Driverless shuttle brings asymmetry, access and aesthetics

Autonomous driving proposes the most significant shift in vehicle design of the past century, and it is not even close. While much of the road-going test mules today are modified versions of existing cars, there are many driverless shuttles being built from the ground up with an eye to near-term deployment, including the Zoox Robotaxi. Beyond simply building the vehicle, there are so many variables that influence the timeline these companies have in mind, but recent news out of the US suggests there will soon be another new player on the block.

Since choosing Jacksonville as the site for its first factory in 2024, Holon has now signed a formal agreement to begin constructing said plant in 2026, with an eye to delivering vehicles in 2027. Discussions for similar plants in Europe and the Middle East are ongoing, but things are clearly heating up. Performance is the top priority – not crashing, and generally providing a pleasant ride – but design is also firmly on the agenda with a name like Pininfarina on board.

Exterior and interior design were led by Alfredo Palma and Giampiero Briguglio respectively. “Our goal was to create an iconic object with a strong visual identity, something that clearly stands apart from the typical look of road-based public transport,” explains Palma. “The final result, with its asymmetric layout, makes the vehicle feel more dynamic because it intentionally breaks symmetry,” adds Briguglio. “It expresses tension, movement, and personality. Designing asymmetry is challenging, but when you get it right, the result is truly compelling.”

The silhouette of the vehicle is in fact symmetrical from side profile: not quite an oblong, more of a rectangle with softened corners. The layout of the glasswork and use of black and body-colour pillars is where the asymmetry comes in, and the graphics hint at a conventional front and rear. On one side the glasshouse is split 80-20 in favour of the ‘rear’, while the opposite side is very clearly the entryway. A thin bar of cyan-coloured lighting wraps around the exterior frame. Collectively, the wraparound glasswork creates a nearly uninterrupted panoramic view of outside.

At the 'front' of the vehicle, a pair of cute circular headlamps occupy the front mask, and again there is a slight difference in surfacing: one side of the car is almost perfectly vertical like a building, while the traffic-facing side sports rounded edges. An external display on the bodyside communicates to other road users where the shuttle is headed – just as a bus or tram would. Indeed, it does seem to blur the lines between those two typologies.

Other design touches include simple side indicators at either corner of the bumpers, and tri-spoke wheels that are pushed to the very far corners. It creates a super-long wheelbase but also quite a wide track, making it feel stocky and planted as opposed to something that might tip over in a strong breeze.

It is clearly a commercial vehicle, but that does not mean it should not look cool – or at least inviting. “Aesthetics were absolutely a top priority,” agrees Palma. “At the same time, we never lost sight of the fact that this is a public vehicle, so practicality and liveability had to be fully respected.”

Sketches shared with Car Design News show the development and ideation of the project, creatively presenting a whirlwind of potential users using the central sliding doors – cyclists, people on their way to baseball practice, commuters with their luggage or someone simply grabbing their morning coffee.

Interior sketches could almost be a living room or public waiting area, with banquet seating that wraps around a good 80% of the cabin. With overhead displays and hand rails, it could also feasibly be part of a modern metro system with ample standing room and information on the trip displayed clearly to all passengers. There is even a slim ‘next stop’ screen positioned at eye-level of seated riders. Inspiration came from various avenues, including hospitality, trains and aviation, says Briguglio. “Our experience designing public-transport vehicles played a big role.”

There is of course a glaring absence of basic driver controls. There is no driver’s seat, steering wheel or even a conventional footwell and dash. All of that creates new real estate to play with. There is however a small section created for a human attendant if required, as regulations vary from country to country and even city to city. 

The People Mover aims to accommodate 14 passengers: eight seated, and six standing, with all electronics and mechanical systems hidden from view. “Every functional and aesthetic detail was designed to ensure a comfortable journey while clearly communicating all important information. Colours, sound, and video all play a role in creating an immersive, reassuring experience that helps passengers feel at ease and trust the system” explains Briguglio.

Accessibility is fundamental to the whole premise of autonomous mobility; the idea of better serving those without a driving license or with mobility challenges. The People Mover was designed with this in mind from the outset, in particular ensuring wheelchairs have easy access. Palma notes that safety was a key consideration as part of this, “including the correct anchoring points and dedicated space inside the cabin. The doors, for example, are engineered to provide maximum clearance, including extra space for XXL wheelchairs, which are common in the North American market. We also added extra luggage shelves near the front and side windows for passengers to store bags.”

The asymmetry of the vehicle has been designed purposefully, communicating different messages (metaphorically) to different viewers. “For this specific project, we wanted to create something that felt rounded and friendly toward the road and the city,” explains Palma. “On the opposite side, the one facing the sidewalk, we aimed for a more technical look, something that communicates directly with passengers as they board. It’s a bit like the logic behind a smartphone: soft and approachable on one side, more functional on the other.”

Sven Herzig, chief sales officer at Holon, seems to be pleased with the collaboration describes Pininfarina’s involvement as “valuable” in the pursuit of this autonomous shuttle.

“Their heritage of creating timeless automotive icons, combined with a deep commitment to user-focused design, has elevated the Holon urban far beyond a functional autonomous shuttle. Pininfarina’s design expertise has been instrumental in translating our vision into a form that resonates with passengers, operators, and cities alike. Their ability to unite aesthetics with purpose helps us set a new benchmark for inclusive autonomous mobility. In 2026, the HOLON urban will appear on more and more streets around the world – and people will be able to admire its beautiful Pininfarina design.”

We will watch the project with interest as it progresses over the next couple of years.