First sight: Cupra Tindaya

Founded in 2018 as a standalone brand spun off from Seat's performance division, Cupra has grown rapidly into Volkswagen Group’s sports-oriented marque. Over the past year, Cupra has expanded its electrified portfolio, focusing on performance and individuality with models like the Cupra Terramar and Tavascan.

The new Tindaya concept is built around Cupra's idea of 'no drivers, no Cupra', with edgy forms, provocative surfaces and driver-focused interactions put at the forefront. The concept also introduces a skeletal ‘spine’ structure that’s coated in a shifting ombré body colour inspired by Fuerteventura’s volcanic landscape.

This concept also furthers the brand’s shift toward ‘phygital’ experiences and mode-based driving environments, evolving rather than abandoning the expressive, performance-rooted language Cupra has defined to date.

Car Design News travelled to Cupra’s reveal studio in Munich to find out more from Cupra’s head of UX/UI design, Ruben Rodriquez who stepped outside of his specialism to offer a broader overview. 

Car Design News: Tell us more about what inspired the exterior of this concept?

Ruben Rodriquez: Inspiration has come from many areas, but the main one is from the Tindaya itself, the mountain in the Canary Islands, which we took material inspiration from. From the very beginning, we didn't want to create another machine. We wanted to create something that is alive, like an animal that has a special connection with the car, similar to the bond between a rider and horse. You can see this in the digital screen on the front face of the vehicle; it’s constantly moving, almost like it’s breathing and waiting for you to start it.

You can also see a lot of muscularity on the exterior; this is inspired by the human body. So, you have the muscles, and then contrasting small details show the ‘under skin’ such as the nerves.

CDN: How have you balanced the proportions of the vehicle?

RR: It’s a huge car, but the visual design makes it feel balanced. The cabin takes up about one-third of the length, and the body is two-thirds. The Tindaya also has massive 43-inch wheels, but they don’t feel oversized because of the proportions.

CDN:  What was the key to creating a sense of movement?

RR: We work with different layers of materials. From the side view, the strong lines pointing forward make the car appear in motion. Its fastback shape also emphasises speed, reinforced by the line flowing from the windshield to the rear.

CDN: How did you achieve the ombré effect?

RR: The effect comes from the interaction between material and light. Certain areas of the car, including the interior, have transparent parts and finishes that transform depending on lighting. The colour transitions progressively – from the body colour to transparent layers illuminated from inside. This creates a dynamic, evolving tone, visible on elements like the mirrors and interior surfaces.

We used two ombré colours inspired by the island and mountain. The front is colder, drawing from the Atlantic Ocean, and gradually transitions to a warmer tone influenced by the rocks and moon, which also ties to the beacon and exterior elements.

CDN: You’ve described the car as being ‘alive’. How does that translate in the design?

RR: We give the car a sense of life using light. The effect starts at the logo, flows across the digital display, and continues to the headlamps as they turn on – making the car feel like it’s awakening.

CDN: Tell us about the interior – what makes it unique?

RR: The interior features three side doors with no B-pillars, creating a welcoming entrance. Everything is driver-focused: there’s a massive 24-inch curved display angled towards the driver. Design elements like the spine on the console and door create an aviation or motorsport cockpit feel. The steering wheel is inspired by racing and video games – it’s almost like a remote control.

CDN: And the seating layout?

RR: It’s a 2+2 configuration, representing our vision for the future of cabin design. The seats use bio-based vegan leather, sustainable and harmonised with the exterior colours. Materials transition dynamically – from solid to transparent layers – while 3D knitting eliminates waste. The console also transforms from hard materials at the rear to soft up front.

CDN: Tell us more about the ‘jewel’?

RR: The jewel is essentially the heart or soul of the car. It’s located in the centre console and allows the driver to interact with and customise their experience. By engaging with the jewel, the driver can switch between three different modes: immersive – a minimalist, calm driving mode. The driver see only what’s essential – no distractions, no content – just a serene and focused driving experience. Dynamic: this mode is focused on driving performance. It gives the user the data needed for spirited driving – cornering, acceleration, and handling. 

The lights inside the car react dynamically to the car’s movements, enhancing the sensation of speed and responsiveness. For example, when you press the boost function, the car accelerates, and the lighting reacts to emphasise that acceleration. And the last ons is meta. This is the fully connected experience, where the driver has access to all apps, services, and content they might need. In this mode, the lower part of the windshield displays additional screens, giving them all the information and interactivity required.

The jewel also controls the car’s lighting and interior transitions. Depending on the chosen experience, materials and light tones inside the cabin transform, creating a direct connection between the driver and the car. We see it as the interface that brings the car to life – making it reactive, adaptive and, in a sense, alive.