What Architects and Designers Can Learn from the F1 Movie

Project by Fury & Visuals by Xarp Studio

Speed. Precision. Atmosphere. And the Art of Designing Emotion.

When Lewis Hamilton isn’t winning world championships, he’s producing movies. Specifically, that movie — the one where Brad Pitt, now 60 and somehow more aerodynamic than ever, plays a former F1 driver returning to the track. Directed by Joseph Kosinski (Top Gun: Maverick), the Formula 1 film is already being called a visual and technical spectacle, shot on real racetracks, embedded with real teams, and choreographed like a high-stakes ballet of steel and carbon fiber.

But this isn’t just a movie about racing.

It’s a masterclass in design thinking — speed, beauty, atmosphere, tension — and it has more to say to architects and interior designers than one might expect.

1. Form Follows Function (But Not Always)

In F1, every curve, vent, and material has a reason — it’s pure function, honed by data and necessity. But somehow, it’s also breathtaking.

Designers often talk about minimalism, but F1 reminds us that aesthetic power can come from technical precision, not decoration. What if we approached spatial design the same way — stripping away excess not for trend’s sake, but for efficiency, clarity, and raw sensuality?

Architecture at its best behaves like an F1 car: no gesture wasted, but still emotionally arresting.

2. Speed Is a Feeling, Not a Metric

Formula 1 cars are built for speed — 0 to 100 km/h in under 3 seconds — but perceived speed is just as thrilling. The roar of the engine. The blur of a red suit in a concrete paddock. The flicker of daylight through glass.

Designers, too, shape tempo. A long corridor can slow us down. A sharp corner can make a space feel urgent. A light sequence can create drama, anticipation, release. These are cinematic tools — and in F1, every shot is designed to make you feel velocity.

So, how do we create movement in interiors, even when everything stands still?

3. Precision Is the New Luxury

Kosinski’s films (Oblivion, Tron: Legacy, Top Gun: Maverick) are known for their meticulous control of palette, light, material. The upcoming F1 film is no different. No visual noise. Every texture matters.

This aligns with what Vogue Living calls “techno-craft” — a new era of interiors where artisanship meets engineering. Think brushed titanium faucets. Laser-cut joinery. Seamless LED ribbons tucked inside limewash alcoves.

It’s not about showing off. It’s about mastery.

4. The Pit Lane Is a Lesson in Atmosphere

Step into a pit garage during a Grand Prix, and you’ll notice something remarkable: it’s sacred space.

Controlled lighting. Hushed voices. Machines humming with tension. There’s drama and calm, all at once.

Isn’t that what great interiors do? From restaurants to residences, we’re designing for moments — a birthday toast, a first kiss, a quiet cry. F1 teaches us that atmosphere is architecture, even when it’s temporary.

And let’s not forget: the pit lane is modular, ephemeral, and high-performance. It’s pop-up architecture on steroids. There’s something to steal there.

5. Designing for Cameras Is the New Normal

This F1 film is being shot with a mix of cinematic and in-car cameras — and the design team had to build cockpit interiors that look great at 300 km/h on a 70-foot screen.

Sound familiar?

Today’s homes, hotels, and offices are photographed, filmed, Zoomed, and TikToked. We don’t just live in spaces — we perform in them. Designing for the lens is now part of the job. F1 gets it. Hollywood gets it. Do we?

Final Lap

The F1 film is about more than racing. It’s about precision under pressure, design at the edge of possibility, and the feeling of being fully alive inside a machine built to move.

Architects and designers — take notes.

Because sometimes, the fastest thing in the room… is an idea.