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Concept Silent by Goran Ozbolt
Goran Ozbolt’s ‘Silent’ concept draws on the British ultra-luxury car maker’s shooting brake heritage and the cabin’s cocooning attributes.
Whilst the exterior is powerful and imposing, the interior cabin is silent at speed.
Drawing inspiration from the sculpture of a vase and beautifully simplistic Venesian boats, the exterior design plays on the Rolls-Royce stance and proportions, culminating in a volume that pushes the company’s form language into the future. It measures 5280mm long and 2900mm wide.
Whilst the concept has a similar face to current Rolls-Royce products, retaining the brand’s distinctive identity, the design also blends organic shapes into the surfacing and exploits the automaker’s signature two-tone paint graphics to encapsulate the heritage of the brand.
The flowing nature of the design is in keeping with characteristic volumes, whilst stronger guidelines, a lower front roofline and uninterrupted character lines lend a contemporary look to the aesthetic. The rear end treatment is a more feminine approach, contrasting the brutal front end, but there is a sense of timelessness to the design.
The vehicle is a smaller offering than the Phantom though still retains the same interior dimensions. Based around a yin/yang theme, the interior is more playful than usual, and its design is more rounded and less clean cut, using voluptuous panels and incorporating individual materials. The interior also feeds off the exterior of the car, giving the design a more contemporary feel that enables contact between passengers.
Rolls-Royce Monolith by Adam Seller
The Monolith is a new segment of vehicle that is more akin to a property than a car. Employing a deconstructivist design he calls “controlled chaos” to the aesthetic, Seller combined sheer surfaces and graphics to create a driverless vehicle that is the polar opposite of what is commonly associated as the archetypical Rolls-Royce – a vehicle with vast expanses of metal and a bit of glass.
Inspired by architecture, the vehicle’s asymmetric, anti-car aesthetic is unconventional. The photovoltaic square structure of the exterior reflects the environment around it while the occupants look out through a glazed viewing area.
As Rolls-Royce customers are also likely also own a yacht or a private jet as well as a Ghost or Phantom, the Monolith could well be the perfect vehicle to ferry a client’s wealthy friends to one of the social events they are hosting. But these wealthy clients may not want to draw unwanted attention in the process.
All of the projects created by the five students effectively evolve Rolls-Royce’s design attributes and propose vehicles that expand the reach of the ultra-luxury brand, allowing it to cater to the increasing demand of emerging markets as well as established markets. The concepts not only show the conceptual thinking instilled at the RCA’s renowned Vehicle Design program, but also how the younger generation of designers interpret the heritage and design characteristics of Rolls-Royce.
You know, RCA students really think differently- always interesting.
I desagree. The ship-looking RR may look original (and ugly) but that’s all. What about aerodynamics, passenger security, dynamics and so on?. Is there sthg better than an original design?. Yes, an original design that works. Thats the challenge.
True, true- but by interesting I meant out of the box designs which as you pointed out are not particularly feasible- sort of designs that gets your attention.
Another ‘interesting’ concept? …its just yet another cliched RCA ‘box’ – get over yourselves!