The Lamborghini Ankonian Concept was done in my second term as part of the Lamborghini Raw Materials Project led by Prof. Dr. Othmar Wickenheiser, where all students at the school could take part in.
Following the Lamborghini tradition I named the car 'Ankonian' after the bull type which is famous for his black hair (that's why I chose black).
The concept is a mid-engined supercar that is not 'green', but yet shows environmental responsibility, and therefore is downsized.
I didn't choose the today's midengine supercar clichés (extreme width, cab forward, aggressive graphical elements), but a rather narrow body, cab backward classical GT silhouette, and complexity/combination of soft and angular surfaces. Instead of showing power and aggression through some wild graphical elements (for example headlights) I achieved the same through the complexity of the main body which is rather softly designed, (and has a flair of the Italian elegance), and the angular, stealthy and sharp elements which remind of shields.
Concerning the design language, I put the Reventòn style to the next level, even more aggressive and crazy, but yet elegant, and more harmonious.
The main themes behind the concept, which actually make the chosen design language even stronger, are 'underground' and 'hardcore'. This is achieved by the triangular forms, for example, but mostly with the color combination of shiny black and matt dark grey.
During the design process we brought back the tradition (we did it old school)-clay modeling instead of CAD modeling. It took approx. 6 months to actually build the model and it was a great opportunity to try different possibilities concerning the surface management and the proportions. This how the design doesn't look 'artificial', but mature, and due to the fact that we had constant support by Lamborghini and Audi Advanced designers, the final designs have professional touch.
Even though very crazy and on first glance complicated, all Ankonian lines and intersections work together. Due to the tension in the lines and the concave and convex surfaces there is an impression of a strong and dynamic body. The big canyons and the fact that the tail was put on a diet give it a very light appearance. In addition, the hot-rod stance gives it a push forward, and the symbolic presence of wings and the arrow-like door graphic make the car very dynamical, even when it is in standing position.
By leaving the usual headlight graphics, and having very thin OLEDs embedded between the surfaces, an eccentric and mysterious feeling is achieved. The same principle was applied at the back too, by doing an alien-like face with two big exhausts as eyes, and diffuser as mouth. Again, the lights are put on a position man would not expect (read: shock value).