CCS Transportation Design BFA showcase highlights

“The future, always so clear to me, has become like a black highway at night. We were in uncharted territory now... making up history as we went along.” This iconic quote from Sarah Connor in Terminator 2: Judgment Day aptly describes the current state of the global automotive industry. The future that once seemed so certain — the one where EVs dominate new car sales and the public fully embraces heavily reimagined brands — has not materialised as expected. 

Experts are correctly pointing to the sizeable gap between the industry's ambitious plans and the realities of the marketplace. Simply put, most consumers are not yet ready to go all-in on the future that has been floated for them. So, where do we go from here?

For now, a policy of offering something for everyone seems to be the preferred course for major automakers. Eventually, this play-it-safe strategy must give way to more striking, bold departures from the status quo. The BFA Transportation Design students at the College for Creative Studies understand this inevitability. Their latest work points confidently to a future that not only redefines storied automotive brands, but inspires the senses with innovative product solutions.

Ioannis Loutridis – 2050 Mercedes-Benz 720 Großer 

Retrofuturism has long been a viable pathway in automotive design. From the fantastical world of Syd Mead to the understated, teutonic work of J Mays, it is an approach that can yield great results — provided that the end product embraces the future as much as it romanticises the past. 

Enter BFA senior Ioannis Loutridis, who offers a compelling balance between the old and the new: his 2050 Mercedes-Benz 720 Großer. While this concept clearly channels the stately formality of the Art Deco era, it simultaneously seeks to redefine the role of the high-end grand tourer. “My early sketches focused on reducing the typical sports car attitude and replacing it with a more formal, almost architectural silhouette,” Loutridis says. “The final design keeps the presence of a flagship Mercedes while pushing the grand tourer into a new category. Part automobile, part private lounge, part rolling sculpture.” 

On site, the concept is proportionally imposing, yet reserved in its form language. The soft fender flares gently interrupt a clean, strong shoulder that runs from nose to tail. The glossy maroon finish, combined with silver and gunmetal accents, finds just the right note between luxury and sport. The minimal, cab-rearward cockpit reinforces the car’s flagship scale, but does not tell the whole story of its functionality. “Whether carrying camera equipment, luggage or personal objects, the 720 Großer treats storage, comfort and ritual as part of the luxury experience,” Loutridis explains. ”The vehicle becomes a companion for long European journeys, quiet escapes and meaningful arrivals.”

Lex Michael – Aston Martin Threshold

Continuing on our premium brand kick, BFA junior Lex Michael presents his vision for an Aston Martin single-seater. Christened the Threshold, Michael describes this vehicle as inhabiting a sort of transitional state. “The project focuses on restoring a missing in-between space, treating transition not as an inconvenience to be minimised, but as a meaningful condition that can be intentionally designed,” Michael says. 

As you walk around the fifth-scale model, a transitional state is readily apparent in the form languages that are present. The overall theme has a graceful posture, but this is juxtaposed with prominent, muscular wheel flares, carefully blended into the body. There is also a sort of purity of function present here, highlighting the driving experience as the most important design aspect. “By stripping away digital intrusion and multi-passenger utility,” Michael explains, “the vehicle becomes a singular sculptural vessel designed for the ritual of the drive. It is not a tool for arrival, but a space for being.”

Madison Blood – Jaguar 030’

When Jaguar rebooted their brand in December of 2024, the roll-out was met with, shall we say, a polarising response. Strange fashions and grammatically challenged slogans aside, the car itself garnered mixed reviews. 

The slab-sided Type 00, with its minimal refinements and matte pink finish, did not seem to square with the ultra-luxury market it was targeting. While many of us would like to wipe this reboot from our memories, hoping that JLR will get it right on a second swing, BFA Senior Madison Blood favours a more measured approach. Rather than wholesale rejecting Jaguar's new direction, she reinterprets it with the benefit of 20/20 hindsight; balancing modern ambition with a deep appreciation for the brand’s historic legacy. 

“Jaguar is seeking renewal, and has been searching for a definitive identity all of the years it's been produced,” Blood explains. “It is their strategy to realise their vision as proud creators of the most desirable modern luxury brand for the most discerning of clients.” Blood’s 030’ concept shares some traits with the Type 00, chiefly a clean and simple execution, but this is where the similarities end. The 030’ cuts a distinctive, jaunty profile that captures the emotional spirit of the legendary E-Type. It makes the sort of bold, dynamic statement we expect from a car with this cachet. Ultimately, the project is a refreshing reminder that sometimes, the most compelling answer is far more intuitive and less calculated than we think.

Jason Song and Sakuzan Masuda – Toyota Allure 

Storytelling has become a critical skill in automotive design, right alongside Photoshop rendering and Blender modeling. Today, design directors frequently emphasise that they are no longer selling vehicles; they are selling experiences. And a well-crafted animation is the ultimate tool for showcasing said experiences. 

Combine this with rapidly-advancing AI software, and design students can now produce fascinating narratives in days that would have taken weeks or months of work just a few years ago. A prime example is the final animation for the Toyota Allure—a Calty-sponsored minivan project by BFA juniors Jason Song and Sakuzan Masuda. As seen in the screengrabs above, AI-generated figures can be seamlessly integrated into existing 3D data using just a few precise prompts. 

This particular animation follows a day in the life of a mother of two, guiding the viewer through her new minivan’s features. Remarkably, the AI-generated people don't feel like rigid, cardboard cutouts; they possess depth, warmth, and a striking realism. While some might find this rapid technological leap intimidating, it is undeniably inspiring for young design students, eager to tell captivating stories that will sell their creative solutions. 

Owen Shaw – Rolls-Royce Eidolon Lounge

The viability of an interior as a final CCS project started with Ralph Gilles, way back in 1992. Today, some of the most compelling projects coming out of CCS are interior-based; BFA senior Owen Shaw’s ceramic-inspired Rolls-Royce Eidolon Lounge proudly continues this trend. 

“Ceramic pottery, sculpture and glazes have evolved with humanity through the centuries, with each region of the world developing unique techniques,” Shaw says. “In an era defined by digital creation, the use of ceramics as a point of inspiration and application reaffirms the timeless value of human craftsmanship and celebrates Rolls-Royce’s bespoke tradition.” Shaw’s final model is a beautiful marriage of form and material. Leather and fabric tightly hug layered shells that are both restful to the eye and inviting as an interior space. Eschewing the obtrusive technology seen in many modern luxury cars, the Eidolon’s user interface is reduced to a bare minimum. 

“Following the track embedded into the front of the interior, laser projectors slide along a rail, allowing them to track the head movement of passengers and maintain UI-display consistency,” Shaw explains.” This sliding function also creates the effect of minimalist moving sculpture, adding to the calming ambience of the interior space.” 

Chin Yuan Ou – MAN Beyond Dakar

The Paris-Dakar Rally is widely recognised as the world's most extreme proving ground for automotive technology. BFA senior Chin Yuan Ou has built upon this legacy, creating a vehicle platform to “test durability, efficiency and human-centred solutions under extreme conditions — extending its impact beyond racing and furthering contributions to society.” 

This design is one of the clearest examples of “form follows function” in the show. One look at the exterior, and it is obvious what sort of environment it is intended for, and what the user’s priorities are. Ou’s vehicle makes particularly good use of modular compartmentalisation, allowing the platform to address a wide variety of research scenarios: “The rally serves as a real-world laboratory for testing technologies in medical support, resource management and resilient logistics, while also advancing broader sustainability goals.” 

Danny Castaño – Lexus Umbra

If we are to believe the latest headlines, the sedan is due for a comeback. BFA junior Danny Castaño provides us with a sinuous vision of what that comeback may look like, through the lens of the Lexus brand. 

Design students are frequently taught to strive for visual tension in their work. Castaño’s Umbra concept takes a different approach, embracing a sense of calm not found in the most current Lexus offerings. The front end graphics are carefully aligned with a tranquil side view gesture. The rear wheels are partially covered, with a treatment suggesting a delicate skin overlaying the wheel arches. The greenhouse is meant to imply a sort of “sealed domain” — an environment that offers seclusion for its occupants. Ultimately, the theme reflects the owner's distinct mindset: one who “moves in silence, commands rooms without raising their voice, values craftsmanship over status symbols, and believes the future should feel calm, not loud.” 

As the global automotive industry looks toward the horizon, it is easy to feel trepidation, given how elusive recent visions of the future have been. However, the design talent on display at CCS reminds us that a new wave of creators is on the way – one unburdened by past missteps and ready to fully embrace the possibilities that lie ahead.