Human Centric 2E Car is a transformative project that challenge the actual laws of aesthetics

  Nov 05, 2023

Human Centric 2E Car is the designer's attempt to create a transformative car or vehicle—one that would resonate not merely due to its aesthetics but, more importantly, for the profound message it would convey. These words granted the opportunity to undertake the development of a Bachelor's Thesis under the guidance of Chris Bangle and his team at CBA.

Assigned with the formidable task of "redesigning design," the focus extended beyond a mere visual appeal to encompass a greater purpose for humanity. The prevailing era, marked by machine-made perfection in furniture, products, and architecture, has increasingly marginalised human involvement in the face of advancing technology. This realisation spurred the birth of 2E-Second Existence, a groundbreaking proposal to revolutionise design and manufacturing processes. Departing from linear thinking, the concept encourages designers to employ tools like A.I., envisioning products not for a singular use but with components adaptable to a second existence.

The Process

  • Human Disassembly: Engaging humans in disassembling 2E products to prepare components for subsequent phases.
  • A.I. Scan: Utilising artificial intelligence to scan and determine how 2E components can be reassembled to create a new product for a second existence.
  • 3D Printed Generative Frame: Crafting a 3D printed generative frame that integrates the scanned components into a coherent structure.

The crux of 2E lies in bringing people back into the design loop. Chris Bangle and the CBA team provided the foundational elements for a manufacturing process prioritising minimal human intervention.

The Design Process:

To achieve a genuinely innovative and unpredictable vehicle, the designer adopted an unconventional approach. Departing from traditional methods, a three-step design process emerged, inspired by Cubism, Adhocism, and Constructivism.

  • Fragmentize and Destructurize: Drawing inspiration from Cubism, the designer created a "cubist base" by crafting cubist paintings, providing a unique perspective for the vehicle's development.
  • Mash Up and Adding Different Contexts: Following Adhocism principles, the "Cubist Base" was transformed into the Second Existence Car, incorporating diverse materials and colours to create a spontaneous and dynamic design.
  • Symbiosis: Drawing from Constructivism, the final step involved synthesising art and science. The panels representing "art" were combined with a generative A.I.-crafted frame, achieving a harmonious blend of creativity and structural integrity.

The Outcome:

The result transcends the conventional concept of a car. Filled with uneven gaps and imperfections, it mirrors the expressive qualities found in the wrinkles of an ageing face. The unorthodox design process yielded a vehicle that defies contemporary aesthetic norms, embracing a philosophy of "more is more", starkly contrasting the prevalent minimalism and perfection worshipped in machine-centric production.

This project serves as a reminder that design must prioritise human relevance in a world increasingly dominated by machines. It challenges the existing aesthetic norms, urging a shift towards designs that celebrate humanity rather than conforming to the ideals of machined perfection.

About Designer

A 22-year-old individual named Pablo Saucedo Gancedo, hailing from Mexico City, has recently completed a Bachelor's Degree in Transportation Design at IAAD, Turin. Bursting with energy and a longstanding passion, they have consistently sought avenues to express this enthusiasm, whether through playing music, crafting projects, or, most recently, delving into transportation.

For this aspiring transportation designer, the profession serves as a heroic endeavour. Throughout their formative years, the realization dawned that vehicles hold the potential to convey more than mere physical transportation—they can carry powerful messages capable of impacting lives. Whether a message of happiness, nostalgia, or hope, the individual sees their role as a designer extending beyond functionality to meaningful communication.