Chapter Coseincorso translates local histories into furniture, objects and accessories. How do you decide which stories are worth carrying forward through design?

Coseincorso We think a story earns its place when it carries something unresolved—something that hasn’t fully found its form yet. We’re drawn to places where history left a fracture, or that hold something hidden: a way of life interrupted, a knowledge almost lost, a landscape that changed so radically that the people living in it had to reinvent themselves entirely.

»The Memory Stool«, »The Axis Table« and »The Flare Lamp« (2026)
from the new Anàphora collection, handcrafted in Italy.

Our last collection, Anàphora, for example, was about Lake Fucino in Abruzzo: in the 19th century, an entire lake was drained by a prince’s ambition. The fishermen who had lived by its rhythms overnight became farmers. That loss—of water, of memory, of identity—is the kind of tension we look for.

Chapter Is there a particular moment or circumstance that usually sets a new project in motion for you?

Coseincorso It often starts with a small trip, and then the urgency to discover a story and translate it into something tangible arrives on its own. We began our studio during the pandemic, in a period of forced stillness that gave us time to look more carefully at the places we were already inhabiting. We discovered the béguinages of northern Europe—communities of women who invented a way of living that was both spiritual and economic at once. That isolation and that independent way of living felt deeply connected to us at that moment.

»The Axis Table«, 2026

With the Fucino, instead, we drove through what is now one of the most industrialized agricultural plains in central Italy. From the plain, you understand that a vast lake must have been there once. That disconnection between what you’re seeing and what you know must have existed—that’s what led us to translate the feeling into a narrative form.

Chapter You work closely with artisans and remain attentive to the origins of materials. What metaphysical role does this physical, hands-on process play in shaping an object?

Coseincorso The hand is where intention becomes real. We always start with drawings and prototypes, then we work through the process together with the artisan. Castelli—a small mountain village in our region—was the pharmaceutical pottery capital of Renaissance Italy. They produced jars for apothecaries and kings, and their craftspeople are still faithfully reproducing those same gestures five centuries later. Working with those ceramists for our Apothecary collection was exactly what we’re after: the moment when making and meaning become the same thing, and the story lives inside the material rather than being attached to it from outside.

Chapter What do you believe is the most important mindset a designer needs in order to create work that feels authentic beyond mere aesthetic refinement?

Coseincorso For us, the starting point is never »what should this look like?« but »what is this place, this material, this practice actually asking of us?« Aesthetics emerge from that listening—and often translate into a genuine connection between us and our artisans.

»The Ember Tray«, 2026; metal bowl and candle holder— »two elements / one ritual.«

We also think authenticity requires a kind of resistance to speed. We both have an introverted side that leads us to step back from time to time in order to work and reflect. In a world saturated with images and trends, clarity comes from withdrawing enough to hear what actually matters to you—not what the moment demands.

Chapter If design has the ability to preserve memories, places and gestures, what do you hope people encounter through your work in their own space?

Coseincorso We think of our work as existing at the intersection of museum and home, function and ritual. What we hope people feel is both the texture of the hand and a sense of poetry behind it—the sense that an object holds a past they can’t quite name. Not because we’ve explained it to them, but because the form itself carries it.

»The Mirror of Simple Souls« was our first object, and mirrors are at the heart of our practice—not only as a recurring form across our collections, but as a symbol of what we’re trying to do. Every piece asks you to look at yourself in relation to something larger, something older.
If someone lives alongside one of our pieces and occasionally wonders about it, that’s enough. Memory doesn’t have to be explicit to be felt. [Ed.]

INNENKREIS

At the gallery Innenkreis, founded in 2026 by Zeynep Rekkali Jensen, two exhibitions were shown in parallel: the textile presentation »You can’t see it from there« by Trine Tronhjem and Liv Marie Rømer, and the group exhibition »Vanitas in Use I«. While Tronhjem and Rømer work at the intersection of surface, atmosphere, and space—understanding textiles not as a mere covering, but as a spatial medium—»Vanitas in Use I« expanded the art-historical concept of vanitas to include the perspective of functional objects and lived-in spaces. Featuring works by Indio Möglich, Lasse Sylvest Lilleoer, Et Arrangement, Maral Taşkırıcı, Clara Schweers, and Thomas Woltmann, complemented by historical designs, the exhibition asked how ideas of time, memory, transience, and use live on in things that are made, touched, and used.

Ukurant

Ukurant—an exhibition platform and creative community for young, experimental design positions founded by Kamma Rosa Schytte, Kasper Kyster, Josefine Krabbe, and Lærke Ryom—grew out of the question of how to position yourself in the industry after studying design. In this spirit, during 3daysofdesign, Ukurant’s contribution »Ukurant Makes Room« showcased fresh perspectives from 26 emerging talents from the design and creative scene. The exhibition presented experimental approaches to craft, material, and tradition, and put processes, test setups, and the craftsmanship behind the works at the center—very much in line with a material-matters mindset that pays as much attention to how an object comes into being as to its finished form.

FRAMA

FRAMA—founded in Copenhagen in 2011 by Niels Strøyer Christophersen—is known for a pared-back aesthetic, natural materials, and uncompromising quality. The newly presented Sectional Sofa translates this design language into a softer, more generous form of seating comfort, showing how the brand brings material, form, and everyday living together.

Royal Copenhagen x Griegst

With »Triton: A Masterpiece Resurfaces«, Royal Copenhagen celebrated the return of the legendary Triton collection by artist and goldsmith Arje Griegst—50 years after its first presentation at the flagship store at Amagertorv 6, where it was now on view again. Together with the Griegst family and based on the Griegst archives, the shell-like porcelain collection was reissued in three new glazes—Sand, Ocean, and Celadon. Curated by Noam Griegst and Dan Thawley, the exhibition made the creation process visible: from shells, tools, models, and historical molds to finished porcelain and unglazed bisque from the Royal Copenhagen workshop, complemented by a soundscape and scent composition.

STELLAR WORKS

Founded by Yuichiro Hori, the design brand Stellar Works is known for furniture and interiors shaped by Asian sensibility, international design, and hospitality culture, as well as collaborations with studios such as Neri&Hu, Yabu Pushelberg, David Rockwell, and Space Copenhagen. Together with the latter, Stellar Works developed the THOUGHT / FUL installation for 3daysofdesign at Odd Fellow Palace, an 18th-century Rococo palace in the heart of Copenhagen. As part of FRAMING, a curated group exhibition of international design brands, the presentation understood hospitality as a spatial rhythm of calm, encounter, and interaction.

»Objects of Desire«

Curated by Birgitte Due Madsen, Objects of Desire at Thorvaldsen’s Museum brought together international designers and makers working outside of mass production. Featuring contributions from, among others, August Wille, Birgitte Due Madsen, Boris Berlin, Bureau Parso, Corkinho, Corpus Studio, Edoardo Lietti, Eric Landon, Francesca Torzo, Germans Ermičs, Kevin Hviid, Kim Richardt, Maison Arpelli, Rahee Yoon, Rasmus Fenhann, Sausset Leou, Seamus Kowarzik, Sofie Østerby, Uncommon Ancestor, VAVA OBJECTS, and Vibeke Fonnesberg Schmidt, the exhibition put material awareness, longevity, and craftsmanship precision center stage.

TYPE-XIII Atelier Oï project

A–POC ABLE ISSEY MIYAKE, the experimental line of the Japanese fashion house that takes Issey Miyake’s concept of »A Piece of Cloth« further in an interdisciplinary way, presented new lights from the »O« Series from the TYPE-XIII Atelier Oï project together with the Swiss design studio atelier oï. The project combines »a piece of cloth« and »a piece of wire« into flexible light objects with interchangeable pleated fabric shades, translating textile research into a poetic form of light, structure, and atmosphere.

Project Materia x Mater

Initiated by TABLEAU and Edition Solenne, Project Materia x Mater sees material as the starting point for artistic and design processes. For the 2026 edition, the format partnered with the Danish design brand Mater and put Matek in the spotlight — a circular composite material developed by Mater from discarded resources such as coffee husks, sawdust, and recycled plastic. Nine international artists and designers translated the material into sculptures, furniture, and collectible design, showing how differently a shared material framework can be interpreted.

DEORON

DEORON, founded in 2021, is an independent curatorial platform at the intersection of design, research, and lifestyle culture. Originally conceived as a digital project and webshop to make design feel slower, more conscious, and more accessible, DEORON has since expanded into physical space as well. At 3daysofdesign, the platform brought together more than 30 designers, brands, and independent studios on Paper Island, presenting collectible and industrial design, furniture, lighting, homeware, technology, and objects in dialogue with sound — including a sculptural sound system, listening sessions, and live performances. The result was less a classic product showcase than a space for exchange, encounters, and new connections between design, music, and people.

Chapter  Samsung comes from a strong technology culture. What changes in a company like this when design is embedded at board level?

Mauro Porcini  When design sits at the board level, it evolves from being a powerful capability into a strategic driver that shapes decisions from the very beginning. It influences not only what we create, but why we create it. Technology has always been a fundamental strength for Samsung, driving performance, scale, and innovation. Design complements that strength by bringing meaning, context, and human relevance into the equation. At that level, design helps align innovation with people’s real lives—emotionally, culturally, and functionally. It also creates greater coherence. Across a company as large and diverse as Samsung, design becomes the connective tissue that links strategy, product, and experience into one consistent vision.

Chapter  Technology is currently developing at enormous speed. Why does the tech world so much more rarely succeed in giving that development a distinct design expression?

Mauro Porcini  Speed often favors efficiency over intention. When technology evolves quickly, there is a natural tendency to focus on capability—what it can do—rather than on meaning, what it should do for people. This often leads to convergence: products start to look and feel the same. Distinct design expression requires time, reflection, and a strong point of view. It requires the courage to interpret technology, not just apply it. Without that, innovation risks becoming invisible: powerful, but indistinguishable.

Chapter  In this context, you have also repeatedly suggested that technology needs to become more expressive again. How would such a shift become visible in the design strategy of a company like Samsung?

Mauro Porcini  For us, this shift takes shape through what we call »Expressive Design«. It is a move away from neutrality and uniformity, towards diversity, identity, and emotional connection. Not as decoration, but as meaning, embedded into a dynamic balance between form and function. We often say that »form and function follow meaning.« In other words, every design decision begins with what matters to people, their needs, their aspirations, their individuality. At Samsung, this is not an abstract idea. It has been unfolding over the past few years through a series of distinctive projects—TVs like The Frame  and The Serif, or foldable smartphones such as the Galaxy Fold, which reimagined both the role and the form of technology. Today, we are taking this to the next level, evolving from individual expressions into a coherent, scalable design strategy. You can see it in more recent work showcased at Milan Design Week, like the 130-inch Micro RGB  presented in two very distinct design expressions, or the S95H, which explores a unique approach, potentially customizable over time. What emerges is a different idea of consistency: not uniformity, but coherence across diversity and emotions. Technology, in this sense, becomes something you don’t just use, but something you relate to. Something that can reflect who you are, and adapt to the way you live.

Chapter  How is Samsung’s design team structured today, and what capabilities does a company of this scale need in order to think design consistently across such different product categories?

Mauro Porcini  Samsung has a design organizations of about 1,500 designers, with teams across multiple continents and product categories—from mobile and wearables to TVs and audio devices to digital appliances. But scale alone is not enough. We have an organization with a central corporate team and a series of other teams aligned to the business units, where industrial design, user experience, experience design, design innovation and design strategy work together under a shared philosophy and vision. At the same time, each category retains the flexibility to respond to its specific context. To make this work, you need not only great designers, but also strong capabilities in design research, storytelling, and culture building. Design becomes a language that everyone in the organization can understand and contribute to.

Chapter  What is the first thing that tells you a design is good: its form, its use and effect in everyday life, or the meaning a product acquires for people … or something else?

Mauro Porcini  For me, it always starts with meaning. A product can be beautiful and functional, but if it doesn’t resonate with people—if it doesn’t improve their lives or connect with their emotions—it remains incomplete. Good design is when form, function, and meaning come together seamlessly. You don’t notice them as separate elements anymore—you just feel that it »makes sense.« And often, the strongest signal is emotional. When people feel something—delight, comfort, pride, connection—you know the design is working.

Chapter  Looking back at your work across different global companies, what is, for you, the actual task of design?

Mauro Porcini  Design is an act of love. At its core, the task of design is to take care of people—understanding their needs, respecting their differences, and creating solutions that improve their lives. It sits at the intersection of business and technology, but its true role is to humanize both. To transform innovation into something meaningful, accessible, and emotionally relevant. If we do our job well, design doesn’t just solve problems, it creates possibilities. It helps people become a better version of themselves.

Chapter  At Milan Design Week 2026, Samsung is presenting an exhibition titled »Design is an Act of Love.« Why is that precisely the right title for the brand at this moment?

Mauro Porcini  Because we are at a moment where technology is becoming incredibly powerful, and at the same time, risks becoming increasingly distant from people. Artificial intelligence, automation, and connected ecosystems are transforming our lives. But to transform them for the better they need intention and purpose. »Design is an Act of Love« is our way of making something very clear: technology is not the end, but the means. It must remain at the service of humanity, at the service of people. It is also how we frame the impact we want to create: helping people live longer, live better, live loud, and live on. Four simple ideas that reflect health and safety, time and quality of life, self-expression, and the preservation of memories and connections. It is a call to bring empathy, care, and responsibility back to the center of innovation. And ultimately, it reflects who we are becoming as a design organization, and the kind of future we want to help shape.

Chapter  Samsung’s exhibition brings together concept pieces and products already on the market. Why was it important for you to show both side by side?

Mauro Porcini Because innovation is a continuum. Concepts represent exploration, the questions we are asking, the directions we are investigating. Products represent commitment, ideas that have matured and are already impacting people’s lives. By showing them together, we invite people into the process, not just the outcome. You can see how ideas evolve, how thinking translates into reality. It makes innovation more transparent, more human, and, hopefully, more inspiring.

Chapter  Samsung presents very different product categories in Milan, from foldables and wearables to screens, audio and kitchen environments. What holds all of this together from a design point of view?

Mauro Porcini What holds everything together is a shared philosophy. Across all categories, we are guided by the same belief: technology should elevate people’s lives and amplify human potential. This translates into a common design approach, human-centered, expressive, and meaning-driven. And into a consistent framework of outcomes: helping people live longer, live better, live loud, and live on. Each product may look different, behave differently, and serve different needs. And in that they reflect human diversity. But they all express the same intent and share the same story: to create a more meaningful relationship between people and technology. That is what creates coherence, not uniformity, but a shared sense of purpose. [CPS]

Chapter Your objects often exist somewhere between sculpture and everyday ritual objects. When you begin a new piece, what usually comes first in your thought process?

Natalia Criado Many of my collections begin through experimentation. Being in the workshop allows me to play with forms. I enjoy exploring materials, and this is how the collection combining stones with metal first emerged while I was working in my studio in Bogotá. It came from translating jewelry techniques to the table.

Chapter When it comes specifically to material—working with metal, glass, and natural stones, and bringing together different craft traditions—does the material ever lead the design for you, or is there a more overarching idea guiding the process?

Natalia Criado In truth, the materials I work with have often depended on where I live. I began with ceramics, fibers and leather when I was in Colombia, and later moved into metals. In that sense, the territory often determines the material I choose to work with.

Chapter Your work balances very precise geometry with forms that feel almost organic. Are there particular shapes you find yourself returning to when thinking about form?

Natalia Criado Yes, I work a lot with the round shapes. The circle appears again and again in my work. It is a shape that keeps returning.

Chapter Are there artists or designers whose work you repeatedly return to for inspiration—reference points that quietly guide your practice?

Natalia Criado It comes in stages. I like looking to the past, studying techniques that were once used and no longer exist. I am drawn to detail, to feminine work and pre-Columbian pieces.

Chapter How do you know when a piece has reached that moment of »just-rightness«—that sense of precision where nothing more can be added or taken away?

Natalia Criado Some pieces may have reached a certain point of completion, for example the múcura. But I often have the feeling that the work is never entirely finished. Between 2024 and 2025 I dedicated myself almost exclusively to refining the pieces, and it still feels like the process continues. [Ed.]

Chapter Looking back, what first set you on the path to becoming a designer—and what part of that early impulse still fuels you today?

Louise Roe Andersen Finding it very important how my surroundings look—how much beauty and how many interesting, great moments you can create in order to feel happy within our lives. From a very young age I felt the importance of how the things around us affect how we feel. When I saw something that was not good looking, I wanted to change it—and how and with what. I always had ideas about how to transform and create happiness out of sadness.

Chapter Outside of design itself, is there something that quietly shapes your thinking and influences how you approach space and form?

Louise Roe Andersen Outside the design approach to how things look, I also find it important how things sound and smell. All senses are relative to how a balanced feeling within a space is created. I love spaces with high ceilings, which in a metaphorical way allow greater feelings and welcome new thinking.
A space with low ceilings makes me feel under pressure and limited in my thinking. Your nervous system and all senses within a human being are important to notice and embrace. Round forms awaken your feminine side and make you feel relaxed and softer, while sharper lines give a feeling of comfort and control. A combination of both brings balance.

Chapter Following on from that thought, in your creative process, is there something that is meant to be felt rather than seen—something you deliberately choose not to make visible?

Louise Roe Andersen I like to see the craftsmanship behind a creation, so I rarely want to hide something unless it makes noise or disturbs the eye too much. I am, however, not very fond of visible screws in woodwork.

Chapter In a time when design is constantly consumed through images, how do you protect the integrity of your work from becoming just another aesthetic moment?

Louise Roe Andersen Everything can almost look »perfect« in an image setup, and for me it is important that in real life my designs look even better—and that the feeling of the tactility of the material and the quality comes across, which can sometimes be difficult to explain in an image. Therefore my gallery space, where people can experience the objects physically, is just as important as creating interesting still-life photos. The weight and the feeling when touching a product are very important aspects of a design.

Chapter Where in your process do disciplined structure and intuitive exploration meet—and how do they shape one another?

Louise Roe Andersen I am disciplined in terms of deadlines and timelines, and it can of course be a challenge when I also give space for my impulsiveness. I am quite disciplined in making decisions and taking action to move forward towards the goal or idea. At the same time, I am aware that the people working with me need to feel comfortable turning »left« when we first thought »right« was the way.

Chapter On a personal level, when a project feels uncertain or demanding, what sustains your momentum?

Louise Roe Andersen I am a problem solver—I somehow always find the bright side of something difficult. I do not feel good waiting too long for someone to take action. My challenge is my impatience. If I work with someone who is too demanding or does not treat people nicely, I sometimes »quit the game« and do not feel it is worth using my energy on. [Ed.]

Formally, the new Galaxy S26 Series—the Galaxy S26 Ultra, the Galaxy S26+, and the Galaxy S26—appears largely unchanged at first; the key innovations primarily concern internal system logic, performance, and above all, innovative display features. And here Samsung places privacy at the center, particularly the question of how sensitive content can be displayed in a controlled manner even in public situations.

The answer to this is the so-called »Privacy Display«, integrated for the first time in the Galaxy S26 Ultra and the industry’s first of its kind. According to Samsung, a »breakthrough in display technology« where design, hardware, and software work together to protect user privacy. Intelligent control of pixel light diffusion ensures that display content is not visible from side angles beyond 45 degrees. Unlike stick-on films already available, this function is deeply embedded in the display architecture and can be activated situationally—for example, during PIN entry or when opening sensitive applications. Samsung addresses an enormously relevant question: How do you design digital privacy in a public world—especially in light of the rapidly increasing integration of highly personal information into digital systems.

Beyond the »Privacy Display«, the evolution of Samsung’s third-generation Galaxy S  smartphones also concerns the internal structure of the devices. Samsung uses a newly tuned processor with significantly increased system performance, revised heat dissipation, and 60-watt fast charging on the Galaxy S26 Ultra. The camera unit has also been equipped with larger apertures and an updated image signal processor that now includes the front camera. The goal is higher computing power with stable energy efficiency.

On the software level, Samsung introduces context-based assistance functions with »Now Brief« and »Now Nudge« that prioritize content before it is actively searched for, such as appointments or travel information. These systems access context-related usage data and are designed to simplify workflows without requiring additional interaction. This shifts the focus of the Galaxy S26 Series  from pure performance enhancement to a structural question: designing the relationship between technology and users.

In this context, a personnel decision also takes on special significance. Last year, Samsung Electronics created the position of »President and Chief Design Officer« for the first time in its corporate history and filled it with renowned designer Mauro Porcini (pictured below). Porcini comes from 3M and PepsiCo, where in similar positions he established design as a strong and diverse business discipline.

Very much in the spirit of the subtle innovations of the Galaxy S26 Series, design for Porcini does not begin with the external form of a product, but with the question of what role technology should play in people’s lives: »As designers, our mission goes beyond creating innovative products. We aim to elevate people’s lives—to design tools and experiences that help them live better, longer and more meaningfully, by taming technology in service of humanity,« he explains.

Whether Mauro Porcini’s appointment will lead to striking shifts in product design in the future remains to be seen. While the new Galaxy S26 Series  appears to be a consolidation in this regard for now, the institutional elevation of design suggests that Samsung will likely define its technological leadership more strongly through formal design going forward. [TS]

THE BEGINNING

A pivotal moment in Vitra’s early history was Willi Fehlbaum’s encounter with the designs of Charles and Ray Eames in the 1950s. During a trip to New York, he discovered the innovative fiberglass chairs in the Herman Miller showroom and was particularly struck by the technical ingenuity of the “shock mount” connection. Herman Miller, one of the leading American furniture manufacturers of postwar modernism, held the international production rights to these designs. Fehlbaum therefore approached the company to establish a licensing agreement for Europe. Vitra subsequently began manufacturing and distributing selected designs by Charles and Ray Eames, as well as George Nelson, across the European market.

In continuous production: The complete range of designs by Charles and Ray Eames.

Nelson, a key figure in American Mid-Century Modern, had served as Design Director at Herman Miller since 1945, shaping the company’s design direction for decades. In this role, he helped define its program and worked closely with designers such as Charles and Ray Eames and Isamu Noguchi. For Vitra, the partnership with Herman Miller marked a decisive transition from a regional enterprise to an internationally operating design manufacturer.

After the partnership with Herman Miller was amicably concluded in 1984, Vitra secured the rights to manufacture and distribute the designs of Charles and Ray Eames, George Nelson, and Alexander Girard in Europe and the Middle East. Girard—an architect and designer known for his distinctive use of color, textiles, and graphic expression—shaped the emotional and visual dimension of American modernism as head of Herman Miller’s textile division from the 1950s onward.
With the acquisition of these rights, Vitra entered a new phase, increasingly positioning itself as an independent brand and refining its identity beyond that of a licensed producer.

THE NEW BEGINNING

A devastating fire in 1981, which destroyed large parts of the factory in Weil am Rhein, paradoxically marked a new beginning for the company. In its aftermath, the Vitra Campus began to take shape—an ensemble of buildings by internationally renowned architects that reached an early milestone in 1989 with the opening of Frank Gehry’s Vitra Design Museum. From the outset, the museum was conceived not as a conventional corporate showcase, but as an independent institution, deliberately distancing itself from purely brand-driven exhibition formats. Collection-building, research, and public education became integral to the company’s identity.

In the days when Vitra still had its own volunteer fire brigade, Zaha Hadid was commissioned to design a building that would house the fire engines and also provide social facilities for the firefighters.

In parallel, Vitra developed new content-driven formats. With the Vitra Edition—featuring contributions by designers such as Frank Gehry, Shiro Kuramata, and Ron Arad—the company positioned design explicitly as a cultural practice. The collaboration with Jean Prouvé not only led to the reintroduction of historic pieces such as the 1930 Cité chair—now the oldest design still in production in the collection—but also prompted a renewed engagement with the constructive principles of the 20th century. Later projects, including the Joyn system (2002) by Ronan and Erwan Bouroullec, inspired by the communal farmhouse table, reflected Vitra’s responsiveness to evolving workplace dynamics and broader societal shifts.

THE TRANSFORMATION

With the founders’ children joining the company’s leadership, Vitra entered another phase of transformation. Rolf Fehlbaum, son of Willi and Erika Fehlbaum and a defining figure at the company’s helm since the 1970s, further shaped Vitra’s strategic and cultural direction and initiated the Vitra Design Museum in 1989. His daughter, Nora Fehlbaum, later assumed the role of CEO, representing a new generation of leadership. The acquisition of Artek is described in the book as a strategically significant step; at the same time, it signals a new priority: »our generation’s fingerprint is the environmental strategy.« Sustainability thus became an explicit part of the company’s mission, alongside a broader outreach and the development of new digital formats.

The complete Vitra product range, presented outside Frank Gehry’s museum building in 2007.

Particularly striking is the book’s reflection on collection-building and cultural responsibility. Rolf Fehlbaum emphasizes that museums often preserve innovative and even radical designs—even when some of these pieces were initially dismissed as »flops« in the marketplace. The collection is conceived as a living organism, sustained by significant archives such as those of Charles and Ray Eames, Jean Prouvé, and Verner Panton.

THE VITRA WORLD

Last but not least, the book explores the company’s visual identity in depth. A brand, it argues, is not the result of artificial image-making but evolves organically from its inherent values and actions. In keeping with this view, Vitra has long combined product development with content-driven formats such as the »Workspirit«publication series, which brings together interviews, architecture, and design. The »Atlas of Furniture Design,« published in 2019 and spanning more than 1,000 pages, further exemplifies this connection between research, design, and narrative—significantly privileging images over text.

Vitra – Anatomy of a Design Company is therefore far more than a corporate history. Numerous historically significant archival images, newly edited documents, and personal testimonies trace Vitra’s evolution from a regional enterprise to an internationally connected design brand. Spanning 410 pages and featuring 300 color and 100 black-and-white illustrations, the publication interweaves industrial, architectural, and cultural history into a multifaceted panorama of modern design as seen through the lens of Vitra. [Ed.]

Vitra – The Anatomy of a Design Company
Published by Phaidon
Hardcover, 270mm x 215mm, 401 pages
vitra.com

Since its opening in 2001, the Leopold Museum has played a pivotal role in bringing the forward-looking, experimental spirit of Vienna’s turn of the century to life—not as a singular, archived moment consigned to the past, but as an enduring cultural point of reference. Founded by the Austrian art collector, ophthalmologist, and patron Rudolf Leopold (1925–2010), the museum remains consistently devoted to the art and culture of around 1900. With its extensive collection—including major works by Egon Schiele, Gustav Klimt, and Oskar Kokoschka—it has established itself as one of the leading institutions dedicated to the presentation of Viennese Modernism.

By continually reimagining its permanent exhibition, »Vienna 1900—Birth of Modernism,« the museum repeatedly succeeds in framing the aesthetic, social, and design impulses of the era within a contemporary context, offering ever-new perspectives. On display are masterpieces from the Leopold Museum’s collection alongside significant national and international long-term loans, through which the radical energy of the past resonates and the emergence of modernity around 1900 appears remarkably relevant today.

Armchair for the Purkersdorf Sanatorium by Koloman Moser;
Executed by: Prag-Rudniker, workshop: Jakob Soulek (carpenter), 1903

How this formative turning point found expression is explored in the exhibition catalogue, which characterizes the heterogeneous milieu of the Danube metropolis as a »central engine of a turbulent movement of renewal«—one that created fertile ground for an extraordinary concentration of cultural achievement. Names such as Klimt, Freud, and Loos have long stood, requiring little explanation, as synonymous with groundbreaking innovations across a wide spectrum of modern disciplines. Vienna’s multilayered identity, shaped by movements such as the Secession and the Wiener Werkstätte, continues to inform contemporary debates on craftsmanship, materiality, and the role of art in society.

The world-famous group portrait of the artists participating in the 14th Exhibition of the Vienna Secession, including Gustav Klimt, Koloman Moser, Josef Hoffmann and Carl Moll, photographed by Moriz Nähr, 1902

»Ver Sacrum. Theseus and Minotaur.« — poster by Gustav Klimt for the 1st Art Exhibition of the Association of Austrian Artists, Secession. Condition before censorship, 1898

The applied arts played a central role in realizing the idea of the Gesamtkunstwerk—a term denoting the aspiration to infuse all areas of life with art, which in the age of social media might most closely correspond to the overused word »curate«. The distinction, however, lies in the ambition to create an aesthetically and conceptually self-contained whole, one that transcends dull replicability and fleeting immediacy—the logic of the »copy-and-paste-taste«.

In this context, the attentive and discerning eye will have noticed that the »Hoffmann Chair«—a label commonly applied regardless of the specific model—has, in many a carefully curated feed, been reduced to a conspicuously deployed prop, intended to signal stylistic confidence, mask mediocrity, and assert distinction »from the rest«. Yet it is worth noting, positively, that furniture from the turn of the century continues to strike a chord today, capable of evoking the atmosphere of that vibrant era—which is precisely where the exhibition’s true strength resides.

»Vienna 1900—Birth of Modernism« lays bare the foundations from which many of today’s trends and debates first emerged. Rather than concentrating on singular iconic figures, the presentation opens up a perspective on the complexity of an era in transition, whose energy continues to resonate to this day.

In keeping with this understanding of modernity as an enduring impulse that extends beyond Vienna, the Leopold Museum is also presenting a comprehensive retrospective, »GUSTAVE COURBET—Realist and Rebel« (19.02.2026—21.06.2026). With Courbet, the focus shifts to an artist who—much like the protagonists of Vienna’s turn of the century—challenged conventions and insisted upon artistic autonomy. The exhibition thus consistently aligns with the museum’s programmatic aim of revealing moments of upheaval in art history as living, ongoing impulses. [Ed.]

Vienna 1900. Birth of Modernism
560 pages 23.5 x 28 cm
1000 illustrations
leopoldmuseum.org

Designed by Austrian glass designer and Josephinenhütte co-founder Kurt Josef Zalto, the Josephine No 3  is considered one of the most technically challenging designs in the Josephine series. The distinctive kink in the bowl is not a decorative detail but a functional intervention: it combines the generosity of a Burgundy glass with a more focused aroma guidance known from Bordeaux glasses. In the Black Line, the shape remains unchanged, as does the production process: each glass is still mouth-blown.

»My passion for the interplay of light and shadow led me to the idea of designing a limited series of black glasses. The Black Line is an emotional statement that celebrates the aesthetics of the moment—a glass that deliberately focuses on design and sensuality,« Kurt Josef Zalto tells Chapter. The method of production is also crucial: »The glass is made in a dedicated melting shop in the harbor furnace—as a small, controlled batch rather than in a large-volume tank system. The smoke black tone is created directly in the glass, not through a subsequent coating: a special additive develops the color during the melting process. Each glass receives its color gradient through the craftsmanship of the master glassblowers—and is therefore always unique.«

Form follows function. The wide lower bowl initially gives the wine a large surface area, allowing the aromas to open up quickly when swirling. At the same time, the kink directs the wine in a controlled way along the glass wall, enabling the aromas to unfold evenly without dissipating abruptly.

In the upper section, the bowl tapers slightly. This geometry concentrates the aromas and guides them precisely to the nose, making it easier to distinguish fine nuances. When drinking, the shape of the glass guides the wine at a specific angle onto the tongue, allowing fruit, acidity, and structure to be perceived in a more balanced way. Both powerful and complex wines are thus rendered with precision in their depth and balance, without tying the wine to a classic glass typology.

The current Black Line edition was limited to just 2,800 glasses worldwide and sold out within a short time. With the Josephine No 3  in smoke black, the edition logic has been consistently continued. The result is less a completely new glass than an intriguing new interpretation of a well-known glass design. [TVR]

»Great people. Great design. Great fun.« Chuck Pelly declared in 1972, when he turned his garage into a design studio and laid the foundation for »DesignworksUSA«. 54 years later—and as part of the BMW Group since 1995—this motto still feels remarkably current. During Chapter‘s visit to the Designworks Studio in Santa Monica, it becomes evident that the spirit of this early self-conception remains deeply embedded in the studio’s working culture. Progressiveness, creativity, openness, and a genuine enjoyment of the work shape the atmosphere. Between models, sketches, prototypes, and screens, a working environment is lived that is less characterized by hierarchies than by dialogue and, despite all the diversity, always revolves around the same question: How can design be rethought, how can boundaries be shifted, and how can fresh impulses be set beyond short-term trends?

However, all of that sometimes disruptive spirit should not contradict the responsibility within a global corporation. At Designworks L.A., it is not just about completing design tasks, but about testing even unusual ideas, consciously questioning assumptions, and having the courage to allow unconventional things. Especially in this early phase, in which not everything is defined, calculated, or secured, lies the actual value of the studio for the overall system of the BMW Group.

The scope of Designworks L.A.’s work extends far beyond classical automotive projects. Alongside early vehicle concepts, urban mobility scenarios, digital systems, interfaces, spatial applications, and experience formats are created here, often in close collaboration with start-ups, public institutions, or local communities—an aspect that is repeatedly emphasized in our on-site discussions. Topics such as urban development, wayfinding, new mobility services, or AI-supported tools play just as important a role as questions about innovative materials, their manufacturing, and use. The individual result is less decisive than the moment before. Designworks usually works where questions and possibilities are still open and framework conditions have not yet been defined in detail.

Julia de Bono also describes this role very clearly. After several positions within the BMW design team, she took over the management of Designworks L.A. in 2023. In her function, she moves at the interface between management, strategic orientation, and creative freedom, with the aim of not smoothing out friction, but using it productively. She sees the studio in Santa Monica not as an extended arm of the Munich design center, but as a consciously positioned, sometimes disruptive, source of inspiration within the global design organization of the BMW Group. In conversation with Chapter, Julia de Bono speaks about the special role and ambition of the studio, the influence of American management and corporate culture, and how local radicalism can be translated into a global design language without being softened.

Julia de Bono, CEO/Studio Director Designworks L.A.

Chapter Looking back at your time in Germany and now here in Los Angeles: are there differences in management culture—for example in leadership style or in how teams work together in the U.S.?

Julia de Bono  Leadership in the U.S. is definitely different from leadership in Europe. Here it is much more collaborative, very open-house, open-doors. We don’t want to close the doors, but keep them open for people who want to work with us or contribute something. For me personally, there is also the fact that I have a different job here as CEO. This means that I not only deal with design or experiences, but also very specifically with numbers, with structure, with responsibility for the whole—that is a different challenge. And of course, there are those cultural differences in leadership style that I mentioned: there is a lot of communication, a lot of open discussion. In addition, the hierarchies are much flatter, dialogue is central. But perhaps a lot of it is also specific to Designworks. We don’t work in silos, but very comprehensively, very fluidly. That can certainly also be an American background. The approach in the USA is less transactional, but strongly collaborative. Without wanting to judge other leadership styles—it simply works better here. I already see this with the children in school, a lot of emphasis is placed on what you have done well and less on what may have been bad. The view of what has been achieved is simply very different here.

Chapter  This constructive, more proactive culture of dealing with mistakes in the U.S. is something Europe is often said to be able to learn from.

Julia de Bono  Absolutely. Failure is viewed very positively here. »Failing is great«—it’s almost a badge of honor. The more you have failed, the more experience you bring with you. This is particularly evident in the collaboration with start-ups. From a German perspective, it takes some getting used to seeing that as something positive. And it’s precisely this openness that shapes our work as well. The more we question things, the further we can ultimately leap. This attitude is closely linked to Designworks L.A.’s role—to be, to some extent, disruptive.

BMW »Dimensions of Real«, immersive Installation, CES 2022 Las Vegas

Chapter  In today’s conversations with designers here in the studio, the term »anarchy« even came up at one point. It sounds as though the designers at Designworks L.A. are something like the »punks« within the global Designworks network. Is the work here really the most progressive?

Julia de Bono Yes—because we have to break rules. That’s exactly what’s expected of us. And that’s not a bad position to be in, but you first have to learn how to handle it. The goal is often stated very clearly: I want you to challenge me, to make me uncomfortable. When I take our work to Munich and present it, you can sometimes see how these impulses initially land—and then start to work on the other side.

Material study from an ongoing development process at Designworks L.A.

Chapter  The individual Designworks studios are also in competition with each other, there are even actual pitch processes—both among themselves and with the in-house design team at BMW. How exactly can you imagine that in practice and where exactly is the boundary between Designworks Studios and the In-House Design Team?

Julia de Bono  In the end, there is a design presentation for a vehicle. All the designs from the most diverse studios are on the table, all the sketches are examined—and then the best solution wins. There is often talk about internal competition, and of course we are a design agency, we have to win competitions—but above all against other agencies—and these are also financially important competitions. At the same time, Designworks, as a Creative Lab, specializes in developing new perspectives, rethinking design and pursuing innovative approaches. Our mission is to push boundaries and set fresh impulses that go beyond the ordinary.

BMW M Hybrid V8 design sketch

Chapter  The Designworks L.A. Studio in Santa Monica is surrounded by a wide range of other creative studios. How does this environment influence your work?

Julia de Bono It starts with the fact that everyone who walks in wants to make your ideas better. A kind of cumulative process emerges, in which ideas build on each other. This creates an enormous speed. Aesthetically, the entertainment, wellness and lifestyle industries have a major influence. This has always been the case in California, but it is becoming even stronger. In the USA, a very pronounced masculinity can currently be felt in the expression. Products should show presence, profile, strength. This influences materials, shapes, surfaces. In addition, there is the proximity to the aerospace industry, such as SpaceX, and a large start-up ecosystem. New materials, new manufacturing methods, 3D printing—all of this is incorporated. And of course, digitization and AI. The high speed here strongly influences our product development.

Chapter How can such different local influences—both from Designworks L.A. and from the other Designworks studios worldwide—be translated into a global design language that works in all markets? Especially against the background of sometimes strongly diverging aesthetic preferences.

Julia de Bono In theory, that is a challenge, yes. In practice, we mainly develop world cars. There are only a few local models, with the exception of China. In Munich, there is an early phase in which we contribute our inputs. Large teams bundle these perspectives and prepare them for strategic decisions. Then we look at: Where are there overlaps between the markets? Where not? This results in a formal, final statement. This is an iterative process with market research, so-called clinics and feedback loops. At some point, of course, a decision has to be made—and apparently good ones are being made, otherwise we wouldn’t be as successful as we are.

Sidewalk Transit Amenities Program (STAP) for the City of Los Angeles

Chapter Do you share the impression that design is becoming an increasingly important factor in brand identity—and how does that change your work?

Julia de Bono Absolutely. Design experiences are actually becoming more and more important. It’s no longer just about the exterior or dashboard. It’s about how the systems interact: UX, light, sound, haptics. How does something feel? How do you understand the user? Connecting these systems in such a way that they do the right thing at the right moment is challenging. It’s almost an art. If you look at what’s happening in the entertainment sector—for example in the Sphere or in IMAX theaters—then you can see how much people are getting used to immersive experiences. A lot has already been implemented in the vehicle sector in China. An intense, but healthy competition is emerging, which we live very strongly here in the USA.

Chapter  Looking at the diverse portfolio of Designworks, are there any projects that you personally find particularly formative?

Julia de Bono  For me, the BMW GINA Light Visionary Model was extremely formative. It was radically different, with a strong story. That’s one of my all-time favorites—and one of the reasons why I studied automotive design. And when I look ahead, our AI developments are certainly particularly relevant. We started very early and are providing important input to Munich. It’s less about individual vehicles than about systems and tools that ensure the integrity and recognizability of the brand—today and in the future.

BMW GINA Light Visionary Model

Chapter Is there also a highlight project for an external customer that you would like to highlight?

Julia de Bono  We work a lot in the field of urban development. Los Angeles is undergoing a massive transformation, especially in terms of mobility. For example, we are developing wayfinding systems, apps and are working on the ramp-up to the Olympic Games. One example is bus shelters, which we developed together with the communities—with people who depend on public mobility. Such projects open up the view, they lead back to clear, robust solutions. But to be honest, it’s hard to pick out a single project. The variety is what’s interesting about Designworks.

Chapter  Are there any disciplines in which you would like to get more involved with Designworks L.A. in the future?

Julia de Bono  At the moment, I’m particularly interested in everything around robotics. I find AI-based devices for older people or young people particularly exciting. We have a generation that suffers from permanent sensory overload. I think technologies that help to stay calm or provide orientation—for example in the case of dementia—are very important to me. We also work a lot with students from disadvantaged communities. As a large company, we have a responsibility to give something back. That’s taken for granted here—and it’s particularly important to me personally.  [CPS]

Chapter Wood is central to your work, not only as a material but also as a spatial tool. What does wood allow you to express that other materials do not?

Sunfish Producing space and furniture with wood is appealing in its versatility and its connection to craft and architectural/design history. We love the variety of finishes and tonality you can get out of wood and the narratives those can create. For our home, we paneled a wall with oak and used a shellac image to reference the type of tones you see in 1950s, 1960s modernist French architecture. Even though our space is set in a loft in Chinatown, we love the idea that a wood paneled wall could feel transportive like that.

Board Chair, Skyscraper Coffee Table, and Hand-Painted Mirror (Sun), 2025

Chapter Your pieces often sit somewhere between furniture and architecture. At what point does a work stop being an object and start becoming a space?

Sunfish That’s a question we’ve been trying to answer for quite some time. Before Sunfish, we were working together mostly on sculptural installations. Our work was pretty fixated on domestic space, architecture and design. It feels quite comfortable to us to run full circle and work on furniture pieces, fine artworks, spatial projects, etc.
In some instances, our work is inherently integrated with a space. We recently had the opportunity to paint a custom ceiling mural for a client in a bedroom alcove with wooden beams. The architectural style of the Tudor house informed our painted depictions, but also, our painting invited a new focal point, with which to notice that space and its architectural language.
While our work is often commissioned as individual objects, our intention behind the objects is to create a collection and interior-based narrative. Even when a work is placed in isolation, we hope that it connects to a larger visual story we’ve built.

Chapter How much of your designs is derived from the inherent logic of woodworking, and how much is the result of conscious design decisions?

Sunfish In the beginning of Sunfish, a lot of the original designs really took from that ‘inherent woodworking logic’. We were trying to articulate form through simple joinery and forms that were clear and concise. We’ve always been opposed to trying to work against the material.

Presentation as Guest Designers during the Convey showcase organized by Simple Flair in Milan. The selection features our Skyscraper Coffee Table, Patchwork Side Table, Leather Sling Stool and a selection of hand-painted and ceramic mirrors on hand-dyed turmeric curtains.

For us, we were always trying to find a way to bring the project back to our roots in fine art in addition to our interests in material exploration, and that’s where a lot of the painting, ceramics, and different finishing techniques are coming from. It was quite liberating for us to evolve the project from mostly carpentry and create a historically researched, but idiosyncratic visual language.

Chapter Room dividers appear repeatedly in your practice. Can you talk about what draws you to forms of separation that remain open and adjustable rather than fixed?

Sunfish The adjustability of the room dividers is definitely an appealing element for us. We paint the panels flat and always delight in the final step of unifying them with hinges. Transforming the painting into a sculpture always brings about surprising, new dimensional relationships between the flat motifs. We use multidirectional hinges to heighten this variability beyond the traditional accordion style to arced forms as well. Because of the room divider’s ability to change the contours of a space, it is one of those objects, as you mentioned, that we believe becomes a space itself.

Custom six-part room divider, designed for a client in Mumbai, India. The room divider expands on the motifs of the three-part version shown during Design Week in New York in 2024. It is made of lacquer, oil paint and cherry wood.

Four-part room divider made of copper and mahogany frames.
The copper panels are treated with patina and oil paint and show a spring scene with Art Deco elegance.

Chapter When one of your pieces enters a room, what do you hope it changes first for the people entering or moving through the space?

Sunfish We hope that our pieces recall a sense of history, while also inviting new moments of curiosity and playfulness. Whether it’s a hand-crafted detail, pop of color, or balance of proportion, we desire our pieces to come off as considered, with a natural ease. Brushstrokes, hand sculpted ceramics, and wood surface variations, to us, add depth and narrative. We often talk about how in our favorite works, whether it’s furniture, art, or architecture, you can see the artist’s hand. In other words, the work reveals their process. We hope that when people encounter our work in a space they experience that process. [DM]

Curator Marlies Wirth (MAK – Design Collection), together with Lilli Hollein (General Director of the MAK), has developed an exhibition concept that breaks open the category of »fashion« and instead understands Lang’s work as a processual design of identity, strategy, and visual language. The title »Séance de Travail«—»working session«—is not only a historical reference to Lang’s own show formats of the 1990s, but also a programmatic statement: a laboratory in which production, advertising, brand development, spatial design, and audience experience are conceived as interconnected fields of design.

A central element of the exhibition is the MAK Helmut Lang Archive, which Lang donated to the museum in 2011 and which is today regarded as the largest and only public archive of its kind worldwide. It comprises more than 10,000 records, including not only selected garments but also prototypes, lookbooks, advertising campaigns, photographs, Polaroids, production samples, backstage materials, and internal documents. This breadth makes visible how Lang understood fashion not as an isolated product, but as an interdisciplinary design process in which cut, material, communication, space, and brand were always part of a coherent system.

In keeping with this approach, the exhibition deliberately forgoes a chronologically ordered retrospective. Instead, the material is organized according to thematic fields that render Lang’s working method legible as a constructive, analytical, and experimental practice. Particular emphasis is placed on mixed-media installations and site-specific presentations: sculptural displays, reconstructions of shop architectures, and visualization surfaces create a spatial experience that makes Helmut Lang’s overarching conception of design—ranging from fashion collections and retail architecture to brand communication—tangible.

Helmut Lang (*1956 in Vienna), who worked internationally from 1986 and became one of the most important representatives of minimalist, analytical design in the late 1990s, withdrew from the fashion industry in 2005 to devote himself entirely to the visual arts. This shift is also considered within the exhibition: Lang’s current artistic practice, which draws on the thinking of his earlier work, presents him as a designer who understands and continues to shape form, material, and identity across disciplinary boundaries.

His collections are based on reduction, functional clarity, and a conscious engagement with material and the body, with clothing always understood as part of a broader design context. All of this also informs the presentation at the MAK, where fashion appears as an applied design practice between design, communication, and cultural analysis, underscoring the enduring relevance of Lang’s work.

»Helmut Lang. Séance de Travail 1986–2005 / Excerpts from the MAK Helmut Lang Archive« makes visible how a designer continuously redefines his own categories of design and how his working method continues to resonate in fashion, communication, and art to this day: fashion is not reduced to form and surface, but understood as a cultural asset. [Ed.]

Jil Sander is considered one of the most visionary designers of our time. However, a truly comprehensive understanding of her work only emerges when one considers her creative attitude in its entirety, which seems to stem from a profound understanding of cultural multidimensionality: the interplay of ideal, formal, and social dimensions, the ability to grasp intermedial relations, and an agile approach to perspectives. As a consequence of this understanding, she dynamically translated her design attitude to fashion, graphic and product design, as well as to architecture, garden and landscape architecture—to name just a few disciplines.

Authenticity part of one’s personality, something innate that we should preserve, Jil Sander emphasizes right at the beginning of our conversation. An attribute that has fundamentally shaped the designer, born in 1943, and her work for almost six decades. She explains why some people find it easier to access this inherent human authenticity than others by saying that it manifests itself early in childhood but can be suppressed by education. She herself was fortunate that her parents allowed her to pursue her determined ideas.
And indeed, Heidemarie Jiline Sander, which is her birth name, seemed very determined in her ideas about life even at a young age. »Doubts only came to me during my school days, which were marked by strict teachers. But then it was already too late to deter me,« she tells us. In 1964, after graduating from the Textilingenieurschule Krefeld, she went to Los Angeles as an exchange student. At that time, this was an undoubtedly a self-confident decision, which—made by a 21-year-old woman—would have been considered unconventional. It is reasonable to assume that such steadfastness later also found expression in the integrity of her creative signature.
After returning to Hamburg, she initially worked as a fashion editor for various women’s magazines. This experience sharpened her visual sensitivity, but what she encountered »aligned with neither her understanding of proportion and material nor her idea of femininity, or her intuition for the seismographic shifts in the aesthetic needs of a rapidly changing society,« as stated in the catalogue for Sander’s first solo exhibition worldwide »Jil Sander. Present« in the MAK – Museum für Angewandte Kunst Frankfurt (2017/18). In 1968, she decided to open her first boutique in the Pöseldorf district of Hamburg. She initially sells selected ready-to-wear—a then new concept that democratized fashion with a strong design focus, away from the exclusivity of haute couture. But Sander decides early on to expand the offering with her own collection in a limited capacity. She probably did not yet suspect that her personal vision of a new way of dressing would set new standards.

MODERNITY AS AN ATTITUDE

When we ask her about the origin of her creative drive and the moment when she realized that she herself had become a formative force in the cultural landscape, both her sense of culture-shaping tendencies and her capacity for self-reflection become clear: »I was not alone in my ideas, I only applied the modern vision that prevailed in contemporary architecture and product design to fashion,« Sander clarifies, initially situating temporality and her own role within a broader context, as if she wanted to pay tribute to those who came before her. If one wants to understand this statement as an expression of modesty, then this does not indicate a failure to recognize one’s own influence, but rather a matter of proper perspective. According to the designer, the driving force of modernization was palpable everywhere, pointing to the omnipresent atmosphere of optimism of the 1960s. She drew not only inspiration for her own work from this, but also a strong awareness of material, sculptural design and the need to develop innovative fabrics. »In my hometown of Hamburg, the British tailoring tradition was still very present, so I was familiar with outstanding fabric and craftsmanship. I simply modernized them to achieve interesting new effects,« explains Sander.

Left: The Paris flagship store on Avenue Montaigne, designed in close collaboration between architect Michael Gabellini and Jil Sander, closely reflected her aesthetic vision and set new standards for the relationship between fashion and space—for instance through a spiral staircase inspired by the Bauhaus; Right: The importance the designer places on technology, proportion, and the creative use of three-dimensionality also initially led her toward architecture; Showroom San Francisco.

It is precisely this idea of modernization that has always driven Sander. But a focus on the future and a positive engagement with modernity are no longer highly valued, says Sander, and explains:

»I am an advocate of modernity, an attitude that is rarely discussed today. By that I don’t mean a fixed style, but the need to optimize things according to the state of the art and a contemporary aesthetic.«

This personal drive for continuous development already shaped her vision as a young fashion designer. While in the Paris of the 1960s the classic, ladylike image of women in Parisian couture still dominated, Sander preferred to look forward. With her designs, she sought to spare women from having a traditional idea of femininity imposed on them. According to Sander, it was always about a commitment to the present and an understatement that creates attention and respect. The personality, she emphasizes, must not be overshadowed by clothing and she adds personally: »As a businesswoman, I was my own test case, it was important to me that I be taken seriously as a negotiating partner.« And she was: The fact that in 1989 she was the first woman to take her own company public on the Frankfurt Stock Exchange is certainly a demonstration of this conviction.
A clear sense of direction also determined the strategic decisions she made over the course of her career. In 1999, she enters into a joint venture with Prada, but leaves the company she founded shortly thereafter. In the following years, she returns several times to reassume creative leadership before finally retiring in 2013 for private reasons. Since 2021, the »Jil Sander« brand has been owned by the Italian fashion group OTB after several changes of ownership.

PERSPECTIVE IN A NEW CONTEXT

Regardless of the development of the eponymous company over the decades, Jil Sander’s own attitude to design remained uncompromising. Her vision of clothing as an expression of personality and a focus on the present is reflected in her fundamental rejection of the routine and the predictable. As an advocate of a new approach to the familiar, it becomes clear why Sander vehemently rejects everything that is predictable and formulaic. »My design has no formula,« she clarifies. Calculability is even a particularly sensitive issue to which she reacts strongly. »When things become too familiar and predictable, they are overdue for a revision in the spirit of the times. I am very sensitive to that. Design is also the risk of trying out something uncertain. Collections are suggestions, they have to dare to be relevant. For me, it was a great appeal to clear the table in the studio four times a year and start from scratch.« For Sander, design work is always an exploration of possibilities that have not yet been explored. »This bet on the future requires alert, attentive senses, a quality that no artificial intelligence can replace,« she adds.
With this last remark, Sander touches on the fundamental difference between lifeless formulas and the pulsating intuition in the creative process. »Formulas belong to the what has been exhausted, which fashion and design must go beyond. I am far too closely engaged, very tactile and equipped with an ultra-critical eye,« she emphasizes and also refers to a philosophical reading:

»You only need to read Karl Popper to understand that truths and formulas are always provisional.«

One believes her when she says: »I have a strong educational instinct, I never dictate, but try to convince.« Through personal persuasion, she has gathered a team around her that understands and embodies her idea. »This requires ongoing dialogue and a shared understanding of quality criteria,« she elaborates the continuous exchange that ensures that Sander’s artistic expression is preserved in the execution, whether in campaign photography or in the design of her now-iconic perfume bottles.

A masterpiece of craftsmanship: the flacon for her fragrances Woman Pure and Man Pure from 1979, designed in collaboration with Peter Schmidt, follows a formal language inspired by modern architecture and art. Weeks of experimentation in Italian glassblowing workshops were required to render the sharp edges of the double cube unbreakable.

Her uncompromising commitment to preserving her own integrity is likely one of the reasons for Sander’s continued relevance as a designer. Integrity, she emphasizes, is all that designers, artists, and architects truly possess. She equates the loss of one’s own signature with a loss of meaning—a statement that reflects respect for cultural heritage and a deep understanding of its continuation. When asked about the relationship between artistic expression and personal growth, Sander responds: »Many find it difficult, in the face of the great, often depressing challenges, to maintain the initiative and engage their creative imagination. But we need visions to convey confidence,« Sander moves away from the actual question in her answer, but the message remains unmistakable.

A SENSUAL EXPERIENCE

When speaking of Jil Sander’s work, following a linear chronology does not seem especially fitting. This is largely because everything she creates centers on a conceptual core with a claim of timeless relevance. The urge to categorize her work is nevertheless difficult to shake off—which raises the question of whether she believes that her vision of modernity demands more explanation today than it once did?

»Explanations alone are not enough. People have to try on my designs to understand what I’m getting at. Because sensual experience is a powerful argument,« she responds matter-of-factly.

According to Sander, the aesthetic instinct is also shaped through sensory experience. A culturally stimulating environment can play a significant role in the early development of taste, she says, at the same time, she cautions against defining the concept of »good taste« too rigidly—because an overly fixed understanding can either dull the senses and intuition or sharpen them.

»Explanations achieve nothing—sensual experience is a powerful argument,« says Sander; Campaign image, 1998.

What the senses first absorb is later shaped by experience. Taste is not something rigid, but unfolds and changes with experience—if this process fails to unfold, one easily loses touch with the present. »I’m not saying that the spirit of the times is always right. Beyond formulas, there exists a sensitivity to proportions, material innovation, fresh harmonies and balances that characterizes successful design and creates new classics,« she adds critically.

REFINING CLASSICS

The designer’s most recent collaboration with the heritage brand Thonet also resonates with this sensibility—a company whose role in furniture design of the 19th and 20th centuries continues to have an impact to this day through figures such as Le Corbusier, Mies van der Rohe or Marcel Breuer. A cornerstone of design culture which Sander encountered as early as her school years: »The aesthetics of the Bauhaus in architecture, in objects, in graphics were very present in my youth and had a profound influence on me.«

New interpretation of Marcel Breuer’s cantilever model S 64, shot at the Jil Sander showroom in Hamburg.

In Breuer’s late-1920s tubular steel classic, she finds her own design principles in a new form and on a new scale: harmonious proportions, thoughtful three-dimensionality, understatement, and dynamic elegance. It therefore comes as little surprise that the new interpretation for the JS. THONET Signature Collection seems more like a visually contemporary homage to Breuer’s iconic design. »His construction and basic structure are convincing and deserve a contemporary appreciation,« says Sander. Following the principle »why fix something when it’s not broken,« she focuses on subtle refinement. The cantilever chair looks as if it has only been thoroughly polished, says Sander—despite the redesign, it is immediately recognizable. Jil Sander references the lacquer of Steinway grand pianos, the leather upholstery of elegant English cars and the matte nickel silver of architectural elements—a metal alloy she had previously used in the interior design of her flagship stores—as sources of inspiration for her new interpretation of the S 64 model.

ON A LARGE SCALE

The importance Sander places on technology, proportion and the creative use of three-dimensionality not only informs this collaboration, but also initially drew her to architecture. For the design of her first flagship store at 50 Avenue Montaigne in Paris in 1993, she commissioned the American architect Michael Gabellini. The concept, developed in close collaboration with Sander, precisely reflected her ideas on light, proportion, and materiality and set new standards for the relationship between fashion and space.

The Jil Sander flagship store in London.

In the exhibition catalogue »Jil Sander. Present«, curated by Matthias Werner K, it reads: »When designing the interior, Jil Sander resists the temptation to completely dissolve emptiness.« In this context, we ask about the importance she places on the purely visual experience of a space:

»I have great respect for spaces experienced primarily through their visual presence in a memorable way and that you don’t forget. They intensify our sense of being alive and make architecture an art form in its own right.«

She sees emptiness in the room as an opportunity—and one senses the fearlessness with which Sander has consistently approached new possibilities—as a space for self-assured individuality. A defining feature of the interior design are the »flying walls« and the atmospheric lighting inspired by the work of the artist James Turrell, resulting in a floating, almost immaterial spatial effect. Matthias Werner K remarks: »For Jil Sander, shaping the walls through varying degrees of brightness is more fascinating than an expressive play of light and shadow.« He views the gentleness of light as a medium of light as ideally suited to conveying the designer’s intentions.

ABSENCE AS A MESSAGE

The idea of structuring through light also arises in our interview—but in connection with art. One of the earliest lasting impressions on her came from the work of the painter Robert Ryman (1930 – 2019), says Sander. He is best known for his largely monochrome, restrained paintings, which vary subtly in texture, technique and support material and create structured surfaces through the irregular application of paint, making the presence of light tangible. »His white paintings confirmed my skepticism about strong colors. He has shown that you can also paint white on white without being boring.« She understands that effect does not require a pronounced graphic rhythm.

A video installation created for the exhibition »Jil Sander. Present« at the Museum Angewandte Kunst, Frankfurt (2017/18), offers a poetic glimpse behind the private garden walls of Jil Sander’s home on Lake Plön, not far from her hometown. Here, nature is presented as an intuitive space that renders the present moment—so central to the designer—more tangible.

It is the interplay of light and shadow that makes a space compelling for Sander—she even draws parallels between successful spaces and a garden. »Even in inspiring spaces, nature can be felt through its sense of proportion and, not least, through the direction of light and shadow,« she observes. Sander’s private garden on Lake Plön in northern Germany can be seen as a contemporary interpretation of the traditional English garden of Sissinghurst Castle in Kent—the historic garden created from 1930 onward by writer Vita Sackville-West. A video installation created for the exhibition »Jil Sander. Present« at the MAK – Museum Angewandte Kunst Frankfurt, offers a poetic glimpse behind the garden walls. Here, nature appears as an intuitive space that renders the present moment—so central to Sander—more tangible.

For Sander, the interplay of light and shadow gives a space its appeal, and she draws parallels between successful spaces and gardens, where nature becomes tangible through proportion and the use of light. Her private garden can be read as a contemporary interpretation of the garden at Sissinghurst Castle in Kent.

The exhibition catalogue accompanying the show contains the following description: »In an English-style landscape, there are four square rooms, framed by hedges. One is dedicated to roses, one to an apple orchard, the next to berry bushes, plants for cutting, and a kitchen garden. But the fourth room remained empty: a square lawn—Jil Sander’s homage to the cultivation of emptiness in East Asian traditions, which finds its most pronounced expression in Zen temple gardens. These austere, spiritual spaces made of rough stones, gravel, and moss are dedicated to meditation. Far removed from Western notions of paradise, they are intended to foster an acclimatization to nothingness.« Against this backdrop, it may be surprising when she explains in our conversation that any worldview is, by definition, a limitation—and she is therefore reluctant to commit to it. She qualifies this idea with a personal distinction:

»When I sometimes recognize aspects of myself in Zen thought or even in astrological ideas, it is something playful, and I forget it immediately. But I subscribe to the gentleness valued across many spiritual traditions.«

PRESENT

Jil Sander’s »worldview« seems to have always aligned with an open system of possibilities—worldviews are provisional, certainties fleeting, and theories vulnerable. Her work, often described as timeless, as it moves within her and works through her—reflected, present, open to the new. To engage with this work meaningfully, it requires intellectual flexibility—the willingness to make conceptual and mental leaps through times, contexts, and meanings; after all, we have encountered her work in its numerous aspects for almost six decades, again and again on new levels—always on equal terms with the present. At the end of our interview, she briefly engages in a thought experiment, which she frames as a playful possibility rather than a certainty:

»Perhaps time does not move linearly or in circles, but as a spiral. We do not know where it leads.«

COVERSTORY CHAPTER №XII »SIMPLICITY« — SUMMER 2025

While brands used to define themselves primarily through technical features, function, or price, strategic differentiation is now increasingly shifting to the design level. Design has increasingly become the decisive factor in identity formation in recent decades. That’s precisely why Chapter XIII, under the issue title »Identity«, focuses on those elements that shape identity — and on the areas of tension that can arise in the process. Contributions from Automotive, Yacht, and Interior Design, from Haute Horlogerie, Architecture, and Art show how diverse questions of identity and design can be addressed.

There are moments you’d like to experience as a silent observer. For example, that moment when the board, marketing, technology, and design discuss the future of a brand. Three of them surprisingly quickly agree—namely, that the designer’s drafts can’t work that way: too daring for the market and target group, too expensive to implement, too far removed from the established brand identity. And, as always, the engineer objects that the whole thing is neither technically nor physically sensible or feasible anyway. Four disciplines, four realities, one common product. But if it succeeds in intelligently combining those different perspectives—preferably by trusting the design perspective more than usual—that’s exactly where that clear brand identity emerges that consumers later take for granted.

Of course, this picture is greatly simplified, but it refers to a development that has fundamentally changed the relationship between strategy, technology, and design in many industries—and sometimes harbors potential for conflict. While brand identity used to be defined primarily by technical features, function, or price, the strategy is now shifting much more strongly to the design level. In recent decades, design has increasingly become the decisive factor in the identity formation of brands. And last but not least, that’s why »Identity« is also an extremely exciting issue topic for a design magazine like Chapter.

The fact that design is thus assuming a responsibility that was long not foreseen in classic corporate logics is also taken up by Mobility Design Professor and Chapter author Lutz Fügener in his essay on the »Art of Distinction« (from page 90). Using the example of the automotive industry, he describes how this development can sometimes even trigger »traumatic states« in a CEO with an engineering background: »Decisions worth billions suddenly depend on design concepts that can neither be reliably predicted nor captured in tables.«

Author Sarah Wetzlmayr also addresses areas of tension in automotive design in her article »Trademark « (from page 48), albeit from a different perspective. In conversation with leading designers such as Marek Reichman (Aston Martin) or Domagoj Dukec (Rolls-Royce), she discusses how strongly brands define themselves, for example, through recognizable form codes and what tensions arise when tradition, market logic, and design innovation collide. The central question here is when an element represents an iconic »house constant« and when it becomes a dogma or even a design burden.

A related principle is evident when looking at watch design (from page 74). Here, too, identity is created through an interplay of design details cultivated over decades, technical feasibility, and innovation. The world of haute horlogerie makes it clear how much even the smallest design constants, such as hand shapes, bezel geometries, or screws that once arose for functional reasons, shape brand identities today.

Prof. Dr. Andreas K. Vetter deals with a completely different aspect in the relationship between identity and design in his essay »Effective Spaces« (from page 58). He shows that architecture does not derive its effect exclusively from itself, but only develops identity in the interplay of use, expectation, and interpretation. Spaces have no fixed meaning; they become projection surfaces on which social ideas and personal experiences are inscribed.

An interplay between perception and setting can also be found in our cover story on Colin King (from page 28). One might be tempted to dismiss his work as decorating at a high level, but this impression is surprisingly short-sighted upon closer inspection. Behind King’s internationally sought-after work as an interior stylist are clear conceptual lines and a fine sense of how meaning can be created through minimal shifts. His arrangements show that identity often arises where it seems barely visible: in the detail, in the omission, and in the art of subtly changing spaces.

The museum in progress also changes spaces and contexts: away from the museum, into the public and media space. The artistic interventions (from page 122), which have been an integral part of every Chapter issue since last year, this time show works by Romuald Hazoumè and unpublished works by Marina Faust. Both illuminate identity from an artistic perspective: Hazoumè through his heads formed from »Bidons«, which address migration, globalization, and postcolonial reality. Marina Faust through her portraits, which understand identity as something composite, changeable, and never complete.

And the fact that questions of design and identity can be dealt with from automotive design to interior and watch design to architecture and artistic intervention shows above all one thing: that diverse but clear identity for which Chapter stands.

According to the electronics manufacturer Samsung, the view into the future is one characterized by vibrancy, exceptional clarity, and sharpness. From 2026, the South Korean brand will launch an expanded portfolio of Micro RGB  TV devices that will allow you to immerse yourself even deeper in the visual worlds of films, series, or sports broadcasts. And to lose yourself in them — in the best sense of the word. «With the latest technology from Samsung, our Micro RGB  portfolio offers vibrant colors and image sharpness that make films, sports broadcasts, and television programs even more expressive and captivating,» says Hun Lee, Executive Vice President of the Visual Display (VD) division at Samsung Electronics. «With the expansion of the range for 2026, we are establishing a new premium category with sizes that cover the entire spectrum of modern living spaces while meeting our highest image standards.»

The portfolio of premium TV devices available from 2026 builds on the 115-inch model introduced in 2025 (image below), which already caused a sensation at IFA 2025. The expanded range will be presented for the first time at the world’s largest tech trade fair, CES 2026, which takes place from January 6 to 9 in Las Vegas.

What’s new, however, is not only that the premium devices will be available in six different sizes in the future. Color brilliance, brightness, sharpness, and sound have also been improved. This is achieved, among other things, through the use of the Micro RGB AI Engine Pro, which is equipped with a state-of-the-art AI chipset that in turn enables an even more precise, vibrant, and almost hyperrealistic image display. Micro RGB Color Booster Pro and Micro RGB HDR Pro additionally support the vibrant color experience. The Glare Free  technology reduces reflections, and the audio functions have also been raised to a new level.

Samsung’s Micro RGB  TV devices make it clear: beautiful things can be created through advanced technology. But the devices themselves also have no need to hide from a design perspective. They impress with their clear, reduced, and frameless design. You could also put it this way: the new portfolio gives the future of TV enjoyment a suitable frame — namely, virtually none, which in no way restricts immersion in the fascinating world of images.

The major technological leap that Samsung is making with the expansion of its TV line-up will almost certainly lead to an even better and easier leap into the fictional worlds of films and series. In the end, it means: just dive in. [SW]

[Advertorial]

There were times when luxury yachts were primarily noted for their opulence and design overload. Today, that’s different—reduction and clarity define modern yacht design. Leading manufacturers like Wally, Riva, or Heesen are increasingly striving to make highly complex systems disappear behind calm surfaces and clean lines, with the goal of creating visual silence.

»Sprezzatura«—from the depths of the seemingly endless sea of words, Felix Kilbertus, Chief Creative Officer at Pininfarina, unearths an almost forgotten Italian term that perfectly summarizes what matters in the design of modern luxury yachts. »The idea of a kind of effortless grace, often described as the art of making something difficult look easy, or maintaining a nonchalant demeanour while performing complex tasks,« explains the designer in conversation with Chapter—adding: »This for me is the essence of luxury boating, something to be experienced as effortless simplicity, while very hard to obtain in reality, necessitating countless systems in the background constantly engaged to create this sensation of freedom and simplicity.«

wallywind110: “The clean deck layout is born from safety and practicality, ideas that have been part of Wally’s DNA since the very beginning,” explain the responsible designers of the renowned design studio Santa Maria Magnolfi.

Packaging highly complex technology in a way that conveys precisely this blend of effortlessness and elegance is one of the biggest challenges in luxury yacht design. At the same time, this is precisely what makes it so appealing, as designers repeatedly confirm. »Today, this means integrated technology, invisibly deployed, providing function without friction. Smart technology that disappears into the user experience, from cybersecurity to intuitive control systems using voice, gesture, or AI-assisted automation. Most relevantly, however, clients demand seamless connectivity for hybrid work, entertainment, and immersive audio-visual systems, integrated lighting design, and responsive climate control,« Felix Kilbertus continues his explanations. The native Austrian has been CCO of the Italian design firm since 2023; prior to that, he was Head of Exterior Design at the British luxury car brand Rolls-Royce. Since the 1960s, Pininfarina has also been involved in yacht design, most recently developing the interior of Wally’s highly acclaimed sailing yacht Wallycento Tango.

REDUCTION
TO THE
ESSENTIAL

When it comes to radical reduction, one cannot avoid talking about the Wally shipyard, launched by Luca Bassani in 1994. »The industry has absorbed many lessons from the radical reductionism pioneered by Wally and designer Luca Brenta at the turn of the century. This rupture with traditional nautical recipes and bringing in a sense of deep beauty has raised the bar considerably for the entire industry,« Felix Kilbertus is also convinced. Valentina Magnolfi and Federico Santa Maria, the duo behind the renowned design studio Santa Maria Magnolfi, work closely with Wally. In their view, however, reduction is not the right term for their work, but rather »rigor«, a certain formal strictness, as Magnolfi and Santa Maria explain. This strictness, however, is not in contradiction with luxury, comfort, and safety, they add. »Our work is based on a concept of essentiality, one that begins with the idea of being aesthetically coherent and respectful of the environment in which the object is meant to exist: the sea.«

The decision to hide complex technical components not only has aesthetic reasons but is also safety-relevant, as the Milan-based design duo explains in an interview with Chapter. »The clean deck layout is born from safety and practicality, ideas that have been part of Wally’s DNA since the very beginning. On the wallywind110, for instance, elements such as mooring areas, air outtakes, control panels and chartplotter screens are all integrated within the bulwarks. When not in use, nothing is visible, preserving the purity of the lines.«

Wally is known for luxury yachts with outstanding design, technology, and performance. The wallywind110 sailing yacht, with its wide decks, also offers spacious, elegant entertainment and relaxation areas—complemented by a light-filled interior concept with clear design language.

The goal should never simply be to hide technology, explains the design team of the Dutch shipyard Heesen. Rather, it’s about creating clear lines and integrating technology as seamlessly as possible. If a technological detail fits into the overall aesthetic of the yacht, it can certainly be visible. »The core principle is that complexity should serve simplicity, creating an environment of effortless elegance for the owner.« The design team working for the traditional Italian shipyard Riva also emphasizes the »purity of lines« as a stated goal. According to them, the fact that a clear, uncluttered design contributes greatly to safety on board the yacht should also not go unmentioned: »In a nutshell: Cleanliness facilitates this ease of use.« The desire to achieve the greatest possible harmony through reduction does not, however, exclude the possibility that technological features can sometimes be deliberately brought into focus. »Just think of the control panels that nowadays are increasingly integrated and equipped with touch screen displays. They are often very attractive to look at—even on small boats—and becoming part of the on-board experience.« The deliberate hiding of technology, on the other hand, occurs, for example, with technical elements that are necessary for safety and navigation and therefore cannot be eliminated, but which, if openly exposed, can impair the elegance of a yacht’s profile. As an example, the Riva design team mentions cranes for yacht tenders, i.e., for those small dinghies with which larger yachts are often equipped. »They are often hidden from view in specially designed niches.«

An example of modern luxury architecture on the water:
The Heesen Irisha—a 51-meter smart-custom motor yacht, designed by the British design studio Harrison Eidsgaard.

At Heesen, a Dutch brand for custom-built superyachts, reduction is also central—but not in the sense of design sterility. When asked whether the desire for clarity and reduction doesn’t also carry the risk of creating a feeling of coldness, the Heesen design team quickly dismisses the idea. They are convinced that the opposite is true. »A minimalist approach isn’t about creating a cold or empty space, but about setting a stage. It allows the owner’s personality, art collection, and way of life to become the central focus. The emotion comes from the quality of the light, the texture of the materials, the connection to the sea, and the freedom the space provides—not from excessive decoration.«
Felix Kilbertus shares this view and additionally raises the question of what is essential: »I believe that the most memorable things are essential, often deceivingly simple. Just think of portrait photography—you want to capture the essence of a person, but in all its complexity. It’s like a melody, where too many notes can distract, especially when the hierarchy between the main theme and supporting texture isn’t clearly expressed.«

ELEGANCE
INSTEAD OF
OPULENCE

For the Heesen design team, the roots of this clearly recognizable need for clarity and reduction clearly lie in the longing for tranquility in a world characterized by constant accessibility and overstimulation. »The yacht is a sanctuary. Purity and freedom in design—clean lines, open spaces—foster a profound sense of relaxation. Our clients seek to spend time on their yacht to escape the noise of the world, and a minimalist, considered design is the foundation for that serene experience.«
Felix Kilbertus agrees—modern yachts are no longer floating palaces, but rather retreats where the possibility of genuine connection—with family, friends, and nature—is inherent. All in the spirit of: »Reduction is the tool to get to what truly matters.«

Heesen’s Ultra G Luxury Motor Yacht: The interior was designed by the British studio Harrison Eidsgaard.
A highlight is the spiral staircase connecting all four decks.

Not just going with the flow, but confidently making waves, albeit a bit more quietly than before, could be the credo of modern yacht design. The French architect and designer Philippe Starck also seems to have dedicated himself to this or a similar approach in the design of his superyachts. Luca Bassani described the 119-meter-long Motor Yacht A, designed by Starck, as »uncompromised« in an interview. »Everything is hidden, everything is closed. You don’t see any of the menial details and that makes a big difference«. For the same client, Russian entrepreneur and billionaire Andrei Melnichenko, Starck also designed the 143-meter-long Sailing Yacht A. He also designed the motor yacht Venus for Steve Jobs, which was completed only a year after Jobs’ death in October 2011 and was characterized, among other things, by his unconditional desire for tranquility. »We always wanted less and less, which was fabulous,« Starck summed up the collaborative design process with the Apple visionary in an interview.
A statement that fits with Philippe Starck once calling himself »the king of concentration.« Although he was referring to the mental state of absolute focus at the time, there is also something else resonating—namely Starck’s ability to extract and emphasize the essence of an object. Philippe Starck also describes his approach to luxury yacht design as a conscious break with the cliché of monetary excess. Instead, he is concerned with the elegance of intelligence and joie de vivre. In his work, he first focuses on harmony with the sea, then on the principle of an almost religious reduction —to the minimum of what is visible—as well as on technological innovations that elude the eye.

NEW
LUXURY

One thing is certain: when the concept of luxury is discussed today, it is no longer about pure opulence. »We are seeing a deep shift from traditional opulence to a more nuanced, experience- led, and purposedriven interpretation of value across luxury sectors,« Felix Kilbertus summarizes his view and adds: »I believe contemporary luxury falls in three categories: Materiality-based, experiential and self-actualization. While the archaic codes of luxury are powerful forces to be reckoned with—provenance, precious materials, symbols of status, power and dominance—we have developed a more sophisticated understanding of what luxury means today. I see materiality-based luxury evolving into a celebration of craftsmanship, tactility, and authenticity—where the choice of materials communicates values rather than price. Experiential luxury shifts the focus from possession to presence: the ability to disconnect, feel safe, and be immersed in beauty and nature. And at its most evolved, luxury becomes a form of self-actualization—designing spaces, objects, and moments that reflect who we are, how we think, and what we stand for. These three approaches define a more meaningful, human-centred expression of luxury—one that resonates deeply across disciplines, from yachts to mobility to architecture.«
For several years now, the choice of materials has also coincided with a growing demand for sustainability from many manufacturers of luxury products. This also applies to the development of luxury yachts, Kilbertus emphasizes. »In many ultra-high-networth circles, sustainability is now equated with discernment and cultural leadership. Clients want their yachts to reflect ecological intelligence without compromising elegance or performance.«
Heesen also believes that sustainability must now be an integral part of the design and development of luxury yachts. More efficient hull designs and hybrid propulsion systems are part of this, as is the reduction of the ecological footprint within the company and of the yachts themselves.

WHO WILL
DARE FIRST?

Where is the journey heading now? Will reduction remain the guiding design principle in the future, or are other trends emerging? At the end of our conversation, the Heesen design team takes the opportunity to delve into a small trend forecast: »We are observing a few key trends. Firstly, an even stronger connection to the water, achieved through expansive use of glass, innovative beach club designs, and folding terraces. Secondly, a heightened focus on wellness, with requests for dedicated gyms, spas, and spaces for relaxation becoming standard. Finally, the seamless integration of smart technology to enhance user experience is critical, as is the continued drive towards more sustainable and efficient yachts that can explore the world with a lighter touch.«
The design team of the Italian Riva yachts also recognizes the tendency to create the greatest possible connection to the sea through the use of glass surfaces. »It allows both in the hull and in the superstructures to achieve bright interiors and to reduce the barriers between inside and outside«. Not a thing of the future, but a feature already frequently used, are fold-out balconies or terraces attached to the sides, which contribute to increasing the usable area. »This is a trend first experienced on very large yachts and that is now being implemented also on boats of smaller dimensions.«

Riva 130′ Bellissima: With a length of almost 40 meters, three continuous decks, and a clear, elegant design language, this luxury yacht marks a new milestone in Riva’s portfolio.

Large glazed areas on the main and upper decks create bright, open living spaces—and enable the
greatest possible connection to the sea.

»A design that blends in with the sea rather than shouting over it,« summarizes Pininfarina CCO Felix Kilbertus. He also states that there are some promising ideas, which are based, among other things, on innovations in architecture. »But then again—and very broadly speaking—we are not seeing a specific disruptive design trend, at least not quite yet,« says the designer’s conclusion. »However, the current winds of change might encourage some actors—the shipbuilders, naval architects, designers but also the owners—to really go beyond the currently imaginable. With all the incredible development tools at our disposition, there are very few actual limitations today to what can be achieved. Who will dare first?«
Perhaps an important step on this path could be to unearth the term »Sprezzatura« from the depths of the seabed. To be able to name the feeling that arises when a modern luxury yacht no longer screams for attention, but its visual silence allows one to listen to the sound of the sea. Or, to put it in Philippe Starck’s words: »We always wanted less and less, which was fabulous.«

ARTICLE FIRST PUBLISHED IN CHAPTER №XII »SIMPLICITY« — SUMMER 2025

When directors of science fiction films envision the future, they create worlds that no one has ever seen in this form before. However, to draw viewers into these unknown environments, the connection to the real world must not be entirely lost. Often, it is familiar objects, including design classics, that serve as links between the new and the familiar. Because even the most absurd world remains connected to reality to some extent if it features an armchair on which one might have already sat.

Eero Aarnio, Pallo / Ball Chair, 1963, © Vitra Design Museum, Photo: Andreas Sütterlin

For example, in the 2010 film »Tron: Legacy«, it is the Barcelona Chair  by Mies van der Rohe and the Eames Lounge Chair  that subtly establish a connection between past and future. In short: film directors and set designers are aware that design classics can act as gateways to previously unknown worlds. Conversely, many designers are also inspired by the environments and technologies depicted in science fiction films. After all, it is also their job to imagine the future – to give it a form that is forward-looking, yet simultaneously anchored in the present.

Eero Aarnio, Tomato Chair, 1971, © Vitra Design Museum, Photo: Roland Engerisser

Thus, it was primarily the so-called Space Age, which began with the launch of Sputnik 1  in October 1957, that brought forth a surge of furniture in which the intense engagement with space travel was clearly reflected. Designers such as Gae Aulenti, Eero Aarnio, Luigi Colani, Joe Colombo, or Verner Panton designed furniture and living landscapes that looked futuristic with their organic forms and shiny plastic surfaces, while fundamentally rethinking living and housing habits of that time.

Still image from the film set of Star Trek, 1968, © CBS Photo Archive, via Vitra Design Museum

Influenced by the rapid developments in space travel, designers in turn began to create furniture that seamlessly integrated into the science fiction films of that era. In Stanley Kubrick’s »2001: A Space Odyssey«, Olivier Mourgue’s Djinn Chair  became a screen star, while Eero Aarnio’s Tomato Chair  perfectly fit into the world of »Men in Black«. In the 1960s series »Star Trek«, Eero Saarinen’s Tulip Chair  can be seen.

Marc Newson Orgone Chair, 1993, © Vitra Design Museum, Photo: Jürgen Hans

However, the dialogue between science fiction and design continued in the following decades. Again and again, design icons conquered the cinema screens, including Orgone Chair‘s Marc Newson in the 2012 film »Prometheus«, but also unexpected design objects like Charles Rennie Mackintosh’s Argyle Chair  in the 1982 blockbuster »Blade Runner«. The extraordinary form of Nemo Chair  Fabio Novembre’s, which resembles a classic Venetian theater mask, has also fascinated directors and set designers for many years.

Andrés Reisinger, Hortensia, 2021, © Vitra Design Museum, Photo: Andreas Sütterlin

At the Vitra Design Museum (Schaudepot), the exhibition »Science Fiction Design. From the Space Age to the Metaverse« can be seen until May 10, 2026. The Argentine artist and designer Andrés Reisinger, who himself designs furniture for the Metaverse, has collected 100 collection objects, which he presents on a futuristic stage. The scope ranges from the Space Age  to the question of how suitable the Metaverse is as a new space for projections and experiments. Reisinger’s digital dreamscapes, which show clear references to the visual worlds of earlier science fiction films, are also part of the exhibition. [SW]

Header Photo: Andrés Reisinger, The Shipping, Tangled, 2021, © Reisinger Studio

Lily – Vripack & Oceanco

With Lily, the Dutch shipyard Oceanco and the yacht design studio Vripack presented a 101-metre-long concept that is unconventional in several respects. The design follows an asymmetrical, half-storey deck organization, which is intended to optimize lines of sight, air circulation and the spatial experience on board – a break with the otherwise strictly symmetrical world of superyachts.

The name says it all: the design language quotes the water lily, whose petals wrap protectively around a center. The decks of Lily  overlap in an organic way and create curved contours that are reminiscent of a closing calyx. A motif that is also continued in the interior: Offset half decks and a glass atrium staircase create a spatial experience that dissolves conventional deck structures.

The Dutch design studio Vripack emphasizes that Lily  was conceived in the area of tension between visionary design and technical feasibility. The aerodynamic lines of the two-level steel hull are intended to optimize lines of sight, air circulation and the experience for the owners. According to the designers, the concept not only pushes boundaries, but also removes them completely.

Lily  is also thinking ahead in functional terms—including with a pioneering drive mix. The yacht concept is to be powered by an innovative hybrid drive system consisting of methanol reformer fuel cells and dual-fuel engines (methanol/diesel), with separate tanks for each fuel type.

Project LAYRA – Allstars Design

The Project LAYRA concept, presented by Finnish studio Allstars Design, is scalable between 70 and 90 meters in length and, according to its developers, is aimed at »visionary shipyards and discerning owners«. Project LAYRA‘s unusual profile catches the eye at first glance: The silhouette appears to be made up of horizontal layers, which is actually the program—the stacked deck segments reveal the ship’s tween deck structure and become the defining design element. This structured »layering« not only gives the yacht a high recognition value, but also follows a clear design logic: the horizontally emphasized lines of the hull with a slightly protruding bow and the integrated, ribbon-like structural elements are intended to convey constructive clarity and calm. Allstars Design describes the concept as »visual intelligence«—the modularity and functionality of the architecture should go hand in hand with an appealing aesthetic.

In terms of color, Project LAYRA relies on a clear white exterior for the hull, tinted glazing and accents in light blue, while cool stone tones, light oak, stainless steel and black details create a modern, understated ambience inside. One of the many special features of the superyacht is the beach club on the lower deck, which is positioned centrally in the hull and offers direct contact with the sea via fold-out terraces on both sides of the boat.

Sustainability is also considered right from the design phase: the yacht can optionally be equipped with solar panels as a shade roof and a hull prepared for hydrogen propulsion. »The initial idea behind Project LAYRA was to design a vessel with engineering clarity, modularity, and layered build logic to attract shipyard interest, intended more for ownership than for charter. Conceived exclusively for MTB Superyacht 2025, it reflects Allstars Design’s drive to challenge convention and craft new benchmarks for beauty and purpose on the water,« the responsible designer Nicola Olivieri, Head of Allstars Design, explains to Chapter.

Project Velor – Nauta Design

With Project Velor, the Italian design studio Nauta Design presents a 75-meter concept that challenges conventional room layouts. At the heart of Project Velor  is an innovative architectural concept: the engine room has been removed from the usual stern area and relocated to a lower technical deck. This gives the yacht considerably more volume on the upper four decks—Nauta talks about accommodating the comfort and functions of a five-deck yacht in a four-deck design.

On the outside, Project Velor  has an elegant openness. Clear, long lines and gently curved shapes define the side view, while sharp-edged chamfers and overhanging louvre panels characterize the design in detail. Large areas of glazing and open atrium staircases attempt to visually interlock the floor boundaries as well as the interior and exterior spaces. The stern is particularly characteristic: here, an open-air water patio opens directly onto the sea: a partly covered but laterally open terrace area on the lower deck, flanked by fold-down platforms.

In terms of propulsion, the concept relies on an economical diesel-electric hybrid with four generators to ensure efficiency and range. Project Velor  thus embodies a modern interpretation of the superyacht theme: with great flexibility, functionality and livability—openly designed and strongly focused on the connection with the marine environment.

Dragonfly – Lürssen & Germán Frers

Unlike the others on this list, the 142-metre Dragonfly  is not actually a pure concept, but a yacht actually built by Lürssen. Nevertheless, it deserves a place here among the most exciting design projects of the moment, as its concept is visionary in many respects. The Argentinian designer Germán Frers is responsible for the exterior appearance and has translated his style, which is characterized by sailing yachts and classics, into a large motor yacht format. Dragonfly impresses with a powerful, almost military-looking profile with a sharply cut, steeply rising bow and clear, straight-lined deck superstructures. According to Frers, his declared aim was to create a balanced design with timeless appeal.

However, the formal straightforwardness conceals numerous technical refinements, as a focus on sustainability was also a central factor in the planning of the Dragonfly. With this in mind, the superyacht is equipped with a diesel-electric propulsion system, an electric azimuth pod drive and PTI/PTO units integrated into the gearboxes, which enable either electric propulsion or power generation to operate the vessel.

A highlight of Dragonfly  can be found at the stern: here, Lürssen’s engineers have developed a two-stage, folding platform system that allows parts of the aft deck to be lowered, creating a spacious beach club directly at water level. The spacious, luxuriously designed decks are also spacious – including a main deck pool with a glass floor, a spa, a cinema, a multifunctional sports center and a complete business deck  as a floating office including a conference room and helicopter hangar. The Italian studio Nauta Design is again responsible for the design of all interior and exterior areas.

Haven – CS Yacht Design (Felix Chapman-Sheath)

The Haven  concept, created by young design student Felix Chapman-Sheath (CS Yacht Design), offers a completely different perspective on the future. With a length of 85 meters, Haven defines itself as a »state-of-the-art sustainable superyacht«. Instead of primarily impressing with its external size or opulence, Haven focuses on content: emission-free technology, new spatial concepts and a harmonious integration of natural elements.

The exterior of the yacht is characterized by extensive deck terraces that are almost reminiscent of modernist architecture in their staggered arrangement. Transparent balustrades and open transitions between the levels create the impression of a floating atrium palace. A particular highlight of the concept is the Zen garden that inspired the name—a reminiscence of Japanese design that is intended to promote calm and contemplation on board.

When it comes to propulsion, Haven  is to rely consistently on alternative energies. According to the designer, a combination of fuel cells, battery technology and solar panels are conceivable in order to achieve genuine zero emissions. However, sustainability is not just a technical priority for Haven; the yacht is also intended to communicate this aesthetically: The interior design appears bright, open and close to nature. Curved shapes characterize the entire appearance; you will look in vain for strict structures.

As a concept, Haven  is already fulfilling its purpose: it is dedicated to the question of how luxury and ecology can be combined on a superyacht in the future. In any case, Haven  is a design that, like all the concepts presented here, shows that progress comes from the courage to leave established paths and think completely new in many areas. [CS]

Series such as Succession  or The White Lotus  pick up on the cultural zeitgeist, so it was of course great to be associated with them, Niklas Oppermann emphasizes the enormous value of this organically created product presence in our interview. By »cultural zeitgeist«, he is probably referring not least to the »Quiet Luxury« trend that has shaped fashion in recent years and has been additionally fueled by the influential series formats mentioned above—a style world that probably needs no further explanation at this point. Nevertheless, one could be forgiven for thinking that this omnipresent trend is more of a belated compliment for quality brands such as Carl Friedrik,whose designs do not see restraint as a reaction, but rather as a creative starting point from the very beginning.

Carl Friedrik was founded in London in 2013—from the very beginning with a clear mission: to create products that have more in common with industrial design than with fashion. With no overbearing logos, no seasons, no exuberant design language. Instead: clear lines, restrained proportions, durable materials, the highest standards of function and quality. The initial idea for founding the brand was pragmatically motivated: a functional, aesthetically reduced laptop case that did not exist on the market.

A turning point in the company’s history was the launch of the luggage line in 2019. Since then, Carl Friedrik has evolved from an accessories provider to a modular luxury travel brand with an ever-growing reputation. The portfolio now consists of accessories, bags and suitcases – the products do not follow trends or seasons, but a design principle: high-quality materials, technical consistency, visual restraint.

In our interview, Niklas Oppermann talks about design and product development, formal coherence, strategic cooperation—and the challenge of credibly occupying a term like »tradition« as a still relatively young brand. What becomes clear: Carl Friedrik does not operate with or against the zeitgeist, but independently of it.

Chapter  You have said that your designs are timeless and classic and based more on tradition than trends. Yet Carl Friedrik itself is a relatively young brand. In this context, what does »tradition« mean to you? Is it about manufacturing methods, material longevity or cultural references?

Niklas Oppermann  I worked in an auction house as a teenager, so I’ve always appreciated older products. To us, »timeless design« means producing goods that truly last, in contrast to contemporary products that are generally of inferior quality and don’t stand the test of time. Take the leather briefcases in our Heritage Collection, which are handcrafted by skilled artisans with premium hardware and fine vachetta leather. This combination of quality materials and craftsmanship culminates in truly long-lasting bags.

Chapter  Which specific design elements, be it hardware, proportions or color palette, best manifest Carl Friedrik’s design philosophy?

Niklas Oppermann  Hardware is an interesting example as it’s often overlooked. Make no mistake, hardware is integral to the construction of a premium bag. And it’s important not only from a functional perspective. The weighty, robust feel that the user experiences encourages them to equate the bag with quality. Designing premium bags or luggage hinges on the fine details—stitching, proportions, hardware. Our approach to color is to prioritise understated, classic tones that our customers can return to time and time again. We’ll intrinsically favor a chestnut brown over a bold seasonal or trend-led color. We want our products to remain in vogue through their timeless appeal.

Chapter  The launch of your luggage line in 2019 marked a shift in the brand’s strategy. What defines your criteria when entering a new category and how do you ensure brand coherence?

Niklas Oppermann  Luggage felt like a natural evolution for the brand, as we were already catering to the on-the-go professionals at the time with our work and leisure bags. However, the focus has certainly shifted to being travel-first since debuting luggage and seeing the strong response from customers. The key questions for us were: can we continue to improve how customers get from A to B, even with longer, potentially more arduous journeys in mind? And can the new collection continue to meet our standards around product longevity? The latter point was a unique challenge because luggage naturally experiences more wear and tear.
To your second question: adopting a shared visual language is one way we ensure coherence across categories. When releasing the Hybrid Collection  in 2019, we decided all silhouettes would feature a strip of premium leather detailing, an overt nod to our existing Italian leather bags and accessories. Cross-category functionality plays its part too. We want customers to build eco-systems of travel goods. For example, most bags feature integrated luggage holders that slot seamlessly onto the handles of our hard-shell suitcases. Reinforcing the idea that our products work seamlessly together.

Chapter  In recent years, Carl Friedrik has entered into high-profile collaborations—e.g. With Hackett London and Williams Racing. What made you decide to move into collaborations at this stage of brand development and how do you ensure that each partnership complements Carl Friedrik’s core design language and brand identity?

Niklas Oppermann  Opportunities to partner with admirable brands have certainly opened up as we’ve grown in size. Collaborations offer the dual benefit of getting your product in front of new customers and reinforcing brand perception with your existing customer base. We’ve tried to collaborate with partners that mirror our philosophy or values. Hackett London, for example, shares our admiration for sartorial style calibrated to contemporary living. The team at Atlassian Williams Racing has a passion for movement and precision engineering, as do we. Ultimately, we’ve found that partners have chosen to work with us because they appreciate our understated, timeless aesthetic. Of course, there is some give and take in the design process, but there are core design principles we can’t look beyond.

Chapter  Several of your products—such as The Carry-On, prominently featured in HBO’s Succession, and the Palissy Briefcase  seen in The White Lotus—have surfaced in culturally influential television series that are often regarded as defining visual touchstones of the »Quiet Luxury« aesthetic. How intentionally do you seek such screen visibility, and to what extent do you believe such implicit storytelling influences brand perception and desirability?

Niklas Oppermann  The inclusions in Succession  and The White Lotus  came about organically, which is fantastic as it highlighted a growing brand awareness at the time. Both shows tapped into the cultural zeitgeist, so it was brilliant to be associated with them. We received strong press coverage of the back of the inclusions and were able to launch a few well-received marketing campaigns. Ultimately, we’re all shaped by what we consume. The »Quiet Luxury« movement had its moment in the sun and influenced plenty of purchasing and even lifestyle decisions. [TS]

Charlotte Taylor — Home from Home

Home from Home  is an intuitive exploration of the inner life of living—and how our spaces reflect the complex contrasts of everyday life. The installation explores how time, light and impulses shape our surroundings, creating a choreography of movement, mood and meaning. Objects gather where the light invites them—arranged through spontaneous gestures and lived habits.

The space is filled with dualities: calm and activity, retreat and connection, clarity and blurriness. Home from Home invites us to linger in this field of tension between stasis and change—and to reflect on how we live. At the Noura Residency  in Copenhagen, London-based designer Charlotte Taylor has created an inhabitable installation in one of the two rentable apartments in Sankt Peders Stræde. There she brings together an eclectic selection of over 40 established and emerging designers and brands.

Tekla — Modern Romance

With Modern Romance, Tekla presented an installation during 3daysofdesign that combines textile craftsmanship, everyday poetics and historical references. Within the baroque Charlottenborg Palace, the label, which was founded in Copenhagen, staged a new collection that takes up delicate ruffles and broderie anglaise—an embroidery technique that is called »English embroidery« but has its origins in Eastern Europe in the 16th century. It was popularized by French traders in England in the 19th century and found its way into bed linen, nightwear and children’s clothing.

For Tekla, the collection began as a kind of research project and became a subtle homage to the diversity of this technique. The fact that the presentation took place in Copenhagen is no coincidence: the local community has always been a formative part of the brand identity. By participating in 3daysofdesign, says co-founder Kristoffer Juhl, the company not only wanted to celebrate its own Danish heritage, but also Copenhagen as a creative hub with international appeal.

Royal Copenhagen — Still Making Waves

Royal Copenhagen presented the Still Making Waves exhibition in its historic flagship store—, a tribute to 250 years of craftsmanship, tradition and innovation. Under the creative direction of Jasper Toron Nielsen, the history of the porcelain manufactory was reinterpreted: from the iconic three blue waves that have adorned every creation since 1775 and symbolize the Danish waters, to contemporary interior objects that bring the craft into the present.

The exhibition showed how traditional techniques—such as the artistic painting of the classic Blue Fluted Plain Collection or the filigree production of the Flora Danica series—have been preserved for centuries and at the same time further developed with new impulses. The focus was not only on the porcelain itself, but above all on the people behind it: the artisans whose knowledge and dedication still characterize Royal Copenhagen today.

Apollo Bar x Lobmeyr

Where tradition and craftsmanship are writ large, Lobmeyr is a must: Danish chef Frederik Bille Brahe discovered the Ballerina series from the traditional Viennese family business Lobmeyr by chance in a Parisian restaurant—and has been using it in his Apollo Bar in Copenhagen ever since. This encounter later gave rise to a joint pop-up collaboration: a gathering of like-minded gourmets with a love of form—now also during this year’s 3daysofdesign.

Since 1823, the Viennese family business Lobmeyr has stood for the finest hand-blown glass art. The wafer-thin glasses—with a wall thickness of just 0.7 to 1.1 millimeters—are created in wooden molds, whose steam protects the glass from direct contact and thus ensures a particularly smooth surface. Drinking set No.4 from 1856 is considered the forerunner of the modern wine glass and later inspired Josef Hoffmann’s Patrician series from 1917. [DM]

Danish Architecturee Center — Spacecon

The new exhibition Meet Me Here at the Danish Architecture Center (DAC) is dedicated to the question of how we can consciously experience physical closeness and real encounters again in an increasingly digitalized world. It takes up this year’s festival motto Keep it real—and calls for a new appreciation of authenticity, presence and interpersonal exchange.

In a curatorial collaboration with the architecture and design studio Spacon, the DAC is transformed into a walk-in installation that invites visitors to rethink the role of space, body and attention. Across five levels, visitors can experience how architecture not only facilitates encounters, but also actively encourages them—through spontaneous conversation, casual gestures or deliberate pauses. Meet Me Here is a plea for the analog in the best sense of the word: not as a nostalgic look back, but as an enrichment for our social and sensual experience. The exhibition is on view from June 18, 2025 to January 4, 2026.

Fredericia — Nanna Ditzel — Bench for Two

Nanna Ditzel’s iconic Bench for Two, whose new edition was presented by Fredericia in collaboration with A. Petersen, also offers space for human interaction and a moment of spontaneous encounter. Originally designed in 1989, the sculptural bench impresses with its gently inclined seats, which invite quiet communication, as well as its graphic back element with concentric circles and central red markings—created directly from Ditzel’s spontaneous sketches—a tribute to Ditzel’s love of bold colors and vibrant design language.

Made from solid maple wood and fine veneer, the Bench for Two remains a prime example of Scandinavian craftsmanship. Made in Denmark, it combines technical perfection with poetic expression. It is complemented by a table that is precisely matched to its silhouette, combining both elements to create an intimate setting. Even 30 years after its premiere, the Bench for Two remains a powerful statement of contemporary design—contemporary, human and full of intention. (Also featured in Chapter XII – »Simplicity«)

BassamFellows — Floor lamp by Philip Johnson and Richard Kelly, 1953

The BassamFellows design studio which was founded in 2003 by Australian architect Craig Bassam and US creative director Scott Fellows, not only brings back the legendary floor lamp from 1953 by Philip Johnson and Richard Kelly, but also presents a free-standing glass pavilion specially designed as part of the 3daysofdesign exhibition Design / Dialogue by Ark Journal. In the spirit of Johnson’s Glass House the result is an experiential space that allows visitors to experience the interplay of light, architecture and surroundings.

The original challenge for the now iconic glass house, which has no interior walls, was to develop lighting that avoids reflections and at the same time dispenses with ceiling lights. The solution was a powerful cone of light from the floor, which is gently reflected by a conical shade, creating a warm, intimate atmosphere. The minimalist luminaire thus became the blueprint for modern lighting design—timeless and effective at the same time.

Lee Broom — Chant Portable Table Lamp

British designer Lee Broom presented his immersive exhibition From Here Now  at the historic Asia House, which was part of 3daysofdesign for the first time this year. Staged like the abandoned home of a world traveler, the exhibition conveyed a sense of discovery. Broom himself describes the exhibition as a moment of pause—a look back and a look forward at the same time.

On display were reinterpreted classics from his lighting collections of the past ten years, including the Orion in antique brass and the Crescent in blackened brass, as well as the world premiere of the Chant portable table lamp, inspired by glass bricks from the 1970s. Visitors were able to experience the new luminaire over tea and cookies in the specially set up Lee Broom Tea Room. [DM]

With their design studio EBUR, founded in 2020, Racha Gutierrez and Dahlia Hojeij Deleuze reflect on their creative identity. Growing up in Côte d’Ivoire, their multicultural roots and Parisian education come together to create a multi-faceted style that combines French artistry with oriental craftsmanship, becoming an expression of their cultural journey and very personal design vision.

Chapter The name of your studio, EBUR, means ivory in Latin. Why did you choose this name?

EBUR We both grew up in Côte d’Ivoire and produced our first pieces there. Some of our work is undeniably influenced by them, in terms of shapes, symbols, materials… It was a way for us to pay tribute to the country of our births.

Le Cabanon, 2022
Private residence
Assinie, Côte d’Ivoire

Chapter How do different cultural influences and different eras shape the unique objects and spaces you create at EBUR, and what role does your personal background play in this?

EBUR Growing up in different places, having a multicultural background between the Middle East, West Africa, and Europe, all this mixed with our studies in architecture school in Paris, where we have lived for a long time now, has very organically created our style. EBUR’s DNA also includes many influences from French Decorative Arts, a pronounced taste for the Venetian style of the 17th and 18th centuries, and for Oriental craftsmanship in general… This background also influences the way we work, meaning we are always trying to stay open to new discoveries to bring to our projects and travel in every sense of the word.

Marinella Apartment, 2023
Private residence
Nice, France

Chapter What significance does craftsmanship hold for your overall approach?

EBUR From the beginning, we decided to work with specialized craftsmen, often family-run, taking care to select workshops according to their specialties. We have favored artisanal production over industrial production, accepting the limits of our collaborators and adapting to their way of working and their savoir-faire. We design and do lots of research for the pieces in our collections, but the dialog with the craftsmen is also essential for all our creations.

Marinella Aparment, 2023
Private residence
Nice, France

Chapter Working together as a team, in which areas of collaboration do your individual approaches and tastes come to the fore the most?

EBUR Fortunately, we have a mutual love of materials and ornament, which is always apparent in each project, blending French savoir-faire with Oriental influences and always being on the lookout for new references. Through these blends, we both aim to enrich our creations, giving them a singular dimension. We prefer natural materials, which bring warmth and authenticity to each project, and we also like to play with textures, such as velvet and taffeta, which are at the heart of our shared aesthetic.

FIRST PUBLISHED IN CHAPTER №XI »TASTEMAKERS« — WINTER 2024/25

Experimental objects such as lighter cases made of silver and set with semi-precious stones, sculptural pill boxes and elegant cigarette holders, necklaces with obelisk-shaped pendants that serve as containers for essential oils, or a magnifying glass that is worn around the neck on a vegan leather cord and, according to the description, is intended for reading the menu or examining a page. Designer Sophie Buhai’s unconventional creations—a fusion of minimalism and surrealism—move fluidly between utility, jewelry, and art object.

Before Sophie Buhai founded her eponymous label in 2015—now known for its contemporary interpretations of the modernist sterling silver jewelry tradition—she studied fashion design at the renowned Parsons School of Design  in New York and ran her co-founded fashion line »Vena Cava« for ten years. After that chapter was closed, Buhai found herself back in her hometown of Los Angeles to take some personal time out and the necessary freedom that eventually led her to jewelry and object design: »Creatively, I felt that I wanted something different. There was a shift and I started to do a lot of different things. I was doing interiors at the time I went to a residency in Italy and I brought a lot of materials with me, and I started making jewelry.«

As is so often the case, the metaphorical circle closes with sufficient distance and only much later in life, when the time is ripe. Buhai was first introduced to jewelry much earlier, through her mother and grandmother, who both had a pronounced fondness for striking silver pieces. »I was really inspired by my grandmother and my mother, these women that wore really bold silver jewelry. That jewelry was mid-century Scandinavian or Mexican silver jewelry or Native American jewelry«, she recalls. She had always worn some of these special pieces herself, but only now she realized how timelessly modern they still were. When she started making jewelry, dainty necklaces and pendants made of brass and gold had been particularly popular, but she herself had never been interested in the conventional understanding of jewelry as a merely functional accessory. Her designs are primarily aimed at the more unconventional type of woman or man, whose interest is primarily in the idea of the design and less in the monetary value, she explains her artistically influenced view of jewelry beyond diamonds, rubies and emeralds. However, Buhai expands the sometimes dusty perception of jewelry not only by clearly referring to the design aspect, but also by naturally embedding functional objects in the range. By conceiving of her designs as small sculptures—»mini-sculptures«—the concept takes on a new dimension—from ornamentation, a merely decorative object, to an art object.

TOOTHPICK AND CASE Sterling silver; PYRAMID PILL BOX Sterling silver, yellow beryl stone

Following the logic of this insight and in view of how closely the brand is linked to her as a person, one could conclude that she herself would also fit more into the category artist than designer—if categories are necessary at all. However, when asked about this porous boundary between design and art, she refers to the difficulty of demarcating the transition from one to the other, but clearly defines herself as a designer. Artist’ is too difficult a word. What is certain is that her inherent understanding of jewelry as an art form and the interaction between aesthetic and emotional components instinctively places her in the larger context of her brand identity, creating a narrative that tells a personal story. She tries to be authentic in everything she does, says Buhai.

»When I think of luxury to myself, it’s things that are coming from a person, coming from a soul.«

How honest authenticity can be consciously brought about is a central question in connection with emotional brand management and probably one of the most important aspects in the contemporary interpretation of luxury, which is geared more than ever towards values that can be located in a psychological dimension. The focus is on conveying the idea of both individuality and connectedness, which leads to a kind of subjectively perceived exclusivity. Buhai also recognizes this and gets to the heart of the matter without any theoretical digressions: »When I think of luxury to myself, it’s things that are coming from a person, coming from a soul. It’s so rare that things feel hand-touched coming from a designer or an artist, personally.« She goes on to elaborate on her concept of luxury, in which the soulful object takes center stage and the brand name is more of a seal of quality: »I think when you have that connection with an object, it’s quite powerful. So to me, that connection is what makes something luxury. I don’t think it’s the dollar amount or the brand name. It’s the experience that you’re really feeling with that piece.«

MAGNIFYING GLASS NECKLACE Sterling silver, vegan leather cord

This fragile space between soul and product is created and maintained through the art of storytelling, in which image-based communication dominates the written word. At Buhai, however, you will search in vain for loud visual courting of attention, which nevertheless does not diminish the brand’s presence in social media. A picture does not tell a story, but many pictures provide a possible narrative and, as in any good story, recipients find a free space to emotionally inscribe themselves in it, to charge it personally. »We don’t use words really that much. I think we put the work out there, and we’re very image-based. And beyond that, you take what you want from it«, says the designer.

»I’ve always kind of loved this gray area in between different design disciplines. And so I’ve kept that throughout the brand.«

The staging, often reduced to the object alone, paired with the restrained aesthetics of her visual language and the interspersing of style-defining intermediate elements function like a tailor-made place of longing—a narrative anchor point that both draws the viewer in and releases them. Buhai’s visually elegant language, like her designs, carries the timeless charm, the aura of long faded but unmistakable old world glamor and evokes associations with the glamorous days of Hollywood. When asked what makes her home city of Los Angeles special, given the persistent prejudices against the relatively young and superficial metropolis, she answers with a wave of her hand, dismissing what she perceives as a distorted perception before it can attract too much attention. For her, the appeal of living in Los Angeles lies above all in the unencumbered freedom that inevitably restricts tradition.

In terms of Buhai’s design process, this initially appears to be a paradoxical advantage, as it begins with visual references to historical themes—the broad scope of which ranges from the Japanese Edo period to Romeo Gigli in the 1990s—where Gigli’s vision of »modern nostalgia« seems somewhat less distant from Buhai’s designs at first glance. Aware of her numerous sources of inspiration spanning times and worlds steeped in tradition, she resolves the apparent contradiction with the following words: »But with all of that, I’m always trying to make something that feels new. It can have references to create a conversation of design history, but I think it should always feel like there’s one thing or the mixture of elements that makes it a new creation.«

DAWN LIGHTER CASE Sterling silver, set moonstones; RISING MOON FLASK Sterling silver, set moonstones, onyx cap

Buhai’s designs are exemplary of the organic interplay of simplicity, balance and harmony; as soon as all the elements interlock, the sketches become prototypes. Initially made exclusively by a wax carver, she now also works with a CAD designer on 3D models—after first having to come to terms with the idea—and argues: »I was really anti-CAD in the beginning, and everything was hand-carved wax. But I’ve actually come to embrace CAD. With a good CAD designer, I think it is a tool that can be used in a very human way.« Once the model has been perfected, the mold is cast in metal, followed by fine-tuning. The designs are produced by highly specialized artisans based in the Los Angeles Jewelry District, a vibrant center for jewelry in all its forms in the heart of downtown since the 1920s.

The designer’s intensive involvement with craftsmanship and materials also regularly takes her to the world’s largest gemstone and mineral fair, the Tucson Gem Fair—also known as the Tucson Gem and Mineral Show—in the US state of Arizona. Her interest in the visual and technical potential of stone as a material, however, eludes traditional processing, in which stone comes before setting. For her, design continues to be the top priority, and the stone, which is still raw at the time of purchase, must conform to this. »We’re creating our own forms and are really trying to push what we can do with our stone carvers, how large we can go, and the different shapes we can work in,« gives Buhai an insight into this self-imposed challenge, somewhere between technical expertise and artistic zeal. This local availability of knowledge and resources also gives the designer some creative freedom to design pieces that, according to Buhai, are more about the concept and the idea and less about selling a large number of them. These include, for example, sculptural objects made of sterling silver, such as an elegant toothpick with an accompanying hand-hammered case, for—as they say—the evening bag or the dining table, as well as a modernist-looking spoon for children or a hip flask with moonstones set in a setting and a hand-carved onyx lid, whose extravagance is tempered by being described as a collector’s item or a potential family heirloom—which is in line with her belief that objects always tell a story, preserve memories, and convey emotions.

Her open-minded approach to the potential of different craft and design disciplines also manifests itself in her studio, a place where everything comes together. She took on the interior design together with her friend and long-term collaborator Gabriela Rosales, the founder of Formative Modern, a Los Angeles-based gallery specializing in early 20th century design. Since the beginning about ten years ago, curated objects and furniture have always been part of Sophie Buhai’s brand world, never as a conceptual addition, but as an intuitive one. »I’ve always kind of loved this gray area between different design disciplines. And so I’ve kept that throughout the brand,« she explains, uncompromisingly filling this free space with her innate, authentic synthesis of design, art, and culture, which is subject to constant and inimitable human and artistic evolution.

Cover story CHAPTER №XI »TASTEMAKERS« — WINTER 2024/25

The term designer is too narrow to do justice to Daniel Simon. As a visionary multi-talent, he not only inspires the shapes of exclusive boutique sports cars, but also Hollywood’s wildest cinematic fantasies. The German moves like a somnambulist between the realms of realism and fiction. He narrates, invents, doubts and dreams. With this free spirit, we talk about the obvious – such as formal language. About the unavoidable—like artificial intelligence. And the surprising—such as time, distinction and longevity.

Daniel Simon is primarily attracted by contrasts. He tracks them down. Not always on purpose, but with absolute accuracy. Then he devotes all his attention to them. And unites what is often mutually exclusive. Past and future, for example. Or function and form. The clever moderation of this dialectic, which creates friction, makes stories exciting and things come alive, is perhaps his greatest talent—alongside his obvious talent for outlining the contours of an entire galaxy with just a few pencil strokes.
He achieved his international breakthrough in 2007 with the overwhelmingly detailed illustrated book Cosmic Motors, after studying transportation design in Pforzheim and designing concept cars for Volkswagen and Bugatti for several years. However, the automotive industry was and is just one of the 47-year-old’s playing fields, and he is passionate about questioning everything. This is how he became Hollywood’s favorite utopian overnight in 2013. Blockbusters such as »Tron: Legacy«, »Oblivion« or »Top Gun: Maverick« visibly benefit from his creativity, which creates more than cinematic superficiality.

Tron: Legacy Hero Light Cycle, 2010

Cosmic Motors already makes this clear. Daniel retreated to Brazil for two years in the mid-2000s to create this utopian work in the spirit of his role model Syd Mead. »Syd or Harley Earl had a big influence on me«, he still says today. The fictional world of Cosmic Motors revolves around vehicles from a fantastic galaxy that are a mixture of de-militarized fighter jets and racing and luxury cars inspired by the breath of the past. But it is not only the content of the book that is remarkable, but also its form. As a reader, you can really feel how the ideas came to paper, from the first draft to the final artwork to the digital rendering. »The play with timelines, i.e. the blending of past, present and future, is totally fascinating for me. What-if mind games are like a drug for me. This creates spaces without rules and alternative worlds that don’t even seem that impossible given the infinity of the cosmos.«

Time, it quickly becomes clear, is a major theme in Daniel’s oeuvre. His second book, The Timeless Racer even has the theme in its title and is dedicated to a time-traveling racing driver who commutes between the years 1916 and 2615. »I am fascinated by the thought of what will become of racing teams or traditional brands in the distant future when they look back not just a few decades, but entire centuries. What would a Porsche collection look like in the year 2600?«

For Daniel, these are not questions driven by materialism. He only asks them because for him they always involve people. He goes to great lengths to create elaborate backstories that inevitably raise the question of how much we as subjects cling to the past. Legacies, according to Daniel, can also be a burden. »References are important. But it does bother me how much history we have to live with. The design library and the amount of unspoken guidelines is enormous. Only a few car manufacturers are exempt from this, Koenigsegg for example.« Mass manufacturers are inevitably more committed to the past. The convinced enthusiast, who sees mobility as an uplifting form of existence, is aware of these constraints, but nevertheless questions every convention: »At a motor show in the 1920s, there was no reference to the past. The question of looking back did not even arise.« Today, the design of major brands always carries the baggage of the past with it, especially in terms of design.

The Timeless Racer Masucci X-7A

The mass market has thus been robbed of a large part of its revolutionary power. As an example, Daniel cites BMW‘s kidney grille, whose actual function as a radiator opening has been obsolete for decades, but is indispensable for the brand’s recognition value. An implicit prevention of radical new beginnings—and an abstraction of the origin, to the point of absurdity. It is clear that creative courage seems rare for designers who think far beyond normal boundaries. »Renault had a progressive design in the early 2000s that I really liked—with Vel Satis or Avantime. Economically, however, it was a disaster; the masses found these cars rather challenging.« You begin to understand why Daniel is not head of design at Volkswagen today, but instead works for Singer, for example, where small series of Porsche cars modified down to the last detail are produced for absolute enthusiasts. But he points out: »Even with such expensive prestige brands, sentimental buyers are the majority. It’s mostly about looking back and longing.« As a result, there is no need to reinvent everything when it comes to restomods. Daniel has therefore found his own personal niche, where he experiences creative freedom in various projects. »Many industrial designers establish themselves in a genre and are constantly looking for new forms of expression. The automotive industry is very receptive to this. I do it the other way around and have found my own individual design language. I then apply this to different genres.«

1990 Porsche 911 restored and modified by Singer Vehicle Design

His recognizable signature is an advantage in our noisy world. But it also comes with the risk of falling victim to an inner coziness or a dangerous, misunderstood sovereignty. »Routine can quickly lead you down a slippery slope.« But Daniel seems far removed from this. He designed a very real, autonomous racing car for Roborace back in 2015. »You can’t download a template. You don’t have a visual library for this product class, you can’t look anywhere to see how others do it. Such projects are the cream of the crop in vehicle design.« His Robocar was a blessing, but also a challenge. Radical design is rarely perfect straight away. »We had to massage the shape for a long time. There are unwritten rules, like a beat. You have to learn them, because the laws of aesthetics cannot simply be overridden.«

Robocar, Roborace

Anyone who creates real racing cars, Formula 1 designs or luxury sports cars, advises Elon Musk’s SpaceX, designs motorcycles for Lotus or airplanes for the movie »Top Gun« needs their own design language. For Daniel, this means: industrial elegance without too much provocation, plus genuine futurism despite tangible timelessness. »This is helpful for my work on the film, because the current zeitgeist has no place in a sci-fi movie like »Oblivion«. You want to create as much distance from the real world as possible.« As a creative craftsman, he always starts from the three-dimensional object and merges simple basic volumes into a complex whole whose original geometric forms remain legible. This creates sovereignty. »I find many other designs too loud, too tinkered with, and therefore tiring after prolonged viewing.« Paradoxically, this makes them uninteresting in the long term, says Daniel. As is so often the case, the great art lies in omission. »With simple designs, everything has to be right: Balance, surface quality, proportion. Nothing should be hidden behind anything else.«

Top Gun: Maverick Darkstar Jet, 2022

The vehicles in Cosmic Motors or The Timeless Racer are up to the task. And they look amazingly functional—just like his movie vehicles. »There’s a reason for that«, says Daniel. A future in which everything is wireless and completely digital would not be visually entertaining. »When it comes to certain fantasy machines, I’m a fan of real switches, screws and rivets.« He gives an example: »The Bubbleship in »Oblivion« stands for a very special feeling in the movie—it has to convey that. If an actor has to flee from a dicey situation and has nothing to do, there’s no drama. That’s why we gave the spaceship classic toggle switches for a key scene—and not a touch screen, which would be closer. That’s a creative decision.«
Director Joseph Kosinski has relied on Daniel’s talents for many years. The current »Top Gun« remake with Tom Cruise at the wheel of the Darkstar Jets was once again an absolute dream job for Daniel. Even if the discourse with a fictional world means hard work and a lot of research in the industry. »It’s the best part of my job, reading into new industries and opening new doors.« Given the many meta-levels in art, it’s surprising how analytical he is, tracing the mechanics of our world. »I love airplanes and their design, but I immediately asked myself: How do we approach this now? The design has to be worthy of a blockbuster, but also impress professionals—and not confuse the average moviegoer. A balancing act.«

Hollywood’s Oblivion Bubbleship, 2013

In the case of »Top Gun: Maverick«, Daniel worked closely with Lockheed’s research department. He took the SR-71 Blackbird as his model—still the fastest airplane in the world today—and then embarked on his typical mental journey through time. What, he asked himself, would the Lockheed engineers from the 1960s be doing today? It’s a role play, very similar to method acting. It is precisely this approach that makes Daniel’s work so authentic, detailed and coherent.

What’s more, even as a boy he scribbled cars on the back of technical drawings. They were the documents of his father, who worked as an engineer. The family lived on the Baltic Sea in the GDR in the 1980s. The icons of those years were Ferrari Testarossa or Lamborghini Countach. But Daniel didn’t paint any specific brands, just »visions of tin cans making noise and thundering off somewhere«. He would certainly have become a brilliant engineer. Today, Daniel lives in Florida with his wife and daughter and designs for international clients, quite a few of whom remain a secret. The fact that he found his dream job is down to chance: As a 15-year-old, he read about the profession of vehicle designer in a car magazine while getting bread rolls. Until then, this world had been completely hidden from him. He still owns the newspaper today, which underlines his romantic inclination, which also flows into his work. He is a sentimental futurist, without a doubt. And he is aware of the privilege of engaging in an activity so well aligned with his talents. Perhaps the involuntary reinvention of his person—largely decoupled from his German origins and his supposed predestination as a car designer—has also helped him to maintain a very special freedom of spirit. Life in the USA is certainly conducive to this. Unlike in Europe, Daniel is not confronted with his past on a daily basis. Instead, he is shaped by unstoppable progress. He grew up without the internet, had his first home computer as a teenager, was studying when Photoshop was released and was working his first jobs while Google Images and YouTube were taking off. He sees this radical change as great, but accidental luck: »As a student, it took me a whole year to find out which pen certain designers were working with. Today, there are 16-year-olds who are super-talented in illustration techniques. The internet and tutorials are changing the way creative minds develop. The discovery process has shrunk from years to minutes. That has consequences.« Daniel leaves it open which ones.

Daniel Simon — a visionary all-rounder

His opinion on the disruptive power of digital technologies and artificial intelligence in particular changes on a weekly basis, he confirms. »Basically, I do have extreme reservations.« He by no means rules out the positive impact of technological progress on our collective society. »However, we are already insidiously yet inexorably dependent on algorithms and are constantly connected to networked devices. The matrix is real!« Nevertheless, Daniel works intensively with AI design software. »Midjourney and Vizcom are unbelievable, they seemed to come out of nowhere. But these are just harmless creative examples. Nobody can imagine where we will be in ten years’ time. Especially as we have great difficulties with exponential growth. People tend to be linear.« He is deeply surprised at how easily people are taken in and distracted by the playful element of artificial intelligence.
Because the extent of the threat is unforeseeable. And already real today. Artists rightly feel threatened by AI. »We believe we can create things that no one has ever seen before. That’s arrogant! Because all forms have actually already been invented. So we are more likely to mix what already exists. Only the possible combinations are infinite. So designers are curators, DJs so to speak. How we design the mixing process is what makes us unique.« Daniel is convinced that the only thing that sets us apart from AI and its brute force design is our inability to achieve astronomical computing power—in other words, a deficit.

DSX Mistral Concept Helicopter

»A computer makes art? How laughable! A computer writes a screenplay? What the hell! What is art?«, he asks. His answer: In art, much cannot be quantified—or judged without bias. In design, it can. That is where the difference lies. »Therefore, it is conceivable that in the future we will prefer to rely on the work of human curators—if we can afford to. However, AI will then flood the market of the lower consumer classes. Which will further separate the elite. This theory can also be applied to car design.«
A world with even more demarcation and even more tensions does not seem to be in his interest. Daniel relies on humanity where he can afford it. It is his commandment of creative existentialism. For him, the creative process has a high quality in its lengthiness, its complexity and the inherent risk of failure. Nevertheless, he knows that AI will revolutionize vehicle design, which is extremely resource-intensive. Car manufacturers would certainly not miss out on this savings potential. The believer in the future sees too much temptation in the sweet fruit of artificial intelligence.
He recently read a comment by author Laura Preston, who described how an AI bot was meant to make her work easier—but instead tempted her to start thinking like a bot herself. The bot started to train her. Daniel sees a familiar and recurring pattern in this feedback loop, which fatally sidelines the human element: »Our efforts to maximize likes mean that virtually all content looks the same. The machine has decided what is cool. And the algorithm lulls us into believing that we are creative. That sums up my concerns about AI very well.«

Sketch Robocar, Roborace

As a true utopian, Daniel therefore takes a decidedly critical view of innovations. In his opinion, many trends are not subjected to sufficient scrutiny. In addition, capitalism has discovered design as a sales tool and is squeezing every last drop out of it. A strong opinion from someone whose business thrives on progress. But someone like Daniel can afford to criticize the system from within. He makes his point: »We don’t really need the amount of new vehicles and extremely short model cycles. That drives me crazy. This inherent obsolescence is ethically indefensible. My work is directed against this wastefulness every second.« But he also knows that our world is complex and his voice is very quiet. As a designer, he nevertheless pleads for more longevity. His simple and smart shapes have a deeper message. »I have long since withdrawn from the vortex of more and more. It’s a hamster wheel that can be very tiring for a creative mind.«

Robocar, Roborace

The examination of Daniel’s design thus reveals a subliminal agenda. It is personal expression, bold speculation and imaginative dreaming. But it is also a reflection on social responsibility. He clearly distances himself from a political interpretation, but admits: »Economy, science and our coexistence do play a role.« The man for whom utopias are part of everyday life is shocked, for example, »by how much dystopias fascinate the masses. The previews at the movies are almost all carnage—with shallow heroes who save the world«. So his job in entertainment is definitely fraught with conflict—philosophically and very practically.
Nevertheless, he has no doubts about his work. He simply sees himself as having a great responsibility. »I do wonder what I will look back on one day. What will people remember about me and my work? A question that AI certainly doesn’t reflect on.«

PUBLISHED FOR THE FIRST TIME IN CHAPTER №IX »WORK In PROGRESS« — WINTER 2023/24

BMW: Between Immersion and Innovation

The BMW Group presented itself under the title »Vibrant Transitions« in the historic Palazzo Borromeo d’Adda and attempted to create a flowing transition between architecture and design, between space and interface. The multimedia installation with light, sound and digital projection showed themed worlds of BMW and MINI and was intended to illustrate the variety of individual design possibilities on the one hand and to stage the general radiance of the company’s own design in this phase, which is so important for the brand, on the other.

The focus was on the BMW Panoramic iDrive display and operating concept of the Neue Klasse  presented at this year’s CES (Chapter reported), the BMW X3 Designer’s Choice  specially curated for the Salone del Mobile  and the BMW CE 02 by MINI Design, whose color concept was developed by the MINI design studio for the appearance in Milan.

»Our mobility design is becoming ever more comprehensive«, emphasized Adrian van Hooydonk, Head of BMW Group Design. »Colors, materials, light, sound, geometry and digital experiences are brought together in the course of each project to create exciting and emotional customer experiences. With our ‘Vibrant Transitions’ installation, we are providing inspiring insights into this at the Salone del Mobile.«

Cupra: From automobile to aesthetic system

As a car brand with an affinity for design, it goes without saying that it is particularly important for CUPRA to make a statement at the Milan Design Week. However, this was not achieved through a loud staging, but through the claim to emphasize design as the identity-forming, cross-genre center of the brand. All of this was presented as part of the CUPRA Design House—a platform for a wide range of design disciplines, from fashion to product design.

The exhibits in Milan included 3D-printed sneakers in cooperation with Zellerfeld, parametric furniture prototypes and luggage made from recycled materials, which were developed together with the Harper Collective label. CUPRA once again underlines the fact that the brand’s design ambitions extend far beyond the automobile and that the boundaries are constantly being expanded.

Under the same name CUPRA Design House, a separate department will also be active in the future, transferring the brand’s style into new areas through creative collaborations and the exploration of innovative manufacturing technologies and materials. The CUPRA Design House  is based on the four pillars of CUPRA Collection (development of lifestyle products and accessories), CUPRA Collabs (promotion of brand and creative partnerships), CUPRA Beyond (ongoing expansion of the brand philosophy into new design disciplines) and CUPRA Accessories (detailed design solutions from interior to exterior). »CUPRA Design House  is the ultimate manifestation of our impulse to experiment, reinvent and create a legacy that is as bold as it is beautiful«, summarizes Ignasi Prieto, Chief Brand Officer of CUPRA.

Audi: Individualization as a design principle

Audi is presenting itself for the twelfth time at the Milan Design Week in 2025. This year’s focus was on Audi exclusive—the department that has stood for individualization and personalization of premium vehicles for 30 years. This anniversary was celebrated with a refined special edition of the A6 Avant, whose sports seats are finished in a classy leather combination in Baikal blue-neodymium gold with Baikal blue contrasting stitching and vanadium-look applications.

To accompany this, the so-called Material Bar  was staged to bring the diverse range of Audi exclusive  products to life—from the feel and color effect of different leather qualities to seam patterns and application variants. Thematically curated seat islands also allowed visitors to get an idea of the wide range of customization options.

Exhibitions and art installations dedicated to the topics of aerodynamics and light rounded off this year’s Audi brand presentation. Particular emphasis was placed on the second generation of digital OLED rear lights, which have not only been functionally optimized, but also set new design accents—they combine lighting design and innovative technology in an exciting way. [ED]

City and SALONE—AN interlinked system

This year’s program in the city begins even before the official opening of the fair. The Vernissage  exhibition in Via Dante, for example, brings photographs by Bill Durgin into the public space. They show bodies in relation to designed objects—as a reference to this year’s main theme »Thought for Humans«.

This visual narrative is complemented by the Design Kiosk  in Piazza della Scala, where daily discussions with designers take place. Both formats are less spectacular events and more an invitation to engage with design in everyday life.

Installations between staging and reflection

Two central installations outside the exhibition grounds are more differentiated in terms of content and atmosphere than in previous years. Robert Wilson’s work Mother in the Museo della Pietà Rondanini is intended to stand for a harmonious interplay of light, music and space—an examination of Michelangelo’s unfinished sculpture, accompanied by Arvo Pärt’s Stabat Mater. The installation deliberately dispenses with narrative gestures and works with reduction, lighting and sound as creative means.

With Library of Light, the renowned British artist Es Devlin has created an installation in the Cortile d’Onore of the Pinacoteca di Brera that clearly stands out from the purely visual gestures of many Milanese installations. The conceptual core lies not in the representation of light as an atmospheric means, but in its role as a carrier of information and meaning. The installation is physically conceived as a walk-in structure, filled with over 2,000 books—curated and donated by the Fondazione Feltrinelli—, which transform the space into a kind of performative library.

The artist operates here with the contrast between ephemerality (light) and memory (text, book). The result is a temporary space that moves between sculpture, archive and stage. Visitors are invited to move quietly into the structure, linger between the shelves or take part in curated talks at the evening events. This programmatic addition clearly shifts the installation in the direction of a cultural format with a claim to active mediation.

Es Devlin herself commented: »I have always experienced libraries as silently intensely vibrant places where minds and imaginations soar, while clutched like kites by their seated bodies. This kinetic sculpture reflects the synaptic connections being forged, the resonances and associations at play within the minds of a temporary community of readers. As Jorge Luis Borges said: I am not sure that I exist, actually. I am all the writers that I have read, all the people that I have met, all that I have loved; all the cities I have visited.«

Two installations also set design accents at the trade fair itself: Villa Héritage by Pierre-Yves Rochon reinterprets classic interior design with references to historical hotels and a detailed choice of materials. In direct contrast to this is La dolce attesa, a joint project by director Paolo Sorrentino and set designer Margherita Palli. The production thematizes the moment of waiting—as an intermediate state, translated into a visual and acoustic spatial design.

Focus on light—Euroluce 2025

With the return of the light biennial Euroluce questions of technology, modularity and material once again take center stage. Numerous designs show new solutions in the field of wireless systems, adaptive lighting control and sculptural design. Material combinations of glass, recycled plastic and metal are in the foreground—mostly for functional reasons, less often as a design statement. In addition, the Euroluce International Lighting Forum will take place for the first time, with contributions from architecture, science and lighting design. Here, too, there is a tendency to open up disciplinary boundaries.

Milan as the design capital

With over 2,100 exhibitors from 37 countries, including 168 brands represented for the first time, and a total area of more than 169,000 square meters of sold-out exhibition space, the Salone del Mobile.Milano remains the most important international platform for the furniture and design industry in its 63rd edition. The trade fair is complemented by the SaloneSatellite  area for young designers, which this year brings together 700 young designers and 20 international design universities. In addition, over 100 showrooms in the city have been activated as part of the official program, as well as 49 digital LED walls in the city, 320 billboards in subway stations and a dense programme of talks and cultural events at a total of eight central locations. Despite all the conceptual expansions, the Salone thus remains an event that makes an impact above all through its density, scale and institutional reach. [Red.]

»I like things that change«, the Italian designer, architect, set designer and author Gaetana »Gae« Aulenti once said in an interview. She claimed this form of mobility for herself and her work – throughout her life she resisted categorization and responded to the apparent lack of a signature with the words: »Style means the repetition of an idea that is always the same.« A look back at the life’s work of the designer, who died in 2012.

»The whole world is a stage and all men and women mere players. They come on and go off again«, according to Shakespeare’s comedy »As you like it«. However, the metaphor of the world stage, which has been omnipresent ever since, not only exposes people as the owners of a multitude of roles, but also raises the question of how this stage-like world is constructed. In short: if the world is a stage, do we move through it like a huge stage set?

The stage set designed by Gae Aulenti for Ronconi’s production of the Rossini opera »Il viaggio a Reims« at the Vienna State Opera, 1988.

If you look at the work and underlying approach of Italian designer and architect Gae Aulenti, who died in 2012, you feel confirmed in this comparison. Not only because Aulenti’s extensive repertoire of roles also included that of set designer – she worked primarily with director Luca Ronconi – but also because she always saw people and buildings as two interacting parts of the same play. According to Aulenti, », the space, as a co-player or partner, should always be designed in such a way that it allows for different behaviors and does not restrict them.«1 Despite its inherently static nature, it has a mobility and creative power that is also at the heart of many stage designs.

Table Tavolo con Ruote, FontanaArte, 1980

Gare d’Orsay before its conversion into a museum

SENSITIVITY TO WHAT IS FOUND

Gae Aulenti, who as an architect and designer made tables roll (Tavolo con Ruote) and transformed train stations into museums (Gare d’Orsay), was always interested in mobility in her work. She once said: »It’s true, I’m perhaps simply against anything that seems static. I like things that change.« The urge to always remain flexible was also reflected in the fact that Aulenti never wanted to be pigeonholed stylistically. In an interview with the design platform BauNetz, the artist, who was born in Palazzolo dello Stella in 1927, answered questions about the lack of a uniform style as follows: »’I can’t work everywhere with one and the same signature. Because it is the place that dictates how something is to be designed. Style means repeating the same idea and the same details over and over again. That has never interested me.« Instead, she is convinced that you always have to start from scratch with every project.

Main gallery of the Musée d’Orsay, Paris

Main room of the Palazzo Grassi, Venice

This was probably also the case with the works that brought Gae Aulenti international fame. These include the conversion of the Gare d’Orsay in Paris into a museum. It took a whole seven years before the museum was finally opened on December 1, 1986. Aulenti was very keen to preserve the old building fabric as far as possible. Through a series of subtle, sometimes even minimal interventions, she finally transformed the 20th century station into a 21st century museum. She worked closely with the French curators to create the closest possible link between the architecture and the logic of the exhibition. »My design itself was like a big machine that we drove into the station«, she once summed it up in an interview. On a design level, it was important to her to connect the spaces in such a way that their size did not create a feeling of anxiety or overwhelm for visitors. According to Aulenti, you always have to discover the possibilities hidden in old buildings, not imitate or copy what is already there, but try your own interpretation. »You have to work against the space and still respect it.«

In 1980, the Italian designer and architect was also the first woman to win a project of this size in a competition. In an interview, she once remarked that the renovation of the Gare d’Orsay had given her more strength in this respect. »Back then, people didn’t believe that a woman could design a large project on her own.« Working as a woman in a male-dominated industry did not exactly make it easy for Gae Aulenti to live up to her own ambitions until her breakthrough in the early 1980s. »It took me many years to be able to realize big projects, but I went along quietly, without protesting and without allowing this fact to penetrate my consciousness too much. Aulenti was also only one of two women to graduate in architecture from the Politecnico di Milano in 1954.

Gae Aulenti’s redesign of the Museum of Modern Art at the Centre Georges Pompidou and the conversion of the Palazzo Grassi in Venice for museum purposes also caused a stir. Most of her architectural projects combine a careful adaptation to the built environment, but without wanting to exclude contemporary influences. Aulenti is generally associated with Neoliberty – an architectural movement that was based on the tradition of Art Nouveau – Stile Liberty – which was only very weakly developed in Italy anyway, and which attempted to distinguish itself from the modernism of the interwar period through a stronger historical orientation. In connection with her work, however, Aulenti herself spoke far less about stylistic features than about the unconditional embedding of her buildings in urban contexts. As the former Italian president Giorgio Napolitano noted, her designs were characterized by a great sensitivity for the existing.

April chair, Zanotta, 1964

ICONIC OBJECTS

As early as the 1960s, Gae Aulenti succeeded in gaining a foothold as a furniture designer and designer of industrial products. In 1962, her first commercial furniture projects were launched by the manufacturer Poltronova: the rocking chair Sgarsul, inspired by Thonet’s cantilever chair No.1, and the Stringa chair and sofa series. The iconic Locus Solus armchair from 1964 is part of a collection of garden furniture published by Poltronova. Her interest in industrial design soon led her to collaborate with the most important companies in the sector – in 1964 she created the April folding chair for Zanotta, the following year the Jumbo marble table for Knoll and in 1974 the 4794 polyurethane chair for Kartell.

Series Locus Solus, Poltronova, 1964

Her most iconic designs also include the Pipistrello lamp, which is still in production today and is probably one of Aulenti’s works most influenced by the neoliberty movement. Like her designer herself, however, the lamp does not really want to be categorized. Because the Pipistrello was originally intended for the Olivetti showroom in Paris, it had to stand out all the more from the typewriters and computers that primarily populated the room.

Pipistrello lamp – originally intended for the Olivetti showroom in Paris.

Aulenti made a name for herself as an interior designer with the design of the showrooms for the typewriter manufacturer Olivetti in Paris (1966/67) and Buenos Aires (1968). The Italian car dealer Fiat commissioned her to design the showrooms in Brussels and Zurich (1969/70).

THE LIGHTNESS OF BEING

»Stage design, design and architecture always came together for me«, said Gae Aulenti in an interview two years before her death. The extent to which this is actually the case can be seen, for example, in Aulenti’s Rossini chair made of wood and metal. Designed in 1984 for her stage set for Ronconi’s production of the Rossini opera »Journey to Reims«, the chair was later produced by Maxalto/B&B Italia. But it is not only these clearly demonstrable connections between the stage universe and reality that bring these two worlds so close together in Aulenti’s case that one can actually speak of a world stage. To summarize, it can perhaps be said that Gae Aulenti was concerned with a certain lightness in both areas – with spaces that, despite their size, do not frighten the users and with stage sets that make the players take off. Even literally, because for the »Barber of Seville« she had the singers lift into the air. »The characters fly, yes, they fly«, Ronconi put it in a nutshell.

So it’s all just a game? I don’t think you can say that either. But maybe like this: as in a theater or opera production, Gae Aulenti combines different disciplines in her overall work to create a harmonious, artistic production.

ARTICLE FIRST PUBLISHED IN CHAPTER №VIII »ELEMENTS« — SUMMER 2023

Just-rightness, the noun of the term just-right, is by no means an established, even canonical term – if it exists at all in the field of design science. It appears here and there in texts on the subject of design and in most cases indicates a qualitative value, an adjustment. Just-rightness therefore currently leaves a lot of room for interpretation. One interpretation of the term that crops up from time to time is exciting because it touches on a fundamental question of design in general. It is about dimensional accuracy, about the self-image of design in its position between technology and marketing.

»Good design is as little design as possible«, formulated Dieter Rams––God-Father of late modernism––and thus makes use of a linguistic trick. The point of the sentence results from the different content of the term design in German and English. A translation of the thesis into English therefore also harbors the risk of misinterpretation. Perhaps the more comprehensible, admittedly even more »denglish« formulation »Good design is as little styling as possible« would be the more consistent formulation of the claim, but the linguistic sophistication of the thesis would be lost and it should therefore be rejected from an aesthetic point of view alone.

Oru Kayak — Model Coast XT

But maybe it’s not as simple as that: Ditch the styling and you’ll be well on your way. Times have changed. Design acts as a protagonist in almost universally overcrowded markets and is thus an elementary part of the toolbox for displacing competing products. Today, in a world of too much, there is also too much design. The situation is comparable to that of the press, which also feels increasingly exposed to competition for attention. Attention economy is the new magic word and creates a new, important basic rule: overcome the threshold of perception in order to expose the competition. Press professionals like to describe this process with the phrase »a content steep edge«, which means nothing other than making a mountain out of literally every molehill, increasing the level of excitement and thus attention in order to provoke the click reflex in inclined online consumers of the news site. After all, only clicks are counted and, by converting them into advertising value, put money in the coffers. What the media creator’s click figures are to the retailer’s sales figures. And there are various ways to achieve this––several of them are through design.

Oru Kayak — Inlet model

In the German-speaking world in particular, the term design is narrowly defined because it is always associated with an artistic-creative achievement; as such, it is completely unprotected and can be freely used and misused by anyone. Interested customers should actually know that the use of the word design as a marketing prefix should always give rise to suspicion. Designer glasses, designer lamps, designer furniture or designer kitchens may be reliably priced above average, but they are not necessarily the better products in terms of most of their features. Design often becomes an additive here, an application that can be scaled at will. The customer falls for it a few times, pays the price and learns his lesson.

Oru Kayak — Model Haven Tandem

In diametric contrast to this common perception of design is its self-image in the academic world. In the mission statements of the relevant educational institutions for the training of this profession, nothing less than saving the world appears as a minimum requirement. In any case, the graduates of at least this particular institution always create the solution in their later professional lives and definitely never the problem. The formulated principles often and quite naturally include a paternalistic claim to education, which is often presented to the interested parties as a reassuring tautology of design and working for the good. Of course, it is very practical for one’s own karma alone to pursue a profession that automatically makes any further strenuous analysis of the complex consequences of one’s own actions superfluous. Certainly, one or two sectors such as fashion design or automotive design are somewhat under suspicion here, but the generous use of well-written adjectives such as sustainable at least straightens this out lyrically. Here, too, there is a steep edge, because a high number of applicants ensures quality and resources and, last but not least, the raison d’être. Greenwashing here and there––chercher du marketing!

The legal defencelessness of the concept of design allows it to be bent beyond recognition at its edges. From an ideologized promise of salvation to a pure marketing instrument. This would be less alarming if these extremes did not have a disproportionately large effect on the image of design in their respective areas of perception. And here it is appropriate to bring the concept of just-rightness into play. It is about nothing less than the substance of design, which is always formed in interaction, always dependent on successful cooperation with technology and––if it is a product––with marketing. Dieter Rams’ dictum can also be read as a challenge to design to be as cooperative and minimally invasive as possible in this interaction. The danger of making oneself superfluous as a designer through this demand for reduction seems to have been averted today. Over the decades, design has constantly increased its depth of intervention in these work objects and processes, is increasingly asserting its competence as early as the conception phase, is even in demand as a model for methodology in the solution of complex tasks and is increasingly becoming a hinge at the point where all forces come together. In this position, with a sense of proportion, it can make a significant contribution to ensuring that the things of our everyday lives are neither overloaded with meaning nor with decoration and that we focus on the essentials. What great things are created in this self-image that only reveal their value at second glance, but can last a long time––both technically and ideally. These are the objects that people like to have repaired or buy a second time after losing them––favorite things. They have to work, not be overly fashionable, repairable, adaptable, should not lose (or even gain) in aesthetics through wear and tear and draw their positive image and ultimately the reputation from all these characteristics, which ensures that you feel well-dressed with them, literally or figuratively.

Audi A6, C5 series (1997-2005)

The design of the Audi A6 of the C5 model series (1997 – 2005) by the outstanding German automotive designer Claus Potthoff is one of the cars in recent history that can be measured by such standards––by no means the rule in the eclectic world of automotive design. As such, it is one of those designs that is highly likely to deteriorate as a result of any subsequent intervention. Nothing on the A6 is too much, everything is in its place, proportions and volume are perfect. The original model did not even need the tailpipes of the exhaust system, which are often image-defining in this market segment. All around, inside and out, the design is based on the horizontal, all lines are two-degree (geometrically defined by just three points) and the details are also geometrically derived. There is no icing. It is actually a design with an unlimited shelf life––were it not for the logic of the market and the constant pressure to change––to explicitly avoid the term »Innovation«.

The Japanese company Ryōhin Keikaku is trying to elevate just-rightness to a general, conceptual approach with the products of its MUJI brand. MUJI is the abbreviation of the term mujirushi ryōhin and means something like unbranded quality goods and elevates reduction to the dictum of design. It is hardly surprising that this idea should arise in Japan in particular, as restraint and moderation are deeply rooted in the social norms of Japanese society and are reflected in the principles of life that the majority aspire to, such as ikigai––literally translated, »iki« stands for »life« and »gai« for »value«. Furthermore, space––especially in the country’s large urban centers––is a precious commodity and extensive use is largely impossible because it is extremely expensive.

MUJI, electric kettle MJ-EK5A

As if they were conceived for the MUJI product range, the Californian company Oru Kayak takes just-rightness to the extreme with its products. The Oru designers redefine the outdated term »folding boat« to an unprecedented level. With boats made of translucent polypropylene flat material that are remarkably robust, comfortable, light, quick to assemble and disassemble, can actually be folded to the size of a sports bag for transportation and can be easily transported on the luggage rack of an average bicycle––or even tucked under your arm on the subway. Aesthetically, they can keep up with many a conservative rival product and the combination of transparent lightness and precise origami folding technique gives them an additional wow effect. And all of this is undoubtedly just-right, because there is definitely nothing left out of this product.

According to the Federal Statistical Office, a person in Europe owns around 10,000 things, in the USA three times as many. In 2010, the Japanese Marie Kondō published an internationally acclaimed guide on the subject of »tidying up«, in which she also ascribes a spiritual dimension to the evaluation of objects necessary for sorting them out. From a sober point of view, it is precisely this just-rightness that one grants the object or parts with it. Does this necessarily have to do with design? No, because the individual meaning of an object has different dimensions. Can it have something to do with design? Absolutely. This just-rightness––if you want to stick with the term––is something fundamentally individual, the result of a negotiation between product and user, which can turn out differently and can also take a long time. A product––be it a T-shirt or a car––can actually achieve great environmental friendliness in the course of its history of use simply because this history takes a long time. In other words, the product is not disposed of and replaced by a new one, but rather maintained and repaired and thus becomes an integral and indispensable part of this very life – regardless of whether it was intended by its creators to save the world.

Modern smartphones, such as the Samsung Galaxy Z Flip5, also celebrate the disappearance of things: they are no longer just phones, but mobile computers, photo and video cameras, games consoles, navigation devices, wallets, calculators and torches and countless other things – an astonishing efficiency in terms of space and resource requirements.

And in this sense, even our omnipresent smartphones consistently take further steps on the path to reduction. Quite independently of their mostly interchangeable physical appearance, they celebrate the disappearance of things. They are a telephone, computer, photo and video camera, calculator and torch, measuring tape, compass, key, radio, loudspeaker, games console, navigation device, book, clock, calendar, diary and much more all in one. Although they usually can’t do all this as well and rarely better than the dedicated specialists, are always an ergonomic compromise and rarely the choice of professionals, they are catching up surprisingly quickly. Software is easier to modify than hardware. If you dispose of all these items simulated by the smartphone or don’t buy them in the first place, you will achieve astonishing efficiency in terms of space and resource requirements. It’s worth taking a look at which ones are just right. Could the rest possibly go?

Article FIRST PUBLISHED IN CHAPTER №X »STATE OF THE ART« – SUMMER 2023/24

Can design today still learn from the Bauhaus? For all other areas of product and industrial design, this question seems rhetorical. In the case of automotive design, however, it is not. With a few exceptions, there is no history worth mentioning in which automotive design and Bauhaus appear in the same sentence. Where does this aversion come from and is it time to give it up?

Although the era of modernism has now been part of cultural history for almost half a century, the ideas and work of the Bauhaus protagonists still have an impact on design practice in the broad fields of architecture and everything that is summarized under the terms industrial and product design. More than 100 years ago, the Bauhaus began to devise creative solutions for the enormous tasks that the project of industrialization presented to the world at that time. As long as this industrialization continues in its evolutionary stages, the Bauhaus approaches are at least worth taking up from time to time in order to test their usefulness in specific cases. The Bauhaus was too early to deal with the demands of digitalization, but even in the digital age, people still live in houses and use physical objects. And as long as this does not change fundamentally, approaches in this regard will lose little of their relevance. The Bauhaus still has the potential to be a guide and quality benchmark for design concepts and achievements and––well––to lend them intellectual brilliance. There is a great temptation to see the strong Bauhaus brand as a stylistically reproducible design and to project the designs of artifacts that still seem modern today onto new products.

Thonet, Tubular steel desk S 285, 1935

In today’s era of marketing primacy, a brand as strong as the Bauhaus is simply too much of a lure. The often invoked Bauhaus style does not exist, but the Bauhaus code certainly does. For some, it is indeed too powerful! The New York architecture critic Mark Wigley even calls for the world to be liberated from the ideas of the Bauhaus. He suspects the representatives of the Bauhaus movement of having aimed for a perfect human being (super human) and believes that we are all still victims of the Bauhaus and its encroaching optimization efforts today. He speaks of the Bauhaus virus––a powerful metaphor in post-corona times. It is therefore all the more astonishing that the supposedly viral Bauhaus code was hardly able to develop any influence in a special design field––that of vehicles. Automotive design and Bauhaus behave like immiscible liquids. Although there are occasional efforts to whisk them together, the separating layer always forms by itself.

Walter and Ise Gropius with their mutual friend Lily Hildebrandt: Photographed by Walter Gropius with a self-timer during a car trip with their new, white Adler Standard 8 in Dessau, 1930.

In order to explain this rejection phenomenon, it is probably necessary to investigate various causes. The first is obvious: Vehicles were not one of the original fields of work of the Bauhaus during its active period between the world wars, nor did any of the former Bauhaus members scattered around the world favor this topic in their active years afterwards. However, as with almost every rule, there are exceptions––albeit few. The first was Walter Gropius’ design work for the Frankfurt automobile brand Adler, which was important before the Second World War. Familiar with each other through Gropius’ design work on the brand’s appearance, the collaboration continued with the design of special bodies for the Standard 6 and 8 models––both luxurious models and thus created more in the spirit of a Wilhelm Wagenfeld than a Hannes Meyer. Gropius certainly created something new in terms of aesthetics and detail. A driver’s door that could be hinged either at the front or rear, as in the Standard 8 convertible, would still be an eye-catcher today, and the idea of reclining seats in the Standard 6 saloon has even become a common feature of the automobile. However, the limits of the framework set by the manufacturer did not allow Gropius to question the structure of the automobile with the radicalism he was familiar with from his work as an architect. Disruptive approaches to the automobile of the future were coming from other directions at the time. Gropius himself was obviously satisfied with the results of this cooperation and drove one of the few vehicles produced––an Adler Standard 8 Cabriolet––as his private car until his emigration in 1932. Unfortunately, none of the few examples sold survived the following world war and it remains questionable whether they would otherwise have been part of the physical, but even more so the mental, history of the Bauhaus today and thus would have claimed the theme of automobile design for it. Probably not.

The Junkers G 38 (1929) was the largest land plane of its time and was considered a marvel of engineering. With a wingspan of around 45 meters and a wing area of almost 300 square meters, the aircraft was far larger than the usual proportions of the time and was only comparable in size to the Dornier Do X seaplane.

Its collaboration with the aircraft manufacturer Hugo Junkers, also based in Dessau, is exciting because it is much more interwoven with the activities and habitus of the Bauhaus. Although this did not focus on the field of mobility, it was thematically influenced by its new requirements. The now world-famous claim »Form Follows Function« resulted not least from precisely this type of networked approach to design and technical development that was implemented here. For its pioneering work in the development of passenger aircraft, Junkers needed innovators who were willing and able to act independently of established conventions. In the 1920s, passenger aviation was naturally elitist and reserved for the luxury-conscious upper class. When designing the interiors of the aircraft, the requirements of the aircraft developers for lightweight construction and stability were diametrically opposed to the usual images of a luxurious interior. The radically new aluminum furniture designed and manufactured at the Bauhaus created a new, modern image of high-quality design with its high-tech design. The congenial collaboration between Junkers and Bauhaus not only had an impact on the furniture industry, but also sowed the seeds for a globally effective counter-image to the opulence of traditional luxury, which was able to establish itself at least as an alternative in almost all fields of design––with the exception of the automobile. To this day, two traditional vectors must be observed in order to exert luxury: Performance and massive ostentation in the broader sense. Often in combination.

One of several Junkers structural steel bridges on the Dessau autobahn world record track, which the racing driver Rudolf Caracciola drove through in a Mercedes W 154 on the day of its inauguration in 1939, setting a new record time.

The second reason is the fundamental contrast between the approaches of the Bauhaus and contemporary automotive design in the mid-twenties of the last century. While concepts of social building, housing and living were put into practice in Dessau, on the other side of the Atlantic the still young discipline of automotive design was subject to the laws of marketing as part of the mass motorization of the USA. After GMC boss Alfred P. Sloan’s simple but effective basic idea for utilizing the possibilities of design had relegated the previously unchallenged market-dominating Henry Ford to the back of the pack in just four years, the design of vehicles seemed solely committed to market success. Although the Bauhaus was also open to cooperation with industry and carried out a large number of small and large projects, it saw itself as an equal partner and never as a means of maximizing profits in a world of products. From today’s perspective, the automotive industry in the USA could be said to have been far ahead of its time. It simply skipped the era of modernity and created the postmodern product half a century earlier than the rest of the world. Automobile design thus became a kind of counter-design to modernism. The rapidly growing influence of the US car industry after the Second World War and the associated export of its ways of thinking and working initiated a competition between design philosophies. And the more saturated the markets became and the more cut-throat competition raged on the markets, the greater the number of defectors became. The transition from the era of modernism to postmodernism can also be understood as a reversal of precisely this relationship in favor of the market-oriented orientation of design à la Sloan.

Fiat Panda, 1980-1984

There are indeed automobiles whose design could have invoked the Bauhaus code in all consistency: The Fiat Panda, designed by Giorgio Giugiaro and released in 1980, would even stand up to the strict, socially minded standards of Hannes Meyer. The constraints for the design of this Italian people’s car were extremely tight––even the number of spot welds to be used in the production of the body was specified and strictly limited. The design is stringent, economical, aesthetically mastered, modern and logical, and as a superlative of automotive design it is certainly to be rated higher than numerous spectacular works à la ISO Grifo or Bugatti EB 112 from the same pen. Of course, Giorgio Giugiaro does not need Bauhaus glamour––after all, his name itself stands for one of the strongest brands in the history of automotive design. It is not known to what extent he was impressed or influenced by the Bauhaus. The design of the Panda, with its offensive pragmatism that seems almost vulgar to the apologists of automotive aesthetics, has many a critic in a quandary. A »household appliance on wheels« or an industrial design are common interpretations for resolving the inner conflict. You simply put the Panda in a different drawer and all is right with the world again.

Exporter 2 – portable radio designed by Otl Aicher for BRAUN, 1956.

The rift also runs through the fronts. In 1984, the important German graphic designer Otl Aicher––himself unquestionably a member of the classic-modern Bauhaus tradition of the Ulm School––published a book entitled »Kritik am Auto. Difficult defense of the automobile against its worshippers«. Today, the book reads at times like self-therapy, which is archetypal for the inner conflict of the protagonists of modernism in design, but also for today’s discourse on the subject of the car. As aptly as one formulated the misguided development of the contemporary automobile as a means of transportation on a rational and analytical level, one had succumbed emotionally to the allure of the subject and had to be counted among the »worshippers«. Aicher celebrates the compact Fiat Uno and––himself an enthusiastic sports car driver––reproaches the Porsche 911 for its »styling«––in modernist circles a fighting term for lack of concept and superficiality. However, from today’s perspective, his equally critical assessment »er fährt auch, wenn er steht«, marks nothing less than an almost self-evident minimum requirement of contemporary automobile design.

There is nothing to be said against a commitment to Bauhaus in automotive design––not as a universal formula, but as a pre-formulated demand for functional innovation and aesthetic clarity. The Bauhaus code, which is sometimes overused elsewhere, could be an inspiration of untouched charm for the automobile of the future. It would be worth a try. Mr. Wigley would probably have to take the train to be spared the Bauhaus virus.

ARTICLE PUBLISHED FOR THE FIRST TIME IN CHAPTER №VIII »ELEMENTS« — SOMMEr 2023

British precision in in-ear format

With the Pi6 and Pi8 true wireless models, Bowers & Wilkins demonstrates its expertise in audiophile sound quality and precise design. The design language is based on extensive studies of the anatomical characteristics of the human ear. The results of scientific research were directly incorporated into the development of the Earbud shape and guarantee not only a secure fit, but also efficient noise canceling. The charging cases fit seamlessly into the minimalist design and enhance the functionality with features such as wireless charging and a »wireless retransmission« function.

The technical considerations are at least as impressive as the visuals: both models rely on aptX Adaptive with a 24-bit wireless connection, while the Pi8 also supports aptX Lossless, enabling virtually lossless sound transmission. The sonic differences between the two models result from the drivers used: the Pi6 uses 12 mm drivers made of biocellulose, which are known for their precision and lightness, while the Pi8 uses carbon fiber diaphragms borrowed from the award-winning Px8 series.

The Bowers & Wilkins Px8 over-ear headphones are characterized by an elegant design in combination with high-quality materials such as leather and aluminium. The ear pads are covered in soft leather for comfort and a luxurious feel. The controls are discreetly integrated, with intuitive touch surfaces and buttons. A dynamic driver design allows you to hear precise mids and deep bass. The timeless aesthetics of the model underline the premium claim of the headphones.

Acoustic sculptures

Marantz is expanding the concept of headphones into room-filling loudspeakers with the Horizon and Grand Horizon models. These devices are exemplary for the translation of audiophile principles into a sculptural design language. Marantz’s characteristic porthole design approach, which is refined here with modernist proportions and a textile feel, not only serves aesthetic purposes, but also guides the light in the room and creates a visual balance.

Here too, the technical features are in no way inferior to the supposed formal rigor: Both speakers use the company’s own Marantz Rise amplifier concept, which generates power levels of 310 and 370 watts respectively with its GaN-FET technology. This precision is supported by specially developed drivers that ensure even sound dispersion. The integrated HEOS® system allows the speakers to be networked with other devices, while the touch-sensitive AuraControl ring provides intuitive user guidance.

Ergonomics meets adaptive intelligence

The Galaxy Buds3 Pro take up the demand for personalized audio experiences by relying on Samsung’s Galaxy AI technology and focusing on adaptive noise control, which analyses ambient noise in real time and dynamically adjusts both noise cancellation and sound profiles. This is complemented by safety features such as »Siren Detect«, which recognizes emergency signals, and »Voice Detect«, which activates ambient mode during conversations.

The design is characterized by function and sophistication: Ergonomically optimized for long wearing comfort, the buds combine an understated but precisely designed housing with innovative controls such as the intuitive »Blade Lights« for control gestures without visual distraction. The use of a planar tweeter and dual amplifier, complemented by Samsung’s »Seamless Codec«, ensures high-resolution sound quality. The combination of minimalist design and high-end technology makes the Galaxy Buds3 Pro a remarkable contribution to the smart headphone category.

A statement

By combining technological innovation with carefully coordinated design elements, state-of-the-art headphones and speakers go far beyond their purely functional purpose. They not only create an outstanding listening experience, but also an object-like statement. Whether in the form of the future-oriented, portable Galaxy Buds3 Pro, the precisely balanced Pi6 and Pi8 from Bowers & Wilkins or the expansive Horizon loudspeakers from Marantz — what they all represent is a very zeitgeist-y fusion of audio and design culture at the highest visual and technical level. [Red.]

There is something mystical about this design process. At least from the perspective of the design consumer. Given the ubiquitous presence of design in our product-filled environment, the endurance of this mystery is remarkable. After all, all consumer products without exception and most capital goods, which are often undervalued in this respect – from ballpoint pens to computer tomographs – are based on a multitude of design decisions and/or concepts. In quantitative terms, design is therefore anything but rare – which doesn’t really give it a good prerequisite for lasting exoticism and unapproachability.

One might think that it is in the designers’ interest to preserve the aura of genius and therefore incomprehensibility in their work. They would keep themselves and the results of their work free from well-founded criticism and make life easier for themselves. However, this attitude and the resulting layer of protection came at the price of a huge compromise: the discipline of design, which is already almost defenceless against encroachment and protected neither by state qualifications nor by chambers, has finally become a self-service store for amateurs and self-promoters. The relevant news channels are full of success stories of B or C-list celebrities who became designers overnight. A more astonishing metamorphosis is rare in other professions. There is a long list of professions that include jobs that we all do well or badly in our private lives. Hairdressers, drivers, window cleaners, bakers, cooks and so on. Hardly anyone who manages to spoil their guests with a successful meal claims to be classified as a professional chef. It would be seen as presumptuous––and rightly so––because it is by no means enough to simply produce something enjoyable. This threshold is even higher for safety-related professions. Laws restrict the drive of amateur surgeons or autodidacts in the cockpit of an airplane, because overconfidence becomes an acute safety problem here. This does not seem to be the case for design––at least not immediately.

Cadillac Studio, 1960

»Color Room« at General Motors, 1956

DESIGN SHOW INSTEAD OF COOKING SHOW

And just to make it clear––nobody becomes a designer overnight. Behind the amazing stories of enlightenment are professional marketing concepts and a team of experts who then do the actual work. The development of collections for outerwear, shoes, jewelry (to summarize the most common incarnation miracles) requires expertise in materials, cuts, production processes, sustainability, processing techniques, marketing, ergonomics and much more. If a person’s popularity appears to be conducive to marketing, he or she is occasionally granted one or the other, within certain limits, control and freedom of choice in order to make the design story halfway plausible. This is then staged in a visually stunning way and eloquently reported. In most cases, however, the cooperation of the new designers is limited to signing the advertising contract. None of this would work if the design process were as well-known, comprehensible and public as the cooking process. Design show instead of cooking show––why not?

ACTION FRAMEWORK AND SEQUENCES

The vagueness of the public image of these design processes is its problem and its strength. Once the input data and tasks have been formulated, creative, uncritical phases alternate with critical, analytical and selective phases. In the process, the scope of action contracts step by step and the depth of detail increases. Depending on the complexity of the product, sometimes the phases of such a process are not even clearly visible. These sequences are easy to understand in design processes that are worked on by large teams, as all protagonists need to understand the status of the work and therefore need to communicate. An example of this latter case is the automotive industry with its design studios with up to three-digit numbers of people.

Peter Schreyer with a model of the Audi TT.

Audi TT Coupé (sketch)

THREE INGREDIENTS

Three ingredients are necessary for a successful design process: Firstly, the ability to produce an unlimited number of ideas and approaches. This is where the intuitive, the »Surprising yourself« plays a role. This phase probably creates the greatest mystery. But there are techniques for this too. Secondly, the ability to make selections, to recognize good things -indispensable for anyone who leads a design team or even an entire studio. And finally, the ability to implement finished ideas and/or concepts with functional and aesthetic quality––the so-called design craft. An ingredient that is definitely no less important, as it determines the first level of perception for recipients and thus the intuitive classification of good or bad, exciting or uninteresting. Particularly in our environments overcrowded with products and information, aesthetic authentication is the first hurdle to overcome in the race for attention. And here we are again with the most pervasive of all clichés about the tasks of design: aestheticization – in the worst case, decoration.

Audi design team, archive photo

ON A SOCIAL LEVEL

Generalization or specialization––a question that is difficult to answer about the training of designers. Of course, both approaches exist in practice. What is often created in small design offices as a single task or by a single person is distributed in larger structures according to inclination or specialization. In the automotive industry, which is known for the division of labor in its development process, it is still common practice today to link designs or design responsibility for a particular design with the name of a designer. An approach that is certainly justified, as this one person usually stands for the original idea, is responsible for continuing to work on it and/or has been entrusted with orchestrating the design project. However, there are also companies in which the lead designers generally claim the rights to authorship. At first glance, this approach is not completely absurd, as designers and decision-makers are inextricably dependent on each other, as success actually depends on the congeniality of this collaboration. While designers produce design proposals in the non-critical phase, the decision-makers select these works in the critical phase and create the basis for decisions for the next work sequence of the designers. What one person does not design, the other cannot decide on, but the final shape of the design depends largely on the cascade of these decisions. This is where teamwork and in-process communication––explicitly also on a social level between the protagonists––play an important role.

Design sketch Kia, with the characteristic »Tiger Nose« developed by Peter Schreyer.

UNPREDICTABILITY OF THE GENIUS

The potential of design as an important productive force is undisputed. Internationally prominent designers such as Jonathan Ive, who is inextricably linked to the history of the Apple brand, or Peter Schreyer, former chief designer at Audi and highly revered in South Korea in particular thanks to his work for Kia/Hyundai, have significantly increased, doubled or even multiplied their companies’ profits through their work and helped their respective brands to achieve sustainable value. However, from the perspective of the entrepreneurs or CEOs responsible, these grandiose success stories harbor the danger of unpredictability and unrepeatability. It is easy to be catapulted to great heights by the design boost, but dependence on the non-evaluable outpourings of genius creates unrest in management and among shareholders at the latest when the success curve slowly begins to flatten out. In the best-case scenario, these design personalities have managed to implant their way of thinking and working into the internal system, making them resilient to their own loss––or, one could say, making themselves resilient.

Design in progress – analog and digital.

»DESIGN THINKING«

It was not least this need that gave rise to the idea of describing the structure of the supposedly promising design process, stripping it of its mystery and making it reproducible and universally applicable. In the nineties of the last century, the first academic structures emerged that took on precisely this task. The Stanford d.school is regarded as the first institution to set itself the goal of applying the framework of the design process to any other development process. The only prerequisite for the meaningfulness of the application of these processes was that one or more creative decisions were decisive for their success. The idea of »Design Thinking« was in the world and spread quickly. Surprisingly, it also became the buzz word in design education in the early 2000s, which, viewed from a distance, is tantamount to the proverbial »carrying owls to Athens«. Presenting design with its very own way of doing things in new packaging sounds like a bold marketing approach. However, applying this approach to other sectors––from the design department to the insurance company––actually led to new approaches, relevant results and, not least, exciting experiments in the social structures of the respective departments, as new team formations called old structures into question.

THE IRONY OF IT ALL

An exciting aspect of the applied systematization of the design process has recently emerged through the increasing access to artificial intelligence tools. Almost at the same time as text-based applications, their image-based counterparts have become available and have since challenged the academic and professional structures of the design industry to take a stand. Serious observations with a scientific approach and experiments on the practical applicability of AI in the design process are also already available. The dissertation by Steffen Reichert on the application of AI in the automotive design process (Steffen Reichert, COMPUTATIONAL DESIGN METHODS FOR THE DESIGN OF AUTOMOBILES; University of Stuttgart, ISBN 978-3-9819457-3-7) deserves special mention here. AI appears to be an effective means of accelerating the process, particularly for the non-critical phases of variant generation later in the project and thus after the original ideas of the design have been defined. When the disruptions that cannot be performed by AI are no longer required and the formal elaboration begins, AI can take over the hard work of the designer, who is only required to a limited extent in terms of craftsmanship, by cleverly defining »sliders« and deliver the results in seconds. And that is just the beginning of the considerations. The automotive industry, challenged by the constant demand for shorter development times, is already in the experimentation and testing phase in various areas. If the problem of confidentiality in the use of online applications can be mastered, these efforts will intensify once again.
However, there is also an irony in this approach. The design process, which is now transparent and recognizable in its structure, would be operated in phases by self-learning computer systems whose decision-making paths are not comprehensible in the specific case. Between the input values and the result lies a land that cannot be entered by the operators. A mystery.

Article first published in CHAPTER №IX »WORK IN PROGRESS« — WINTER 2023/24

»In French, we say ça a de l’esprit,« says Paris-based interior designer Marie-Anne Derville, referring in our interview to the exciting interaction and invisible sensual component between people, styles, art, objects and places that she tries to make perceptible with her work.

Chapter  You have a very modern approach to setting a room, but it still feels like stepping into another era where everything seemed just a bit more elegant and sophisticated. How much consideration and precision is needed to make your creative work seem so effortless?

Marie-Anne Derville  My work stems directly from my life, where I do things both very precisely and very spontaneously, blending rigor with boheme. In terms of creating interiors, I rely a lot on these very spontaneous acts, my instinctive and direct approach, which might be the effortless vibe you’re referring to. I’d further say, my work brings together very consciously made choices mixed with an almost childlike impulse, something to do with play. In the end, it all comes down to the interaction and tension between objects of different values, origins, periods and styles, it’s what creates the desired feeling embedded in harmony. What interests me is the dimension of intellectual, emotional and visual alliance, even if unconscious. A nice interior is like a person’s character – in the end, it’s all about the individual charm.

Chapter  Working primarily with vintage objects and artworks that are already charged with meaning and tell their own story – some scream, some whisper, but how do you make sure the tune is just right?

Marie-Anne Derville  The search for the right tune is what drives me in my work and my thinking. To me, creating an interior is like writing a score with eighth notes, rests and white notes – it’s about creating tension between moods. In this sense, the true act of creation lies in the subtle art of association. Take Palazzo Cini in Venice, which houses masterpieces by Piero della Francesca and Joseph Beuys under the same roof. That’s the kind of absolute that I am striving for. But how do you create the invisible connection that creates the tangible atmosphere between such opposing masterpieces both speaking their own unique language? To put them in dialogue, it requires you to listen very closely. Harmony works in truly mysterious ways.

Chapter  Some things never get old, so speaking of juxtaposing contemporary designs with antique pieces – what does “State of the Art” mean to you?

Marie-Anne Derville It’s the capacity to bring together both the new and the timeless. “State of the Art” means understanding and embracing different time periods, but also rising above them. This principle – as I understand it – is perfectly embodied in Cy Twombly’s work and world view because it’s radically modern, but also steeped in history. His vision permeated all areas of his life, from art to his interiors and houses, his friends and his lifestyle. It was total. Today, there are many stylistic standards, but to me, it always comes down to one’s unique way of perceiving, which is impossible to copy or reproduce.

Chapter  Over time, the initial design of a residential space tends to adapt more and more to the people who live in it.
At what point does a project feel completed on your part?

Marie-Anne Derville To me, a private interior project can never be totally completed. A space must continue to evolve, live on. In this regard, collectors are fabulous people because they try to enhance the reality of their everyday lives and homes through aesthetic choices. It’s a form of transcendence. It’s the ever-evolving collection that makes for an interesting interior. I hate these interiors that we see so much of today, where everything is perfectly furnished, flattened, frozen. Interiors should be “dream machines”, creating a bubble that is somehow detached from reality while still being part of it. Even though my approach is much more contemporary, I am very much inspired by figures like Emilio Terry, Charles de Beistegui or Madeleine Castaing. It’s all about being close to life, to movements, to impulses.

“Analogous to the New Class, which stands for the redefinition of the BMW brand with its philosophy of electric, digital, circular , a cross-brand design team will be launched on October 1, 2024, which will take into account the changed demands on future-oriented vehicle design,” BMW announced in a press release. Perhaps the most exciting appointment: Maximilian Missoni(here in an interview with Chapter), who has shaped the design language of Polestar in recent years, is joining the BMW Group design team . In future, he will be responsible for the design of BMW models in the upper mid-range and luxury class as well as BMW Alpina.

In addition, Oliver Heilmer – Head of MINI Design since 2017(here in the Chapter Talks podcast and interview) – will lead the design for all BMW compact and mid-size models as well as for BMW M.

Holger Hampf, previously head of Designworks, the BMW Group’s creative think tank, will take over from Heiler as head of the MINI design team.

A newly created department for color and material design will take into account the BMW Group design team’s even stronger focus on sustainable materials and recyclates in the future. In future, this will be headed by Claudia Braun across all brands – after working at Porsche, Daimler and Volvo, she has been responsible for BMW color and materials since April 2024.

BMW Group Design Team starts with a new line-up.

Domagoj Dukec (here in the Chapter Talks podcast), previously responsible for the BMW Design Studio, will take over responsibility for Rolls-Royce design, including Bespoke and Coachbuild, while the previous Head of Rolls-Royce Design Anders Warming will be responsible for all advanced design topics and for the management of Designworks.

“We believe the time has come to take somewhat bigger (design) steps, including at the core of the brand,” said Adrian van Hooydonk in an interview with Chapter a few months ago.With the newly formed team of experienced design professionals, this redefinition now seems to be reflected in terms of personnel, and it will be interesting to see how the individual design philosophies will (co-)shape the respective brands from now on. [Red .]

]]> https://chapter.digital/en/intelligent-design/ Mon, 15 Jul 2024 20:08:57 +0000 https://chapter.digital/intelligent-design/ When Samsung presented its latest generation of smartphones and wearables at the Galaxy Unpacked event in Paris last week, the focus was primarily on the further development of mobile AI technology. Supported by a far-reaching strategic partnership with Google, the inherent social implications of these innovations should also be a significant factor for the South Korean tech group. Because if Samsung has its way, the increasingly diverse and everyday device integration of AI will completely redefine the way users interact with technology. Communication between people in particular should benefit from this in the future, as will individual productivity and creativity. An ambitious vision, embedded in intelligent and elegant product design.

It is well known that the limits of what (mobile) artificial intelligence can achieve are currently being constantly redefined. Galaxy AI, as Samsung calls the brand’s own solution, was developed in close collaboration with Google and aims to play a pioneering role in this area. The company is focusing in particular on a »human-centered approach« that sounds almost a little world-improving, as Won-Joon Choi, Executive Vice President and Head of the Mobile R&D Office at Samsung, explains: »Our users are now experiencing the tangible benefits of Galaxy AI innovated to provide an entirely human-centric mobile AI experience – and that was just the beginning. Within months we have democratized Galaxy AI, extending access to more models and form factors . An experience that has the potential to change lives.«

The sleek and elegant Galaxy Ring made of lightweight titanium: a health and fitness tracker that measures sleep quality, heart rate and breathing rate, analyzes them with AI and makes recommendations based on them.

Samsung’s vision of such socially beneficial AI is therefore particularly aimed at improving people’s quality of life through technological progress. In this context, the tech group is currently also referring to a study conducted in collaboration with Goldsmiths University of London. Study showing significant correlations between the use of mobile AI and quality of life indicators such as creativity, productivity, physical health and social relationships. Study director Dr. Chris Brauer, also one of the speakers at the current Galaxy Unpacked product presentation, emphasizes: »What we’re showing today is just a snapshot. It’s the first stage of exploring and understanding the relationship between AI and indicators we know correlate to a person’s life quality.«

As concrete application examples, Samsung presents, among other things, the Live Translate and Interpreter features, which are designed to eliminate possible language barriers (even without Internet access) and thus improve global networking and understanding. A truly democratizing innovation (leaving aside the disruptive variable of the device prices) with a wide range of potential applications. Galaxy AI also promises to have a positive impact in other areas – namely in increasing productivity and creativity. Functions such as Circle to Search and Note Assist really do represent a significant leap forward in terms of information retrieval and management, while AI tools such as Generative Edit and Sketch to Image offer users innovative ways to express their creativity.

The new Samsung Galaxy Z Fold6 impresses with a symmetrical design characterized by clear lines and straight edges.

In addition to the AI functions mentioned as examples, Samsung has once again demonstrated a flair for functional and stylish elegance in the design of its new products. The folding design of the flagships Galaxy Z Fold6 and Galaxy Z Flip6 in the latest generation is even more aesthetically pleasing and of higher quality. The Galaxy Z Fold6, with its symmetrical design and straight edges, is now lighter and significantly slimmer than its predecessors, which should improve both the look and user comfort. With a weight of just 239 grams and a thickness of 12.1 mm when folded, it offers a more compact design despite a larger screen. The improved width of the screen also makes it much easier to use when folded.

The Samsung Galaxy Z Flip6 offers a range of AI-supported functions that can also be activated and controlled directly via the front display.

The Galaxy Z Flip6, which is now also slightly lighter and thinner than its predecessor, scores particularly well with its 50 megapixel camera for truly impressive image quality and also offers innovative functions such as AI-supported portraits and night shots, which enable clear and detailed photos even in poor lighting conditions. The practical front display has also been further developed and now enables a number of the aforementioned AI-supported functions without users having to open their smartphone.

The microphones of the Samsung Galaxy Buds3 series analyze sound and ambient noise in real time, improving sound quality and active noise cancellation.

The new Galaxy Buds3 Pro also offer a revised design with improved durability and sound quality. With intelligent noise cancellation, they provide a first-class listening experience, while the improved fit and lightweight design ensure comfort even when worn for long periods. Exciting Galaxy AI use cases are also waiting here – for example, the Interpreter function can be used in combination with a Samsung Galaxy Z Fold6 or Galaxy Z Flip6 and simultaneous translation can be activated.

The new Galaxy Watch Ultra also offers a bold design – at least for a smartwatch – and a whole range of AI-based functions that analyze sleep, heart rate and (sports) activities, among other things.

With the latest generation of foldable and wearable products now presented, Samsung is definitely demonstrating its current innovative strength, not least of course thanks to its close cooperation with the global driving force Google. Given the ever-increasing pace of innovation in AI, it will be interesting to see what the near future holds and what impact the South Korean tech pioneer’s somewhat idealistic-sounding visions for responsible and human-centered technological progress will ultimately have. (Mobile) Artificial intelligence entirely in the name of positive and inclusive social change sounds almost too perfect a utopia. [Red.]

The collaboration between Nata Janberidze and Keti Toloraia began during their studies at the Tbilisi State Academy of Arts and continued after their graduation in 2007, when the two founded the first female-led design studio Rooms in Tbilisi. Their work not only contains ingenious references to their home country of Georgia, but also gives an idea of why the country’s creative scene at the interface between Europe and Asia is increasingly attracting international attention.

Chapter In your creative thinking, you embrace the topics of ethnography as well as mythology. How has being from Georgia found practical ground in your work?

Rooms Our practice is mostly guided by intuition and observing our inner states. We frequently question our cultural heritage, drawing inspiration from various historical periods, going back in history as far as the ancient and medieval Georgian décor-that includes ethnography and mythology or late Soviet times. Translating these old motifs into a contemporary design language while reclaiming and recreating a new design identity is what we are interested in. This approach is reflected in our work in various ways-sometimes through shapes, carving techniques, colors, or sometimes simply through the energy and feeling they convey.

Chapter There’s a sculptural aspect to your work that gives public spaces a special grandeur, such as the monumental fireplace you did for ROOMS Hotel Kokhta in Bakuriani, Georgia. What can you tell us about this very special piece?

Rooms The fireplace is a reflection of the ancient concept of the so-called “middle fire”-a central hearth where households would gather for warmth, cooking, and comfort. We wanted to recreate this ritual by designing a monumental fireplace that would anchor an expansive space and serve as the central point where everyone can come together. The fireplace itself is a double-sided monumental construction composed of metal, characterized by a series of bas-relief archetypal symbols embossed onto metal sheets. Each symbol narrates a unique observation about the meaning of life, which could preferably also be read as a story.

Chapter What are the considerations behind the concept you yourself call »poetic brutalism« for the ROOMS Hotel Kokhta?

Rooms We were guided by the hotel’s mountainous surroundings and wanted to bring the essence of nature and its bliss into the interiors. Its meditative vibe is achieved through the repeated use of our sculptural objects. We wanted to create a space that feels both brutal and sculptural, yet poetic at the same time. Brutalism as an architectural style can be inherently rigid and almost soulless, so we wanted to bring lightness and softness to it. This approach evokes contradicting, clashing feelings-strong, raw, and feminine yet dreamy. A concept we often explore in our collectible objects as well.

Chapter In 2007, you established the first female run studio in Tbilisi. How has your collaboration evolved over the many years of working together?

Rooms We started our studio-Rooms-almost 20 years ago. Since then, it has been a never-ending exchange and a learning curve that continues to evolve harmoniously.

Named after the Maltese word for »water«, the Ilma will from now on offer all guests a unique travel experience, in which the recently presented design concept plays a particularly important role. This was designed using the highest quality materials and craftsmanship by renowned London-based architecture firm AD Associates and award-winning lighting design studio DPA, while Helsinki-based Studio Aivan is responsible for the exterior design.

The design of the Ilma should subtly tell stories inspired by the coasts, nature and mythology of Malta. Fresh, neutral shades are complemented by light and dark surfaces to create an exciting visual variety. The interiors of the 224 suites, which are equipped with floor-to-ceiling windows and private terraces, present themselves with a truly extraordinary elegance that is reminiscent of the exclusivity of private luxury yachts. Each suite is flexibly designed to meet the individual needs and preferences of guests. A collection of works of art that harmonize with the design and create an inspiring ambience is also part of the superyacht’s exclusive overall concept.

»With an aesthetic inspired by superyacht design, Ilma is characterized by a seamless integration of spaces that creates a deep connection to the sea,« describes Nicola Preece, Design Director at AD Associates. »A harmonious flow of geometry and texture between indoor and outdoor spaces creates a coherent and serene atmosphere.«

As with the other fleet members of the Ritz-CarltonYacht Collection, a particular highlight will be the marina, with its open, generously designed terrace including a hydraulic platform that connects guests directly to the sea. Several swimming pools, including an impressive infinity pool, the Ritz-Carlton Spa with a total of 11 rooms and State-of-the-art fitness areas provide the almost expected level of luxurious amenities.

The culinary center on board the Ilma, in addition to countless other options between casual and fine dining, will be the so-called Beach House, which was conceived by the Toronto-based studio Chapi Chapo Design. »Our guiding principle was to embrace the diverse flavors and colors that are not only part of Peruvian cuisine, but also deeply rooted in the culture and lifestyle there,« says Tatiana Sheveleva, partner at Chapi Chapo Design. »We were inspired by the bold use of pattern, unexpected color palettes and a vibrant spirit. We wanted to create a space that lives and breathes these foundations, that celebrates and reflects the culture both aesthetically and atmospherically.«

As an exclusive restaurant with indoor and outdoor areas, it offers guests not only a 180-degree view of the sea but also culinary creativity, with the kitchen concept focusing on Peruvian and pan-Latin cuisine.

As an impressive new addition to the fleet of superyachts, the Ilma underlines the Ritz-Carlton Yacht Collection ‘s focus on creating ultra-luxurious travel experiences at sea even before her first voyage. On September 2, 2024, the Ilma will finally embark on its maiden voyage from Monte Carlo to Rome and prove that it sets new standards, and not just in terms of design. [ED]

The great Michelangelo is said to have claimed that a form is already hidden in the stone and is simply waiting to be freed by man, hammer and chisel—all that is needed is to knock away the superfluous. Katharina Sachs, Senior Exterior Designer at Volvo Cars, probably takes a similar view when she says that the work of a designer is similar to that of a sculptor, because one of the special challenges in design is to harmonize form and function and to free their harmonious combination from superfluous details. It also seems fitting that she cites the moss-covered, velvety green-yellow shimmering stones, which are abundant in the Swedish landscape and therefore easy to overlook, as one of the sources of inspiration for the new Volvo EX30 —robust, self-contained, close to nature.

The formal language of nature has always been regarded not only as a natural source of inspiration, but also sets creative processes in motion and promotes innovation in the sense of a solution-oriented design approach. According to Sachs, finding a connection between heart and mind is the top priority in car design. It almost seems to be a matter close to her heart to place particular value on closeness to nature and emotional connection in the design process. With this in mind, the windows of the new EX30, for example, have been opened as far as possible to allow maximum natural light into the vehicle.

The moss, crystal, pine and indigo tones of the exterior and interior colors of the compact SUV were, how could it be otherwise, borrowed from the Swedish landscape. And in order to make the calming effect of Scandinavian nature as tangible as possible, there is also the option of simulating it with the interior sound and lighting in the passenger compartment.

Besides heart, mind is also a fundamental keyword when it comes to the minimalistically designed interior of the EX30, which strives for maximum sustainability. This is of course leather-free, with a focus on bio-based, recycled and renewable natural materials such as denim, flax and wool. The use of Pixel Knit, made with a flat knitting machine and consisting of 100% recycled polyester, and Nordico can also be categorized as innovative. The latter is a progressive and technically advanced material developed by Volvo, consisting of recycled PET bottles and organically grown material (pine oil) from Swedish and Finnish forests.

Under the creative direction of Katharina Sachs, Volvo has shown with the EX30 that nature and art, study and execution, have always complemented each other—some things are carved in stone. [DM]

It rarely happens that a creative vein swells into a river of inspiration, but in the case of Sydney-born designer Marc Newson, one could even speak of a torrential river. He has already put his signature on a wide variety of areas—from furniture, luxury goods and technology to ship, automotive and aviation design.

An update of Newson’s first monograph from 2012, the recently published book »Marc Newson. Works 84-24« gives his work of the last 40 years a worthy setting. In collaboration with Alison Castle, the large-format, 496-page, five kilogram heavy book is dedicated to the detailed documentation of his projects—each is accompanied by visually impressive photos and a detailed text documenting the design and process.

Marc Newson studied fine arts at the University of Sydney and began his career making furniture and timepieces in a workshop in the Australian metropolis. His first designs include the Super Guppy Lamp (1987), Pod of Drawers (1987) and the Embryo Chair, the latter of which has been in production since its creation in 1988.

In his monograph, the Embryo Chair is described as an important breakthrough in terms of style, as it defined a distinctive style for the first time, which brought Newson a lot of press and recognition. »So many qualities of that chair laid down the DNA for much of what I was to do after that. It’s probably one of the most recognizable things that I’ve done and one of«, explains Newson.

At the age of 25, Newson designed the Lockheed Lounge (1988), a riveted aluminum chaise longue that has become one of the most iconic pieces of contemporary design. Little did he know—some 30 years later, it would achieve four world record prices at auction for a work by a living designer.

His other clients include well-known companies such as Louis Vuitton, Montblanc, Hermès, Nike, Dom Pérignon, Jaeger-LeCoultre and Ferrari, to name but a few.

In 2015, he designed a pen for Montblanc—the Montblanc M—which, according to Newson, should be simple, iconic, super functional, easy to use and unpretentious. According to him, Montblanc is a masculine brand that primarily appeals to men. He took this as an opportunity to introduce a refreshing, modern, gender-neutral product to their range.

The extent of Newson’s thinking and work is illustrated by the leap to his appointment as Creative Director of Australia’s national airline Qantas Airways (2005-2015). Not only is he responsible for the design of the Qantas Airport Lounges, he also took over the entire interior design of the A380 in 2008 and finally the A330 in 2014.

His comprehensive monograph »Marc Newson. Works 84-24« is a testament to his ability to think precisely and flexibly on any scale—from pen to car to airplane—and reading it suggests an inherent, never-ending well of creation that allows Newson to flow effortlessly to different shores as a designer. [DM]

Marc Newson. Works 84-24 Hardcover
29.2 x 39 cm, 5 kg, 496 pages, € 150
taschen.com

»We will be making our cultural statement at Villa Necchi Campiglio«, promises Dr. Peter Goetz, Managing Director of Gaggenau, describing this year’s contribution as »an evolution of the extraordinary, consisting of two frames and a circle—a true work of art.«

The installation is located in the glass pavilion—wrapped in semi-transparent material—of Milan’s iconic Villa Necchi and is divided into two contrasting but interconnected areas. These refer to the harmonious balance between the existing and the pursuit of the new—a staging developed together with the Berlin creative agency Anomaly, which aims to present the timeless appeal and fascination of the brand in symbiosis with the contemporary lifestyle. On the one hand, the current world of Gaggenau is presented, while on the other, visitors are immersed in a visionary staging of the latest product innovations, while being enveloped by an atmospheric soundscape created by composer Dirk Haubrich.

For the realization of »The Elevation of Gravity«, Gaggenau also worked with the architecture firm 1zu33 and other cooperation partners such as the Bavarian manufacturer Schotten & Hansen, the Italian natural stone specialist Salvatori and La Marzocco, manufacturer of high-end espresso machines.

In addition to fully integrated induction, this unique presentation shows the new »masterpiece« in the luxury refrigerator sector, and for the first time you can also take an exclusive look at the Gaggenau »Icons of the Future«. Certainly an exciting prospect, with a company that has revolutionized the home kitchen time and time again and whose history dates back to 1683.

But it is not least the technological progress, a clear design language combined with perfect functionality that makes Gaggenau more than just a manufacturer of high-quality household appliances—it is the authentic drive to deal with a changing world and at the same time to open up new territories in staging that open up a view into the future. [DM]

The Latin phrase »memento mori«, which has been in use since the Middle Ages, is intended to remind us of our own mortality—a motif that has been present in art, literature and philosophy for centuries. This is also the meaningful name of the last album and world tour of the exceptional British band Depeche Mode and now also the inspiration and clear message of their new collaboration with the Swiss watch brand Hublot.

In this spirit, the all-black Hublot design combines a skull motif with an hourglass symbolizing the passage of time. In the center of the dial are small black ceramic spheres that symbolically flow back and forth with every movement of the wrist, conveying the concept of Memento Mori. The initials DM, the logo of the British band, can be seen next to the dial at six o’clock. The indices are in the shape of pyramid-shaped pins, a motif that is repeated on the black ceramic bezel.

The 42 mm barrel-shaped case is made of sandblasted and polished black ceramic and houses a self-winding HUB1710_SD caliber movement with a power reserve of 50 hours. Each of the Spirit of Big Bang Depeche Mode comes with two straps, the first is made from recycled materials with a Velcro fastener, the second is made from black rubber. Each of the 100 copies of this limited edition comes in a special box containing a 10″ vinyl single of Depeche Mode’s »Wagging Tongue«, made with energy from renewable sources and recycled PVC.

The thoughtful use of materials also refers to the aforementioned overarching ecological and humanitarian concerns of the collaboration, with which they refer to initiatives such as the global charity Conservation Collective. Its network brings together regional philanthropic foundations around the world that are committed to protecting, preserving and restoring the environment. In addition, the collaboration between the iconic watch brand and the world-famous rock band has raised over 2.3 million US dollars for the Teenage Cancer Trust and charity:water in the past. [Red.]

»It fascinates me to see how modern technology expands my art and makes it accessible to a completely new audience,« says Esther Mahlangu, who is considered one of South Africa’s most important artists. She received international acclaim for her Ndebele paintings, which she removed from the traditional context of (house) wall painting and transferred for the first time to canvases, carpets or everyday objects—including the 12th BMW Art Car created in 1991.

The BMW i5 Flow NOSTOKANA has now been created as a contemporary homage to this and certainly also as a deliberate reference to the current collaboration with the New York artist with African roots, Julie Mehretu, who is designing the 20th BMW Art Car. As part of the renowned Frieze Los Angeles art fair, the BMW Group has now presented a new interpretation of the vehicle using an innovative fusion of art and innovation.

The BMW i5 Flow NOSTOKANA, which takes its name from Esther Mahlangu’s first son, features electrically animated film segments that combine the changing color technology developed by BMW with the artist’s characteristic visual language. The latest development stage of the color change technology for vehicle surfaces developed in cooperation with E Ink is thus impressively presented—the versatility of these electrophoretic color changes turns the all-electric sedan into a dynamic work of art.

The animatable film segments extend in two strips each over the roof, hood and rear as well as over the sides of the vehicle. Similar to an e-book reader, there are several million microcapsules in each E-ink film. The color particles contained in them are changed in their structure and arrangement by electrical voltage. The BMW i5 Flow NOSTOKANA is equipped with 1349 foil segments, each of which can be controlled individually, in order to display the complex ornamentation in true detail. Thanks to the innovative flow technology, the 88-year-old artist’s characteristic colors and geometric patterns can be depicted in ever-changing compositions.

The animations are accompanied by an equally extraordinary sound by Renzo Vitale, Creative Director Sound at the BMW Group. To unite the sound worlds of the BMW brand and the South African Ndebele culture, he used sound sequences of Esther Mahlangu’s voice and the sound of the feathers she used for drawing. They are combined with the sounds produced by colored pencils in the BMW design studio and the acoustic signal that can be heard as feedback when operating the touch display in the BMW i5. The result is a sound mixture that is gently intoned at the beginning of each color change and becomes more and more intense as the animation progresses.

»The BMW i5 Flow NOSTOKANA is a tribute to the history of the BMW brand and continues the story of our global cultural commitment in a special way. It combines art and design through progressive technology. Here, technology itself becomes art,« summarizes Adrian van Hooydonk, Head of Design BMW Group. [Red.]

The white poisonous mushroom

Arne Jacobsen’s most famous design is probably the so-called Ant Chair, which has been produced in variations without interruption since 1952 and has now been sold millions of times. However, only a few people know that the Danish architect and product designer designed a petrol station back in 1936 that bears a certain resemblance to the cult chair in its design language.

The Skovshoved gas Station, located in a northern suburb of Copenhagen, with its oval roof for the petrol pumps and the almost square building attached to it, looks like something out of a textbook on geometric shapes. The ticket booth and dispenser roof are connected by a narrow, rectangular element so that you are protected by a continuous canopy when it rains.

The round petrol pump roof is supported by a single, centrally arranged column, which gave the petrol station its nickname »Paddehadden«, Danish for poisonous mushroom. Arne Jacobsen was one of the very first architects to use this construction method, now known as the »mushroom« or »umbrella structure«, before it became extremely popular in the modernist movement of the 1940s and 1950s. In the style of Jacobsen’s functionalism, the dispensing station is restrained in terms of color, gleaming in glossy white. The facades of the former ticket booth, which now houses an ice cream parlor, are clad with vertically laid Meissen tiles. Practical, various oil and petrol stains are easy to wash off.

Especially at night, the Skovshoved Petrol Station  skillfully attracts the attention of motorists. Three lights are mounted on the central concrete column in such a way that they illuminate the oval roof above from below, making it look like a hovering UFO from a distance.
The filling station was originally designed as a prototype by Arne Jacobsen for the US oil company Texaco and was actually intended to be built in series at various locations. Unfortunately, this did not happen, which is why you don’t see any of these decorative toadstools on roadsides outside Skovshoved.

Fill up greener

Can a place whose primary goal is to sell fossil fuels be called environmentally sustainable? In the case of Helios House in Los Angeles, this question should at least not be answered directly and exclusively in the negative. The gas station, designed by Office dA (Monica Ponce de Leon and Nader Tehrani) in cooperation with Johnston Marklee Architects, was largely built using recycled materials. Maximum energy efficiency during construction and operation were also important aspects for the developers. The declared aim was for Helios House  to be greener than all previous filling stations.

The various roofs of the petrol station are either green, a natural form of insulation that drastically reduces the use of heating and air conditioning, or covered with solar panels, which saves almost three tons of CO₂ per year. The aesthetic centerpiece of the filling station is a shiny silver stainless steel construction, under which the pumps are lined up.

No fewer than 1,653 triangular steel elements were arranged in such a way that they refract the sunlight in such a way that hardly any electric lighting is required for daytime operation. In conjunction with energy-saving lamps, this saves a further 16 percent of electricity. Visually, the futuristic-looking metal shell of the filling station with its triangles is reminiscent of an abstract honeycomb. In this way, Helios House ‘s  appreciation of nature is also subtly emphasized visually. One can only hope that not too many passing Californian Tesla drivers regret switching to the electric vehicle, because that would probably not be in the spirit of sustainability.

The grace of a highway service station

During his time in office, some of the decisions made by Georgia’s former president Mikheil Saakashvili were not without controversy, but the success with which he promoted modern architecture in the young republic east of the Black Sea must also be acknowledged by political opponents.

In order to beautify the country, Saakashvili launched an architecture program in which various buildings were realized by internationally renowned architects. The office of German star architect Jürgen Mayer H. was directly entrusted with several projects in this context, including a service area at the gates of the capital Tbilisi.

Mayer H.’s typical signature is also unmistakable in this project. Hardly anyone else in his profession would be able to give such a massive concrete steel construction the same lightness that the Gori rest station  radiates. The abstracted form of the concrete pillars, which branch out in various directions, makes the building material lose its heaviness. Moreover, it almost seems as if it is the recessed, tinted glass fronts that support the concrete structure. This reinforces the impression of lightness of the building.

Completed in 2011, the Gori  gas station houses a service station as well as a supermarket and exhibition space for local artists and cultural events. So it’s no wonder that the building is now a kind of pilgrimage site for Georgian and international architecture enthusiasts. [AD]

Photo Credits:

Skovshoved Petrol Station – NILS KOENNING
Helios House – ERIC STAUDENMAIER
Gori rest stop – JESKO M. JOHNSSON-ZAHN

With their gallery project Bruises, Florence Provencher-Proulx and Isaac Larose redirect our attention to a playful, spontaneous aesthetic, far removed from the currently stylistically dominant, visually uniform modernity. Their focus is on the craftsmanship and furniture design by artists from their French-influenced home region of Quebec.

Chapter Where did the idea for your gallery project Bruises come from and what’s the creative vision behind it?

Florence Provencher-Proulx During the first pandemic lockdown, Isaac and I started collecting various pieces. With everything closed down, we saw an opportunity to do an exhibition reflecting the current situation by reuniting contemporary artworks with our found objects. The inaugural exhibition, »Une maison sans ami« (a friendless home), took place in an abandoned garage filled with sand to create a surreal atmosphere. Our aim was to delve into the theme of social disconnection, using the allure and amusement of unconventional objects to fill a void.

Chapter Your curation is a mix of found objects and works of contemporary artists bringing forward a »Québécois perspective«. Can you define this particular term and elaborate on it a little bit more?

Florence Provencher-Proulx A main portion of our curation focuses on craftsmanship and furniture design from Québec that are scarcely found elsewhere, combined with works of Québécois contemporary artists. Being French Canadians, we’re deeply inspired by our French heritage and love to include great French designs in our curation such as Yves de La Tour d’Auvergne’s functional sculptures that were showcased in our first show.

Chapter Can you tell us about the process of selecting individual pieces for Bruises and if you happen to know anything about their story and provenance?

Florence Provencher-Proulx I like to create tension with different types of objects that become even more beautiful when combined. It’s an intuitive process. Never knowing what I’ll stumble upon, there’s also a beauty generated from the unexpected. While we may not always have provenance information, we often come across captivating anecdotes from the previous owners. In a similar vein, one of the artists we work with, Sylvie Cauchon, creates ceramic animals. We frequently receive requests from clients who want Sylvie to replicate their beloved pets. They send us various photos and personality descriptions to ensure Sylvie can recreate their pets with her unique renditions.

Chapter You recently started welding metal furniture and you also showed in London at Frieze No.9 Cork Street a fishbone chair you made with salvaged metal. Being a curator and artist as well, what are the all-binding elements of your artistic explorations?

Florence Provencher-Proulx The aim with Bruises has always been to explore the universe we’ve created without limiting it to a traditional gallery path. Creating metal pieces is an exploration that I find is retaining a Bruises footprint while also carving out my own personal identity in the work.

Sant Ambroeus, 2022 | Restaurant | Milan, Italy

Hotel La Ponche, 2021 | Hotel & Restaurant | Saint-Tropez, France

Private Apartment, 2021 | Residential | Paris, France

LUIGI, 2021 | Bar & Restaurant | Cannes, France

Galaxy AI is the name of the AI function package that was presented yesterday together with the new Galaxy S24 series. Whether real-time translation of conversations in several languages, image editing tools, image search functions such as »Circle to Search«, which was developed in cooperation with Google, or of course further improved photography quality—important core functions are now being raised to a new technological level through the integration of impressive AI features.

»The Galaxy S24 series transforms our connection with the world and ignites the next decade of mobile innovation», announced TM Roh, President and Head of Mobile Experience Business at Samsung Electronics, during the presentation in San Jose, California. »Galaxy AI is built on our innovation heritage and deep understanding of how people use their phones.«

The already outstanding design of Samsung’s top model series has also been further optimized: the display edges now appear slimmer and more even, and the top Ultra  model has also done away with the rounded sides of the display (previously known as the Edge design ). Compared to previous models, this provides a larger overall screen area with the same external dimensions. The Ultra  model is also the first Galaxy smartphone with a titanium frame, which is designed to increase the device’s durability and ensure a particularly pleasant feel. The other two models in the S24 series  use armored aluminum, which should also offer good protection against damage.

According to Samsung, the variety of recycled materials used has also been further increased. As in the previous models, recycled plastics as well as recycled glass and aluminum are used in the internal and external components of the devices. For the first time, however, recycled cobalt, recycled rare earths and recycled steel have also been used in the Galaxy S24 models.

According to the manufacturer, the available colors of the Galaxy S24 series are inspired by earth minerals: The Galaxy S24 Ultra is available in the colors Titanium Gray, Titanium Black, Titanium Violet and Titanium Yellow. With the Galaxy S24+ and Galaxy S24 models, users can choose between Onyx Black, Marble Gray, Cobalt Violet and Amber Yellow. [Red.]

History was made in 1968: Apollo 8 made the first manned orbit around the moon. On board this pioneering mission, each astronaut was equipped with an OMEGA Speedmaster—an instrument that was relied upon throughout NASA’s lunar program.

Now OMEGA is once again focusing on the legendary Speedmaster, enhancing the Dark Side of the Moon model with even more exciting design details and sophistication. The caliber 3869, which drives the watch, has a unique decoration: The blackened main plate and the bridges have been laser-cut to depict the surface of the moon. Just like the moon, this movement also has two sides: The dial side shows the view of the moon from Earth, while the back of the watch reveals its dark side, which only astronauts get to see. In this new edition, the depiction of the moon has been recreated even more precisely thanks to laser engraving and contrasting surfaces, complemented by the light gray-coated wheels and the dark gray-coated gold balance.

The decorated movement can also be seen through the skeletonized dial made of black anodized aluminium. But the journey doesn’t end there: the 44.25mm case, polished bezel and caseback have been crafted by OMEGA from separate pieces of black ceramic, while the tachymeter scale is finished in gleaming white »Grand Feu« enamel. The central chronograph second hand is painted yellow—a color that is echoed by the watch’s perforated strap with black rubber and yellow lining.

The patent-pending small seconds hand at 9 o’clock is made of grade 5 titanium and has the shape of NASA’s famous Saturn V rocket. The striking 3D structure was created by laser turning, while white paint, ablation and laser blackening were used for the coloring. A small but impressive detail that pays tribute to the success of the Apollo program.

Various engravings are immortalized on the case back, including “WE’LL SEE YOU ON THE OTHER SIDE”—the last words that Jim Lovell, pilot of the command module, addressed to ground control shortly before the Apollo 8 mission disappeared for the first time on the other side of the moon without radio contact. [Red .]