The Bugatti Tourbillon is an ode to mechanical and analog things, but even Molsheim’s new supercar can’t escape the presence of a display.
Bugatti’s now-famous resistance to filling the interiors of its models with screens is due to its ambition to achieve… immortality.
30, 40 or even 100 years from now, the Tourbillon’s interior will still be admired as almost a work of art, whether for the intricacy and detail of the analogue instrument panel, or for the lines, materials and surfaces that seem to have emerged from the hands of the finest craftsmen.
This kind of feeling wouldn’t be the same if it were just the glass surface of the screen. It’s often nothing more than a black rectangle bumping into everything around it.
And how will this piece of technology be viewed decades from now in a style contest where we will surely see cars like the Tourbillon?
But even the tourbillon has not escaped the need for a display. After all, we live in a digital world and the display is the best interface to interact with that world.
However, in Bugatti Tourbillon they decided to hide it, so as not to harm the appreciation of the interior design and it appears only when we ask for it. And even the way it appears could not be more elegant.
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Emily Brontë is a journalist and feature writer specialising in culture, entertainment, literature, and current affairs. She is dedicated to producing clear, accurate reporting that helps readers stay informed about developments in the UK and around the world.
