Car design | Sketching | Rendering
Prima
COMPANY
Personal project
ROLE
Car Designer
Brief
The car architecture follows a classic formula: a naturally aspirated V12, rear-wheel drive and a 2+2 coupé layout. But the ambition was not to create an aggressive sports car. The car has to be designed around the pleasure of driving. A car for people who see driving as a form of therapy rather than a way to be noticed.
Finding the shape
The research began with essential lines and classical proportions.
I wanted the car to communicate elegance, simplicity and permanence, rather than aggression or raw speed. The body is therefore built around a series of restrained tensions and soft transitions, allowing the volumes to do most of the talking. The result is intentionally quiet: a car that could still feel beautiful years after its first drive.
Finding the shape
The research began with essential lines and classical proportions.
I wanted the car to communicate elegance, simplicity and permanence, rather than aggression or raw speed. The body is therefore built around a series of restrained tensions and soft transitions, allowing the volumes to do most of the talking. The result is intentionally quiet: a car that could still feel beautiful years after its first drive.
Finding the shape
The research began with essential lines and classical proportions.
I wanted the car to communicate elegance, simplicity and permanence, rather than aggression or raw speed. The body is therefore built around a series of restrained tensions and soft transitions, allowing the volumes to do most of the talking. The result is intentionally quiet: a car that could still feel beautiful years after its first drive.
The rear
Mies van der Rohe once said, “God is in the details.” The rear brings together some of the most sculptural elements of the car. The taillights are embedded into a concave surface, creating a contrast between the body and the dark rear volume. This surface flows naturally into the aerodynamic vent around the rear wheel, turning an aerodynamic necessity into part of the car's identity. Below, the exhausts of the naturally aspirated V12 are hidden within the diffuser.
The rear
Mies van der Rohe once said, “God is in the details.” The rear brings together some of the most sculptural elements of the car. The taillights are embedded into a concave surface, creating a contrast between the body and the dark rear volume. This surface flows naturally into the aerodynamic vent around the rear wheel, turning an aerodynamic necessity into part of the car's identity. Below, the exhausts of the naturally aspirated V12 are hidden within the diffuser.
The rear
Mies van der Rohe once said, “God is in the details.” The rear brings together some of the most sculptural elements of the car. The taillights are embedded into a concave surface, creating a contrast between the body and the dark rear volume. This surface flows naturally into the aerodynamic vent around the rear wheel, turning an aerodynamic necessity into part of the car's identity. Below, the exhausts of the naturally aspirated V12 are hidden within the diffuser.
Form follows function
Despite its naturally aspirated engine, Prima keeps its air intakes deliberately restrained. The aerodynamic openings are integrated into the body's soft surfaces rather than imposed on them. Along the side, vents emerge from the tension of the bodywork, while at the front a large central intake feeds the engine. The openings beneath the headlights serve the brake ventilation.
Form follows function
Despite its naturally aspirated engine, Prima keeps its air intakes deliberately restrained. The aerodynamic openings are integrated into the body's soft surfaces rather than imposed on them. Along the side, vents emerge from the tension of the bodywork, while at the front a large central intake feeds the engine. The openings beneath the headlights serve the brake ventilation.
Form follows function
Despite its naturally aspirated engine, Prima keeps its air intakes deliberately restrained. The aerodynamic openings are integrated into the body's soft surfaces rather than imposed on them. Along the side, vents emerge from the tension of the bodywork, while at the front a large central intake feeds the engine. The openings beneath the headlights serve the brake ventilation.
In conclusion
I've always been fascinated by the way cars are shaped: tensions and releases between lines, surfaces and volumes. I also find car design surprisingly close to composing music. Melodies and dissonances in jazz music are quite closer to surfaces and lines in car design. I often use car sketching as a way to practice hand design without the constraints of a conventional project. Prima is my first complete car design exploration.
In conclusion
I've always been fascinated by the way cars are shaped: tensions and releases between lines, surfaces and volumes. I also find car design surprisingly close to composing music. Melodies and dissonances in jazz music are quite closer to surfaces and lines in car design. I often use car sketching as a way to practice hand design without the constraints of a conventional project. Prima is my first complete car design exploration.
In conclusion
I've always been fascinated by the way cars are shaped: tensions and releases between lines, surfaces and volumes. I also find car design surprisingly close to composing music. Melodies and dissonances in jazz music are quite closer to surfaces and lines in car design. I often use car sketching as a way to practice hand design without the constraints of a conventional project. Prima is my first complete car design exploration.
Follow me on other channels
Follow me on other channels
Follow me on other channels