Tag Archives: Automotive

Aston Martin Concept Reimagines British GT Design with 30% More Aggression and Zero Corporate Compromise

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Aston Martin’s design language has evolved remarkably little over the past two decades when you strip away the marketing talk and focus on the actual forms. The grille is always a wide, low trapezoid. The side strakes always bisect the doors. The DRLs always sit in the outer corners of the headlight clusters. The roofline always describes a fastback arc that terminates in a ducktail or integrated spoiler. These aren’t criticisms, they’re observations about a brand that has figured out a formula that works and seen no compelling reason to abandon it. The DB9 introduced this vocabulary in 2004, and every subsequent model (DB11, Vantage, DBS, DBX) has been a variation on that same grammatical structure. It’s a conservative approach that has kept Aston Martin visually coherent across multiple model cycles, but it also means the brand’s design evolution tends to happen in increments rather than leaps.

Naoto Kabayashi’s Vanagandr concept asks what happens when you take that established vocabulary and dial the intensity up by about thirty percent. The grille is still recognizably an Aston Martin grille, but it’s more sculptural, more three-dimensional, integrated into the front fascia in a way that makes it feel like part of the car’s structure rather than an applique. The side strakes are still there, but they’ve dissolved into body surfacing that creates similar visual breaks without relying on traditional panel separators. The headlights are still outer-mounted, but they’ve become slim horizontal blades with an internal graphic that references current Aston Martin DRL signatures while pushing the execution further. Every signature element has been reinterpreted through a lens that prioritizes monolithic surfacing and aerodynamic integration over heritage preservation. Whether Aston Martin’s own design team will ever feel bold enough to make these kinds of moves in production is an open question, but Kabayashi’s renders make a compelling case for why they should at least consider it.

Designer: Naoto Kobayashi

The front fascia is where Kabayashi’s reinterpretation feels most radical. That signature Aston Martin grille, typically a relatively flat panel with a mesh insert, has been transformed into a deeply recessed cavity flanked by aggressive sculpted surfaces that channel air around the nose. The grille opening itself splits into two distinct sections, a lower primary intake and an upper secondary element that sits just below the leading edge of the hood, creating a layered depth that production Aston Martins rarely attempt. Flanking this central structure are vertical air curtain intakes that look like they were carved out of the bodywork with surgical precision, their sharp-edged openings creating visual tension against the organic curves surrounding them. The headlights are razor-thin horizontal elements that extend almost to the wheel arches, with a DRL graphic inside that consists of stacked horizontal bars, a contemporary interpretation of the current Vantage’s lighting signature. It’s aggressive without being cartoonish, purposeful without sacrificing the elegance that defines the brand.

The wheelbase looks stretched, the front wheels pushed far forward to create that classic long-hood silhouette that telegraphs front-engine GT performance from a quarter mile away. The greenhouse is compact and sits low on the body, with a roofline that arcs rearward in a smooth fastback curve before terminating in what appears to be an integrated ducktail spoiler. The side strakes, a design element Aston Martin has carried forward from the DB9 through every subsequent model, have been reimagined as flowing body creases that start just behind the front wheel arch and sweep rearward along the door, creating visual length while also suggesting functional aerodynamic channeling. The rear haunches swell outward dramatically, emphasizing the rear-wheel-drive layout and creating muscular surfaces that catch light in ways that flat panels never could. Multi-spoke wheels in what appears to be gloss black fill the arches completely, and the absence of visible door handles suggests either pop-out units or touch-sensitive entry, both of which have become increasingly common in contemporary supercar design.

The rear three-quarter view reveals how Kabayashi has handled the challenge of creating a visually interesting tail without resorting to the aggressive aero addenda that defines modern track-focused supercars. The fastback roofline flows into a gently integrated spoiler that rises organically from the rear deck, avoiding the bolt-on appearance of aftermarket wings while still suggesting functional downforce generation. The taillights are slim horizontal elements that wrap slightly around the rear haunches, their internal graphics invisible in these renders but likely consisting of the kind of intricate LED arrays that have become table stakes in the luxury performance segment. Below the taillights sits a rear diffuser treatment that’s more aggressive than anything currently in Aston Martin’s production lineup, with multiple channels and what appear to be dual exhaust outlets integrated into the lower fascia. The overall effect is of a car that’s been shaped by aerodynamics without being dominated by them, maintaining visual elegance while acknowledging the reality of high-speed stability requirements.

The surfacing across the entire body deserves its own discussion because it represents a significant departure from Aston Martin’s current approach. Production Aston Martins tend to use relatively simple, flowing surfaces with minimal interruption, relying on curvature and proportion rather than complex character lines to create visual interest. The Vanagandr maintains that philosophical approach but executes it with far more tension and drama. The hood appears to be a single uninterrupted surface that flows from the grille all the way to the windscreen, but it’s subtly crowned in the center with gentle concave sections flanking the raised spine, creating shadow play that makes the surface read as far more complex than it actually is. The doors similarly avoid hard character lines, instead using compound curves that transition smoothly from the wheel arches to the greenhouse, creating surfaces that look like they’ve been formed by airflow rather than stamped in a press. It’s the kind of surfacing that’s extraordinarily difficult to execute in production because it reveals every imperfection in panel gaps and alignment, which is probably why Aston Martin has historically been more conservative in this area.

The color chosen for these renders, a metallic violet that shifts between silver and blue depending on the lighting, does significant work in revealing the complexity of those surfaces. It’s close to Aston Martin’s Lunar White or Skyfall Silver, colors that prioritize surface revelation over visual pop, allowing the forms themselves to generate interest rather than relying on bold hues. In bright light the car reads as almost pure silver, emphasizing the sculptural quality of the bodywork. In shadow it takes on deeper blue and purple tones that add mystery and visual weight. The name Vanagandr, borrowed from Norse mythology where it refers to a wolf destined to break free during Ragnarok and devour the sun, feels appropriate for a design that seems bound by Aston Martin’s heritage while simultaneously straining against those constraints. Kabayashi has created something that respects the brand’s visual legacy while pushing aggressively toward a future that Gaydon’s own designers may or may not have the courage to pursue.

The post Aston Martin Concept Reimagines British GT Design with 30% More Aggression and Zero Corporate Compromise first appeared on Yanko Design.

Aston Martin Concept Reimagines British GT Design with 30% More Aggression and Zero Corporate Compromise

Posted on by

Aston Martin’s design language has evolved remarkably little over the past two decades when you strip away the marketing talk and focus on the actual forms. The grille is always a wide, low trapezoid. The side strakes always bisect the doors. The DRLs always sit in the outer corners of the headlight clusters. The roofline always describes a fastback arc that terminates in a ducktail or integrated spoiler. These aren’t criticisms, they’re observations about a brand that has figured out a formula that works and seen no compelling reason to abandon it. The DB9 introduced this vocabulary in 2004, and every subsequent model (DB11, Vantage, DBS, DBX) has been a variation on that same grammatical structure. It’s a conservative approach that has kept Aston Martin visually coherent across multiple model cycles, but it also means the brand’s design evolution tends to happen in increments rather than leaps.

Naoto Kabayashi’s Vanagandr concept asks what happens when you take that established vocabulary and dial the intensity up by about thirty percent. The grille is still recognizably an Aston Martin grille, but it’s more sculptural, more three-dimensional, integrated into the front fascia in a way that makes it feel like part of the car’s structure rather than an applique. The side strakes are still there, but they’ve dissolved into body surfacing that creates similar visual breaks without relying on traditional panel separators. The headlights are still outer-mounted, but they’ve become slim horizontal blades with an internal graphic that references current Aston Martin DRL signatures while pushing the execution further. Every signature element has been reinterpreted through a lens that prioritizes monolithic surfacing and aerodynamic integration over heritage preservation. Whether Aston Martin’s own design team will ever feel bold enough to make these kinds of moves in production is an open question, but Kabayashi’s renders make a compelling case for why they should at least consider it.

Designer: Naoto Kobayashi

The front fascia is where Kabayashi’s reinterpretation feels most radical. That signature Aston Martin grille, typically a relatively flat panel with a mesh insert, has been transformed into a deeply recessed cavity flanked by aggressive sculpted surfaces that channel air around the nose. The grille opening itself splits into two distinct sections, a lower primary intake and an upper secondary element that sits just below the leading edge of the hood, creating a layered depth that production Aston Martins rarely attempt. Flanking this central structure are vertical air curtain intakes that look like they were carved out of the bodywork with surgical precision, their sharp-edged openings creating visual tension against the organic curves surrounding them. The headlights are razor-thin horizontal elements that extend almost to the wheel arches, with a DRL graphic inside that consists of stacked horizontal bars, a contemporary interpretation of the current Vantage’s lighting signature. It’s aggressive without being cartoonish, purposeful without sacrificing the elegance that defines the brand.

The wheelbase looks stretched, the front wheels pushed far forward to create that classic long-hood silhouette that telegraphs front-engine GT performance from a quarter mile away. The greenhouse is compact and sits low on the body, with a roofline that arcs rearward in a smooth fastback curve before terminating in what appears to be an integrated ducktail spoiler. The side strakes, a design element Aston Martin has carried forward from the DB9 through every subsequent model, have been reimagined as flowing body creases that start just behind the front wheel arch and sweep rearward along the door, creating visual length while also suggesting functional aerodynamic channeling. The rear haunches swell outward dramatically, emphasizing the rear-wheel-drive layout and creating muscular surfaces that catch light in ways that flat panels never could. Multi-spoke wheels in what appears to be gloss black fill the arches completely, and the absence of visible door handles suggests either pop-out units or touch-sensitive entry, both of which have become increasingly common in contemporary supercar design.

The rear three-quarter view reveals how Kabayashi has handled the challenge of creating a visually interesting tail without resorting to the aggressive aero addenda that defines modern track-focused supercars. The fastback roofline flows into a gently integrated spoiler that rises organically from the rear deck, avoiding the bolt-on appearance of aftermarket wings while still suggesting functional downforce generation. The taillights are slim horizontal elements that wrap slightly around the rear haunches, their internal graphics invisible in these renders but likely consisting of the kind of intricate LED arrays that have become table stakes in the luxury performance segment. Below the taillights sits a rear diffuser treatment that’s more aggressive than anything currently in Aston Martin’s production lineup, with multiple channels and what appear to be dual exhaust outlets integrated into the lower fascia. The overall effect is of a car that’s been shaped by aerodynamics without being dominated by them, maintaining visual elegance while acknowledging the reality of high-speed stability requirements.

The surfacing across the entire body deserves its own discussion because it represents a significant departure from Aston Martin’s current approach. Production Aston Martins tend to use relatively simple, flowing surfaces with minimal interruption, relying on curvature and proportion rather than complex character lines to create visual interest. The Vanagandr maintains that philosophical approach but executes it with far more tension and drama. The hood appears to be a single uninterrupted surface that flows from the grille all the way to the windscreen, but it’s subtly crowned in the center with gentle concave sections flanking the raised spine, creating shadow play that makes the surface read as far more complex than it actually is. The doors similarly avoid hard character lines, instead using compound curves that transition smoothly from the wheel arches to the greenhouse, creating surfaces that look like they’ve been formed by airflow rather than stamped in a press. It’s the kind of surfacing that’s extraordinarily difficult to execute in production because it reveals every imperfection in panel gaps and alignment, which is probably why Aston Martin has historically been more conservative in this area.

The color chosen for these renders, a metallic violet that shifts between silver and blue depending on the lighting, does significant work in revealing the complexity of those surfaces. It’s close to Aston Martin’s Lunar White or Skyfall Silver, colors that prioritize surface revelation over visual pop, allowing the forms themselves to generate interest rather than relying on bold hues. In bright light the car reads as almost pure silver, emphasizing the sculptural quality of the bodywork. In shadow it takes on deeper blue and purple tones that add mystery and visual weight. The name Vanagandr, borrowed from Norse mythology where it refers to a wolf destined to break free during Ragnarok and devour the sun, feels appropriate for a design that seems bound by Aston Martin’s heritage while simultaneously straining against those constraints. Kabayashi has created something that respects the brand’s visual legacy while pushing aggressively toward a future that Gaydon’s own designers may or may not have the courage to pursue.

The post Aston Martin Concept Reimagines British GT Design with 30% More Aggression and Zero Corporate Compromise first appeared on Yanko Design.

Roam Rider SL pickup camper pops up to create headroom, slides on both sides for more living space

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Silver pickup truck with a mounted rooftop tent in a desert at sunset, blue sky.

There are pickup campers that extend outwards or those that pop-up. Now there is a third kind. The Roam Rider – an off-grid camper – that pops up to create headroom, and slides out (on either side) to increase the living space. Along with serious off-grid power capacity, the fascinating truck camper is also designed for all-season comfort. So, you can camp in the remotest location without having to worry about power and amenities, or having to give up your living convenience.

A twin-slide pop-up pickup camper, the Roam Rider SL, is designed primarily to sit atop 5-foot 6 inches truck bed. The company offers a customization option to tailor it to your truck bed requirements. The camper in its ready size measures roughly 12 ft long, 6 ft wide, and 5 ft high.

Designer: Roam Rider

Black pickup truck with a rooftop camper parked in a desert landscape of red rock formations under a blue sky.

White pickup with a raised rooftop tent against a bright blue sky and white snow dunes behind.

With an empty weight of 1,300 lbs, the Roam Rider SL is built in McKinney, TX, as an integral part of the company’s tough yet comfortable truck campers’ portfolio, made for real adventures. For its durability, the camper features an aluminum and fiberglass exterior, and XPS foam sheets sandwiched for insulation. Placed atop a truck bed, the Roam Rider SL feels snug. One can access the brightly lit interior of the camper through its rear entry door.

Camper van interior with white marble-look cabinets, a small fridge and drawer, grey cushioned seating, and quilted insulation above windows; compact kitchenette area on right side.

Camper van bedroom area with a raised wooden bed frame, grey mattress, and quilted silver insulation walls with side windows behind pleated blinds.

The natural lighting inside is ensured by a couple of mesh windows on each side of the pop-up camper. The pop-up roof itself is made of canvas and is supported by four stainless gas struts. The entire cabin from the walls to ceiling is insulated, while the eventful twin slide-out on either side gives the Roam Rider SL a unique vibe. It is complemented by sliding shelves and converting furniture, which easily adapt to the changing environment created by the camper’s sides sliding in and out.

Aircraft galley with a small induction cooktop, sink, and pull-out counter for food prep and meals.

Cozy camper van sleeping area with padded silver quilted walls, a wide gray mattress, and windows on both sides.

The Roam Rider SL has an interesting living environment, which is provided with a capable kitchen setup complete with appliances and amenities. The kitchen space has a 1500-watt induction cooktop sitting on a drop-down table, while a 12V dual zone refrigerator features on a sliding tray. The slide-out sink and folding faucet take care of the cleaning needs, and a 24-gallon freshwater tank onboard provides the needed water. An adjacent pull-out dining cum work table is where the prepared food is consumed.

Compact galley aboard a boat or RV with marble counters, a pull-out induction cooktop in a drawer, and a black gooseneck faucet over a sink.

Interior of a compact camper van with a kitchenette, grey cushioned seating, and quilted aluminum walls around windows.

The cabin is designed for sleeping up to 3 campers conveniently. The main slide-out bed can fit a couple, while the second, convertible bed can sleep one person. During the day, the single-person bed becomes a cushioned sitting area for up to four people. You can find multiple storage options inside the Roam Rider SL. Two slide-in cabinets, two drawers, a floor storage box, and a vertical storage box.

Interior of a compact vehicle bathroom with dark wood plank flooring, a white sliding door, and a blue-lit control panel on the right.

Interior of a modern ambulance with white cabinets, gray cushions, quilted walls, and a black textured floor

The camper is made for all-season adventures with a 7500BTU air conditioner and a 17,000 BTU diesel heater. A 4.8-gallon external diesel fuel tank is mounted on the back, which can provide fuel to the heater when you’re on an extended holiday in the winter. The camper is provided with a showering system, but there is no mention of a portable toilet inclusion. Though we learn that it features a 400Ah LiFePO4 lithium battery, paired with 320W solar panels. It also features a 3000-watt pure sine inverter, all for a starting price of $29,995.

Black Ford pickup with a rooftop tent parked on white sand dunes under a blue sky, a desert campsite setup on the vehicle's bed.

Camper van kitchenette with a fold-out marble counter, sink, stove, and a yellow Alpicool portable cooler on the floor beside the counter.

White marble galley with a fold-out counter extension, open storage underneath, and a built-in grill with a black gooseneck faucet on the right side.

Black pickup truck carrying a white camper shell with rooftop gear in a desert landscape, rock formation in the distance

 

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Snow Peak’s Inflatable Field Rise Rooftop Tent Sets Up in Minutes

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The rooftop tent market is already a saturated one. When you think there is little scope for more innovation in design, someone proves us wrong. This time, it is the Japanese Snow Peak, which has released a rooftop tent with inflatable frames and a design to complement your outdoorsy style.

Dubbed the Snow Peak Field Rise RTT, it features entry doors on either side. The tent is designed with all-weather protection and has an awning spreading across from its base to provide the users with cover for outdoor fun during camping. Designed for more than camping, the tent is created with a self-supporting frame, which when inflated with air, provides a robust structure.

Designer: Snow Peak

The tent body made from an air frame does not require assembly or disassembly. The entire thing is just plug and play, so everything from setup to takedown can be done quickly. The compact two-person design of the Field Rise also ensures that the manufacturer has kept the tent lightweight with the universal approach of mounting onto almost all types of vehicles.

Conceptualized and created with the idea to allow each inhabitant to enjoy outdoor activities to their heart’s content, the rooftop tent has been created with a double-walled structure to suit Japan’s climate and distinct seasons, from hot summers to cold winter days. It is also designed to be resistant to wind and rain, allowing the users to spend time inside the Fire Rise in peace, regardless of the weather.

By saving you the time spent in setting up and taking down the rooftop tent, the Fire Rise RTT is designed to help you increase the time you spend enjoying activities and relaxing in nature. The tent’s large entrances allow easy access into the mudroom first up, which is (according to Japanese style-living) designed to keep the interiors clean. It is ideally placed at the entrance to make it easy to take off and put on shoes, while the inner tent serves as a separate space with a comfortable two-person sleeping area.

This is not the first tent from Snow Peak, in fact, we have seen a land shelter from the outdoor living solutions brand, which has also created an insulated poncho to redefine solo camping. Where the rooftop tent differs is its sail-like awning with telescopic support poles, which help extend the living area for the residents. Considering all that canvas has to be folded back down, you would expect that the tent will take up a lot of space when packed. In fact, it is designed with the idea of multi-day excursions in mind, leaving you space to do more.

Interestingly, the rooftop tent packs up into a size, only half of a Toyota Land Cruiser, leaving space for a bike or a space cargo basket to go onto the roof alongside. The Snow Peak Field Rise, with its wide doors on both sides of the vehicle and two windows on the front and rear, is expected to go on sale in Japan in the coming months, starting at ¥396,000 (approximately $2,500). There is no word on whether or not the Field Rise will be made available in North America.

The post Snow Peak’s Inflatable Field Rise Rooftop Tent Sets Up in Minutes first appeared on Yanko Design.

402-HP Morgan Supersport 400 is a handcrafted retro roadster with modern muscle

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British specialist carmaker Morgan Motor Company has just introduced a modern roadster that blends contemporary performance with its long-standing tradition of hand-built craftsmanship. While that pairing may sound unlikely, the company’s fastest production model to date still carries the unmistakable silhouette of 1930s roadsters, complete with its signature ash wood frame construction beneath the body.

The two-seater Supersport 400 is powered by a 402-horsepower engine derived from the tuned BMW B58 turbocharged inline-six, positioning it as the flagship performer in the boutique brand’s lineup. This lightweight roadster can sprint from 0–62 mph in just 3.6 seconds, underlining a significant leap in performance while preserving Morgan’s analog driving appeal.

Designer: Morgan

Despite the increase in power, the Supersport 400 remains true to the brand’s lightweight philosophy. Tipping the scales at around 2,579 pounds, the car benefits from an impressive power-to-weight ratio that enhances both acceleration and agility. It is underpinned by Morgan’s CXV aluminum platform, paired with its traditional wooden framework, a combination that balances rigidity with handcrafted character. The result is a driving experience that feels both responsive and distinct from conventional sports cars.

To complement the performance upgrade, Morgan equips the Supersport 400 with a Dynamic Handling Pack as standard. This includes adjustable Nitron dampers, revised suspension geometry, and lightweight forged wheels that collectively improve stability and road feedback. Buyers can also opt for a limited-slip differential, which enhances traction during more spirited driving. A reworked exhaust system, available in active or high-flow configurations, further sharpens the car’s auditory presence, giving the inline-six a more pronounced note without overwhelming the cabin.

Visually, the Supersport 400 remains instantly recognizable as a Morgan, yet subtle refinements bring it in line with modern expectations. The long bonnet, flowing fenders, and exposed detailing stay true to the marque’s heritage, while new front wing vents and cleaner lower bodywork improve airflow and lend the car a more contemporary edge. These updates do not alter its identity but instead refine it for current performance standards.

Inside, the cabin continues the blend of tradition and modernity. Hand-stitched leather upholstery is paired with Alcantara options and bespoke detailing, offering a high level of personalization. Updated instrument dials and optional aluminum accents add a modern touch without detracting from the car’s classic appeal. Each example can be tailored extensively, reinforcing Morgan’s reputation for bespoke craftsmanship.


Positioned at the top of the lineup, the Supersport 400 carries a starting price of around £112,000 (approximately $150,000), reflecting its low-volume, hand-built nature. Production is set to begin in 2026, with orders already open for customers seeking a uniquely analog yet high-performance driving experience.

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This Porsche 918 Successor Concept Looks More Aggressive Than Anything Stuttgart Would Actually Build

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Porsche retired the 918 Spyder nameplate in 2015 after producing exactly 918 examples of their hybrid hypercar flagship, a vehicle that proved electric motors could enhance rather than dilute the driving experience at the absolute top of the performance spectrum. The car’s legacy persists in how thoroughly it shifted the conversation around electrification in high-performance vehicles, making battery packs and regenerative braking legitimate tools for lap time destruction rather than merely fuel economy optimization. Since then, Porsche’s halo vehicle strategy has fragmented across the electric Taycan range and increasingly extreme 911 GT variants, but nothing has directly replaced the 918’s specific combination of hybrid technology and hypercar theater. Independent designer Franklin decided that gap needed filling.

His Next 918 concept, rendered in meticulous detail and shared on Behance, reimagines what a modern Porsche hypercar could look like if the company stopped playing nice and went full gladiator mode against the current generation of track-focused exotics. Where the original 918 balanced supercar aggression with enough civility for real-world usability, Franklin’s interpretation commits entirely to the hypercar brief with a fixed-roof fastback body, massive wheel arches, and surfacing complexity that would require Porsche’s designers to abandon their typical restraint. The renders communicate serious 3D modeling craft, the kind of surface definition and lighting work that separates thoughtful design exploration from quick Photoshop fantasies. This concept asks whether Porsche’s next flagship should evolve the 918’s hybrid philosophy or just embrace pure, uncompromising speed.

Designer: Franklin 郭

The most dramatic departure from the original 918 is the roofline, which Franklin has transformed from a removable targa configuration into a fixed fastback canopy that accelerates rearward with genuine aerodynamic intent. The greenhouse wraps around the cockpit in one continuous sweep of glass, providing massive visibility while compressing the rear deck into a truncated Kamm-tail form that would generate serious downforce at speed. This design choice alone signals a philosophical shift, the original 918 let you pull the roof panels and enjoy open-air motoring on a coastal highway, but Franklin’s version looks like it would protest anything slower than a flat-out Autobahn run. The fastback terminates in an integrated spoiler element that bridges seamlessly into the tail, below which sits a full-width light bar with layered elements that give it architectural depth rather than the thin LED strip Porsche has been using lately. The diffuser treatment underneath is pure carbon fiber aggression, a multi-element structure with vertical fins that would channel underbody airflow with the kind of efficiency you’d expect from a car engineered to hunt lap records rather than pose in Monaco.

The front fascia borrows Porsche’s current four-point LED signature but expands it into something more architectural, with vertical DRL elements that aren’t just lighting theater but structural dividers segmenting the nose into distinct functional zones. The hood is long and domed slightly at the center, completely free of vents or scoops, a deliberate choice that keeps visual weight low and the proportions classic mid-engine GT. Franklin’s surfacing work is where the concept demonstrates genuine design maturity, the body isn’t cluttered with unnecessary creases or vents, instead relying on a single character line that runs from the front wheel arch through the door shut line and terminates at the rear fender. The wheel arches themselves are sculptural events, three-dimensional forms that bulge outward from the body with sharp, almost origami-like edge treatments where the bodywork folds inward to meet the wheel openings. This creates tension across the entire surface, preventing the forms from reading as soft or generic. The stance is weaponized, no lift, no ride height concession to real-world usability, just a car sitting exactly where it would need to be for maximum aerodynamic performance.

What makes this concept compelling beyond its visual aggression is how it forces the question of what a modern 918 successor should actually be. The original car’s hybrid powertrain made sense in 2013 when proving electrification could work at the hypercar level was still a radical statement, but the landscape has shifted dramatically. Rimac, Pininfarina, Lotus, and even Gordon Murray have all built hybrid or fully electric hypercars that make the 918’s 887 horsepower look almost quaint. If Porsche were to build a Next 918 today, would they chase four-figure horsepower with a tri-motor electric setup, or would they lean into what makes Porsche fundamentally different and build something around a screaming naturally aspirated flat-six paired with electric torque fill? Franklin’s concept doesn’t answer that question because it can’t, the design language works equally well wrapped around either powertrain philosophy. What it does communicate clearly is that the next 918, if it ever exists, would need to compete directly with the Valkyrie, the Senna, the AMG One, machines that have raised the hypercar performance ceiling so high that the original 918’s 6:57 Nürburgring time now sits outside the top ten fastest production car laps. The visual aggression Franklin’s baked into this concept acknowledges that reality.

The post This Porsche 918 Successor Concept Looks More Aggressive Than Anything Stuttgart Would Actually Build first appeared on Yanko Design.

The Bike Saddle 3D-Printed and Hand-Stitched in France

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Most conversations about technology and craft follow the same script. Technology is fast, scalable, cold. Craft is slow, precious, warm. The two might share a showroom floor or a mood board, but they rarely share a philosophy. Mahdi Naïm’s AERIS bicycle saddle disagrees with that entire premise, and the disagreement is worth paying attention to.

AERIS is not a bicycle saddle that happens to look interesting. It is a bicycle saddle built around a single, demanding question: what if 3D printing and traditional craft weren’t layered on top of each other, but designed together from the very first sketch? That shift in thinking, from assembly to co-authorship, is what separates AERIS from the dozen other “tech meets heritage” products that surface at design fairs every season.

Designer: Mahdi Naim

The structure is built on a lattice produced through high-precision photopolymerization, specifically SLA and DLP printing, in high-performance elastomer resin. The geometry is not decorative. It is functional in the most literal sense: the lattice density changes across three zones of the saddle, denser where firm support is needed under an aerodynamic riding position, progressively softer through the transition zone, and open at the perineal relief zone to minimize pressure. No foam. No padding added to compensate for poor design thinking. The structure itself is the comfort system.

That kind of discipline is rare, and I say that as someone who has watched a lot of product design lean on material additions to solve problems that should have been solved earlier. Foam is easy. Getting the geometry right from the start is not. It takes conviction to design without a fallback.

The second layer, and I do mean the second design logic rather than a second material slapped on afterward, is where a French master saddler comes in. Full-grain vegetable-tanned leather, hand-stitched. The studio is clear that this is not an aesthetic decision. The leather works mechanically with the resin, distributing pressure and shear forces in ways that neither foam nor synthetic materials can match at equivalent weight. The interface between the two materials was designed during the modelling phase, not decided once the print came out of the machine.

This is the part I keep coming back to. The leather isn’t a finish. It isn’t branding. It is the second structural argument in the same conversation, and the conversation started before any material was touched. That level of intentionality is genuinely unusual, even among products that wear the word “craft” proudly on their labels.

Mahdi Naïm himself is worth knowing, if you don’t already. He is an industrial designer, a Grand Maître Artisan, and a German Design Award laureate who runs his studio between Lyon and Casablanca. His practice sits at the intersection of French engineering and Moroccan craftsmanship, and AERIS reads like a project that could only come from someone fluent in both languages. The saddle doesn’t feel like a technology demonstration with craft applied on top, or a heritage object with a 3D-printed frame underneath. It feels like one object, made by two disciplines that had to agree on every decision before anything was built.

AERIS is still in active development and moving toward small-series production. The studio is in conversation with industrial partners in additive manufacturing and premium cycling. That means this isn’t a concept in the gallery-piece sense, displayed under glass and admired from a distance. It is a product that intends to be ridden.

Whether you cycle or not, whether you follow product design closely or just occasionally land on something that makes you stop scrolling, AERIS is the kind of object that rewards a second look. Not because it is visually striking, though it is, but because the thinking behind it is genuinely coherent. The lattice, the leather, the hand-stitching, the parametric modelling: none of it is decoration. All of it is argument. That is harder to pull off than it looks, and considerably rarer than the design world likes to admit.

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Smart Concept #2 reimagines the iconic city car as a fashion-forward electric micro-mobility commuter

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Smart has always had a knack for making the smallest cars feel like big ideas. The original two-seater wasn’t just about transportation; it was a statement about how little you actually need to move through a city. With the smart Concept #2, that philosophy doesn’t just return, it gets reinterpreted through a far more expressive, almost fashion-led lens.

At first glance, the proportions instantly take you back. The compact, upright stance, near non-existent overhangs, and wheels pushed right to the corners are all deliberate callbacks to the original Fortwo. But this isn’t nostalgia for the sake of it. The Concept #2 stretches to about 2.79 meters subtly growing to create a bit more usable interior space while remaining firmly in microcar territory.

Designer: Smart

What’s interesting is how smart has shifted the conversation from pure utility to identity. The brand calls it “Function becomes Fashion,” and it shows. The matte white and warm gold two-tone finish feels more like a wearable than a vehicle, while details like strap-inspired elements on the bumpers and door handles borrow cues from luxury accessories rather than traditional automotive design. There’s even a subtle influence of sneaker culture in the textures and tire patterns, turning what would otherwise be functional surfaces into design statements.

This shift matters because the original smart succeeded in cleverness but struggled to evolve emotionally. Concept #2 attempts to fix that by making the car feel personal. It’s less about squeezing into tight parking spots (though it still excels at that) and more about how the object itself fits into your lifestyle. Underneath the stylized surface is a thoroughly modern EV architecture. Built on Smart’s new Electric Compact Architecture, the concept is designed to deliver the kind of urban usability that today’s drivers expect. The projected range sits close to 186 miles, which is more than sufficient for daily city use, while DC fast charging from 10 to 80 percent takes under 20 minutes, essentially the time it takes to grab a coffee.

The packaging remains its strongest trick. The signature “wheels-at-the-corners” layout maximizes cabin space within that tiny footprint, while a tight 6.95-meter turning circle makes the car feel almost pivot-like in dense urban environments. It’s the kind of manoeuvrability that reminds you why cars like the original Fortwo made sense in the first place. There’s also a subtle shift in how the car integrates into daily life. Features like Vehicle-to-Load (V2L) hint at a future where even the smallest cars double as mobile power sources—useful for everything from charging devices to supporting outdoor activities.

The bigger picture is just as important. Since becoming a joint venture between Mercedes-Benz and Geely, Smart has moved upmarket with crossovers and SUVs. Concept #2 feels like a deliberate course correction, returning to the brand’s core idea, but doing so with a premium edge shaped by Mercedes-Benz design sensibilities. Set to evolve into a production model debuting at the Paris Motor Show in late 2026, the Concept #2 is less of a wild design exercise and more of a near-production preview. That makes its details (both practical and expressive) feel intentional rather than experimental.

The post Smart Concept #2 reimagines the iconic city car as a fashion-forward electric micro-mobility commuter first appeared on Yanko Design.

Smart Concept #2 reimagines the iconic city car as a fashion-forward electric micro-mobility commuter

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Smart has always had a knack for making the smallest cars feel like big ideas. The original two-seater wasn’t just about transportation; it was a statement about how little you actually need to move through a city. With the smart Concept #2, that philosophy doesn’t just return, it gets reinterpreted through a far more expressive, almost fashion-led lens.

At first glance, the proportions instantly take you back. The compact, upright stance, near non-existent overhangs, and wheels pushed right to the corners are all deliberate callbacks to the original Fortwo. But this isn’t nostalgia for the sake of it. The Concept #2 stretches to about 2.79 meters subtly growing to create a bit more usable interior space while remaining firmly in microcar territory.

Designer: Smart

What’s interesting is how smart has shifted the conversation from pure utility to identity. The brand calls it “Function becomes Fashion,” and it shows. The matte white and warm gold two-tone finish feels more like a wearable than a vehicle, while details like strap-inspired elements on the bumpers and door handles borrow cues from luxury accessories rather than traditional automotive design. There’s even a subtle influence of sneaker culture in the textures and tire patterns, turning what would otherwise be functional surfaces into design statements.

This shift matters because the original smart succeeded in cleverness but struggled to evolve emotionally. Concept #2 attempts to fix that by making the car feel personal. It’s less about squeezing into tight parking spots (though it still excels at that) and more about how the object itself fits into your lifestyle. Underneath the stylized surface is a thoroughly modern EV architecture. Built on Smart’s new Electric Compact Architecture, the concept is designed to deliver the kind of urban usability that today’s drivers expect. The projected range sits close to 186 miles, which is more than sufficient for daily city use, while DC fast charging from 10 to 80 percent takes under 20 minutes, essentially the time it takes to grab a coffee.

The packaging remains its strongest trick. The signature “wheels-at-the-corners” layout maximizes cabin space within that tiny footprint, while a tight 6.95-meter turning circle makes the car feel almost pivot-like in dense urban environments. It’s the kind of manoeuvrability that reminds you why cars like the original Fortwo made sense in the first place. There’s also a subtle shift in how the car integrates into daily life. Features like Vehicle-to-Load (V2L) hint at a future where even the smallest cars double as mobile power sources—useful for everything from charging devices to supporting outdoor activities.

The bigger picture is just as important. Since becoming a joint venture between Mercedes-Benz and Geely, Smart has moved upmarket with crossovers and SUVs. Concept #2 feels like a deliberate course correction, returning to the brand’s core idea, but doing so with a premium edge shaped by Mercedes-Benz design sensibilities. Set to evolve into a production model debuting at the Paris Motor Show in late 2026, the Concept #2 is less of a wild design exercise and more of a near-production preview. That makes its details (both practical and expressive) feel intentional rather than experimental.

The post Smart Concept #2 reimagines the iconic city car as a fashion-forward electric micro-mobility commuter first appeared on Yanko Design.

Volocopter makes comeback with VoloXPro that combines proven design with New eVTOL tech

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Volocopter has launched a new eVTOL (electric Vertical Take-off and Landing) multicopter called VoloXPro that has some new impetus but rides on tested configurations from the company’s previous design. The German aerospace firm envisions the VoloXPro to be used in a range of applications, with the air taxi sector being one of the primary job roles at launch.

Volocopter, launched in 2019, had a glorious initial run. It was one of the most celebrated flying taxi startups in Europe after the launch of VoloCity eVTOL aircraft. One of the pioneers of air mobility using eVTOL aircraft, Volocopter, however, had a rough phase and struggled with aerospace certification and revenue generation. It was, in fact, on the verge of insolvency before its buyout by China’s Wanfeng Auto Holding Group, the owners of Diamond Aircraft in March 2025. VoloXPro now marks the return from the ashes for the German eVTOL company.

Designer: Volocopter

VoloXPro is Volocopter’s first announcement after the €10 million takeover. This emission-neutral eVTOL, the company says is a low-noise platform, capable of being used in a range of applications and different use cases. Volocopter was reportedly working on this new aircraft, which has the potential to alter personal transportation, tourism and medical emergencies, throughout 2025.

Lunched now at the ongoing AERO Friedrichshafen show, in Germany, the new VoloXPro is an all-electric two-seat VTOL aircraft. It can cruise at a top speed of 70mph, drawing power from 18 rotor sets in a circular pylon over the cabin. The aircraft shares a few components with VoloCity air taxi introduced sometime in 2022. For instance, the two share the modular cabin design and the multirotor configuration.

With the common components, the company is trying to play it safe. It hopes that this approach will allow it to keep the price of the VoloXPro affordable, and that, it shall help fast track the multicopter’s path to aerospace certification, since the safety of the shared configurations is already proven in the earlier VoloCity design. Volocopter is hopeful of attaining the required certifications for VoloXPro by the end of 2026.

In addition to the shared approach, Volocopter is packing the new eVTOL aircraft with new technological additions and a range of cockpit layout options. The idea of the latter is to make the aircraft ready for a host of applications for both private individuals and group operators. As noted above, the VoloXPro is now a two-person craft, which the maker is targeting at flying clubs, schools, and aviation enthusiasts. We do not have the exact details about battery capacity, but we learned that the aircraft will have a 40 km range and the ability to carry up to 154 kg of payload. Its maximum take-off weight is 600 kg.

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