Intersection Magazine n°34 by Béatrice de Boissieu

£ 3.99 u.s.a. printed in the ISSN 1473-7620

man in motion issue 34

tom boys' toys

DRIVE'S DIRECTOR CAN'T DRIVE MUSCLE CAR, MEET FLAME THROWER RIO'S FAVELA FLYOVER THE INVISIBLE AIRBUS DOOM ON THE TEST TRACK MOBILE MOBY

acceleratE

P.18 NEW DIRECTIONS DIRECTIONS

p.26 Peugeot HX1

REPORTS

ART

p.18 CHECK YOUR MIRROR The Monoform concept

p.38 LIGHT AND AIRY Aerodynamic lights and rims

p.28 VW is thinking small A Chinese designed E-Scooter

p.22 DAN SEIPLE Artists without borders

p.20 Blue sky thinking Airbus concept jet

p.39 VAN WILDER Citröen Tubik and Renault Frendzy

p.44 INTERVIEW: KENNETH GRANGE From trains to taxis

p.32 AUTO REVERSE What the road saw

p.20 platformation Priestmangoode’s future trains

p.41 CHANGE TRAINS Rerouting London’s tube map

p.26 Hey x-ey Peugeot HX1

p.41 IPAD GIRLS Trends: iPad showgirls

p.30 GERMAN TANDEMS The custom Firmship 42

p.42 CIRCLING BACK Volvo You

p.47 Bike seat Vehicle inspired furniture p.54 SKY LINE Rio’s new network of hilltop hopping gondolas

p.34 Splinter movement Ron van der Ende p.40 OPEN STRUCTURES DIY design from kitchens to cycles p.48 OFF THE ROAD Nico Krebs and Taiyo Onorato

p.31 SIDE BY SIDE Blind spot protection for cyclists p.36 A VIEW OF THE BRIDGE Google Earth warps our streets

SHORTCUTS

P.60 PEOPLE WHO GIVE US A LIFT INTERVIEWS p.60 EVAN GLODELL “When I was a kid I thought Mad Max was the greatest thing ever”

p.70 NICOLAS WINDING REFN “Cars are killing machines”

p.64 MOBY “I like being in the air but I don’t like most aeroplanes”

p.74 MA YANGSONG “I like cars, but I don’t understand why so many of them have to be ugly”

p.68 SEAN DUFFY “I never got to race with my Dad, but my sisters did”

p.78 ROGAN “I prefer surfboars inside the car”

p.64 Moby

RUNWAY p.82 STYLE IN MOTION ACCESSORIES

FASHION

p.82 CAM BELT Belts

p.86 BIKER GIRLS

p.84 JUMP START Watches

p.110 WATER WORLD

p.134 Wheels Up

p.122 FERRY LANE

p.134 WHEELS UP

GARAGE

P.144 DRIVE, COLLECT, CUSTOMIZE

p.154 Tank driving school

FEATURES

INTERVIEWS

REVERSE

BACK

p.144 MORGAN 3-WHEELER Three wheels are better than two

p.146 ACHIM ANSCHEIDT The Bugatti Design Director and his car loft

p.168 LE CORBUSIER The Voiture Minimum

p.174 HOLLYWOOD STARES Event: Lexus, Intersection and Trevor Jackson light up Hollywood Boulevard

p.148 KUNSTRAD Artistic cycling p.154 “THE ENGINE WILL NOT EXPLODE” The tank driving school p.158 WILD FLOWERS A-tracs in Sweden

p.164 DOOM BUGGIES Our guest test driver: DOOM

p.170 FORGOTTEN CLASSIC The DAF 55 Siluro

p.175 SUBSCRIPTIONS p.171 STUCK ON THE 80s Arthur King’s logo stickers

MASTHEAD COMMERCIAL

CREATIVE CONTRIBUTING EDITORS Design Euan Sey Music Vivien Kotler Film Ronnit Hasson Art Hendrik Lakeberg Yachting John Dodelande Bicycles Yorgo Tloupas Car culture Thomas Gerbeaux Soap Roberto Rossi

ON THE ROAD International Publishing Director: Dan Ross dan@intersectionmagazine.com

Editorial and Creative Director Dan Ross

Founding Publishers Dan and Yorgo

Creative at Large Yorgo Tloupas Thanks to Richard Ross and Rankin

DESIGN Art Director Peter Stadden

FASHION Fashion Director Shun Louis Bellieni Fashion Editor Katharine Erwin Fashion Assistants Francesca Fasan Jo Lawes

Based on an original idea by Yorgo Tloupas

TEXT Farah Alkhalisi, Vincent Bevins, Guy Bird, H. Blonde, Anthony Burn, Ruben Donsbach, Giovanna Dunmall, Katharine Erwin, Tom Hall, Ronnit Hasson, Mai Ikuzawa, Margita Ingwall, Chaïm Jensen, Hendrik Lakeberg, Ryan Latren, Lisa Leinen, Tim Rittmann, Dan Ross, Tone, RFL van Wijk

IMAGES Grégoire Alexandre, Andres Ackerup, Richard Ballard, Tim Barber, Robert Bellamy, Peter Bohler, Julian Broad, Nick Clements, Dimitri Coste, Tinko Czetwertynski, Sasha Eisenman, Neil Gavin, Mikael Gregorsky, Shu He, Frederike Helwig, Sam Hofman, Wang Kedi, Arthur King, Nico Krebs, Nicholas Lawn, Victoria Ling, Torga Loupach, Kay Michalak, Satoshi Minakawa, Alex de Mora, Sinisha Nisevic, Mitsuo Okamoto, Taiyo Onaroto, Stefani Pappas, Amanda de Simone, Tom Sätzle, Detlef Schneider, Daniel Seiple, Ewen Spencer, Neil Stewart, David Titlow, Clarke Tolten, Cédric Viollet, Sven Voelker, Mirjam Wählen, Hilary Walsh, Jork Weissman, Isa Wipfli, Paul Zak

11 /11 Y2011 ISS

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CONTRIBUTOR’ S LICENSE BW-INT201120 34

Name: Bettin a Weiss Lives: Bavari a, close to Ge rmany NATIONALIT Y: Bavarian (ni cht Deutsch!) Contribution : Model for Au stria biker girl story and stylist Kate’s breakd own assistant Points on License : Once I was ille gally greenlani ng in a forest a ranger caught me and tried to pull me of my bike! So I kicked him in the shin with my heavy mo tocross boots. He tried to sue me for assaul t, but when it went to court the Judge dec ided that a sm all and delica being like me te couldn’t possib ly inflict any harm on a 6ft 4, 260 pound hunter. Vehicle: Jee p Cherokee XJ `93, Audi TT `07 and several dir t bikes

Financial Director: Simon Walters simon@intersectionaccounts.com International offices and editions: LONDON (British edition founded 2001) PARIS (French edition founded 2008) BRUSSELS (Belgian edition founded 2010) MILAN (Italian edition founded 2010) BERLIN (German edition founded 2008) STOCKHOLM (Swedish edition founded 2010) COPENHAGEN (Danish edition founded 2011) NEW YORK, LOS ANGELES (US edition founded 2005) SYDNEY, MELBOURNE (Antipodean edition founded 2008) DUBAI (Middle East edition founded 2005) MARRAKECH (Moroccan edition founded 2010) TOKYO (Japanese edition founded 2007) BEIJING, SHANGHAI, HONG KONG (Chinese edition founded 2010) MOSCOW (Russian edition launching 2011) In development: ISTANBUL MUMBAI BARCELONA, MADRID MEXICO CITY BUENOS AIRES SANTIAGO CAPE TOWN TEL AVIV SEOUL TAIPEI SINGAPORE WARSAW LISBON RIO DE JANEIRO, SAO PAOLO For enquiries about our global editions, please contact: Dan Ross dan@intersectionmagazine.com

£ 3.99 printed in the u.s.a. issn 1473-7620

man in motion issue 34

COVER

tom boys' toys

DRiVe's DiReCtoR CAN't DRiVe mUSCLE CaR, mEEt FLamE tHRoWER Rio's FAVeLA FLyoVeR tHE inViSiBLE aiRBUS Doom oN tHe test tRACK moBiLE moBY

Luxury Advertising Director: Jeff Greif jeff@intersectionmagazine.com Fashion & Luxury: Illeana Hoffman illeana@intersectionmagazine.com

Commercial Director: Dan Ross dan@intersectionmagazine.com

ENSE UTOR’S LIC CONTRIB 12034 NS-INT201

S BUTOR’ CONTRI 12034 01 RB-INT2

Intersection UK Headquarters: Arch 1, Emigre Studios, 274 Richmond Road, London E8 3QW info@intersectionmagazine.com

US Advertising Director: Jim Horan jim@intersectionmagazine.com T: 310 341 2342 F: 310 943 2390

PHOTOGRAPHY Photo Editor Björn Schütrumpf

The views expressed are not necessarily shared or endorsed by the publisher. All rights reserved. No unauthorized reproduction permitted. Unsolicited submissions are accepted only by email to the editors. Content is copyright Intersection Media Ltd, 2011 unless otherwise indicated. Let’s be careful out there.

Publisher: Vivien Kotler vivien@intersectionmagazine.com T: 001 917 302 8781

Photography Clarke Tolton

Model Ali Lagarde for IMG

Styling Katharine Erwin

Vest Deth Killers of Bushwick Pants Ralph Lauren

Hair and make-up Dawn DeSanctis

Bike EBR 1190 RS

intersectionmagazine.com

ACCELERATE DIRECTIONS

CHECK YOUR MIRROR THE MONOFORM CONCEPT

Graduate designs can be a little hit and miss. Whilst we were flicking through the summer portfolios from around the world, we had to ignore the silly sports cars and bad renderings. But one design immediately caught our eye - a moving piece of architecture from Fernando Ocaña he called the ‘Monoform’. The well-traveled Mexican designer has studied in Barcelona, Turin and London, and worked in Sweden and Norway. He claims his “philosophical inspiration” came from the American astronomer Carl Sagan, who offers us a different perspective on our own significance by referencing the vastness of space and time. “I used the faceted glass surfaces to achieve an aesthetic that acts a tool for the observer to catch himself reflected in his own ‘faceted environment’. I feel cars stand on their own, without interacting with their environment, and

wanted monoform to express the diversity of the city - becoming united with it.” Based on the condensed dimensions of a Smart car, his concept adds room for a third passenger and has an entry/exit system designed to work no matter how you park, or who boxes you in. He acknowledges, aside from the aspirations to “act as point of view towards evolution.. and thus be understood by people as innovation” that the shape of the car is basically intended to look cool, and strikingly different. “We designers need to start questioning the message we communicate. I believe it’s not all about ‘dynamic-sexy-fluid’ cars. There are other things to say.”

Text: Chaïm Jensen

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BLUE SKY THINKING AN AIRBUS CONCEPT JET INSPIRED BY BIRD BONES

In the future our planes will be inspired by nature, according to European aircraft manufacturer Airbus. The company has come up with a futuristic air travel concept in which passengers can spend their journey staring up at the stars or clouds through a see-through cabin roof. A bionic cabin membrane, inspired by bird bones (that are strong and rigid where they need to be and light and open where they don’t) will control air quality, temperature and the amount of natural light that comes in, becoming transparent or opaque on demand and doing away with the need for windows. Other features of the concept cabin include ‘intelligent’ seats that adapt to travellers’ body shapes and harvest energy from their body heat; zones for relaxation, interaction and work instead of the traditional cabin classes; and self-cleaning coatings on materials (inspired by the way water rolls off lotus leaves in beads, taking contaminants with it). The aim, says Ian Scoley, Head of Industrial Design for Airbus, is to make a cabin that allows you to work, play and interact as you would on the ground and that makes you feel healthier when you land in your destination. Sadly, the concept is still decades away.

Text: Giovanna Dunmall

PLATFORMATION RUNNING FOR THE TRAIN JUST GOT FASTER The problem with high-speed trains is that they’re often not very fast. Slowing down and speeding up between stations means they are only able to travel at full speed for short periods of time. London-based designers priestmangoode have come up with an inspired solution. Their ‘Moving Platforms’ concept proposes that highspeed trains run non-stop on tracks outside towns and cities, while a network of feeder trams carry passengers from local stations out to meet them. As they get close, the high-speed train slows down, the tram speeds up and the trains connect via a docking system allowing passengers to transfer from one to the other while still moving. Moving Platforms could be

used for local deliveries and freight as well say priestmangoode, getting trucks off motorways and out of towns and city centers in the process. If the concept became a reality there would be no need to build dedicated high-speed train stations along the route either. “The days of the super-hub train station are over,” says Moving Platforms designer Paul Priestman, “connectivity is the way forward.”

Text: Giovanna Dunmall

ACCELERATE ART

ART ACCELERATE

ARTISTS WITHOUT BORDERS

DAN SEIPLE BRINGS INVISIBLE BORDERS TO LIGHT IN HIS SCULPTURES AND PERFORMANCES. PLAYING LEAD ROLES ARE A BMW 5 SERIES, A WOODY GUTHRIE SONG AND A REMOVAL COMPANY

When Sheriff Pat Garrett shot Billy the Kid in the back in the name of some big landowners, the Wild West, the America without frontiers, is said to have come to an end. The era of outlaws and vagabonds was over. The territory was divvied up. Some time later George W Bush demobbed from Yale and the rest is history. Sieple is drawn again and again to the idea of a lost, borderless time. The American video and performance artist grew up in the country, near Jeff Koons’ farm. Seiple’s relatives work for Koons. They till the land, plough the earth, and put up fences that stretch as far as the eye can see. To Seiple these frontiers looked like the brushstrokes on a vast canvas, lines drawn onto land. Since then he has been on a search for the ‘in-between’, the imaginary border that marks the crossing between territories both physical and virtual. Seiple moved to Berlin from New York in 2003. At the time there was no other city in the developed world in which space was still so available, in which property assignation was so vague. With artist group KUNSTrePUBLIK he worked to transform vacant plots of land near the Spittelmarkt underground station at the former border between East and West Berlin. This is a frontier that has long since volatilized from stone into nothingness. The project was dubbed descriptively, ‘sculpture park’, like a marking on a survey map. “Making invisible frontiers visible – be they geographic or cultural, that’s what it’s about,” says Seiple. “I think drawing can be performance. Because moving through space is akin to drawing a line.” During the 2008 Berlin Biennale the group staged a piece called ‘Land Reform Carousel’ in the Sculpture

Park. Eight BMWs were tied together by chains and driven around in a circle. Over the speakers the Woody Guthrie-Song ‘This Land is your Land’ played. “From California, to the New York Island (...) This land was made for you and me.” The circle of large cars brings to mind the wagon trains of settlers in old Westerns, but also perhaps a more elemental ritualism. Today the empty lots of the Berlin Republic have long been leased and are no longer accessible. What is left is a wistful feeling of nostalgia, in common with his feelings from back home in the States. Full circle. In his work ‘ Go West’ Seiple is once again breaking for the border. When a San Francisco Gallery offered to show one of his works, he instead set up a removal company in New York, found five clients, packed his van and drove it to to the West Coast. He put his possessions on show in the gallery packed just as tightly as they had been in what he named his ‘serialkiller van’. It’s as if he didn’t know what to do with all that open space.

Text: Ruben Donsbach

Photography: KUNSTyREPUBLIK (right) Daniel Seiple (insets)

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Hat Mademoiselle Tara by Tara Jarmon Dress Tara Jarmon Bracelet Accessorize Bag Kesslord Styling Josia.N

HEY X-EY REINVENTING THE HOUSE OF PEUGEOT

Paris used to be famous for its neglected fashion houses being revitalized by an injection of design genius. But right now it’s the country’s lamest car company that’s in danger of becoming hot (and haute). Peugeot’s design is going from strength to strength as the impact of new director Gilles Vidal continues to emerge on car show floors. The HX1 is a flexible ‘4+2’ everyman’s limousine concept, low slung and long. You can imagine it shuttling a French minister to discreetly over to visit his mistress, before popping out an extra row of seats for the family trip to the chateau. An extra pair is stowed behind the front seats, rather than in the trunk, leaving a rear row as spacious as you’d find in a Maybach. It’s a simple yet brilliant idea, if you’re willing to sacrifice the option of some extra cargo space. When you gain a slatted and ribbed interior defined by a dynamic ‘coupe franche’ slash of white, it’s no contest.

Text: Guy Bird

Photography: Tinko Czetwertynski

ACCELERATE REPORT

VW IS THINKING SMALL

A CHINESE DESIGNED E-SCOOTER URBAN MOBILITY SYSTEM At first sight it appeared to be just another concept - a design flight of fancy - but on further examination, although this was the smallest concept which debuted at this year’s Shanghai Motor Show, Volkswagen’s e-Scooter could potentially be the most important. The Head of Design for VW in China is Simon Loasby. An ebullient Englishman, he’s wide-eyed about the e-Scooter, as he tells you that it isn’t a concept, but a working prototype which lies at the centre of an ambitious new urban mobility project. “We’ll have a pre-production test fleet ready in a year, by August 2012,” he exclaims. “We might choose Beijing University Campus - that would be ideal. A large enclosed space where people need to travel relatively short distances point-to-point.” There are two aspects to the project. The first is as a personal electric scooter - a two-wheeled Volkswagen, which would act like a tender to a mother ship. For example, you would carry on using your car for long journeys or to shuttle several people, but then use the scooter for your own shorter trips around your neighbourhood. The second aspect is to use a more basic, utilitarian version as a fleet of public scooters, available for rental use in a similar way to city bicycle projects in Europe and North America, or Paris’s new electric car share scheme. VW envisage building a network of docking and recharging stations around a city,

REPORT ACCELERATE

especially by train and metro stations. For the rental system to work well, it suits a small area, like a campus, business park, CBD or a specific district. It’s perfect for ‘last-mile’ travel, for instance getting you from the train station to closer to your home. Payable by a ‘mobility’ swipe card, the e-Scooter would form part of a cash-less integrated urban transport system - scooter, train, metro, bus and taxi.

“VW in Wolfsburg [the company’s global headquarters] are now pushing us to be faster with our research and development,” Simon reveals. “But we want to make sure the whole system can work efficiently - building a network of solar-powered docking stations that can recharge the e-Scooters quickly, and that the project will work in the way we envisage. We’ll be able to offer two choices.You can either buy your own VW e-Scooter - with everything that comes with the brand in terms of design and build quality, plus we’ll have a huge variety of customisable add-ons and options. Or you can use a public rental version. If we can get it right here, then we can take it to other cities in Asia, for example trialling it in Taipei and Hanoi. And after that we can take it to Europe, America, the rest of the world! And then we’ll be able to say that it all started here in Beijing.” Bicycle and car rental schemes are nothing new, but no one has tried to create such a system for scooters before. Indeed what Volkswagen are planning is a radical departure for a car company. VW are not just producing a vehicle. They would also be heavily involved in urban planning - working with councils and local authorities to design, plan and build the docking-recharging stations and integrating their scooter into each city’s particular infrastructure. That change of direction is a proactive step forward to help better the way we move around our cities. Of course it all depends on the success of the e-Scooter itself Volkswagen’s big plans depend on their newest and smallest vehicle.

Text: Chaïm Jensen

Photography: Wang Kedi

E-SCOOTER RENTAL STATION

All clothes Cerruti 1881 Shoes Bally

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DIRECTIONS ACCELERATE

SMALL CHANGE TINY CARS ARE THE NEXT BIG THING

You wait ages for a German urban micro-car and then three come along at once. Audi’s Urban Concept is a fun electric runabout, with a side-saddle passenger seat under a pull-back roof which offers Dukes of Hazzard levels of accessibility. Its open wheeled format gives it a deceptively large footprint - essentially a much larger body could fit in the same space, but then it wouldn’t look as small. It has traces of the retro-sled Plymouth Prowler to it, shrunk down to teenage dimensions, restyled after watching Star Wars and playing hockey. A limited test run is under discussion, and would be sure to be snapped up, if only for the parents to throw in the trunks of their Q7s. VW’s NILS is its more sensible sibling. Smaller still, and with room for only the driver, it would apparently suit suburban commuters in Germany who often make short solo trips to and from work. Although the logic of having a vehicle that would only meet one specific part of your car needs doesn’t seem too compelling, the Y-3 meets Woody Allen’s ‘Sleeper’ styling has us wondering. Opel’s RAKe meanwhile has one-plus-one seats, and looks like a ski boot welded onto a pair of rollerskates. Tapering to the rear into a narrow axle mounted on a swing arm, it has the effect of a car morphing into a Batbike.

Above (clockwise): Audi Urban Concept, Volkswagen NILS. Opel RAKe

SMALL GERMAN CLASSICS

Following on from a raft of similar concepts from French and Japanese brands that straddle the line between scooter, go kart, quadbike and subcompact, it’s Renault’s revolutionary Twizy that in a few months will actually arrive on European streets, debuting this new category that we hope will catch on, perhaps with an Infiniti version that we hear may follow next.

Text: Guy Bird

(From top): Messerschmitt KR 200 (1955), BMW Isetta (1955), Messerschmitt KR 175 (1953)

SIDE BY SIDE BLIND SPOT PROTECTION FOR CYCLISTS

Audi A2 concept

Car companies seem increasingly aware of cyclists in their side mirrors. Between opting for the benefits of pedaling (like.. it’s cheaper, better for your health, doesn’t pollute the planet or drain it of energy) over putting pedal to metal, and using car share schemes in place of sinking capital and time into owning and running your own car, a growing tranche of urban dwellers see cars mostly as a selfish extravagance or worse, a potential threat. A number of new concepts seem to indicate the auto world wants to extend an olive branch. Audi’s A2 study has a fetching LED line running its length. As keen cyclist and head of Audi exterior design, Achim Badstubner explains, the A2’s body stripes change colour from white and yellow to red when the car brakes. Cyclists occupying the space between the car’s side and the sidewalk can’t see a car’s brake lights, making them vulnerable if the vehicle is slowing to turn across them into another road – one of the most common causes of accidents between cycles and cars worldwide. The Mercedes F-125 and Chevrolet Miray concepts have similar elongated side strips of light, as do forthcoming designs from Honda and Daihatsu, and it’s not hard to imagine the flourish mandated in the near future as a safety feature of all cars.

Audi A2 concept

Chevrolet Miray Roadster

Text: Guy Bird

Photography: P+B

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ART ACCELERATE

AUTO REVERSE WHAT THE ROAD SAW

Kay Michalak and Sven Voelker are more attracted by what’s going on under cars than in them. Auto reverse is their photographic exploration of this mysterious and neglected part of vehicles, where function takes over fully from form. The series can be seen in Car Culture, an exhibition at the Center for Media and Art (ZKM) in Karlsruhe, Germany. Alternatively, crawl into your local mechanic’s tunnel and look up.

Photography: Kay Michalak Sven Voelker

SMART Built 2008 11.560 km

CITROËN 2 CV 6 Built 1968 57.782 km 32

PORSCHE 911 T Built 1968 166.430 km

MERCEDES 230 CE Built 1984 232.896 km

MINI COOPER MK VI Built 1993 123.624 km

JAGUAR E-TYPE Built 1970 98.450 km 33

ACCELERATE ART

ART ACCELERATE

SPLINTER MOVEMENT THE ANAMORPHIC SCULPTURES OF RON VAN DER ENDE

Left: Phoenix Rise (2011) Above (top): Corsair (2010) Above (bottom): Valkyrie (2010)

Ron Van der Ende creates pieces that are often influenced by cars (such as the Renault 12 and the Citroën DS), or more widely, mobility (such as boats). Born in 1965, he set out on this path in the 80s after graduating from the Willem de Kooning Academie art school in Rotterdam. The sculptures shown here are anamorphic basreliefs constructed out of salvaged wood. These are three dimensional mosaics, where every piece is used in the original colour it came in. The blue Pontiac Firebird for instance, perched dangerously on a worktable, could have pride of place in a post-apocalyptic car showroom. At times the textures and colors of his creations recall the world of comics, the books of Paul Gillon for instance, or the realistic space age imagery of the 1970s. In 2012 you’ll be able to catch his work in Amsterdam in January and Los Angeles in the fall.

Text: Tone

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A VIEW OF THE BRIDGE GOOGLE EARTH WARPS OUR STREETSCAPES

Google Earth, the software that allows you to see any place on the planet from your computer screen, has redesigned some of the world’s streetscapes in its own idiosyncratic way. The fault lies with aerial mapping techniques that don’t capture or render the three-dimensionality of a landscape, and the result can be seen in these very unrealistic photos of places around the globe.

Key: 1 The Bronx 2 Oakland 3 Royal Gorge 4 Normandie 5 Harlem 6 Cold Spring Canyon 7 High Steel 8 Inglewood 9 Patillman 10 Lake Powell 11 Hartman 12 Niagra Falls 13 California 14 Golden Gate 15 Rainbow 16 Redmon 17 California 18 Wilson’s Creek

Brooklyn-based architect, artist and designer Clement Valla has highlighted all the anomalies he encountered while surfing the web and created some truly surreal images. Tortuous roads rendered impassable, vertiginous bridges crushed down to nothingness and crossroads that have just disappeared. There is a great deal of beauty in these photographic mistakes, or mirages. In some images the bridge between two mountains looks like a loose chewing gum hanging between two mouths. Satellites have made it possible to know in advance what sort of view we will have from our hotel room (see Room77.com), yet to see what the hanging bridge looks like for real you may have to visit in person... just like the old days.

Text: Anthony Burn

Images: Google

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VAN WILDER

THE CITROEN TUBIK AND THE RENAULT FRENDZY Renault Frendzy

Citröen Tubik

Any concept channelling shiny chrome Airstream exteriors with 21st century Camper van vibes almost always gets our vote. Two new French concepts doing just that are the Citroen Tubik and Renault Frendzy. The former more explicitly references those two historic vehicles – as well as the front face of Citroen’s classic corrugated metal-sided H van – but the nine seat Tubik is no retro-mobile. Banana-shaped front passenger seats can face forward for driving or slide around to create a lounge. Meanwhile, the driver gets their own cockpit, a cocoon-like circular space, with a head-up display, “so as not to feel neglected like a school bus driver” explains head of advanced design Carlo Bonzanigo.

LIGHT AND AIRY AERODYNAMIC LIGHTS AND TURBINE RIMS The desire to eek out a few extra miles per gallon is translating into new aerodynamic styling from lights to rims. The Peugeot HX-1 concept uses active aerodynamics from the front lights to the rear spoilers. All optimise airflow, helping it achieve an impressive 0.28 drag co-efficient. Our favorite touch is the seven-spoke rims that transform into turbine

1 Peugeot HX1 2 Audi Urban concept 3 Kia GT 4 Peuegeot HX1 5 Kia GT 6 Ford Evos 7 Chevrolet Miray Roadster

blades to create a flatter wheel surface. Likewise, the ninth-generation production Honda Civic uses its body-wide rear light cluster as a spoiler. A host of other recent concepts have adopted similar tricks, whilst BMW’s i3 and i8 will soon deploy them in the brand’s new range of electric cars.

Here: Renault Frendzy Shirt Bérangère Claire Jumper Henrik Vibskov Trousers Insight 51 Styling Josia.N

Text: Guy Bird

Photography: P+B

Right: Citröen Tubik interior

Text: Guy Bird

Photography: Cédric Viollet

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OPEN STRUCTURES

IPAD GIRLS iPad girls:

STATUS UPDATE

No concept car show display is complete without a winsome hostess appropriately attired in on-brand garb from the auto manufacturer’s selected fashion counterpoint. And at this years car shows, no winsome hostess was fully clothed without an iPad. Honda bravely bucked the trend, giving their model an iPad sized and shaped book instead.

DIY DESIGN FROM KITCHENS TO CYCLES The digital world tends towards the modular, and the bespoke - something for everyone, that adjusts to suit just you. Browsers can be endlessly individualized with settings and bookmarks. MP3 players disassemble albums into an endlessly shuffling deck of songs, as diverse as the devices are similar. The selection of apps means an electrical instrument that looks like another can simultaneously be entirely different, by virtue of its chosen functions. The needs and desires the net awakens in us are already migrating into physical objects, like cars. Streamlining custom culture into clickable commerce, the success of automotive brands like MINI, Scion and lately Fiat is related to the endless options their customers are given -

online configuration systems let you pick from combinations that multiply until you can feel like this is the one and only car for you. It’s the same car, but it’s uniquely yours. We want to be ever more involved, our preferences paid attention to and represented. To the point where a successful industrial product is becoming one that offers each individual consumer a point of departure from a universally admired basic standard. Designer Lommee Thomas has taken this idea of endless customization to its logical conclusion. He recently founded the ‘Open Structures’ project, which is about developing an open source design language online that can be shaped endlessly by its members, who can develop single components, from a screw to the rim of a wheel. The parts need

to fulfill certain standards and be able to work together, but apart from that there are no limits to what they can look like. From a kitchen to a bicycle the Open Structures network (openstructures. net) can be used to develop just about anything that comes out of the minds of the people using the website. No-one has yet built a car using the network, but perhaps it’s just a matter of time. After all, someone has just made a bicycle. The project’s success will ultimately be judged by each product, and its ability to deliver to each user something that is more than the sum of its parts. That something, the process implies, is you.

Text: Dan Ross

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Photography: P+B

Volkswagen Hyundai Opel Chevrolet Honda

Text: Hendrik Lakeberg

CHANGE TRAINS

REROUTING LONDON’S TUBE MAP After friends from other parts of the UK and overseas told London-based graphic designer Mark Noad that the city’s tube map was confusing and bore little relation to what was above ground, Noad decided to create a map that was more geographically accurate. However iconic the original London tube diagram designed by Harry Beck may be,

London’s underground system has doubled in size since Beck last worked on it in 1960, and the map is now consulted on screen as much as on paper. Noad’s interactive web version of the map comes in a new, more condensed font and has additional layers showing fare zones, stepfree access, walking routes between adjacent stations, Riverbus services and journey times between stations. He hopes to launch it as an app soon. As for Beck’s original? He says it was ‘one of the greatest designs of the 20th century’. It’s just time for an update.

www.london-tubemap.com

Text: Giovanna Dunmall

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CIRCLING BACK VOLVO’S NEW DIRECTION - IT’S PAST

Volvo is officially no longer boxy. After years of American ownership blended its hard shoulders into a more moulded body form, its new Chinese parent has completed the transition with the You concept car, destined for production by 2015. A semi-circular hood harks back pre-box to classic models from the 50’s and 60’s, when the brand looked more sporty than soccer mom. Its predecessor the Universe had some deft touches, such as a 3D effect front grille that lights up like a set from Tron. The You is more restrained, and approachable, with a predictable emphasis on natural materials and tones. The pair were designed by Peter Horbury, who returned to Volvo after having been responsible for its successful new look in the 90’s. But both concepts look oddly similar in profile to the Jaguar XJ. Volvo’s intention to compete

in a higher class is clear - it desperately wants to be seen as a luxury brand. But the danger is that it will be the same kind of luxury others already do better, or else a marketingled parody of the Scandinavian values it once embodied. The luxury a Volvo used to offer, in its boxy days, and the founding ethos that informed it, was that of feeling good about yourself, not wanting to feel better than others. It stood for being unpretentious, friendly, relaxed. Going back to their roots is a good idea. They just need to dig a little deeper.

Text: Dan Ross

Above and left: Dress Altewai Saôm Blouse Henrik Vibskov

Styling Lina Svensson Hair and make-up Linda Linquist

Photography: Andreas Ackerup

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FROM TRAINS TO TAXIS DESIGNER KENNETH GRANGE

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INTERV

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Kenneth Grange doesn’t conform to the stereotype of the reserved designer. He peppers his enthusiastic conversation with loud laughs, a ‘bloody’ this and a ‘terrific’ that, and often ends an observation with a friendly, ‘don’t you think?’ or ‘wouldn’t you say?’ As he draws you in, it’s easy to forget you are in the company of one of the most prolific, respected and successful designers alive today; a modernist in the true sense of the world, integrating form with function seamlessly. And he shows no signs of letting up, despite being 82. After our interview at London’s Design Museum, where a retrospective of Grange’s work has run over the summer, we walk to the tube together at what I can only describe as breakneck pace. It’s probably this energy, curiosity and lack of ego that have made him so popular with manufacturers, as well as his relentless work ethic, inventiveness and aesthetic sensibility. When he was approached by British Rail to design the livery of a new high-speed train (the InterCity 125), he went one step further and redesigned the “whole bloody thing”. He spent countless nights testing models at his own expense in a wind tunnel at Imperial College. British Rail ended up liking his sleek new train so much they used it, and the train is still in service today. His first major commission in 1958 was the original British parking meter (devised during his honeymoon much to the chagrin of his wife), and he soon went on to work with manufacturing giants Kenwood, Wilkinson, Kodak, Parker and B+W making everything from mixers to pens, loudspeakers to razors, and postboxes to bus shelters, objects that have entered and been subsumed into our daily urban and domestic landscapes. He worked with many of these companies for several decades, building loyal and strong relationships with the manufacturers, engineers and owners. In the 90s he was also responsible for the redesign of London’s famous black cab. More recently he has become involved with two other iconic British companies, Anglepoise and Hitch Mylius. For the latter he has designed a streamlined and beautiful chair for the elderly that he initially thought was a contradiction in business terms for a modern furniture company. “The purpose of modern furniture

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BIKE 19 SEAT

Here: Rui Alves’ Giro, Tour and Vuelta

VEHICLE INSPIRED FURNITURE

Sometimes a mode of transport – be it a bicycle, a car or a van – figures largely in a designer’s life, has meant a lot to them over the years and seeps into their creative unconscious. Equally, sometimes the industrial processes used to create a vehicle can be pulled apart and reapplied to stationary objects to give them a little more go. Young British designer Benjamin Hubert has a new collection for Italian lighting company Kundalini. He worked on it with an automotive metal-stamping factory. “The whole idea of this soft triangulated shape is a little bit of a nod to lenses and industrial car head lights,” he explains. “And that’s about the lighting effect. So we used a diffuser that’s faceted like a headlight.” The result is added “visual texture”, he claims.

is not about sitting in it, it’s principally about making the space look well-upholstered and well-defined,” he explains. “You only have to think about it a moment and realise that’s why sofas are all so bloody low because the space looks bigger when the seats are lower. If the seats are also quite big, they amplify the architectural quality of the space.” But he persevered and the result – known as the Edith Chair - has the relatively high and short seat of a working chair that make it much easier to get out of, while offering the streamlined angles and forms of a classic chair. “A lot could follow on from this,” he says excitedly. “A sofa for the elderly would be quite nice wouldn’t it?” He pauses. “I do think there’s a future in comfortable furniture.” He laughs out loud. In 1972 he helped set up in the now legendary multi-disciplinary design practice Pentagram. At the time he drove an E-type and his fellow founding partners approved as they were

all ‘quite smart people’. “And then one day I decided I wanted to change it for a Deux Chevaux,” he says, “and they were really pissed off that suddenly this stylish car had given way to this funny French car,” he laughs. “But it was one of the best cars I had in my life. It was a ‘go anywhere’ sort of car, a pleasure in every respect, it never let me down.” Back home in his garage he has a Ferrari Dino. “You go to a Ferrari nut, I bet you they’ll say that the Dino is one of the absolute all-time great pieces of shape. And that’s why I have it, because it’s a terrific piece of sculpture.” One of his favourite topics is the notion of obsolescence in products and their increasingly short lifespans. He’d rather people were prepared to spend more and view their purchase as an ‘investment’. “Then I think you’d start to stabilise the headlong rush into everlastingly new.” But Grange doesn’t like to moan for long and

is – despite the bleakness of the current climate - optimistic and excited about the future. The other day the Design Museum in London organized a session on Twitter where the public could ask him any question they wanted. Grange answered each one with the sort of enthusiasm somebody half his age would find hard to muster. Asked what advice would he give a young designer, he replied: ‘Never say no and take on anything’. What would he still like to design, another person asked, as he sat amongst his work, that’s shaped millions of journeys by rail and road, and signalled countless parking tickets. ‘A bus’ he typed, without hesitation. Making Britain Modern is published by Black Dog Publishing, London. Text: Giovanna Dunmall

Photography: Neil Gavin

Dutch designer Laurens Van Wieringen’s pieces are typically whimsical and accomplished, but his gray lacquered buffet cabinet stands out for its boldness, with off-kilter carlike curves and auto-inspired details such as rubber strips on the insides of the doors. The effect is to make the new object feel deeply familiar, drawing you in just like an old car. “I have always liked old vehicles,” says Van Wieringen, “my brother ‘infected’ me. He has a Mercedes 306D van from 1971 that he bought when he went to study at the RCA in London. The other old-timer I have is a Lancia Fulvia rally from 1968.”

yellow for the Tour, pink for the Giro and red for the Vuelta.

Tour, Giro and Vuelta are three pieces of furniture based on the shapes of different bicycle parts, named for the three great biking tours, the Tour de France, the Giro d’Italia and the Vuelta a Espana by Portuguese designer Rui Alves. Tour is a chair modeled on the streamlined tube and handles of a racing bike for its back and armrests, with a rather large ‘saddle’ made out of leather. Giro is a shade that makes reference to the cap that cyclists wear as well as the spokes of bicycle wheels. And the Vuelta side table is based on the smooth roundness of the bell on a bike. The colours of the pieces are drawn from the ‘leader of the tour’ jersey colors in the three races –

In fact Alves has never been to any of the big cycling races. But he has always been a keen cyclist and used to spend hot summer afternoons watching the Tour de France with his brother and friends as a kid. He says he admires “the structure and lightness” of bikes, and is in awe of what he calls the “amazing skills and work of bicycle-builders”. Of his pared down aesthetic he says: “I love those everyday objects that I like to call visibly wellhidden objects. They are simple but perfect in their function. I try to do the same with my projects.” It’s not always easy as objects need to have “personality” to stand out in the ocean of new products launching every day, he

confesses. But he needn’t worry - his love for materials and processes combined with the appropriated cycling parts make them anything but invisible. Alves’ grandfather was a carpenter and his dad is a woodworker. He moved back to the town he grew up in, Paços de Ferreira, in the northwest of the country to be closer to his family. “My father, who is now 71, works with me in my workshop and I like to call him my studio assistant,” he jokes. “It’s a pleasure to spend the day discussing projects with him, and sharing experience and knowledge.”

Text: Giovanna Dunmall

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OFF 2 0 THE ROAD SWISS PHOTOGRAPHERS NICO KREBS AND TAIYO ONORATO TRAVELED THROUGH THE UNITED STATES ON A QUEST FOR THE VESTIGES OF THE AMERICAN DREAM The road belongs to American mythology like Zeus belongs to ancient Olympus. Its promise of unrestricted freedom of movement is an allegory for social mobility: from the dishwasher to the millionaire, everyone can go there, if only they put pedal to metal and aim their hood in the right direction. Onorato and Krebs know that the American dream has long become a clichĂŠ. But they are also aware that the US, like no other country on earth, is capable of reinventing itself and its mythology time and time again. The pair traveled all over the country in between the two major events that rocked the nation to its core. September 11th and the financial crisis are the invisible frames bookending the series of surreal works that resulted from their journey. This was the decade during which the formerly most powerful nation in the world tried to recover from the shock of the World Trade Centre attack only to be plunged into the next crisis by the collapse of Lehmann Brothers. The Hollywood dream machine has created an imaginary version of American life in a multitude of forms. So rather than create literal documents, Onorato and Krebs produced their own filmic version of American life, mixing reality with artifice. A car parked in front of a motel glows

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so much it looks like it’s being lit from the heavens. In the photo titled ‘Happy Ending’ a child-like model of a street loops puzzlingly in the middle of a prairie. In ‘Clubwagon’ the photographers have created a car out of scrapheap items such as old lampshades, broken stereo systems and old tires. Shot in a dark forest it looks like a friendly zombie, the undead of American consumer society. In Onorato’s and Krebs’ photos this weird and wonderful cast of landscapes, highways, cars and their accompanying visual clutter of enter the realm of the surreal. These images, which are familiar to us from countless films and TV images and seem like a universal home the other side of a screen we don’t ever need to have been to, suddenly feel alien, at times like a yellowing photo from the distant past, at times magical. Jack Kerouac swapped his horse for a car in the 50s. His travels with Beat poet Neil Cassidy put forward a modern version of the Hollywood

Cowboy narrative, where the cowboy moves freely and independently across the wide expanses of the country. Kerouac’s ‘On the Road’ is peopled by eccentric characters; he sympathized with outlaws and crazies who broke the old rules and created new ones. But Krebs and Onorato’s photos are empty and unpopulated. They mistrust the optimistic open road American dream as an apparition, treating the counter cultural alternative promise of freedom with the same suspicion. Two lanes on the same highway. Which loops, dissolves into crumbling fissures and oscillates with artificial light. Yet which is somehow reinvented in the process as a vacuum, a peculiar and dreamlike state of limbo, a land looking for itself, inviting discovery.

Text: Hendrik Lakeberg

Photography: Nico Krebs Taiyo Onorato

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SKY 21 WAY RIO’S NEW NETWORK OF HILLTOP HOPPING GONDOLAS 54

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In the run-up to the World Cup and the Olympics – which Rio will host in 2014 and 2016 – the Brazilian government is ‘pacifying’ favelas, or ‘comunidades’ one by one, which means the drug gangs which had in practice been ceded the neighborhoods are forced out and the police, which previously had no presence, take occupation at their centers. Aside from the assertion by force of the rule of law, traditionally muddied by corruption and violence within the police itself, the new strategy is also tackling the topography that turns hilltops into isolated slums with a radical redrawing of the communities’ transport links. In the largest of the pacified areas, the ‘Complexo do Alemão’, residents are now riding on a daily basis the teleférico - a comprehensive new state-of-the art cable car system, which reconnects the peaks directly with the world below. The dozen or so large hills of which the ‘complexo’ is comprised have been radically rewired. Instead of having to trudge up on foot, or pay a motorcycle courier to take you up winding streets, residents are lifted into the air in gondolas and given a quick ride with a breath-taking view. Rondinelli, a 13 year old resident of one of the complex’s hills, sums it up nicely: “Dude,

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this is the most fucking awesome thing ever.” He’s been riding it around and around, getting off, visiting friends, and then flying across to another of the hills, on repeat, after sundown and into the night. Each station stands at the top of a hill in a building adorned with art inspired by the life of the neighborhood around it. It’s been surrounded by street barbecues and snack stands, where anyone can safely grab a bite. This in a neighbourhood where a year ago, police entered as if invading a foreign country, going so far as to plant a Brazilian flag on the hill when they were successful. The impressiveness of the new technology, in contrast with the surrounding poverty, raises the question of whether spending money on one shiny media-friendly machine, is a better use of resources than the more prosaic task of investing in health and education. But its effect is transformative, and its budget a calculated investment given the country’s BRIC status, and Rio’s booming real estate values. The whole thing cost 210 million reals, or around 125 million dollars. It has a capacity of 30,000 trips a day on 152 gondolas, each able to carry 6 passengers. That’s over 10 million journeys a

Previous spread: View of cable-cars across to morro da Baiana (Bahia station), the heart of the cable-car operation driving the teleférico system Above: Locals play cards and kids hangout next to a bar around the corner from estação Adeus (Farewell station) Right: Armoured tanks and military troops stationed next to the S.O.S. Communities ‘Educating For Love’

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Left: Last leg of the journey towards estação Palmeiras (Palm station) where the R$1.ride terminates Above: Alluding to the threat level, local kids outside estação Alemão (German station) eagerly show off their urban militia skills

year, each cutting by huge margins the amount of time people spend navigating the complex, and making those journeys safer and easier, and offering users a new perspective on their life below. Renata, 52, has already worked it into her daily routine. “It’s been here just months, and I already rely on it. It takes me up even higher than I actually need to go, so I end up walking down, but it takes a lot of stress off my body.” Gondolas are typical of luxury ski resorts, not developing world cities. But Rio’s project is already the second of its kind in South America. It was inspired by Medellin, Colombia’s metrocable system where the situation is similar: low-income settlements on hills, where extending any other kind of mass transit would

be far more difficult. Urban planners from Mexico City need to come take a ride. Until September, the teleférico was free on a trial basis, since rising to one real (50c) for registered residents, and a bit more for visitors, who can’t help but marvel at its breathtaking views, which in turn shed outside light on conditions below. With Brazil’s rising profile on the international stage, and the positive response of locals, there are sure to be many of both.

Text: Vincent Bevins

Photography assistant: Henrik Kraft

Photography: Robert Bellamy

Production: Carlos César Rodriguez

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WHEN I WAS A KID I THOUGHT MAD MAX WAS THE GREATEST THING EVER EVAN GLODELL TEXT

DAN ROSS Mumblecore movies are characterized by their closeto-zero budgets, lo-fi aesthetics and slowly unfolding dialogue-driven tales of emotionally entwined college graduates searching in vain for human connections and metaphysical meaning amidst the banality of daily life. ‘Bellflower’ is not one of these films. Based around writer, director, producer, actor, camera engineer, special effects supervisor and amateur stuntman Evan Glodell’s obsession with fire, it is possibly the strongest entry to date in the category, viscerally summoning the wounded rage of 20-something love gone awry. The film documents a car crash of a relationship. Burning through the anticipated arc of attraction,

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joy, vulnerability, betrayal, revenge and resolution, it torches the navel-gazing pretensions of the genre with home-made flame throwers mounted to a ‘72 Buick Skylark. “I got the idea for the movie from a breakup I went through that was far more intense than I’d expected”, Glodell says. “At one point it seemed like the main thing I was doing in my life was getting over it. That’s why I ended up requiring fire.”

Glodell worked on the movie for two years with a tight crew based out of an abandoned office building, where many of them lived, surviving on faith in the project, and shooting on fumes. Working without gas money becomes all the harder when you’re also blowing up propane tanks with a 12-gauge shotgun. The film has the feel of a story that the players lived rather than performed, and its logic becomes blurrier and more deranged as it reaches its climax. “We needed a certain amount of confusion for it to play out emotionally, to hypnotize you”, the director says, referencing ‘Sliding Doors’ to sidestep the question mark over which reality it resolves around in an ending that on the surface contradicts, or rethinks, itself. In that way, David Lynch comes to mind. David Lynch and Mel Gibson. “When I was a kid I thought ‘Mad Max’ was the greatest thing ever,” he says. Glodell hails from Wisconsin, outside Madison. “I had the idea for the liquor dispenser in the Volvo when I was in high

“It’s me driving 95% of the time. There were risks and compromises we made that I’ll never be able to talk about,” he laughs wearily. “We found a stunt driver on Craigslist. Everyone laughs when I say that, but he had like 200 credits on IMDB. He did the job for free because he loves those stunts.” He was hired for one scene that needed professional help. “The car broke after the first take.» Only one shot proved impossible: «drifting and shooting fire simultaneously.” The liner notes read like a confession, boasting of uninsured cars tearing up unsuspecting suburban streets, without the hint of a permit, and props that could be classified as weapons of mass destruction should the Department of Homeland Security have taken note. But everything worked out thankfully, and as a result the film has a palpable sense of apprehension and relief each time something screeches or burns. It feels real, because it is. Which in a sense is cheating. Blurring the lines between fact and fiction so that the two combine into a greater narrative adventure of life lived as art, and vice versa. Which in turn, might describe the dream of every filmmaker who heads west. “I still have the car. Everything still works, the flames. Recently since the movie came out people have started recognizing it, shouting out ‘Medusa!’. I’m like ‘it has flame throwers!’ and people are like ‘we know!’”

Photo by Jaka Vinsek (main) and Natalia Boltukhova (inset). Courtesy of Oscilloscope Laboratories

Two friends are building a fire-spitting car fit for the post-Apocalypse, called Medusa. En route boy meets girl, and for their first date they hit the road in his daily ride, a Volvo complete with liquor dispensing dash. They fall in love, then as she makes good on her promise that it’ll all go wrong, the fires start.

school.” He moved to California to make it in film, and got his start in viral clips and music videos, whilst honing his craft building camera lenses and equipment. ‘Bellflower’ was his all or nothing moment. He’s a hands-on guy - a scene involving his character being punched required a number of takes until the puncher finally accepted his instruction to actually hit him as hard as he could. It’s as if danger, pain and the quest for fearlessness are all necessary to his process.

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Life as a musician means that Moby spends more time in airports and hotels than in his own New York apartment. He records his travels on his camera, his photos capturing perfectly what it means to be always on the move. Between flights he explains when air travel lost its glamour for him and why passengers should always seek out the airport chapel.

I LIKE BEING IN THE AIR BUT I DON'T LIKE MOST AEROPLANES MOBY TEXT

LISA LEINEN Photography MOBY PORTRAITS MIRJAM WAHLEM

“When I was a kid I thought flying was really glamorous. I grew up in a really poor family so we flew rarely. I had only flown three times by the time I was 16. And every time I went to the airport, I felt special. I don’t get that feeling anymore. Flying used to have something magical about it for me, but now it’s actually more exciting when I travel by bus. I like being in the air. But I don’t like most airplanes. The seats are too narrow, the food is miserable. First class on BA is always very quiet and roomy though. A 747 or an A380 with its upper deck is dreamily beautiful. But let’s not fool ourselves – a small private jet can be pretty nice too. Airports are often over-crowded, over-complicated

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and unpleasant. That’s true of all airports. I think they are designed so that people don’t stay long. My personal travel tip is to find the airport chapel! Even if you aren’t religious it’s the perfect place to get away from the chaos. It’s always deserted, peaceful and pleasant. I like London’s Heathrow a lot, but not necessarily because of the airport buildings but rather because most of the flights I take from there are heading home, to New York. I’d like to fly helicopters, I think that’d be fun. But

airplanes? I think that would be really boring. You start the thing, bring it to a certain altitude and then everything else is done on automatic pilot. You just sit there and wait to land. I was flying to Australia once and was fast asleep. I woke up and heard lots of people crying and screaming because we had been supposed to land and the pilot had forgotten to bring down the landing gear. So he’d had to pull the aircraft up almost vertically five meters before touching the ground.

That was definitely scary. When I travel around Europe I always try to take the train. I always go to Paris from London by train for instance. You see a lot more of the countryside, there is always enough room in the carriages, and it’s much more relaxing than flying. When you tour as a musician you only ever see the big cities where concerts are held. Los Angeles is unbelievable at night, whether it’s take-off or landing; in the day it’s pretty unspectacular. I reckon most

cities are more beautiful at night, apart from Rio which is unbelievable during the day. I’d love to go to Patagonia, Bhutan, Fiji at some point. You don’t get to places like that in my job. The longest tour I have ever done lasted 26 months. On average I visited five different cities a week. On our upcoming tour it’s going to be ten cities a week. So if I had a year off, I would stay at home, doing nothing, making toast and reading. I wouldn’t give hotels and airports a second thought.

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This may have passed for camouflage on the plains of the Serengeti but the unique design was intended to stand out in the dusty deserts of Baja California. Being easily seen and identified by spotters can be a good thing when racing through the middle of nowhere, especially in the pre-GPS days of short wave radio. Painting the cars (there were four zebra FJ40s in total) were family projects that involved his mom and sisters. Duffy was too small to help much but still has vivid memories of the process. “I was too young, so I never got to race with dad,” Duffy explains, adding with a touch of envy, “but my older sisters did”.

Here: Sean and his sisters in front of one of his father’s ‘zebra’ Fj40s, San Diego, California 1972. Inset: Sean Duffy’s FJ40 on exhibit at the Laguna Art Museum in 2010. While officially a ‘sculpture’ this car is no joke, and will be run in the 2012 Mexican 1,000. Photo by Robert Wedemeyers

Since 2008 artist Sean Duffy has been working on ‘Car 23’. It is an ambitious piece that involves several phases including the building of a replica of his father’s awesome 1964 Toyota off-road racer as an art installation, then testing it as a functioning race car. Over its three year germination the art car has been helping Duffy address some long standing paternal issues. In the 1960’s, Thomas Graham Duffy was a dedicated amateur off-road racer who, along with some buddies, customized and modified Toyota FJ40s in the garage of the the Duffy family home in Southern California. They built cars to compete in the three big desert races - the Mexican 1,000, the Baja 500 & the mint 400. While Duffy the Elder (a municipal court judge by day) was a relatively successful off-road racer, he was equally renowned for his car’s eccentric zebra stripped livery.

I NEVER GOT TO RACE WITH DAD, BUT MY SISTERS DID SEAN DUFFY TEXT

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The FJ40 project fits nicely into Duffy’s successful and expanding oeuvre of conceptual art. In his work he channels memories through operational meditations on recent historical artifacts. His referential purview encompasses the second half of the 20th century, with a special focus on the 60’s. Turntables, vintage LP jackets, mid-century furniture and army surplus items have all been used as themes and materials from which his art is constructed. Now we’ll just have to wait and see if he drives as well as he paints. The zebra car has already been exhibited at the Miami Museum of Art and the Laguna Art Museum, next up Duffy is planning on driving his ‘piece of art’ in a real off-road race. The motivation to actually race the car is a little complicated. When he does compete in next springs Mexican 1000, he will not only be honoring his late father (who died earlier this year) but also fulfilling a boyhood desire to finally race with his dad. “That’s kind of where the whole project started. I mean who doesn’t secretly want to beat his dad.”

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RONNIT HASSON PHOTOGRAPHY JAMIL GS

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CARS ARE KILLING MACHINES NICOLAS WINDING REFN

If Lars von Trier rules the kingdom of Denmark’s Bad Boy-directors, Nicolas Winding Refn would be crown prince. When his fellow directors collectively manifested the shaky-arty Dogma films, Refn dived down to explore the unbrushed criminals of the Danish underworld. His authentic take on the dirty and violent, retained an aesthetic sensitivity, whilst skilfully tracking the downward spiral of a newcomer potentially stepping on a minefield of crime. He was only twenty-four and was considered an extraordinary talent. This year, when Trier´s harsh tongue slipped and got him black-listed , Refn made it into Hollywood’s enclosure and climbed onto the throne to collect the award for Best Director at Cannes for his feature Drive. Ryan Gosling explained at the festival what he felt when he came across a particularly surreal Viking saga which made him approach the Dane.“I went to see Valhalla Rising, a heavy art film. Halfway through, a man cuts open the stomach of his friend and slits out his intestines. The audience started laughing and hitting each other, they came to life. After the film they were embarrassed, not knowing if they were supposed to take it seriously or not. I thought, this guy, it’s like pointing at a point for a homerun

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before they swing the bat, even if he misses, it is somehow more interesting”. Drive had been developed at Universal Studios for several years as an action movie for Hugh Jackman, but when Gosling took over, he and Refn made it into something very different. “I wanted to make a movie about a man who drives at night playing pop music”, Refn says, tapping his hand. The sun presses against the thick cloud in Copenhagen, but the heavy grey sky-blanket remains. Refn’s agent hands over a plastic bag full of DVDs to him - a bag of candies. He has always been a cineaste. “This whole thing about me and Ryan meeting - I was very ill at the time, I had a high fever and I was going to L.A. for four days and I had taken this anti-flu medicine which makes you very high at the same time. And I couldn’t look at him. My body was aching so I couldn’t turn and look at him. It was just a disaster meeting, and I couldn’t really remember anything except when he drove me home on the highway, I thought, I can’t fight this feeling anymore and I get this idea that I could do a movie about a man who drives around at night listening to pop music, and I said, that’s what I want to do and Ryan said I’m in”. In case you were too squeemish to see it, Drive is a low-voiced, anonymous, violent story about love. Refn calls it a classic L.A. neo-noir. Gosling plays Driver, a Clint Eastwood-type loner, working as a stunt guy daytime in Hollywood movies, doing getaways at night. He is looking after his kind-hearted singlemother-neighbour, when he gets in the middle of a bloody mafia setup. “By not giving him a name, he seamed more anonymous, more mystical, a bit like a western icon were you have to fill in the blanks. Everybody needs their own driver, so he becomes a different meaning to different characters”, Refn continues. Drive is stylistically shot, via rear-view mirrors, or reflections on sunglasses. Sharp and blurred round lights in the background and partially lit faces tinged with extreme red light are reminders of constant movement, of the traffic of vehicles, allegiances and violence. “I am very ‘fetish’ oriented, which means, I just shoot things, how I would like to see them. The color red always appears in my films very strongly,» Refn explains «because I’m color blind, and that’s the only colour that I can understand”. The dialogue is almost non-existent, but the silence

increases the intensity and strength of the tension. As a contrast to the violence, there are some handwritten pink 80’s credits and a cool electro-disco score. «The pink credits were to give a feminine feel to something very masculine. I am a huge 80’s-films fan and also the music, because that’s when I was young. The idea was to make it really Eurovision, because that has a contrast to anything that is used with cars or things that has to do with masculinity and power. I had this idea that Driver is like Kraftwerk, half man, half machine. When Kraftwerk in the seventies began to compose music, using very cool electronic instruments, they made some very strange and haunting, beautiful sounds that hasn’t really been redone”. Having worked in the film industry for fifteen years without a driver’s license is an achievement in itself especially when you are doing a movie about driving in Los Angeles. “It was kind of ironic, both the screenwriter Hossein and I couldn’t drive cars, so we were stuck in L.A. Ryan would drive me around in L.A. at night, to show me locations so I could get a sense of L.A., because I didn’t know L.A.”. How come you don’t have a driving licence? “I failed eight times”. And you gave up? “I never wanted it. It was just when you were eighteen everyone said, if you want to get into the film industry, you got to make a drivers licence”. Do you like to be driven? “I like to be driven. I like to be a passenger. It is sometimes very relaxing. But I prefer the train or the plane. I have been in three car crashes. It certainly wasn’t fun. Did it influence you not to drive? “No, that’s just made me very aware to use seatbelts. And remember that cars are killing machines. Anybody who drives drunk should have their licence taken away forever. It is just tinfoil and you don’t think about that, because when you are in an automobile you feel so heavy and safe, but in reality, its tinfoil. It made me more paranoid about cars. I can see that it is more life threatening.” Were you worried when you were shooting the stunt scenes? “No, I didn’t go into the car. No, because then it was more like faster. I want faster. And of course the stunt people begin to get nervous,” he says, laughing to himself. So, you aren’t scared when it comes to other people’s lives? “Oh no!”

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After graduating with an MA from Yale, and working with Zaha Hadid in London and Eisenman Architects in New York, Ma Yansong returned to his home country to set up MAD in 2004, and duly became China’s young starchitect. He was the first Chinese architect to win a major international competition (for a skyscraper in Canada). We caught up with him at his Beijing office to discuss robotic parking and getting back to nature.

I LIKE CARS, BUT I DON'T UNDERSTAND WHY SO MANY OF THEM HAVE TO BE UGLY MA YANGSONG TEXT

CHAIM JENSEN PHOTOGRAPHY WANG KEDI

What does MAD mean? “Ma Design, but I like the word ‘mad’ in English. It’s not so serious and imparts an attitude. Plus it reflects our current situation here in China. Of course it means something quite different in Chinese…” What are MAD’s guiding principles? “I think a lot of our buildings are seen as futuristic. I’m very positive about the future; I’m not keen on those sci-fi movies where the future is always ‘the end of the world’. At the same time, I do see a lot

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of problems in our society, but actually we’re all a part of today’s China and are working with the issues of a modern society. I think it is important to bring about a new future that has a relationship to the past. That’s what we’re trying to do. I believe that architecture can make the future a better place.” What is your next project due for completion? “We have three that will be finished by the end of this year. The Erdos Museum in Inner Mongolia and the Absolute Towers in Toronto – which have been both 5 year projects, as well as the China Wood Sculpture Museum in Harbin. Plus the first section of the Fake Hills project will be completed in December. The first residents will be moving in. Fake Hills is a series of buildings up to 100 meters high and 800 meters in length in Beihai, which will become home to 2,000 people when finally finished in 2 years.” What’s next? “We have 5 or 6 projects that aren’t yet on our website. There’s a large commercial project in Amsterdam, which will be our first project in Europe…” What is your dream commission? “To build a new Tiananmen Square. A lot of our current work is completely different to what we were designing five years ago, for example when we started the Erdos Museum project. I’m much more interested in the relationship with nature. And so I’d like to turn the Square into a forest, to make that symbolic for Beijing. Ironically, it wouldn’t involve much architecture, but by changing the meaning of that space – if it can be done – it also means that many other things could change as well.” “I remember growing up as a child in Beijing and it seemed like a playground for me. There was a real sense of community. The tallest building was probably six floors high. There were more parks and it just felt more friendly. Now people are isolated from each other, communities are harder to build up and foster, and there’s not enough public space. A new Tiananmen Square could help bring back a community feel to the city.” Traffic must have got a lot worse as well. How do you get around town? “I have a Range Rover and a Porsche 911. I drive the Range Rover more though. It’s easier. The Porsche is much harder in the traffic, so I don’t use it as much.”

Below: Urban Forest (2009) Chonquing, China and original sketch Right: Beijing Hutong Bubble (2008)

What role does architecture have in traffic problems? “When we were coming up with our proposals for the Urban Forest – a multi-use skyscraper with skygardens envisaged for Chongqing, we were thinking about parking solutions. You know, when you have a tall building the central core – where the lift shafts and utilities are – takes a lot of underground space away. So we thought about that automated parking system in the film iRobot. We wanted to do that. The parking is fully automated underground like a vending machine. If you swipe your card in the elevator, the building will read it, and start to unpark your car, so it is ready for you by the time you’re at street level.” What ideas do you have for a MAD-designed car? “I like cars, but I don’t understand why so many of them have to be so ugly. I think a MAD car would float on the road, and also be able to change shape. We’d give it more flexibility, for example to make parking simpler. Most cars give you the same experience, so I’d want to look at a car differently, from the driver experience. The beauty of technology is change, so we’d have to change the car.” What is the current state of Chinese architecture? “I don’t think that term really exists. There are certainly not enough independent practices. They may think they’re independent, but actually there’s a difference between financial and mental independence. Just because you work alone, doesn’t necessarily make you independent! Young architects in China are still too influenced by authority and higher powers. I think in 10, 20 years you will see a real movement, but right now, practices need to get more mature in their thinking.” “The other problem is that society is changing so fast here. You design a key landmark building, and by the time it goes up, society has changed, maybe because of that building. Five years after you’ve designed a building, it opens, and the authorities may have changed their mind and regretted their decision. In that case, it’s time to pull it down and start again.” “We’re learning and changing at such a fast rate. I see it even with my work. Our Erdos Museum design is already five years old, and it hasn’t even opened yet! And definitely the way I see the world has changed. As I said, I’m now more interested in our relationship with nature than I ever was. I think more about gardens now – the idea of the traditional Chinese garden being this poetic space and how we can incorporate it more with modern architecture. So my work has changed. I’m thinking of the future. Positively!”

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I PREFER SURFBOARDS INSIDE THE CAR ROGAN The drive down Highway 27 to the Hamptons in the summer usually becomes a jammed up parade of the east coast elite behind the most ostentatious wheels they can lay hands on. Montuak aka The End is a bit of the wild child of the Hamptons, and though it is more rustic than the its siblings, today it has its share of beachfront mansions and bottle-service bars. Rogan Gregory’s wheels and house recall the original artist settlers who fled to the End to get away from it all.

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KATHARINE ERWIN PHOTOGRAPHY RICHARD BALLARD

Driving to Rogan’s house can be hazardous to one’s health. A sign instructing one to please close all windows and proceed with caution would be appropriate, alas this sign does not exist in the overgrown driveway. After fighting off the fertile limbs of grabby plants, the simple kit house appears. Much like his stores in Manhattan and his fashion designs, the abode is a zen palace of well formed function. A subtle black matte structure in a small clearing surrounded by the area’s natural habitat, it provides a fitting setting for the environmentally minded designer.

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To access his oasis from Manhattan, Rogan prefers to take the train, which drops him a 15 minutes walk away. But when he has precious cargo, like his young daughter Gray and or extra luggage, he takes his 2003 Volvo T5 wagon. This matte black (of course) murdered out soccer mom whip, sits on 235 tyres and is complete with the darkest tint possible. “For some reason people are enthralled with a murdered stationwagon mom car. I get all types jocking that car from thugs in Brooklyn to investment bankers from East Hampton. They nod like they know I know they get it. .. like we are in some sort of fight club” Rogan laughs. The Volvo has an older sibling. “I had a Scout for 15 years. Five years ago it died after one to many times trying to jump it over woopties on the beach, now I let wildlife create their own little sanctuary in it.”

Another unlikely sanctuary like the oversized flower pot aka the Scout, is his matte black garage, which he build himself. On top lives a garden of wild flowers and weeds. Inside is his daughter Gray’s favorite car, a 1964 Chevy Biscayne. Rogan acquired the classic in Henderson Kentucky in 2002. He immediately painted it flat black as he does to everything. He also modified the engine from it’s original 427, 2 speed to a bored out 350, 4 carb 3 speed. But his most quixotic modification is a sawselled hole in the back, set with a duct tape trim. And why would he do this one might ask? “Shiny longboards on the roofs of shiny Land Rovers are an eyesore,” he winces. “I prefer surfboards inside the car so as not to ruin the lines with racks and straps”.

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Belts (left to right): 1 Y-3 2 Alexander McQueen 3 Hermès 4 Dunhill Thanks to Andy Burns at kentcams.com and Sharif Auto Services

PHOTOGRAPHY SAM HOFMAN STYLING SHUN LOUIS BELLIENI SET DESIGN KYLE BEAN

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JUMP START PHOTOGRAPHY VICTORIA LING STYLING SHUN LOUIS BELLIENI

Left to right: 1 Zenith Pilot Autograph 2 Panerai 1950 Luminor Monopulsante 8 Days GMT Titanio 3 Tag Heuer Monza Calibre 36 4 Omega Seamaster Planet Ocean Chrono 5 Hamilton Pan Europ Jump cables: Thanks to eurocarparts.com Retouching: Pete Aylward

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BIKER GIRLS Czech Rep. Germany Austria Slovenia Italy

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PHOTOGRAPHY JORK WEISMANN STYLING KATHARINE ERWIN LOCATION AMPFLWANG, AUSTRIA MANUFACTURER KTM BIKE 350 EXC-F RIDER BETTINA WEISS

Croatia

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Previous and opposite spread: Jacket and pants Christina Berger Boots Alpine Stars for KTM Gloves and helmet KTM Here: Trousers Christina Berger Boots Alpine Stars for KTM

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Pants Alpine Stars Hair and make-up Thomas Lorenz Special thanks to Thomas Kutruf Joe Lechner Anton and Grace

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Jacket Y-3 Pants, shirt and helmet BMW Motorad Shoes Kostas Murkudis Hair and make-up TK Special thanks to Hendrik Lakeberg

Holland Belgium

Germany Czech Rep.

France Austria

PHOTOGRAPHY DETLEF SCHNEIDER STYLING KATHARINE ERWIN LOCATION MUNICH, GERMANY MANUFACTURER BMW BIKE S 1000 RR RIDER AMANDA 92

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Here: Leather jacket and pants Under Cover Shirt porlar. White Mountaineering Gloves Y-3 Necklace and wallet chain Jastin Davis Sunglasses Mykita from Cradle Helmet Shoei

PHOTOGRAPHY MITSUO OKAMOTO STYLING YOSHI MIYAMASU LOCATION TOKYO, JAPAN MANUFACTURER HONDA BIKE XR230 RIDER HARUKA

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Hair Go Utsugi Make-up Yoshiko Kawashima Coordination Signo Tokyo Stylist assistants Shotaro Yamaguchi Atsushi Nagao Ryo Chiba Masahiro Nakai

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Opposite: Jumpsuit Romance Was Born Boots Rasu Kneeguards Huffy Here: Jacket Ksubi Tank top Ksubi Knickers Kate Sylvester Boots Rasu Rings and pendant Stolen Girlfriends Club Sunglasses Anthony Lister Hair Koh Make-up Kristyan Low

PHOTOGRAPHY AMANDA DE SIMONE STYLING MELANIE KNIGHT LOCATION SYDNEY, AUSTRALIA MANUFACTURER DEUS BIKE BOBBERSAKE V1 RIDER SPENCER AT PRICILLAS

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Jacket Rag and Bone Jeans Deth Killers of Bushwick Boots Stock NYC

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PHOTOGRAPHY CLARKE TOLTON STYLING KATHARINE ERWIN LOCATION PENNSYLVANIA, USA MANUFACTURER ERIK BUELL RACING BIKE 1190 RS RIDER ALI LAGARDE AT IMG 98

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Opposite (top): Leathers Alpine Stars Bike MV Agusta F4 RR Opposite (bottom): Mark made by MV Agusta F4 RR Here: Coat Versace Make-up Ali Coloriti

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PHOTOGRAPHY EMANUELE FONTANESI STYLING FEDERICA PERBONI LOCATION VARESE, ITALY MANUFACTURER MV AGUSTA BIKE F4 RR RIDER JO AT BRAVE MODELS MILAN

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PHOTOGRAPHY NEIL STEWART STYLING KATHARINE ERWIN LOCATION WEST SUSSEX, ENGLAND MANUFACTURER TRIUMPH BIKE SCRAMBLER RIDER HOLLY AT STORM MODELS AND SARA LEROY

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Red helmet Vintage TK Leather jumper Lewis Leathers Green helmet TK Black jumper and vest McQ by McQueen Gloves TK Face mask TTT Motorcycles Ltd, London

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Jacket and vest Lewis Leathers Pants Alpine Stars Hair and make-up Charlotte Cave for Charlotte Cave Salon using Bumble and Bumble and Sisley Hair assistant Sven Bayerbach Special thanks to Andrea Friggi Tony Woodall Monsieur Eric the 4th

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WATER WORLD PHOTOGRAPHY EWEN SPENCER STYLING SHUN LOUIS BELLIENI 110

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All clothing Rochas Socks Falke

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Here: All clothing Hermès Opposite: Suit and shirt Issey Miyake Shoes Bally Socks New & Lingwood Pocket square Stylist’s own

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Here: All clothing McQ by Alexander McQueen Opposite: Shirt Lanvin

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Opposite: Bomber and shirt Lanvin Jeans Leviâ&#x20AC;&#x2122;s Here: All clothes Alexander McQueen

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Hair and make-up Madge Foster using L’Oreal Photography assistant Elliot Kennedy Styling assistant Francesca Fasan Models Jerome Ribeiro at Models 1 Kirsten Varley at Select Ed Hubert

Film scanning and printing Cosimo D’Aprano at Labrynth Photographic Special thanks to Nicholas Lacey at Downing Road Moorings and Floating Gardens

Friends who come to visit the moorings invariably sport rose- tinted spectacles when they climb aboard, astonished by the magnificent views of Tower Bridge and Canary Wharf and beguiled by what appears to be an idyllic existence – the village-like atmosphere of forty barges rafted together right in the middle of one of the world’s great cities. But appearances can be deceptive, and as winter circles the boat dwellers’ skin tightens. The next few months are when bargees earn their stripes; living on a boat during the north European winter is bracing. They say there’s no such thing as bad weather, only inappropriate clothes. By mid-November woolly hats are permanently worn, so that the moorings look like a tribe of walking tea cosies. Four months of spending every Sunday morning sawing up old wood follow – days of hard labor the net result of which is a pile of ash. We get no sympathy of course. The local harbor authority wants to close the moorings altogether; while having just won planning permission to build a new access bridge to the moorings from the land, local residents have launched a judicial review. Sometimes you wonder if they are jealous… if only they knew. But we do also know what they are missing out on: the incredible camaraderie that has developed between the 100-or-so residents faced with the invective of wider society and brutal weather. It may be difficult getting warmth from our puny heating systems, but we get plenty from each other.

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PHOTOGRAPHY STEFANI PAPPAS STYLING KATHARINE ERWIN runway

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Left: Sweater, pants and shoes Y-3 Right: Pants Hermès Coat Comme des Garçons Boots Y-3

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Dress and glasses Karen Walker Shoes Manolo Blahnik

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Blouse Risto Trousers Ralph Lauren Cuff Andra Neen

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MORGAN 3-WHEELER

THREE WHEELS ARE BETTER THAN TWO

Text MAI IKUZAWA Photography NICK CLEMENTS Retouching ZOLTAN FEDOR

The Morgan 3-Wheeler is British eccentricity at its best. The Germans would never conceive such a silly idea (although they did dabble with the Volkswagen GX3 concept in 2006 and BWM Simple in 2009).The Japanese would never get it approved because of some corporate protocol and honor. Why would you want to drive a car with a wheel missing? Haven’t you ever seen a 3 legged dog? There’s no roof, no heating, heavy brakes with no ABS, and with a front-mounted 115bhp engine powering a single rear wheel it feels like driving a bull in heat. Or the rain. When it tends to spin uncontrollably. But apparently, the best structures in the world are made in a triangular or geodesic formation so the Morgan 3-Wheeler should have stability and therefore agility. And it does - fitting two wheels at the front makes it remarkably stable. Robin reliant did it totally wrong! Technically, it’s not a car, so maybe you’ll be able to squeeze it into a bike park? And as it only uses 3 wheels it’s economical if you love doing burn-outs as much as I do. Of course it’s a head turner even if you’re not trying to translate your drifting skills from four wheels over to three. Hint: make the most of the thrust of the centrifugal force and keep it on the road with the traction of the driving wheel. Charles Morgan is possibly the only real car enthusiast left in the auto-industry that produces cars purely on the basis of having a jolly good time. And whenever I see a three legged dog, I want to adopt it.

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Left and above: Achim, his father and the 1973 Porsche 911 F

Text HENDRIK LAKEBERG Photography MIRJAM WÄHLEN

ACHIM ANSCHEIDT

“I BELIEVE IN THE CONCEPT OF CAR LOFTS. YOU’RE ALWAYS DRY WHEN YOU’RE AT HOME” 146

Bugatti’s design director lives next door to his father – a former motorbike world champion – in a loft in Kreuzberg, Berlin. His other neighbor is his car, which resides on the balcony. The 1973 Porsche 911 F has been relocated, and subtly altered. Amid a few plain buttons on the dash for the heating and headlights, the gear-box has pride of place inside the very bare, but not uninviting vehicle. A closer glance reveals a less industrial aesthetic at play. “The seatbelts are improvised, made out of a rope usually used for parcels, and the door handle comes from a Persil detergent packet, bound in leather.” The designer worked on his Porsche for two years. Aside from its a 3.2 liter 300 hp engine, it’s made of the minimum amount of pieces possible, in order to keep the weight down to 800 kg, practically half the weight of the current 911. “It was a challenge to work on this Porsche in a way that is entirely different from what I do at Bugatti,” Anscheidt says as he stands on the balcony next to the car. “It’s quite representative of the culture of design in Berlin, which is not about buying ready-made or expensive pieces, but about working with what one has in quite a simple and pure manner.” That said, he lives in a very controversial building, the first ‘Carloft’ in Berlin. And naturally, even in the artistically-inclined, traditionally Turkish neighbourhood of Kreuzberg, it has not been well received by everyone. But he argues it’s not (just) about automobile fetishism as the skeptics have proclaimed, it’s also a practical solution to the problem of parking in city centers, where parking spots are hard to find, and building underground garages is tricky. “I believe in this concept,” says Anscheidt, “because it’s practical. You can load and unload the car without getting

wet and you have the impression that you live in a house instead of an apartment.” Anscheidt’s loft is very spacious, its giant rooms separated only by a few monolithic walls. You can see the balcony and the 911 from the kitchen. On the side of another window you can see his dad’s motorcycle, displayed like a work of art in a museum. Hans Georg Anscheidt was a professional rider who raced in the early 60s for Kreidler and then for Suzuki. He was world champion three times, European champion once and took the German title nine times. Achim grew up on the Grand Prix circuit and remembers the smell of gasoline and the infernal sound of the small Suzuki. “It was crazy how loud the engine was as it climbed up to 18,000 revs.” At first, Achim took a similar path, racing in pro bike trials. “That’s not about speed but about acrobatics. You need to master an unknown terrain without putting a foot on the ground,” he explains. Around the same time Anscheidt started studying car design, first in Pforzheim and then with the help of Porsche head designer Harm Lagaay, he moved to Pasadena to hone his studies. His career started at Porsche and then continued at Volkswagen in Spain and then finally back in Germany at Potsdam, arriving finally as design director at Bugatti. “I couldn’t wish any better for him,” says his father with pride as he leans against his old 18-hp, 14-speed Suzuki, a bike made only for professionals. Outside it’s pelting down with rain, but Anscheidt’s elegant silver-colored sliver is dry on the balcony. Beyond the door the eye wanders to posters announcing upcoming anti-carloft demonstrations. But people are heading to work with take-out coffee in their hands, not placards. The demonstrations haven’t yet materialized. “The city is changing as we speak,” says Anscheidt.

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Text RFL VAN WIJK Photography NicHOLAS LAWN

KUNSTRAD ARTISTIC CYCLING

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“Our latest trick is a ‘handlebar handstand headstand’”, one of the girls explains. “Katrin does a headstand on the seat while I am on the handlebars doing a handstand,” Sandra says. “But there are still a few tricks that we cannot do.” Such as? “Like jumping from the saddle onto the handlebars whilst cycling.” Yes, that must be hard. This sport is called ‘Kunstrad’, its literal translation being ‘artistic cycling.’ The cult 80s movie ‘Quicksilver’ helped launch the movement, portraying New York bike messengers pulling off tricks and stunts. Germany took this unlikely pastime seriously, and gave it a name. The typical Kunstrad bike looks like a Keirin track frame but has 650c wheels and one to one gear ratio. They are ridden with shallow drop handlebars mounted upside down, 80s style,

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and an über short wheel base. The forks have zero rake, virtually upright to allow for easy bar spins. They do not seem far off from the no-brakes, bar spinning fixies you find hipsters showing off on from Hackney to Bushwick. But over here, they’re the foundation of a serious sport. Katrin Schultheis and Sandra Sprinkmeier, triple Kunstrad World Champions and quadruple Vice-World Champions, have led the UCI world rankings for years and are currently indoor world record holders. We first caught a glimpse of this Kunstrad duo on YouTube. Two girls, one bike, and a series of impossible pirouettes. Two months later, we arrive at a local high school in a sleepy town in the Bible belt of Germany. We are in one of those gymnasiums that looks just like any other. The smell, the wooden climbing wall and

the PVC flooring with peeling markings. When we enter, Katrin and Sandra stand meticulously in their indoor-only slicks, and begin to ride. In perfect unison, the girls maneuver into a graceful stance up on their handlebars. After a succession of synchronized routines, a wheelied-trackstand is effortlessly held before Sandra jettisons her bike to one side and with the greatest finesse joins Katrin on her bike. Within seconds, one is standing on the saddle, the other on her shoulders. They continue with a no handed wheelie, still going round in endless circles, one pedaling, the other on the handlebars doing 360s like a bike-bionic ballerina. This repertoire seemed impressive enough on a blurry YouTube clip, but in real life, these daring feats are considerably more striking. The photographer is snapping away, impressed

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and excited, when suddenly the girls come to a halt, apologetically shaking their heads. “It is very tiring! We can only do it for a few minutes at a time.” Another thing that startles the observer, is how shockingly high up in the air they are. I can’t help but morbidly wonder what common Kunstrad injuries entail. “We’d have to disappoint you. Our falls are mostly bloodless,” the girls laugh. Then qualify their answer. “I broke my hand quite badly when I was doing a shoulder stand,” Sandra says. “Sometimes your hand gets in the wheel, but mostly we get

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away with just a few bruises.” It is not only Germany that counts Kunstrad as a commonplace pursuit. It is surprisingly popular in Austria, Switzerland, France, the Czech Republic, Japan and Hong Kong. Sandra started artistic cycling at five. When she was ten, she became best friends with Katrin, and after a quick introduction to the sport, Katrin joined the club and the girls have been a duo ever since, disciplined by their coach Marcus Klein. “He is not just our trainer. He has all the technical knowledge, but at the same time he is our manager, repairman, chauffeur and

psychologist… If you do a sport like Kunstrad, that doesn’t earn you any money, it is really important to have someone like that.” Aside from the vigorous routine and training sessions to prepare for competitions, I wonder if the more casual variant of Kunstrad, ‘street’ trick biking could ever reach a Kunstrad caliber. Will our metropolitan fixie riders continue to pull off a no handed track-stand at the stoplights with pride, knowing that there are a couple of leotard clad girls able to do the same, whilst wheelying, with the bike upside down, and a friend on their shoulders?

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“THE ENGINE WILL NOT EXPLODE” DON’T POINT THAT THING AT ME Text TIM RITTMANN Photography PETER BOHLER

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Opposite: Budding tank drivers navigate across the Schönefeld mud Above (clockwise): Tank-trodden cars, Jörg Heyse’s panzer paraphernalia, an aspiring panzer pilot, panzer seat Left: Jörg Heyse with one of his tanks

Schönfelde, Brandenburg, lies half way between Poland and Berlin. A dozen houses make the village. Where the country road turns right, a sign points the way through a barley field: ‘Panzer-FunFahrschule’. A ‘fun’ driving school for tanks. Jörg Heyse is a 46 year old ex-officer from the Nationale Volksarmee of East Germany. He looks sceptical of his guest. Journalists tend to ask questions about the shirts he sells, labeled with slogans like ‘Proud to be an East-German’. But I don’t ask about his shirt, I just want to learn how to drive a tank. Heyse owns 13. Scraped together from junk yards in Poland and the Czech Republic, they have to be

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demilitarised before being permitted to leave one country and enter another. Canons are obvious overkill for civilian vehicles, but their hard bodies apparently pose a threat too. “Heavy armor is considered a weapon”, Heyse explains wearily, so the plating had to be removed. Stationed in his wooden control cottage, the panzer chief surveys eight acers of battle reenactment on several monitors, in between trips to the field. Drivers needn’t be concerned they’re being denied the authentic experience; the post-service tank still weighs tons, crackling and rattling as it lumbers to life. “A new tank is like playing a Playstation game that sucks”, says Daniel, my driving teacher. “You sit comfortably, use a

joystick, everything is all too easy.” To stick with his analogy: driving a M55 tank - a Frankenstein machine made of Russian, Czech and German parts - is like playing a buggy game on an old Commodore 64, while somebody bangs a tin can with a stick next to your ear, and throws mud in your face. The M55 I’m issued is a rescue panzer. As a military noob who glazes over when it comes to talk about operating distance and penetrating power, I don’t know that this is the rolling equivalent of the short straw, a girl’s tank. Instead I’m transported the moment I make my way through a hatch into the belly of the beast, as my sensory perception goes close to zero. My

view is reduced to two narrow sights. I can smell exhaust and grease. And the only thing audible above the engine noise is Daniel’s voice cracking in my ear.. “Five gears, two steering levers, we use the rev counter for a speedo”, he’s saying, via a microphone system older than my father. “Select first gear, and don’t be afraid of the noise in your back. The engine will not explode. It’s supposed to be like that.”

and deaf, but Daniel is giving the commands. We’re like a Rally team. When Daniel says “LEFT”, I pull back the lever on my left side to block the left track. When he says “SECOND GEAR”, I first pull back both levers, than push them forward again, without understanding what I’m doing. The maneuver makes no sense, I complain. I don’t have to use both levers for the other gears. “Russian technology”, the voice in my head laughs.

This is my mantra. Shifting is supposed to be like pushing and pulling weights. The noise is supposed to be like this. Like something big is going to break soon. “You see, you’re doing fine.”

I feel the adrenaline course through my veins, leaving tracks over my stomach as I approach a muddy ramp. We go up and down. The tank wades through the brownish water of a dozen pits. Nothing can happen to you. This is a tank. It will go any direction, over or through anything.

And I am. Driving this tank is easy. I am blind

I jam my finger while I try to lift my driver’s seat. It goes blue immediately. But I don’t feel any pain. I’m numbed inside a giant metal box, my new exoskeleton. After half an hour I’m ordered to park and pay. I hand over some notes, and one more for luck buys me a DVD and a certificate. Back outside the tank I wash the dirt off of my face, and adjust again to peripheral vision, daylight, air. The absence of plaintive industrial noises, vibrations and smells. There’s no-one giving me orders. I’m still. My finger starts to ache.

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WILD FLOWERS A-TRACS IN SWEDEN

Text MARGITA INGWALL Photography MIKAEL GREGORSKY

Deep in the woods of Sweden, a vehicle that looks too small to be real glides at human pace down the street, driven by the youngest person you have ever seen behind a steering wheel. It’s an A-tractor, a custom built vehicle that due to an old Swedish loophole is legally allowed to be driven at up to 18 miles per hour by teenagers who wouldn’t get behind the wheel of a car otherwise til they’re 18. Registered as an agricultural machine, you can get a driving permit three years before an ordinary driving license. In Sweden that means that a day after you say goodbye to 14, you can have your own space, that you’re able to custom build and then go wherever you want in. Just. Very. Slowly. “It is my home,” says Fredrik, proudly showing off his A-trac creation, which was inspired by 50’s Americana. He and his father put in a lot of hours in the garage to make this vehicle a reality, and keep it within the boundaries of what’s allowed. For example, an extra

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Left: Emelie, Oscar and Fredrik with Emelie’s truck. Above (clockwise): A Volvo ‘Duett’ - a future custom project in Fredrik’s backyard. Back of Oscar’s custom built Volvo model 470. Fredrik allowing a car to pass by whilst parked in his custom model based on a ‘Duett’.

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gearbox has been added to handle the overdose of power, to avoid breaking a limit on the maximum percentage of the engine’s capacity that’s supposed to be used for speed as opposed to, say, plowing. There are advantages: a full scale tractor has to be checked over every year to reregister, but not the A-trac. And there are drawbacks: once the vehicle is logged as an A-tractor there is no way back. It will never grow up to become a car. “This whole phenomena started in the 40’s during wartime, to get vehicles out in the fields. Young people liked the fact that they could use, and often even build them. Interest since then has risen and fallen. Right now there is a peak of interest again and it would be politically impossible to forbid them, even though they often are not especially safe, particularly when the drivers remove the lock, and drive at much higher speeds than allowed,” says Mats Hjälm, from the Transportstyrelsen, Sweden’s transport agency. In Lidköping, one of them got caught this summer driving at

over 100 mph. “We put the most valuable thing we have, our children, in those vehicles that might look great, but sometimes are in a bad condition safety wise.” “They don’t want us on the streets,” Fredrik confirms. “So to drive them is quite a rebellious thing to do,” he says proudly. “He’s got a lot of projects going on,” Fredrik’s friend Oscar adds with a smirk. Oscar is the “master of meck” - he studies mechanics at school, and back in his garage everything is in aspirant-professional order. A tool set hangs neatly on the wall. A battery is being charged while an old Volvo engine sits on the floor, ready to be operated on. Outside hens walk around the family’s farm. Oscar’s Volvo 740 is screaming orange, its nickname “Ralle” printed on the window. In the subdued landscape it glows. “During the winters it gets very cold, but I am so motivated that I come here and work anyway.” He pauses, then asserts: “Later on in life I’ll have a

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Opposite (top): Oscar standing in his garage. Opposite (bottom row) and here: Early morning hours after a car meet in the town of Torsby.

warm garage, and I’ll work with big truck engines.” A-tracs typically have interiors padded with textiles like hairy teddy and leopard print, giving a feel somewhere between a club and a womb. Themes vary with the tastes and talents of the owners, but it’s not a boys-only club. Horse-loving Emelie is studying to be a part time firefighter. Her A-tractor is more of a smart way of getting from A to B: “It actually belongs to my uncle and when I am done with it he will have it back. I think he has hopes that his little son will want it. I really prefer this vehicle compared to my friends’ mopeds, you can imagine the difference when it rains…” Fredrik, Oscar and Emelie live in a hamlet called Östra Fågelvik, close by the small village of Väse, which in turn is near to the town of Karlstad. Karlstad is known for being home to countless

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racing and rally stars, such as Tina Thörner, Janne ‘Flash’ Nilsson and Kenny Bräck. A-tractors look like they’d make perfect starter kit racers, and it’s no doubt tempting for their owners to make what they refer to as «little adjustments». But these guys don’t seem to be interested in speed. It’s enough to just have a way of getting around, a hobby to work on through the long dark winter, and a toy to hang out in during the northern European summer, where the days reach into each other. Fredrick’s A-trac sits underneath a giant sky that for a while is the exact same shade of blue, as if the two come from the same natural pallet. Inside Emelie’s ride the smell is more pine and exotic flowers than oil and rubber: “There is a competition,” she smiles, “about who’s got the most Wunderbaums hanging in the window”.

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GARAGE INTERVIEW

INTERVIEW GARAGE

Text TOM HALL Photography ALEX DE MORA

DOOM BUGGIES OUR GUEST TEST DRIVER: DOOM 164

Being a legendary rapper can only get you so far. DOOM, the masked, New York-raised MC and producer also known as Daniel Dumile may be revered as one of the scene’s most inventive and aloof talents dating back over the past two decades. But that’s only the rap game. Give him a bunch of radio-controlled cars to test in an East London BMX park and it’s a different story. Here you’ve got to prove yourself just like every other seven-year-old. “Hurry up! Who’s driving that one?” whines a precocious juvenile biker frustrated to be pulling on the brakes again. “Who do you think it is? You know who’s driving that one kid!” comes the mock-disbelieving reply in a thick New York accent. But being a parent himself, you can tell this isn’t the first time DOOM, a creative force known for uncompromisingly hardcore music, has had to explain why he goes to work in a fancydress iron mask. Or why he has a penchant for toy cars (DOOM turns up today with his own customized miniature Porsche 4WD). There’s a sense of humour buried under old metal face’s harsh exterior. “The mask is there just to prove a point, like yo, it don’t matter what you look like to do music,” he says, “you ain’t gotta worry what my face looks like. I’m just here to put on a good show.” And the mask actually comes off a few times today between photos. DOOM is human. He can look you seriously in the eye when explaining why a Tamiya Midnight Pumpkin radio control car might be cooler than a model called Vanessa’s Lunchbox and mean it. Before his triumphant return from a period in the musical wilderness during the mid-1990s after the death of his brother and bandmate Subroc of Long Beach, New York rap crew KMD, Dumile used to do this without the face gear. Could he ever abandon it again now? Interestingly, it’s a question which sees the iron defence mechanism slip straight back into place. “Nah, villains stay with the mask on. That’s like taking it off in the middle of a bank robbery. Who would do that?” He’s got a point. As a solo artist and collaborator, brand DOOM is instantly recognizable, and inspires new incarnations depending on which branch of rap’s family tree he’s currently hanging from. We’ve had MF Doom, DOOM, DangerDoom, Madvillain, DoomStarks, Viktor Vaughn, Geedorah… the list goes on. This autumn will see him release new music with Brooklyn MC and producer Jneiro Jarel under the JJ DOOM moniker. His work rate is relentless, seemingly intent on shaking off hip-hop’s stereotypically luxurious trappings. Does DOOM drive a Porsche in real life? “I got my wife a family car. I don’t got no car myself. I don’t drive.”

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THE MF VERDICT

Model: DOOM Steve Jobs Porsche Cayenne memorial truck Power: 4WD 10T Brushless electric Scale: 1:10 Length: 420mm Seats: 5 The MF verdict: “Number one I’d have to say is the DOOM Steve Jobs Porsche memorial truck. I’m a little biased. But hey, the brushless motor gives it great performance that sucker caught a lot of great airs! All were great vehicles though.” Mask rating (out of 5):

3 Really? “Nah I ain’t got no licence,” he laughs, “I sneak and drive sometimes. But I ain’t supposed to!” Ever got caught? “Never got caught kid! I’m a family man. We got a 2005 Lincoln Navigator. Standard. Nothing fancy. Does the job. But I got like 13 of these suckers at home,” he says while pointing at the radio control cars down in the dirt. “I’ll easily spend like two thousand dollars on one of those. Every kid wants to have a remote control car. But back when I was a kid we couldn’t really afford it. So now I’m living the dream. Reliving that part of my childhood that I didn’t get a chance to do back then. One day I said ok I’m gonna treat myself and threw down 500 dollars for one of these. It was a T-Maxx from the Traxxas company. And I’ve always been into electronics and mechanics and shit like that. Modifying things. Changing parts up all the time. It’s a hobby. Keeps me out of trouble.” Interestingly, the day we meet is the same day the world lost another great electronic innovator in Steve Jobs. DOOM’s none-more-

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black Porsche Cayenne is fittingly stickered up in iconic Apple logos. Is it some kind of tribute? “God bless Stevie, but no man, I’ve just always been a fan of his stuff. I use Macs for all my Pro

“VILLAINS STAY WITH THE MASK ON. THAT’S LIKE TAKING IT OFF IN THE MIDDLE OF A BANK ROBBERY. WHO WOULD DO THAT?” Tools recording. So when I paint these joints, Apple is just a good sticker to throw on there. I don’t see it on a lot of cars either. Maybe I’ll get a free fucking iMac or something out the deal?” He’s suddenly interrupted by a long-haired teenage BMXer who spectacularly crashes out in a cloud of gravel nearby. DOOM seems to pick

up on the irony that while hanging out with toy cars and getting covered in dust isn’t the height of badass rap behaviour, it’s not quite keeping out of trouble either. “I’m gonna go home and my wife is gonna be like what the fuck happened to you? An Interview? For real?” And right now home isn’t too far for DOOM. Despite having lived stateside for most of his life, he was actually born in the UK. Some passport issues have been worked out recently and he seems intent on making up for lost time. “I just moved out here maybe last year. I got a lot of shows to do out here and a lot of other business and shit. I love it. Good place. Good peoples.” He’s interrupted again by the same long-haired BMXer who crashed earlier. The kids want their track back. They’re making it clear in no uncertain terms and a seemingly Dutch accent. “Hey guys. Seriously guys. We have been cool yes?” It’s time to move things on. The mask goes back in the bag. DOOM pleasantly says some goodbyes. You sense it never really slipped.

Model: Tamiya Holiday Buggy Power: 2WD Electric type 380 Scale: 1:10 Length: 390mm Seats: 2 The MF verdict: “Number two is close. I would say it’s a tie for number two between the Holiday buggy and the Hi-Lux. Both equally as fun. The Holiday Buggy is a good fun joint. The steering is exceptionally good on it too. You could put a bigger motor in but it handles the gravel fine as it is.”

Model: Tamiya Toyota Hi-Lux Power: 4WD Electric type 540 Scale: 1:10 Length: 433mm Seats: 5 The MF verdict: “The Hi-Lux has incredible torque which is good for overall handling. If you got speed without torque, you won’t be able to stop on a dime and the three-speed gear box is hot! That sucker has good pick up too.”

Model: Tamiya Wild Willy 2 Power: 2WD Electric type 540 Scale: 1:10 Length: 325mm Seats: 1 The MF verdict: “This is a whole lotta fun for jumping things, wheelies, bags of character. A backyard joint for the kids. But it’s got a good look to it too. Almost a cartoon element to it. Wild Willy’s on the track tearing it up again. We can’t stop him! Reminds me of Wacky Races or some shit.”

Mask rating (out of 5):

OTHER HONORABLE MENTIONS

Tamiya Ford Bronco 1973 CC-01

Tamiya Midnight Pumpkin Metal

Tamiya Lunch Box 2005

Tamiya Dual Hunter-Twin Motor 4x4

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GARAGE REVERSE

REVERSE GARAGE

LE CORBUSIER

Here: Sketch of Voiture Minimum, showing seat foliding into camper bed

FORGOTTEN CLASSIC: THE VOITURE MINIMUM Text FARAH ALKAHALISI

Above (clockwise): The Le Corbusier´s Voisin C7- 10 HP about 1928 in fornt of Ville Stein. Detail of wooden model. Rendering of the Voiture Minimum. Sketch showing interior and exterior.

The visionary architect Le Corbusier was a car enthusiast, often posing his own Voisin in photographs and plans of his buildings as a symbol of modernity. In 1935, France’s Société des Ingénieurs de l’Automobile (SIA) announced a competition calling for proposals for a small, practical and economical car to cost up to 8,000 francs only; Le Corbusier and his cousin/ business partner Pierre Jeanneret answered the challenge, and in 1936 submitted drawings for the vehicle they called Voiture Minimum.

been hailed as a fascinating forgotten people’s car, a key influence on the Volkswagen Beetle, Citroen 2CV and suchlike; Giugiaro described it as “full of inventive touches”, and “among the most advanced proposals.” The SIA’s brief was indeed similar to that given by Adolf Hitler to Ferdinand Porsche, resulting in the Beetle, and Le Corbusier, prone to self-mythologising, often insinuated that Citroen (amongst others) had copied his curved-backed concept, which he claimed he had first designed in 1928.

Though largely dismissed at the time as an architect’s dabbling, Voiture Minimum has since

At 3.75m long, Voiture Minimum was relatively wide - 1.8m, allowing for three-abreast front

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seating. Its Beetle-style rear-mounted engine enabled a short nose, with room over for a fourth rear seat, two spare tyres, a luggage compartment and the chance to fold the seats into a camp-bed. Headlights and bumpers were flush with the body, and it had a clever sliding roof panel; it showcased new thinking in packaging as well as utilitarian, aerodynamic design. Yet Voiture Minimum did not progress beyond drawings, despite Le Corbusier’s best efforts to interest car-makers in its manufacture. Fiat’s Giovanni Agnelli rebuffed him by referring

to the Dante Giacosa-designed Topolino (launched in France as the Simca Cinq, 1936); Hans Ledwinka had already created small, aerodynamic rear-engined cars for Tatra and Zbrojovka; and it did not meet the SIA’s criteria, either. So why was Voiture Minimum so cursorily dismissed? It was too undeveloped – and too late, by the time of the SIA’s judging, argues architect/academic Antonio Amado, author of a new book on Le Corbusier and car design. “In 1936, Voiture Minimum offered nothing new, compared to cars already being manufactured”, he says.

Amado’s painstaking detective work in Le Corbusier’s archives has yielded no evidence to suggest that Voiture Minimum dates from 1928 as claimed, nor that it pre-dates the Beetle or 2CV. He explains “a lot of people quoted other people who quoted Le Corbusier when he said that he had designed his prototype in 1928. It is possible that he drew some ambiguous sketches at that time, but I am sure that the Voiture Minimum – as sent to the SIA – was really developed in 1936.” Voiture Minimum is not without merit, however, if viewed in the overall context of Le Corbusier’s

work. “Considering the automobile as a part of living in cities was totally revolutionary at the time”, says Amado. “Other urbanists didn’t take into account the use of cars when designing their towns.” Voiture Minimum was an ideal car for Le Corbusier’s urban utopias of the future – and its aspirations are echoed in many a minimalist city car today.

*Voiture Minimum: Le Corbusier and the Automobile, by Antonio Amado, is published by MIT Press (£36.95).

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GARAGE REVERSE

REVERSE GARAGE

DAF 55 SILURO FORGOTTEN CLASSIC: THE ORIGINAL TORPEDO-SHAPED SPORTS CAR

The brief given to Italian Giovanni Michelotti, creator of the iconic BMW 2002 and numerous models for Triumph, was simply to provide a

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A graphic designer, video director, and hip hop producer (among other things), Arthur King is also an avid collector of car logo stickers. The logos pictured here belong to limited edition cars produced in the 80s in France. The limited editions and their distinctive logos have long since been discontinued, but the stickers bear garish witness to the graphic trends of the time.

ARTHUR KING’S LOGO STICKERS

Text HENDRIK LAKEBERG Photography TOM SÄLZLE

Few now remember the Dutch truck DAF brand as a manufacturer of cars. And fewer still know its 1968 DAF 55 Siluro as the progenitor of the iconic ‘wedge’ shape - very low at the front, rising towards the rear - which came to define the look of sports cars for the decades to follow. But years before Bertone showed the Lancia Stratos Zero, or Lamborghini unveiled the Countach, the Siluro Italian for torpedo - tore up the curved rulebook and introduced an entirely new language for expressing speed.

STUCK ON THE 80S

Text RYAN LATREN Photography ARTHUR KING

showcase for the brand’s image. Based on the modest mechanics of the small family 55 model, his design introduced an elongated, drooping hood that resembles the nose of an anteater, and a radically angular profile. The car never entered production, and a few years later the division itself was sold and shuttered. The engine may to be to blame - it produced just over 50 hp. Unwanted by others, it was nonetheless prized by its distinguished designer, who kept it until his death. For years the Siluro languished in the garden of Michelotti’s son, until it was given to the DAF museum by a collector, restored, and took its bow on the classic car circuit.

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GARAGE EVENT

SUBS INDEX

HOLLYWOOD STARES Lexus invited Intersection and British artist/ musician Trevor Jackson to stage a performance of his latest autocentric installation in Los Angeles to mark the launch of their CT 200h hybrid on Earth Day. The event was held at the Roosevelt Hotel, stopping traffic and shuttering streetlamps on Hollywood Boulevard whilst a

pair of cars glowed and growled in unfolding syncopated unison. The audience included a host of TV crews, a smattering of local artists and musicians, and the assorted characters who make every Friday night on Hollywood a dress rehearsal for Halloween. Our favorite moment was when a lady wearing a flashing pink tiara

Text DAN ROSS Film SINISHA NISEVIC

stopped dumbfounded and stared into the misted interior of a car as it began throbbing at the same frequency of light, as if wondering did I do that? See the film by Sinisha Nisevic at www.intersectionmagazine.com

SUBSCRIBE NOW WWW.INTERSECTIONMAGAZINE.COM

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GARAGE STUNT

DON’T TRY THIS AT HOME

The stunts performed on this page are executed by highlypaid, well-trained professionals, following strict security guidelines, for no good reason other than to show off. Don’t copy them, or send us shots of your own attemps, we prefer to think we’re the only ones who do this kind of thing.

soap box hurdle training 1. Design a soap box car with

3. Turn around and see a Louis

Philippe Starck, display it on the cover of your magazine (Intersection issue 32)

Vuitton soap box car, different yet similar in some ways.

2. Get invited by Louis Vuitton in their advanced design studio one year later, discover a mood board on the wall composed with images of said cover and soap box.

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6. Roll, jump, shoot, brake. 7.

Once you understand how well this thing handles, try not to get tempted to go down some proper hills at full speed.

5. Convince the models to risk their

Keep your eyes peeled for next issue, where we’ll feature the full fashion shoot...

Mention that it would somehow make sense to be the first ones to shoot it.

lives and future contracts.

Camera/writer Torga Loupach Driver Lesley Masson at IMG Stuntman Jeremy Dufour at New Madison Soap Box car Louis Vuitton All clothes Louis Vuitton More at: intersectionmagazine.com