These futuristic automotive design concepts evoke nostalgia with their retro aesthetic

The year 1886 is considered to be the birth of the modern car, as in that year, German inventor Carl Benz built a modern automobile called the Benz Patent-Motorwagen. And look at the designs now! Electric meets retro designs, this is the trend that we are seeing as we create this round-up of the most innovative automotive designs. Each car design is not just a design, but actually is a prediction of the trends we will see in the design industry as well as the path the society as a whole is progressing towards. Featuring an abundance of technology – whether it is autonomous driving, relaxing or heart racing with edgy designs this post includes some stunning looking and performing automobiles we can’t wait to get a ride in!

Bentley Electric EXP 100 GT Concept shows a fully electric luxury gran turismo designed to show what the company’s models might look like in the year 2035

Inspired by the BMW Isetta from the 50s, the Microlino does a rather wonderful job of looking cute, but at the same time also looking road-friendly by  Micro Mobility 

Peugeot e-Legend is a retro-styled concept with a design inspired by the classic 504. It’s a three-box design with an electric powertrain that produces 456 hp (463 PS / 340 kW) and 590 lb-ft (800 Nm) of torque

The Eadon Green ‘Black Cuillin’ Coupe is a bespoke coach built by the luxury Grand Tourer by CURVE Vehicle Design 

Concept Chariot is a fascinating single-seater with a dual identity by designer Yi Dong

The AKO is an electric inverse leaning trike designed with two wheels on the front and one on the back by Team AKO 

A Modern Twist on a 1,200 HP Austro Daimler Bergmeister PHEV by Projekt Austro Daimler

The minimalism-inspired H500 sedan concept created as a collaboration between Pininfarina & Hybrid Kinetic 

McLaren Concept E-Zero is an all-electric model takes design inspiration from the McLaren M6GT from way back in 1969

The Honda Skyroom concept displays the outside sky to the inside of the cabin through the cylindrical opening that frames the sky above by Dahye Jeong 

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Panta Rei Light Cube

On ne peut pas souvent dire qu’une lampe a été inspirée par les philosophes grecs pré-socratiques ! Les designers Luis H. Vicencio, Fabrizio Guarrasi, et Mattia Antonetti ont puisé leur inspiration dans le concept de la philosophie grecque et plus spécifiquement de l’observation philosophique « tout coule ». Cette lampe a ainsi été nommée Panta Rei Light Cube. Eteinte, elle a une forme sculpturale intrigante. Les LEDs projettent la lumière de manière à créer un effet de mouvement qui lui fait bien porter son nom.





Split Induction Cooking Top integrates chopping board and other utilities

Every home chef’s nightmare is a kitchen with little space and not enough stoves to do some soulful cooking. I’ve come to realize that most people don’t consider the workflow of a prep station, cooking area and assembling area, even when they have the space to do so. No wonder their kitchens look like a disaster after they are done cooking their meals. Perhaps, this is the reason why I like the Split Induction Cooking Top – which is super compact but considers the workflow and cooking multiple dishes at the same time.

Derived from the Plug & Play concept, the induction top is divided into the stowing area, cutting/chopping (or prep area) and cooking area. The design of the induction stove is such that three cook-tops swivels and are stored one under each other.

They fan out beautifully, making space for three people to cook together at one go. You will understand the concept better, once you see how well it’s been designed, and every detail, thought through.

Ideal for flat-mates and students who live in pigeon holes on campus… get a chance to do more than just cooking instant noodles!

Designer: Julius Pang

Zara clothing to be made using 100 per cent sustainable fabrics by 2025

Zara 100 per cent sustainable fabrics by 2025

Spanish fashion retailer Zara has announced that 100 per cent of the cotton, linen and polyester used in its clothing will be more sustainable, organic or recycled by 2025.

Zara‘s holding group, Inditex – the world’s third largest clothing company according to Forbes – made the sustainability pledge at its annual shareholders’ meeting on 16 July.

The company stated that it will only use cotton, linen and polyester that is “organic, more sustainable or recycled”, as one of a number of sustainable targets for the next six years.

“Sustainability is a never-ending task”

Cotton, linen and polyester – along with viscose, which the company plans to make more sustainable by 2023 – make up 90 per cent of all raw materials purchased by the brand.

The target will be enacted by all eight of Inditex’s brands – Zara, Zara Home, Massimo Dutti, Pull&Bear, Bershka, Uterqüe, Oysho and Stradivarius.

“Sustainability is a never-ending task in which everyone here at Inditex is involved and in which we are successfully engaging all of our suppliers,” said Inditex chairman and CEO Pablo Isla.

“Our digital transformation and determined progress towards the most demanding sustainability standards are complementary and underpinned by the efficiency of our long-standing business model, which is based on offering our customers the best in quality fashion.”

 Zara plans to make buildings eco-efficient

Along with the commitment to use more sustainable fabrics Inditex announced a range of other aims. The first goal for this year is for all of its head offices to meet the “highest green building certificates”, and for 100 per cent of stores to be eco-efficient.

With this in mind, it plans to use 80 per cent renewable energy across all of the company’s activities, including in its stores, logistic centres and offices.

By 2020, Inditex hopes to fully eliminate the use of plastic bags across all its brands – a goal it has already achieved at Zara, Zara Home, Massimo Dutti and Uterqüe.

The company also claims that by 2023 it will have fully eliminated single-use plastics from customer sales, and will be sending 100 per cent of the waste generated at its head offices and stores for recycling or reuse.

According to Inditex, it is currently recycling or reusing 88 per cent of its waste.

Clothing recycling to be available at all stores

The company is also committing to introducing collection and recycling systems for all of the materials used in its store displays for reuse.

Next year, the retailer claims that all of its stores will have been fitted with containers for collecting used clothing to either be reused, recycled or sent to charity, in an effort to make a move towards a circular economy.

Since its launch in 2015, these dedicated clothes banks have collected over 34,000 tonnes of used garments, footwear and accessories.

The announcements come in the midst of wider recognition of the impact of textile production on climate change. In February, the UK Parliament issued a report on “Fixing Fashion”, stressing the need to change the unsustainable way we make, use and throw away our clothes.

Royal College of Art fashion student Laura Kraup Frandsen refused to present a physical collection at her graduate show as a protest against overconsumption in the climate crisis.

Instead, she staged a “die-in” demonstration at her degree show with the help of 20 Extinction Rebellion members to encourage consumers to sign a pledge to not buy any new clothes for a year.

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Lapee female urinal designed to reduce festival loo queues

Lapee female urinal by Gina Périer and Alexander Egebjerg

Gina Périer and Alexander Egebjerg have designed an industrial-standard female toilet for festivals and outdoor events that allows people to pee sitting down quickly and safely.

Named Lapee, the pink plastic structure has three urinals arranged in a spiral, with curving back rests that provide privacy while allowing the user to remain aware of their surroundings.

 Lapee female urinal by Gina Périer and Alexander Egebjerg

Périer and Egebjerg designed Lapee to create more gender equality at outdoor events, where women are often left queuing for loos with doors while men can use urinals.

Périer and Egebjerg designed the female urinals to be sturdy, easy to transport and easy to clean.

“We had observed that there had been some tests for women’s urinals before, but they were always installations or something put together on site – nothing fully industrialised, nothing scalable,” said Périer, a French architect based in Copenhagen.

 Lapee female urinal by Gina Périer and Alexander Egebjerg

The designers studied the form of male urinals to create a solution for people who need to sit down to urinate – a position that leaves people more vulnerable.

“Guys have to be covered only from the front and the female has to be covered from front and back,” Périer told Dezeen. “Because it’s a urinal to be intimate enough for people to pee, but it has to be not too intimate.”

 Lapee female urinal by Gina Périer and Alexander Egebjerg

Périer believes that the urinals, which do not having doors, have a raised the seat and walls that are low enough that users can see over without people being able to look in, are safer standard outdoor toilets.

“You’re way more safe than if you’re behind a door which is locked and no one can see,” she explained.

“You’re also 60 centimetres above the ground. We did that so we don’t have these vulnerable feeling of squatting down – you are eye level is at the same height as someone standing.”

 Lapee female urinal by Gina Périer and Alexander Egebjerg

The Lapee can hook up to an existing sewage system if its available, but it also has its own 1,100 litre tank so it can stand alone and collect liquid waste for processing.

“We are finding partners right now to do something with the pee so it gets into recycled into fertiliser,” said Périer.

 Lapee female urinal by Gina Périer and Alexander Egebjerg

With the tank removed, Lapees can be stacked, making them easy to transport on the back of a truck.

Weighing 200 kilograms when empty, the Lapee is made from recyclable polyethylene, a hardwaring plastic that means it can be hosed down for cleaning and withstand the knocks of an outdoor event.

“From an environmental perspective it was important to make a durable product, one that won’t be broken in one season. This can last decades,” said Périer.

 Lapee female urinal by Gina Périer and Alexander Egebjerg

Lapee was trialled at the 2019 Roskilde Festival, a music festival in Denmark attended by 130,000 revellers.

Périer and Egebjerg hope this design could also be used in disaster recovery situations or refugee camps, where women are often left vulnerable when accessing toilets.

“It’s all about their safety, dignity, and hygiene,” said Périer.

 Lapee female urinal by Gina Périer and Alexander Egebjerg

The problem of women needing a safe and convenient place to pee has been tackled by several other designers recently. Elisa Otañez created a bright yellow, mobile toilet that she put in the streets as a protest against the lack of facilities for women in The Netherlands, where she found there is only one public toilet for every 10 male urinals.

Anna Meddaugh designed NightLoo, a reusable toilet in a box for women in refugee camps to use at night in their tents and dispose of in the morning.

Photography is by Olivia Rohde.

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Yinka Ilori transforms "forbidding" London bridge into Happy Street installation

London Festival of Architecture: Happy Street by Yinka Ilori

Bright patterned panels envelop this south London railway bridge, which designer Yinka Ilori has revived as part of this year’s London Festival of Architecture.

Named Happy Street, the permanent installation is located on Thessaly Road – a key route between Wandsworth Road and Nine Elms Lane that was previously a “forbidding environment”.

London Festival of Architecture: Happy Street by Yinka Ilori

The installation, which forms part of the local council’s ongoing initiative to make the area more welcoming, was developed by Ilori in collaboration with input from the local people and primary school.

Happy Street, Illori’s first installation in a public realm, comprises 56 patterned-enamel panels decorated with 16 different colours, chosen for their low-cost and durability.

London Festival of Architecture: Happy Street by Yinka Ilori

“I am really honoured and blessed to have my first public realm project installed in Nine Elms, Battersea,” said Ilori. “The most important part of the project was talking to the community, especially the young children and seeing the smiles on their faces when they walk under the bridge has been magical.”

“I just hope this bridge continues to bring happiness to everyone who walks under Happy Street and inspires the next generation of young artists because they are the future,” he added.

London Festival of Architecture: Happy Street by Yinka Ilori

His use of bright colours across the installation is intended to echo the Thames sunsets, in a bid to encourage passersby to encourage them to become more aware of their surroundings.

At night the underpass is illuminated to provide passersby with an “increased sense of safety”.

London Festival of Architecture: Happy Street by Yinka Ilori

“I am delighted that this Nine Elms rail bridge has been so successfully transformed into a colourful gateway,” added Ravi Govindia of Wandsworth Council. “Together with Yinka Ilori we listened to community concerns and worked closely with local residents and St George’s school to ensure we delivered a design that they would be happy living next to.”

“I hope that what we see here gives fresh inspiration to reimagine London’s built environment and consider incorporating art into other structures around us,” he added.

London Festival of Architecture: Happy Street by Yinka Ilori

Yinka Ilori is a London-based artist and designer, and a Dezeen Awards judge for 2019.

He also recently completed The Colour Palace at Dulwich Picture Gallery in collaboration with architecture studio Pricegore, which is modelled on traditional African textiles, an installation for Pinterest in Cannes and a show at Somerset House celebrating 50 years of black creativity.


Project credits:

Designer: Yinka Ilori
Architectural support: Red Deer Architects
Client: Wandsworth Council/London Festival of Architecture
Site owner: Network Rail
Structural engineer: Project Centre
Contractors: Space Making/FM Conway/Wandsworth Operational Services

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