genuine lane-filtering ability and a footprint that can actually navigate the spaces cars can’t reach. In dense European city centers where streets predate automobiles and parking costs more than rent, that tradeoff makes complete sense.

The intelligence here is how thoroughly Voyager avoided the usual micro-mobility compromises. Most concepts optimize ruthlessly for one metric and sacrifice everything else to hit it. Smallest possible size, maximum theoretical range, absolute lowest build cost. This feels like it started from actual urban movement patterns and built the vehicle around those needs. Enclosed cabin means rain stops being an excuse to drive the car. Cargo flexibility means the same machine handles your morning commute, afternoon grocery run, and weekend side hustle doing deliveries. The styling gives it enough visual mass to read as a legitimate vehicle in mixed traffic rather than an oversized toy or mobility-impaired golf cart.

Whether this actually reaches production, and at what price point, will determine if it reshapes anything or just becomes another beautifully considered concept that dies in the portfolio. But the thinking here is solid enough that I’d genuinely consider one if it showed up at competitive pricing against electric scooters. Cities need vehicles that acknowledge their actual density and infrastructure constraints instead of pretending everyone can just drive smaller cars forever.

The post This Cybertruck-Inspired Electric Trike Solves Urban Delivery Problems Tesla Never Bothered With first appeared on Yanko Design.

Vanspeed Album camper van with Murphy bed and versatile lounge is designed to go where you need it

Mercedes-Benz Sprinter camper vans are built for those who want adventure without sacrificing comfort. Taking cues from the Sprinter’s exterior and thriving on its base, California-based Vanspeed has been designing camper vans focused on multifunctional performance. A standout example is the all-new Album camper van.

Built atop a Sprinter 144 AWD, it offers an ideal blend of convenience and luxury, making it ready to go wherever you need it. The Vanspeed camper van strips off any fancy exterior addons, keeping the body simple and clean. Only visible addition to the body is the roof ladder on the driver’s side to access the full-length rooftop rack.

Designer: Vanspeed https://www.vanspeedshop.com

Other than the minimalist exterior, there is nothing casual about the Album camper van. It is a fine embodiment of what a functional camper van interior should be. Ready for off-road adventure, the multipurpose interior of the camper is defined by its Murphy bed and partially or fully removable seating, which opens up the center aisle for cargo or adventure equipment, such as your bicycles or surfboard.

Despite the functionality, the interior with wood-style paneling throughout is warm and inviting. The folding bed stacks up against the driver’s sidewall, freeing up space for daytime convenience. You can use the L-shaped seating for relaxing, or pull down the hidden swivel table (from the cabinet just opposite) and use it as a workstation or for dining. In the pictures, you will notice only a bench seat, however, the seating is completed with a detachable crosspiece sofa, creating the complete L-shaped sofa lounge.

At nighttime, you can conveniently fold down the Murphy bed to create a comfortable platform measuring 80 inches (203 cm) long. It can sleep two people and sit stably on its own foundational supports on the sidewalls, without disturbing the cabinetry and lounge setting underneath. While all this is happening toward the rear of the camper van, up ahead, approachable from the side entry is the kitchenette. The counter is provided with a single-burner portable induction cooktop, and a fridge finds a place underneath the kitchen block. For the convenience of daytime campers, the kitchen includes a countertop that extends for outdoor cooking.

Alongside is another multifunctional space: The wet bathroom, which doubles as a storage cabinet. The bathroom is provided with a shower and a removable portable toilet with flippable shelves for storage. The camper van is powered by a lithium battery to render it usable for stays longer than a weekend. If you’re interested, the Vanspeed Album is priced at $219,000.

The post Vanspeed Album camper van with Murphy bed and versatile lounge is designed to go where you need it first appeared on Yanko Design.