Buckle Up: 5 Architects and Firms Are Taking the Driver’s Seat in Vehicular Design
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Building design is rarely the sole focus of architecture. Being an architect involves exploring the depths of innovation and pushing the boundaries of human experience. For architects, delving into alternative design fields often promises new challenges, the expansion of knowledge and the further development of an array of skills. There are many fields architects have historically branched into (the first that comes to mind is product design). Yet, in the past decade or so, architects have increasingly turned their attention toward a new field of inquiry. Drawing on a long, symbiotic relationship between architecture and engineering, more and more contemporary architects are dipping their toes into transportation design.
From the seas to the skies, architects have brought their unique perspectives and innovative ideas to the table, creating iconic transportation designs that will be remembered for years to come. This collection celebrates the art of transportation design by showcasing five firms that have tackled the unique design challenges of vehicles. From Norman Foster and his slight obsession with all things motorcar to Zaha Hadid Architects’ mesmerizing braided exoskeletons, the level of creativity, innovation and technical skills on display is nothing short of inspirational. So buckle up and enjoy these incredible feats of design and engineering.
McLaren Production Centre by Foster + Partners, Woking, United Kingdom
Foster + Partners have an illustrious relationship with transportation design, having collaborated on many incredible vehicles and vessels over the years, their portfolio is stacked with not only vehicles but airports and stations alike. It’s no surprise really that the team at Foster + Partners has regularly dipped into the motor industry, as founder Norman Foster is well-known for his enthusiasm for cars. Recently the renowned architect put his self-proclaimed obsession on display when curating ‘Motion. Autos, Art, Architecture’ for the Guggenheim Bilbao’s epic exhibition, which linked the history of the automobile with the evolution of modern art.
While the practice have been involved in the design of many yachts, The Alen Yacht in particular is one of Foster + Partners most recent designs. At 68-foot the boat is perhaps not the biggest yacht you’ll ever see but that doesn’t mean it isn’t incredibly lavish, featuring elegant social spaces, a comfortable primary suite, and ample entertaining areas in an open-plan layout allows the luxury vessel to accommodate up to twelve guests. The fast and agile yacht boasts a beautiful interior with a refined palette of materials that emphasize the sense of motion and adventure at the heart of the yacht’s design. The furniture is artfully arranged to follow the curves of the white leather walls making clever use of the space available. It is apparent that throughout the yacht’s design, every detail has been thoughtfully considered and impeccably detailed.
Zaha Hadid Architects have always been known for their relationship with breathtakingly organic forms, and their foray into yacht design is no exception. Before her death, the late Dame Commander, Zaha Hadid, partnered with German shipbuilder Blohm+Vohs for three years, creating a family of seafaring vessels featuring mesmerizing braided exoskeletons. Now, Italian maker Rossinavi is set to celebrate ZHA’s next dive into the industry with its introduction of the electrifying Oneiric.
Oneiric is a 145-foot (44-meter) electric catamaran that is powered through artificial intelligence. Its cutting-edge design, inspired by the rolling waves of the ocean, features a single continuous line that rises from the aluminum hull, spirals up and around three photovoltaic-integrated levels, and undulates into the other hull. The ship’s exterior boasts branching curves that merge and diverge in the hull while the stern slopes down like a giant swimming platform, creating a seamless connection between the water and the yacht edge.
Italian shipyard Rossinavi is collaborating with Zaha Hadid Architects (ZHA) to bring a new, fully #electric catamaran— ‘Oneiric’. Here’s a peek this yard’s green-technology flagship vessel: https://t.co/LXCEp70lBJ pic.twitter.com/ubXP5BlET9
— YachtWorld (@yachtworld) July 16, 2022
The yacht’s interior is just as fluid, with integrated furnishings blending into adjacent planes and walls, meeting ceilings through uninterrupted coved surfaces. The main cabin offers breathtaking 180-degree views and sunlight is prevalent through the addition of skylights. The interiors are finished with lightweight, eco-friendly materials to reduce drag, and the yacht is powered by photovoltaics during daylight hours. The onboard AI monitors energy consumption and provides navigation recommendations based on environmental impact, allowing Oneiric to complete a day trip on electric power alone with minimal carbon and noise emissions. Rossinavi has calculated that Oneiric can handle over two-thirds of a transatlantic voyage with solar power. The yacht can even charge land-based appliances while docked.
The Moving Kitchen by J.C. Architecture, Taiwan | Photographs by Kuo-Min Lee
Popular Winner, 10th Annual A+Awards, Transport Interiors
The Moving Kitchen is an excellent example of what we can do with our existing or outdated transportation inventory. Designed by the talented architecture firm J C Architects, the restaurant is housed in a semi-retired 70-year-old train that has been salvaged from retirement and transformed into a moving luxury resturant. The dynamic dining experience seats 54 people and takes its guests on a culinary journey both through the culinary delights and through the scenic beauty of Taiwan.
The concept behind the Moving Kitchen was to merge the flavors of traditional Taiwanese cuisine with the breathtaking views of the island. A multidisciplinary team of designers, chefs, and restaurant operations experts worked tirelessly to bring the vision to life and the result is an unforgettable dining experience that seamlessly blends the taste of Taiwan with the scenic beauty of the island.
Bjarke Ingles Group is renowned for their innovative designs and boundary-pushing ideas. From creating the iconic headquarters of Google to the thought-provoking Danish Refugee Museum, the adept team of architects and designers have proven time and time again that they are not afraid to tackle challenging projects in their own unique way.
Often entering the realm of transportation, BIG have brought their skills to bear on several new and exciting modes of transportation. Yet, unlike many of their peers who opt for superyachts and luxury vehicles, the unpredictable BIG took aim at the electric bicycle. The Biomega OKO is a stylish e-bike made up of clean lines and an efficiency to be envied. Designed and developed by KiBiSi, under the leadership of Bjarke Ingles the bike flipped the often over complicated electric bike model and stripped it back to bare essentials, without compromising on function or aesthetics.
The perfectly balanced, sleek cycle is fitted with a battery in the middle bar and a motor in the front wheel hub. The Biomega OKO is made of carbon fiber and weighs in at a mere 44 pounds, making it one of the lightest electric bicycles on the market at the time. With its energy-efficient operation, the Biomega OKO is not only regarded as a joy to ride, but its eco-friendly design is admirable. The Biomega OKO may be utilitarian in it’s looks but it is truly a seamless example of transportation design.
Germane Barnes
Germane Barnes is an architect and academic whose work explores the intersection of design alongside technology. The groundbreaking architect recently collaborated with motor giant Lexus on a unique project for Design Miami/ that aimed to encapsulate and present the next generation of the automaker’s evolution. The installation, titled “ON/,” is inspired by Lexus’s LF-Z Electrified Concept car and embodies the human-centered, future-oriented approach to design and craftsmanship that the brand and Barnes share.
The immersive installation features a precisely scaled three-dimensional sculptural rendition of the concept car suspended just above the ground and illuminated with embedded LED lighting. The display also includes furniture designed by Barnes and his team specifically for the installation, providing areas for rest and reflection. The entire installation is unified by a unique lighting scheme that allows for engagement from users around the world through an online, interactive virtual model. Participants created their own lighting designs for the display, and Barnes and his team selected a number of the user-generated designs to showcase onsite, encouraging interaction and collaboration while highlighting the creative vision of entries from around the world.
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“With this ink on paper drawing I explored the relationship of narrative and drawing. Drawn images often tell stories: the strongest stories often create imagery. The imagery I created is about, Jonathan Livingston Seagull, a book that I associate strongly with my own life. Jonathan is a seagull who leaves his flock to fly higher, explore, and learn new things. In the end, he finds his freedom and escapes from the cage where the cage represents limitations and a reality that was told to be the only reality. For me, the best way to realize that there are other realities is to travel and see people born and raised in different societies and cultures. The more I explore, the more I become free.”
“The tower of ilicity is an exquisite corpse that explores the duality of urban city life. Similarly to the SoHo block, the tower stitches together familiar, essential and mundane elements into a randomized agglomeration of components that follow a Truchet aperiodic tiling composition. This stitching together of random parts is a social and spatial condition, that challenges the occupant as they experience the assemblage through the lens of dirty realism.
“A semi-fictional view of an evening in Fengjing, China. All hand-done graphite pencil drawing with watercolour wash.
“Monsoon arrives misery every summer in the City of Chandigarh, Le Corbusier’s modernist metropolis. How does a landscaping intervention protect the city from inundation caused by climate change? Rather than obstruct the water, a network of sunken landforms and water-purifying facilities invites water into the city fabric. Waterscapes are juxtaposed against Le Corbusier’s greenery fingers across the city. Purified water will recharge the deep aquifers, an indispensable water source for commercial and domestic use.
“Alone. Confused. Frustrated. The more I try to hold on to memories that are slipping away from me, the more afraid I am that someday, there will be nothing left at all—nothing but a memory that has been forgotten by time itself.
“Nowadays, demolition waste creates the most significant waste stream in the world. By considering cities undergoing renovation, the author proposes a physical dissection of destructible buildings, their dismemberment and recycling through robotic automation according to their structure, material and condition. Specially designed machines curate and organize virtual and physical (“theatre”) archives of the targeted buildings under the demolition plan. Newly developed tectonic systems and spaces created in this way can be integrated into the urban fabric in close interaction with the existing landscape. In this way, the connection between the past and the future is built, and the identity and memories of previous generations, which are hopelessly erased in modern society, are preserved.”
“I imagine a future where the only boundaries of architecture are creativity and physics.
“Cafe Palace selected a series of plans of landmark buildings with different cultural backgrounds according to the composition of immigrants in the block, which served as the inspiration and design starting point of the overall underground space layout. Through the redefinition and blend of different architectural styles, an architectural atmosphere similar to the situationist concept was created.
“The Galveston Bay Park Plan (GBPP) project is a surge flooding protection, navigation enhancement, public recreation and environmental enhancement project that is unique in its scale, impact, innovation, and long-term adaptiveness. The GBP approach will be transformative to the Galveston Bay region by creating a permanent thirty-mile landmark that is central to the region’s resiliency strategy, economic vitality, habitat preservation, and standard of living.”
“This is a painting about the concept of architecture expressed through images in a dream world. The theme of the painting revolves around the culture of coffee and the society that is triggered by coffee as a sober dependency of people.
“A new stage in urban sprawl in a context of physical, environmental and energy insecurity: a pioneering and vertical colonization of abandoned places in urban or industrial centers. Of course, properties are being protected and mobility is being adapted, far from the architectural utopias. Factories are still running, weighing down a starless sky that vanity jets cross, each for himself, more than ever. After all, the garden is not doing so badly; as for the fauna, it is less certain.”
“This work depicts an interior view of a house we built in Whitechapel. The view is of the main ground floor living space, looking south to towards the courtyard. The space has contrasting volumes, with the large diagrid lantern light glazing contrasting with the lower perimeter spaces. I was interested examining the way in which the space is lit naturally, and how the fall of natural light affects the volumetric impression of the space. I felt that this required an image of high contrast. I tried to depict that wonderful time of day in early summer, when the sun has almost disappeared, but where the light remains vivid, and where the areas of the interior not directly lit recede into the increasing darkness.
“Iconic architecture enjoys celebrity status, a fame generated by the dissemination of glamorous images presented to the public for admiration and praise. While the formal language of this “star-chitecture” varies widely around the world, these static icons share rarified air in the top-ten lists and google searches where their images are most commonly consumed.
“The process of this drawing relies on previous reiterations from an earlier collage of building constructions, which fragmented into an imaginary landscape of ruins. Using a Xylene transfer of a black and white copy onto plaster, the ghostly images provide a ghost in which new constructions can be developed. The idea of the city as a continuous palimpsest evokes the nature of how cities transform throughout time by demolition, re-use or new construction. This additive transformation builds on the old to re-invent the composition. As an architectural speculation, the generative process of drawing yields new spaces and forms influenced by the pre-existing context of the ghost collage. These graphic ponderings stitch together the fabric of the old and new, complimenting and contrasting the organic and the man-made.
“The head, the heart, and Everything In Between. A Charlie Chaplin experience provides us humor, joy, and purpose connecting senses, feelings, and thoughts.
“Tied to its age-old exclusion of a ‘Colonial Party House’ Burt Hall reminiscences to days that now are gone. The drawing imagines an Adaptive Habitation future, breathing life into this melancholic giant. Home as an ever-evolving skin; shedding yet rejuvenating.
“Human race is living in the world which has all the impact of socio political, chaotic crisis and environmentally modified world. Weather its pandemic or any other natural disaster which is shaping up our society and climate. It’s the spirit of time which bring the evolution to any entity. No vision can be drawn by itself, it needs to have a situation, which brings the desire to accomplish absoluteness.
“Humanity has resorted to forsaking their flesh for the planet’s survival, and thus exists as immortal, machine lifeforms, as virtualised consciousness within vessels.
“Drawing from EM Forster’s 1909 short story “The Machine Stops”, this allegorical architectural drawing re-presents a seminal tale of environmental devastation caused by the 1860 New Zealand goldrush. Propelling the Otago region into economic prosperity, the mining operations were abandoned once the gold dried up—the forgotten industrial artefacts, environmental scarring, and their historic narratives slowly decaying over time, destined to be lost forever.
“A Dystopian metropolis constructed with on top of multiple levels of roads, Buildings and Structures. Sky ships deliver cargo from the air, while logistical lorries, tucks and cars services the city from the complex network of elevated highways. A place to explore endlessly.”
“The Choice” portrays a person standing on the brink of decision. He or she began life in today’s world, which is pictured behind them in a dim cityscape. The reason for the landscape tilt illustrates the uneasy feeling that we often get in life that things are not quite right. The personal decision that every human faces is represented: joining either utopia or dystopia.
“The wall wasn’t just there, it was everywhere. My gaze wandered endlessly and yet the wall seemed to move. What did you separate me from? The deeper I looked into it, the less I could grasp it and the more complex its structure became. It seemed to me that the wall was looking for a counterpart. She was a surreal lonely reality and my soul could see no beginning or end. Unlimited truth and infinite questions.
“Nature has always inspired architects. The famous architect Mies van der Rohe suggested that details are essential for architectural drawings as they are essential in nature. He used the term “God is in the detail” to emphasize this point. The infinite level of detail in nature is an abstract concept. In order to visualize this concept, I have drafted an architectural-themed cosmology drawing. This drawing is characterized by some scientific infographic about nature and an artistic interpretation of the universe.”
“Art cannot solve humanity’s problems, but it can be a refuge from daily frustrations or make us temporarily forget about problems by visiting a gallery, listening music etc.
“Observation and imagination. The white lines are a wireframe perspective of GOMA (Gallery of Modern Art) which sits on the Brisbane River at Kurilpa Point (Queensland, Australia). Using early photographs of European settlement, explorers’, convicts’ and botanist’s’ accounts along with indigenous histories, I was able to site this existing building within a landscape which I imagine would be very similar to that the indigenous population experienced pre settlement.