Nov 7, 2012

Posted by in Projects | 6 Comments

Xtreme KinematiX is proud to release it’s latest concept car, which was done in collaboration with Marin Myftiu. The X-KX was in the works for a few months during 2011, and we have released it now after preparing all the presentation material for it. You can also view this project on our Behance page!

The Xtreme Kinematix concept is a new generation electric roadster, aimed at pushing both performance and power efficiency to a new level. This concept tries to revive the glorious design lines of the brand, combining fresh solutions, a unique, new aerodynamics, tailored around the electrical elements of the power system as well as cutting-edge energy feedback.

Inspired by the e-type from 50 years ago.

One of the main challenges during the concept drafting was avoiding the heaviness associated withmany of today’s muscle cars. The first inspirations came from classic Jaguar models. Like with themodels of the golden era, we wanted to recreate a thin, elegant profile, but still showing off all theextra power and technological improvements. The solution was dividing the volume into two separateperceptive entities: one that “floated over” and transmitted the characteristic veil-like feeling, andanother, below this layer, that spoke of all the power and adrenaline this car was capable of, whichwas translated into ample front and rear openings at the sides. The morphology of the lower part wasthe most important and is obviously the most distinctive compared to current roadsters; the delicateequilibrium of the large curves of the air intakes had at the same time to transmit aggressiveness, butstill appearing light and ephemeral, giving the adequate perceptive lightness to the upper curves.

Another element added to the mix aside from the endless paths and delicate air movements was thefeline factor. The side view of the vehicle was a deliberate metaphor of the leaping predator, whilemany frontal elements, culminating with the headlights, were carefully shaped to induce a pleasantadrenaline discharge by resembling the angry expression of an attacking feline.

Brand Exploration

With its incomparable styling and elegant lines, the E-Type Jaguar is doubtlessly one of most attractivevehicles ever made. With a streamlined and elongated body, it’s widely considered as one of the mostbeautiful cars in the world, creating in the ‘60s and ‘70s, the distinctive jaguar roadster style. After successfully following with the XK8 until early ‘90s, however, car design in general struggled to keep this evolutionary path and current sports models, with thick lines are today widely considered bythe critics to have deviated from that glorious path that was first shown more than 50 years ago. This, is partly due to an intricate array of reasons, but in large part it’s also the very nature of thosestylish cars of the ‘70s; the minimalistic, flowing lines of the E-Type, are maybe the very perfection ofan automobile, almost entirely deprived of all the subtleties and excessive detail, they have very littleto be improved. Just like the sculptural representations of Konstantin Brancusi, the E-Type representssomehow the very essence of an automobile, with almost total smoothness, the perfect balance ofmuscle and elegance, all embodied in a dreamlike shell that seems to stay afloat, hovering on somedense, invisible fluid which also shaped it’s very being. Given the circumstances, is somehow a paradox to try to follow an evolutionary path that leads tosomething “better” than these masterpieces. However, a new, in depth study of some glorious Jaguarmodels, was in our view a chance to find that path again, looking for distinctive DNA traits of the modelthrough the years. And applying current styling trends and standards, especially in the view of newbody-forming techniques and new technologies, we started to envision the very inspirational successorof the E-Type and XK8 Jags, applying similar, stylish curves that run harmoniously from nose to tail, someof them uninterruptedly.




Studio Renders


Another characteristic feature of the Jaguar XKX are the totally disappearing side mirrors. At about 1cm thickness, the mirrors perfectly fit the shallow hatch made in the door piece when the car is stopped and they unfold again in working position when it’s turned on. This adds to both the aesthetics, and protects the side mirrors from any damages when parked.


Given a much smaller and cooler power plant than conventional, the aerodynamics was conceived in a new innovative way. The side deflector intakes of the front were made broader, so a much larger amount of air does not get stuck by the engine, instead, it flows behind the front wheels, getting out behind them and sliding along the doors and then taking another shortcut through the rear wheels and out from the big rear openings, greatly reducing the total flowing path and subsequently drag.

Regenrative Power

Almost 60% of the energy used by a typical car at highway speeds is spent to counter air friction. Obviously, that is A LOT of energy spent for a function that is indispensable, but not the primary (to push the vehicle forward). The body of the XKX is covered by a layer housing microscopic ripples of piezoelectric cells, which, stimulated by the pressure of the air flowing over them (the actual air friction experienced by the car) produce electricity that is fed back to the vehicle’s battery, increasing both efficiency and performance.


The Jaguar XKX

We were asked by Jaguar to change our original disclaimer to this: *Disclaimer: The concept vehicle designed by and Marin Myftiu was not undertake in connection with or is in any way authorized by Jaguar Cars Limited.
  1. David Smith says:

    Hussain and Marin,
    I think your on to something. The raw idea of the design is good it would be nice if you would reapproach this design with an understanding of both automotive surfacing and design. Automotive surfaces are straighter then you think they are in all views. All line work “breaks” or crests at the 12 o’clock position of the wheel opening in side and plan views. Your front and rear “graphics” should project on to the surface not contort your surface to match your graphics. Also scale your graphics to the size of the technology that supports them. The air openings and headlamp graphics are massive versus the OLED light engines and mechanical engines that support them. I would also simplify your line work so that it doesn’t conflict with other line work in other views. Design in general is a layered and organized art and science form. Details are subordinate to the primary line work. In the side view you’ve made the body/scoop detail and line work dominant to the side view fender line. I would take the time here to draw a good side view fender line (much like your Jag reference) and redraw your “scoop” detail to “support” that line not dominate it. Cars are a lot like drawing women. The Barbie doll looks good at 11 inches/275mm but then you enlarge her to full-size and she’s overly exaggerated and not balance like your Jag reference. A car that I think will help you is the 2010 concept by Renault called the DeZir. Although, it is very organic you will find the line work supportive of each other and organized. The shapes organic without being contorted. Your car design is promising however, with some attention to some basic design and execution principals you could have a really nice theme worthy of an automotive studio. I would also use Autodesk Alias DesignStudio or AutoStudio. It’s what we use in the auto industry and you should be able to get an evaluation copy from Autodesk. It builds in “nurbs” and has proper evaluation tools within the software. The engineering equivalent would be Catia V5 or NX from UG. Enjoy guys, thanks for the inspiration and good luck to you!

    • Hello David,
      We have to thank you in first place for all the time you spent to read and comment our work. It’s great to see that there are people ready to make some healthy critics.
      You’re absolutely right on those points, there are some aspects of the concept/modeling that got slightly out of control, and that I think mostly because we were trying too many changes in morphology, all at once. Some of them inevitably contrasted with each-other and in others we deliberately added some extra tension (like in the side lines) which later could have been softened.
      In one particular aspect, we experimented with slightly contorted lines to enhance their overall flow and avoid interruptions. We were also aware of your “barbie doll” effect, and just the fact that we tried some new proportions and relations is enough to create a feeling of rejection, just because they’re something new,.. All in all, there was so much to keep under control :D
      I like the DeZir so much, but (very personally), I think it’s too technological-looking, which is the problem with many cars today. It certainly has the systematic approach and soft, balanced lines you mention, but aiming all this too much, it lacks character and expressiveness; it’s too rational. To compensate for this, they have in some places mixed materials or patterns within the same geometry, like on the side (with that inox stripe), which always in my own view, is very bad for the aesthetics, creating some sort of rejection in the brain similar to writing “pink” in green. There is this balance of order and contortion/expressiveness, and it’s not easy to keep it.
      This was only a first experiment trying to touch and shake some elements of car design. We will probably work on similar projects on the future, always trying to push the conventionality of design.
      Thank you again for your valued critics and have a nice day!

  2. With all respect to your work – the whole concept is a little bit insensate and “lifeless”. It is simply implausible. The visualization is too plain: 2 Photoshop layers and the object completely falling out of the ambience. Finally, the studio scene is rather dark with only one light source.

    • We welcome all comments and i’m sorry that’s how you feel about the car.

      First off the car was completely designed by ourselves and not just rendered. As for the scene it has 4 light sources with a total of 7 lights, if your here just to make a comment for the sake of commenting it would be better to keep quiet if you don’t have the simplest idea of what you’re talking about.

      You seem a bit confused comparing automotive design with publicity graphics. Most of the design time on this project was spent figuring out geometry and solutions. If we wanted to stop at advertising graphics wed have probably done better, but that would not have given us all the covers and magazine features or the all-time best automotive design on behance.

      Always open to criticism but act professionally if you claim to be one.


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