After a remarkably long gestation period, Lexus finally presented the LFA in Tokyo. Unfortunately we were rather unimpressed by the brand's new 202mph supercar, which follows the concept first shown at the 2005 NAIAS. 

Launching a V-10-powered supercar that will further distinguish the brand from Acura and the threat from Hyundai (all while more closely aligning the brand with Audi) is a bold move for Lexus, but the design regrettably falls short of its limited edition aspirations as the company's halo car.

Chief amongst our criticism of the new design is the car's low centerline, which frames a basic cubic volume defined by plain body-section and minimal wedge with meek arches, giving a strong stance with a slammed look; an aggressive direction for Lexus, but to us it looks a little too heavy. And while the original show car incorporated bodyside vent sculpting as an intrinsic part of the design, the additional volumes behind the door on this production version seem leaden - perhaps a necessity of increasing air-flow rate. The black glass graphic, meanwhile, flowing from between the C-pillars into the spoiler and stopping just short of the deck-lip, also seems lacking in resolution - it crosses three slightly offset surfaces before ending in a tight corner without the relief of a cutline to continue the flow.

The rear lamp graphic is more appealing, however, neatly combining with the air-outlets and kinked fender edge. The distinctive bowling-ball holed exhaust design has also been retained from the concept. Up front the lamps taper inboard, this outer line continued into a feature that separates the fenders from the hood -a good theme that emphasizes track width, diluted by resolution. This is disappointing as one expects the price ($375,000) to buy fewer compromises.

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The Daihatsu Basket concept makes a case for itself by targeting newly retired Tokyoites heading to the Japanese countryside to cultivate their own organic crops and engage in other ‘slow life' activities.

With Japanese having the highest longevity, and the government encouraging a ‘grow your own' mentality, creating vehicles for these users makes good commercial sense.  Small vans and pickups are very popular with local farmers, allowing ease of access to the narrow roads, however they are normally based around commercial vehicles and ingress/egress can be difficult for an aging person. This concept addresses that problem with a high H-Point and low step over height.

Designed in Daihatsu's Tokyo studio, this Kei car-sized pickup is very square in plan-shape and has an almost flat bodyside, with relief only from the three extruded strakes, which give it an unsophisticated mechanical product appearance. This theme continues to the inner door panels which resemble stamped and painted steel, and combined with the square graphic elements give a functional if derivative feel.

The headlight detailing gives the impression of an eye and eyelashes and creates an open expression to the face, however this is the only intricate detail at the front of the car and the resulting DRG is non distinct.

The interior concept is based around natural and hardwearing materials and simple geometric shapes - with inspiration from coffee sacks - lending the cabin an impression of a working non-precious environment. The rear seat backs when folded down create a completely flat loading bay, but there is no consideration as to how carried items might be secured.  The IP architecture is based on a simple large shelf that runs the width of the vehicle, perfect for ripening tomatoes, but typical HVAC controls slotted into this bring to mind 1980's Fiat styling.

Honda last week released the latest in their family MPV line, the Stepwagon, for the Japanese domestic market.

Originally launched in 1996, the first iteration of the Stepwagon featured a distinctive roof-rail that dropped into the rear pillar-lamps to frame the simple box form. This was continued into the second generation before it became stylized by a sharp wedge feature and impish expression for the third generation. Now, with the latest fourth-generation model, this element has been replaced by a return to the original theme, but regrettably sans the rail-lamp feature that made the first two generations so distinctive despite their plain shape. In so doing, the bodyside has been left with only a handle-height groove to relieve the surface. The front end of this keys with the inflection of the A-pillar base, while the groove contains the door sliding-rail at the rear.

The front is more memorable with a simple lap-joint between lamp and grille within a bar graphic; a similar theme to the latest Nissan Murano, in fact, but with greater emphasis on conveying a practical image. Replacing the rear lamp stacks are lower units capped by the run of the B-line, while the D-pillars are blackened here to communicate excellent visibility even from the third row seats. All of it is well resolved, but there is no underlying motif for fresh appeal.

Things improve inside, and the package is very impressive for the third row of seats can fold flat into the rear overhang, while the central seat of the middle row can tip sideways to create a gangway. Also of note is the wood-effect floor and deep seat bases that feel sofa- rather than car-like. Up front the IP structure is twin-layered as on Honda's smaller Freed MPV, and gives a durable domestic appeal, though the theme is broken slightly by the pale grey passenger-side vent that interrupts the upper volume. No doubt customers will appreciate the Stepwagon's versatility, but it seems incredible that despite being presumably benchmarked against rivals such as the Nissan Serena and Toyota Voxy, the Stepwagon should be so lackluster aesthetically.