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Lamborghini Murcielago .jpg

Lamborghini Murcielago

Sparingly brutalist. 

The brutalist architectural movement created some dramatic and splendid buildings in the 1960s and 1970s, if not also some monsters too. Meanwhile in Italy there were a parallel series of also starkly modernist, simple, sheer-surfaced car designs emerging from Fiat Strada to Lamborghini Countach, from Alfasud Sprint to Maserati Khamsin, and concepts like the Ferrari Modulo and the Lancia Sibilo also. But since that period, automotive design has much returned to more classical forms, at least in the higher echelon brands, with the notable exception of Lamborghini, as was re-asserted so brilliantly with the 2001 Murcielago by Luc Donckerwolke. 

Here is a design that takes brutalism and used it fittingly for the most potent and raw of supercars; the car looks like the brand and like the car it is in a perfectly symbiotic way.  

Along the flanks of the car, sheer surfaces bow as if pushed by mighty forces to end at sharply defined near straight creases, graphics confidently strike across in similarly straight lines also — the design is of its time, but it speaks to the dramatic design period of the seventies also, whilst capturing the spirit of architectural brutalism too. The surfaces work to accentuate proportions born of mighty mid-engine bones underneath, with the fewest of embellishments — unlike its descendents — including even a perfectly fitting side indicator repeater from a first generation Ford Focus. It is such a strong design because it focuses on a simple but distinct and compelling theme, and executes this sparingly and with perfect resolution; it is pure, without distraction. 

Nearly twenty years later the Murcielago has a stature few if any supercars since have reached. Being sparingly brutalist has its place.