Inside the Interactive Lamborghini Lab at Magna Pars Suites
When Lamborghini chose Milan’s Tortona district for its very first appearance at Milan Design Week in April 2019, the company was making a statement that had nothing to do with lap times. The venue was Magna Pars Suites, a boutique hotel on Via Tortona 15 that the brand transformed into what it called the Interactive Lamborghini Lab. The exhibition ran from April 9 through 14, with a media preview the day before, and its purpose was singular: to prove that Lamborghini’s design language carries enough weight to stand next to the furniture makers, architects, and industrial designers who populate Fuorisalone every spring.
The star of the room was obvious. A Huracán EVO Spyder finished in Verde Selvans occupied a stark white environment designed to let the green paint do all the talking. The color, a deep, saturated forest green with enough metallic depth to shift under gallery lighting, made the car look less like a show piece and more like a piece of sculpture that happened to produce 640 horsepower. Leather and Alcantara interiors completed the tableau. Surrounding the car, the Lab unfolded as a sequential walk-through: a multimedia corridor spanning more than fifty years of Lamborghini history, a hands-on customization area, a Centro Stile design studio, and a cluster of co-branded lifestyle products from three partner brands.
This was the Italian premiere of the Huracán EVO Spyder, which had debuted globally at the Geneva Motor Show only weeks earlier. Staging that premiere at a design fair rather than an auto show told you everything about the argument Lamborghini wanted to make. The company was not selling horsepower figures that week. Every room in the Lab, from the tape-drawing demonstrations to the wallpaper displays, reinforced a single proposition: that Sant’Agata Bolognese produces not just supercars but a total design environment, one coherent enough to fill a hotel in the Tortona district and hold its own against the best of Italian industrial design.
The Art of the Tape: Watching Centro Stile Define the Future Line
The most unusual room in the Lab belonged to Centro Stile Lamborghini, the brand’s in-house design department. Lamborghini says its designers rotated through the space over the course of the week, performing live demonstrations of a technique called Tape Drawing.
For anyone who assumes modern supercars spring fully formed from a digital tablet, Tape Drawing is a corrective. The process involves laying thin, flexible tape onto a full-scale surface to define a car’s character lines, proportions, and surface transitions before any clay is shaped or any CAD file is opened. It is manual, physical, and surprisingly slow. A designer pulls a length of tape taut, presses it down in an arc, steps back, adjusts, repeats. The line either works at full scale or it does not, and no algorithm can fake the judgment call.
Putting this analog step on stage at Fuorisalone was a deliberate choice. The hexagonal motifs, the sharp crease lines, the aggressive surface tension that define every current Lamborghini all originate in a designer’s hand pulling tape across a board. Showing that process to a design-literate audience was a way of asserting craft over computation, and it connected the car in the next room to the furniture and wallpaper down the hall. The same obsessive attention to line and surface that shapes a Huracán’s flank, the Lab implied, runs through every object that carries the Lamborghini name.
The studio also displayed hand-carved demonstrations, sketches, and scale models from Centro Stile. Combined with the live Tape Drawing, the effect was closer to watching an atelier at work than touring a corporate exhibition. For Lamborghini enthusiasts who care about why the cars look the way they do, rather than just how fast they go, this was the room that justified the trip.
The Huracán EVO Spyder as Kinetic Sculpture
Placing the Huracán EVO Spyder in a gallery setting stripped away the usual noise of a motor show and invited a different kind of scrutiny. The car’s Y-shaped headlights, prominent hexagonal air intakes, and integrated rear spoiler read differently under controlled lighting than they do on a crowded show stand. Promotional imagery from the event emphasizes how the front fascia’s Y-motif and the sculpted intake geometry work as a unified visual system, not just a collection of functional openings. In a week devoted to proving that Lamborghini’s design vocabulary translates across mediums, the Spyder itself had to be the most convincing exhibit, and the curated environment let every surface speak.
Underneath the sculpture, real engineering backed up the aesthetic ambition. The Huracán EVO Spyder is equipped with the Lamborghini Dinamica Veicolo Integrata (LDVI) system, which coordinates all aspects of the car’s dynamic behavior. LDVI acts as a central brain, predicting driver intent and adjusting traction, stability, torque vectoring, and suspension response in real time. The Lab also highlighted the car’s 8.4-inch HMI touchscreen, which at the time represented a significant connectivity upgrade over the outgoing Huracán Spyder.
Independent testing confirms the Huracán EVO Spyder achieves a 0-60 mph sprint in approximately 3.1 seconds. Those numbers matter, but the Lab’s curators clearly wanted visitors to appreciate the shape first and the stopwatch second. Lamborghini was competing for attention not against rival press conferences, but against Cassina sofas and Flos lighting installations. That the car held its own in that company was the entire point.
Beyond the Garage: The Logic of Lamborghini Furniture and Wallpaper
The rear section of the Lab was devoted to three brand partnerships that, on first glance, might seem like marketing filler. Understood as extensions of the design argument Lamborghini was building room by room, they made considerably more sense.
Riva 1920 brought a selection of solid wood furnishings from its Authentic Living collection, designed by Karim Rashid and produced in collaboration with Lamborghini. The pieces, which reportedly included items like the Klutch chair and Speed table, translate the angular aggression of Lamborghini’s design language into domestic furniture. Whether a coffee table needs to evoke a supercar’s aerodynamic philosophy is debatable, but the craftsmanship of Riva 1920’s woodwork is not. The Italian manufacturer, founded in 1920, brings genuine artisanal credibility to the partnership.
Zambaiti Parati displayed the Lamborghini Living Collection of Italian luxury wallpaper. The wallpapers reportedly featured 3D tactile effects and patterns drawn from technical materials used in Lamborghini cars, including carbon fiber textures and hexagonal shapes. For the owner who wants their garage lounge to echo the interior of their Huracán, this is the product. For everyone else, it demonstrated that Lamborghini’s hexagonal design vocabulary is consistent enough to translate across mediums, the same thesis the Centro Stile room had argued with tape and sketches.
Lamborghini says the exhibition also included a massage chair developed in collaboration with Bodyfriend, the Korean healthcare company. The chair, reportedly modeled after the aggressive lines of Lamborghini’s cabin design, represents the most eccentric corner of the lifestyle portfolio.
The strategic logic behind all three partnerships is straightforward. Lamborghini’s core car business produces a limited number of vehicles each year. Lifestyle licensing extends the brand’s reach, margin, and cultural presence without diluting the exclusivity of the cars themselves. Lamborghini’s approach is targeted: fewer products, higher price points, and collaborations that lean into industrial design credibility rather than mass-market merchandise. Choosing Milan Design Week as the venue to showcase these partnerships, rather than a car event, signals how seriously the company takes the design-world audience as a customer base.
Ad Personam: Translating Design Week Inspiration into a Personal Supercar
Every room in the Lab funneled toward one destination: the Ad Personam Studio, Lamborghini’s personalization program, presented here in virtual form. Using the Car Configurator, visitors could spec a Huracán EVO Spyder to their exact preferences: exterior color, interior leather and Alcantara combinations, stitching patterns, carbon fiber trim, and wheel finishes.
For prospective buyers, this was the most commercially relevant space in the exhibition. Ad Personam is one of Lamborghini’s highest-margin offerings, and the program’s depth of options is genuinely staggering. Placing the configurator inside a design exhibition, surrounded by furniture and wallpaper that share the same visual DNA, was a smart piece of environmental selling. A visitor who spent an hour absorbing Lamborghini’s hexagonal language across chairs, wall coverings, and a Verde Selvans Spyder would naturally approach the configurator with a more expansive sense of what their own car could look like. The entire Lab was, in a sense, an elaborate framing device for this room: arrive thinking about design as art, leave thinking about your next spec sheet.
The Lab also offered a driving simulation experience through Lamborghini’s official simulation partner ImSim, using motion simulation and VR technology. While a simulator cannot replicate the sensation of a V10 at full cry behind your head, it served as a kinetic punctuation mark at the end of the exhibition route: after absorbing the design, the craft, and the lifestyle, visitors could briefly experience the performance that justifies all of it.
Looking at the broader trajectory, this 2019 debut at Fuorisalone proved to be a template rather than a one-off experiment. Lamborghini returned to Milan Design Week in subsequent years with different themes and venues. The 2024 edition reportedly featured the Huracán Sterrato with nature-inspired liveries, while the most recent 2026 installation focused on the Urus SE and the Ad Personam program at a different industrial space. The through line across all of these activations is consistent: Lamborghini treats Milan’s design community as a peer audience, not a marketing afterthought. The Interactive Lab at Magna Pars Suites was the first proof that Sant’Agata’s design language could fill an entire environment and hold its ground, and the company has been building on that proof ever since.
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