type7

type7 The daily magazine for those who are driven

We’re heading into 2026 with full gas, just like Oli’s ; “Ever since I was young my passion for all things related to th...
01/01/2026

We’re heading into 2026 with full gas, just like Oli’s ; “Ever since I was young my passion for all things related to the automotive world has been dominated by the world of motorsports,” he explains. “I can’t really trace back where this passion arose from since neither my parents nor any other family members have had any affiliation for the automotive world. However, when being confronted with the whole automotive universe as a kid, hearing about the myth of Porsche is simply inevitable. They have been taking part and dominating all kinds of races in almost every decade ever since. So yes, the tendency to get my hands on a Porsche was established pretty instantly. The overall motivation to own a car that is about twice as old as me came from the strong desire and love of driving.”⁠
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“Getting into a car and simply taking it on roads that twist and turn as much as possible has been my escape from reality ever since I got my license,” the 22 year old explains. “While the world is becoming more and more digital and automated, I wanted a true classic sports car, a machine that needs to be operated manually and takes every bit of my attention and skill when driving dynamically: a car that excites all senses.”⁠

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Casper Braat () looked at various generations of 911 to replicate but in the end, it had to be a 901. “The original, as ...
31/12/2025

Casper Braat () looked at various generations of 911 to replicate but in the end, it had to be a 901. “The original, as I had learned” says Casper.⁠
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At the centre of the room is a bare steel 911 shell, surrounded by marble parts. The front right wheel is a perfect replica of a Fuchs, paired with the correct tyre. On the wall is a bonnet and a front bumper. There are a few steering wheels and even a door, on which the window is made from such thin stone that you can shine a light through it. Even the hinges on the door appear to be correct.⁠
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Casper even injects a bit of humour into the piece, such as the driving gloves on the dashboard, the scattered interior mirror and the iconic magic tree that hangs from the windscreen frame. The most striking piece is the engine, a marble flat-six that weighs 700kg. There’s also a replica gearbox and an exhaust too, all finished to such minute detail that you have to wonder how he does it.⁠
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He works with Carrara marble, a material just one letter removed from being perfectly appropriate. The stone is strong, but soft enough to be worked well. A lot of parts break in the process though, which means he has to start over. He works partly with machines, but most is done by hand. Some parts are polished to perfection, while others are left deliberately unfinished. He doesn’t work alone, but neither does he reveal how big his team is or exactly what they do. Casper keeps his cards close to his chest about most of the process.⁠
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“That mysticism is part of my art, of a lot of art, actually. That you will never know exactly how something is made. That you keep looking for a long time and start thinking about what you see.” ⁠
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Artist ’s stunning ‘Work In Progress’ installation captivated us earlier this year, celebrating the design of everyday o...
30/12/2025

Artist ’s stunning ‘Work In Progress’ installation captivated us earlier this year, celebrating the design of everyday objects by recreating them in marble. The highlight of the collection, however, takes a step even beyond that: an air-cooled Porsche 911 seemingly in the middle of a transformation from metal, rubber and glass into solid Carrara marble.⁠
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“I hadn’t thought of this beforehand,” laughs Casper Braat. “My idea was to elevate the design of ordinary objects, which we often hardly realise are designed at all. If we look at the Greeks and the Romans, we recognise their marble statues as an immortalisation of their time. But what happens if you make a cat litter box or a security camera out of marble, is that what this generation will leave behind to be discovered in the distant future?”⁠
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We’re standing in Torch Gallery, in the heart of Amsterdam, surrounded by marble objects in small plexiglass boxes. A soda can, a Zippo lighter, a microwave, a hammer, a saw and many more. Then of course, there’s the largest object of them all.⁠
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“I don’t know anything about cars, let alone Porsches. I’ve been informed about the different models. I learned what is and isn’t original and I got to know a world of enthusiasts who attach great value to seemingly small details like an oil filler cap, seats with no headrests and even correct tyres. I learned that while the car is beautiful to look at from the outside, there are no shortcuts taken under the skin either. That inspired me to recreate various parts out of marble, precisely to showcase their beauty.”⁠
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Built from the same volcanic stone on which it sits, Museo Anahuacalli was Diego Rivera’s final parting gift to Mexico C...
30/12/2025

Built from the same volcanic stone on which it sits, Museo Anahuacalli was Diego Rivera’s final parting gift to Mexico City, one that wasn’t even finished until seven years after his passing. Inside, the museum houses Rivera’s extensive collection of pre-hispanic ceramics, each acquired throughout his lifetime. As per his will, it also rotates through a series of contemporary art exhibitions, each of which speak in some way to the founding purpose of the museum.⁠
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It is in essence a shrine to central American artists both past and present, giving voice to the causes and cultural priorities of the region. For this, Rivera collaborated with architect Juan O’Gorman, with whom he’d previously worked with on his home. O’Gorman was an associate of Frank Lloyd Wright and was, like Wright, very invested in defining a native and organic vernacular for modern architecture. It would be wrong to call him a traditionalist, but he was very sceptical of the growing international style that the big European names of the time were championing all over the world.⁠
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O’Gorman’s approach is very evident in the Anahuacalli. It’s an intensely imposing design, one with more than a hint of Meso-American influence. Indeed if you’ve been to any of the major archeological sites in the area, you’ll recognise the shapes and material palette immediately, the entire structure is built from the same stone that cultures have been using here for millennia.⁠
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Inside, the ground floor is very dimly lit. The narrow windows aren’t even made of glass, but instead thin sheets of translucent onyx. That’s where you’ll find Rivera’s personal collection. Further up, things become a lot brighter, especially in the main hall with its enormous glass facade and triple height ceiling, a space usually reserved for large scale installations but also one of the only parts of the museum to hold some of Rivera’s own works.⁠
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It is a fortress of a building, one that appropriately took 22 years to finally finish, and one that could well be around for a further thousand. ⁠
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“When I brought the car to the MIZWA workshop, the atmosphere was unmistakable. The mechanics became quiet, almost rever...
29/12/2025

“When I brought the car to the MIZWA workshop, the atmosphere was unmistakable. The mechanics became quiet, almost reverent. They didn’t say much, but the expressions on their faces as they touched and examined the car said everything.”⁠
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According to , restoring Japan’s first ever Porsche 911 Turbo was an effort of a year and a half. Through his contacts he was able to enlist help from former MIZWA mechanics, and while none of them were quite around long enough to remember this car when it was new, that didn’t stop them from appreciating the sheer significance of the project.⁠
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“This was a true one-owner car. The gentleman who bought it new kept it for life, storing it away once he became unable to drive due to age and health. When he passed, his son contacted me during the estate clearing and from there the project was born. The owner was a doctor based in Kyushu, there’s a beautiful nameplate on the passenger glovebox with his name. According to his son, MIZWA mechanics regularly visited their home for on-site maintenance, which speaks to the care this car received over the decades.⁠
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By March of next year I plan to make a decision about the car’s future. Given the car’s historical significance in the context of Porsche in Japan, my hope is that it will remain here, ideally in the care of an enthusiast who understands not only its rarity, but its story too.”⁠
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29/12/2025

Introducing the first Porsche 930 Turbo ever sold in Japan, a one owner car uncovered and restored after many, many years in hiding. From our archive - full story available now at Type7.com. 🇯🇵⁠
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“It is, as far as we can confirm, the very first 930 Turbo to arrive in Japan.”⁠⁠Discovered by under layers of dust and...
29/12/2025

“It is, as far as we can confirm, the very first 930 Turbo to arrive in Japan.”⁠
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Discovered by under layers of dust and an old car cover, it isn’t quite the arc of the covenant, but it’s not far off either. The chassis number confirms it as the 51st Porsche 911 Turbo ever made and the first one that MIZWA, Japan’s official Porsche importer at the time, handed to a customer in 1975. Fifty years later, it’s finally back on the road. told us the story of getting it this far.⁠
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“When I discovered the car, it had been sitting untouched for close to 20 years. A cover had protected the body, which remained remarkably well preserved, but the cabin was heavy with the scent of mould. The engine hadn’t been started once in that time, so our first step was to completely overhaul the fuel system and bring the drivetrain back to life. We went on to rebuild the engine and mechanical systems, and replace the brake and suspension components.⁠
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The exterior remains in its original paint, which we were fortunate to preserve. Inside, I made a conscious decision to prioritise originality too, so aside from a careful deep clean and new covers on the sun visors, all remains exactly as it was.⁠
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The car’s chassis number is key to its authenticity. According to MIZWA documentation, 930 Turbo number 50 and 51 were the first two delivered to Japan. 50 was used as a demonstrator, but this car was the first delivered to a private owner.”⁠

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Beautiful at a glance but peppered with dark humour throughout, ’s artworks play like those of an end-times David Hockne...
28/12/2025

Beautiful at a glance but peppered with dark humour throughout, ’s artworks play like those of an end-times David Hockney, cheerfully misdirecting the casual observer away from one chaotic subject or another through a colourful “everything is fine” lens. Though it might appear to be a pleasant garden scene or a relaxing summer landscape, the intrusive element is always lurking somewhere in the frame.⁠
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“I was constantly drawing and colouring as a child, and that continued throughout high school. When I started university I wanted to pursue something more concrete, but I just couldn’t stay away from art. Art Rosenbaum was a huge influence on me then, as well as Hernan Bas. Over time, I came to know David Hockney too, I loved the colours and simplicity of his scenes – especially pools.⁠
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I never considered that I might make a career out of painting, but it was while I was living in South Korea that I started to attract attention for the paintings I’d been doing of neighbourhoods in Seoul. I was able to go full time into art after that.⁠
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During the pandemic, I couldn’t travel around the city as much, so I began constructing my own scenery. I used subjects that interested me; animals, food, comedy, crime, plane crashes and Porsches. I try to paint beautiful spaces with sinister back stories, it’s really up to the viewer to read into that what they will.”⁠
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Following 30 years of sculpting them from stone, it was 2022 when Alexander Stollberg (.stollberg) finally got his hands...
28/12/2025

Following 30 years of sculpting them from stone, it was 2022 when Alexander Stollberg (.stollberg) finally got his hands on his own Porsche. It was in fairly rough condition, but buying this white 1960 356 was a true full circle moment. When he first laid eyes on one of these cars, it was 1981, and he was a teenager in the grandstands of an old-timer grand prix at a Czechoslovakian racetrack.⁠
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“We’re not the kind of guys who are into concours-level cars.” Explains Alexander’s son Max, who’s helping him with the restoration. “When we first saw the car, we truly fell in love with the imperfections - the matte paint, with its layers showing through, and the pickled chrome. Ideally, we’re going to leave the car as-is on the outside, but the rust on the underside is extensive. It’s difficult to tackle this entirely on our own, even with the help of friends and family.⁠
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After a short drive on our lawn, we completely stripped down the car and suspended the body in a rotisserie. We refurbished some parts ourselves and cut out the rusted sections. During this process, we discovered that it was originally painted in Fjordgrün. We spoke to experts who told us that the damage is so severe that partial repairs wouldn’t make much sense, so the only logical option would be a full restoration. But if we do that, we’ll lose the patina that we love so much.⁠
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We haven’t decided yet which direction to take, both approaches have heir benefits but a freshly painted car doesn’t attract us as much as one with a ‘ratty’ character. We want to give it a subtle touch with accessories and parts in the Super 90 GT style, maybe even early 16 inch wheels to truly make it our own thing. Right now we’re taking our time, weighing our options, and considering what’s best for us. One thing is for sure, if we can somehow restore it technically to an acceptable level while maintaining its current look, that’s the path we’ll take.” ⁠
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After German reunification, Alexander Stollberg (.stollberg) began collecting a number of the Western cars that he’d fin...
27/12/2025

After German reunification, Alexander Stollberg (.stollberg) began collecting a number of the Western cars that he’d finally had the opportunity to discover. So many in fact, that it became too expensive to keep storing them in rented Dresden garages. He bought a ruined farmyard near Meissen to accommodate his growing collection and he began restoring the buildings there alongside his wife so the two could live there. Among the buildings is his workshop, where to this day he continues to sculpt Porsches from plywood, sandstone, limestone and even marble.⁠
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Each sculpture begins with photographs and blueprints that he pins to the wall for the duration of the process. Reproducing the car in perfect detail is not the point, Stollberg instead attempts to capture the essence of the shape, while playing to the strengths of the chosen material. There’s no one scale that they’re all modelled to, but most range between 1:10 and 1:5.⁠
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The choice of subject also spans a broad range, starting all the way from early Gmünd coupes to cars from the 993 era. As is the mark of any well rounded enthusiast, there’s really no one style of car that Alexander’s work seems to favour, and all of his models are finished to a level of craftsmanship informed by a lifetime of experience.⁠
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“My dad is a true enthusiast - he doesn’t do it for money, he does it for himself.” Explains Alexander’s son Max, who’s made it his mission to bring his father’s work the recognition it sorely deserves. “His process is time consuming, but he never stops coming up with new ideas. With Porsche’s endless catalogue of fascinating cars, he always finds new inspiration. He’s especially drawn to early Porsche illustrations, advertisements and design sketches.⁠
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Some of the future projects he’s dreaming of include a 917K in wood with aluminium wheels, a minimalistic 930 Turbo (ideally in stone) and all six of the legendary Glöckler Porsches.” Needless to say, we’ll be watching very closely over his progress.⁠
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It’s difficult to adequately describe how awestruck we felt when Maximillian Stollberg (.media) first sent us the photog...
27/12/2025

It’s difficult to adequately describe how awestruck we felt when Maximillian Stollberg (.media) first sent us the photographs he’d taken of his father’s sculpture work. Of course their beauty alone is obvious, but hearing the story of how they came to be revealed just how special they really were. We count ourselves lucky to speak to a lot of talented artists about their work, but when this came across the desk, it was clearly going to be a story that deserved very special attention.⁠
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Alexander Stollberg (.stollberg) was born in East Germany in 1967, a time long before German reunification and entirely separate from the sphere of European car culture as many of us are familiar with it. In his youth, there was a single known 930 Turbo in the entire country, alongside maybe one or two other Porsches in total. He came to discover these cars for the first time as a teenager, when he attended an “Oldtimer Grand Prix” at the Autodrom Most racetrack in neighbouring Czechoslovakia. In a field of Western sports cars, it was a pair of Porsche 356 Carreras that dominated the race, a performance that sealed his love for these mysterious sports cars from there on out.⁠
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In the DDR, working with classic cars just wasn’t possible without the right connections, which Alexander didn’t have. Instead, he turned to a career in stone masonry, a craft he would go on to master well. Throughout his early days he worked on historic buildings and incredible baroque sculptures, but his love for classic cars never left him. In 1993, using a piece of leftover Saxon sandstone, he carved out the shape of a Pre-A 356. The form was exaggerated and rough, but it was a Porsche he could call his own. Soon, he followed it up with another sculpture, then another. Three decades later, Alexander has produced over a hundred of them, and he isn’t stopping any time soon.⁠
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