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January 06, 2024

ROSS LOVEGROVE DESIGNS ...



ROSS LOVEGROVE DESIGNS




ABOUT ROSS LOVEGROVE

Born 1958, Ross Lovegrove graduated from Manchester Polytechnic with 1st Class BA Hons Industrial design in 1980 and took a Master of Design at the Royal College of Art, London in 1983. In the early 80’s worked as a designer for Frog Design in West Germany on tech projects for companies like Sony and Apple; he later moved to Paris as a consultant to Knoll International, for which he created the highly successful Alessandri Office System.

Invited to join the Atelier de Nimes in 1984, alongside with Jean Nouvel and Philippe Starck, he consulted amongst others: Cacharel, Louis Vuitton, Hermes and Dupont. Returning to London in 1986 he has since worked on projects for Airbus Industries, Kartell, Ceccotti, Cappellini, Moroso, Luceplen, Driade, Peugeot, Apple, Issey Miyake, Vitra, Motorola, Biomega, LVMH, Narciso Rodriguez, Yamagiwa, Tag Heuer, Swarovski, Herman Miller, Artemide, Renault, Japan Airlines, Toyo Ito Architects, kenzo, Valextra, Gh Mumm, LG, F1, Samsung and KEF.

Winner of numerous international awards his work has been extensively published and exhibited internationally including the Museum of Modern Art in New York, the Guggenheim Museum NY, Axis Centre Japan, Pompidou Centre, Paris and the Design Museum, London, when in 1993 he curated the first permanent Design collecton. His work is held in permanent collections of various design museums around the world including the Museum of Modern Art in New York (MOMA), the Design Museum ,n London, the Vitra Design Museum, in Basel, the Die Neue Sammlung, in Munich and the Centre Pompidou, in Paris.

https://www.rosslovegrove.com/story

All the knowledge, questions and Ross Lovegrove answers came from Ross Lovegrove’s web page.


CULTURAL RECOGNITION

The Centre Pompidou recognised that Ross Lovegrove’s unique vision of Design was representative of how the transition from the 20th to 21st Century would play out. In 2016 it hosted a 1000 square-meters exhibition of his work entitled ‘Convergence’. How science, technology, art, anthropology and ecology can converge to drive a new but intelligent approach in design with truly new aesthetics and physiognomy. Ross Lovegrove describes himself as an ‘evolutionary biologist’ but also a visionary and a sculptor of technology, defining a new genesis of how we can harness the incredible potential of planetary resources to create economic, fat free, lean and efficient products. He was the first designer to present at TED Global alongside James Watson co-discover of DNA, Craig Ventor, who mapped the human Genome and, Janine Benyus, the author of Biomimicry. His second TED talk called Genesys, presented at Oxford university further reinforced his view that industry needs to transition from the fossil fuelled and mechanical to the natural and biological by instinctively designing with a very present synergistic mindset using advanced digital design and progressive manufacturing methods.

https://www.rosslovegrove.com/story


AWARDS

• RED DOT DESIGN AWARD 2022
• ARCHITECTURE MASTERPRIZE WINNER 2022
• MARK WILKINSON AWARD FOR LIFETIME ACHIEVEMENT 2021
• GRAND PRIX DU DESIGN GOLD WINNER 2021
• GERMAN DESIGN AWARD 2021
• DEZEEN AWARDS FINALIST 2020
• GOOD DESIGN 2020
• GERMAN INNOVATION AWARD 2020
• RED DOT DESIGN AWARD 2019
• ELLE DECO EU 2019
• ELLE DECO CHINA 2019
• LIT DESIGN AWARDS 2019, LIGHTING PRODUCT DESIGN OF THE YEAR
• GOOD DESIGN 2019
• GERMAN INNOVATION AWARD 2019
• GERMAN DESIGN AWARD 2019
• ARCHITECTURE MASTERPRIZE AWARD
• EUROPEAN PRODUCT DESIGN AWARD 2019
• ICONIC AWARDS 2019
• IF DESIGN AWARD 2019
• IDA DESIGN AWARDS, GOLD WINNER 2019
• DESIGNBOOM LIFETIME ACHIEVEMENT AWARD 2018
• GERMAN DESIGN AWARD 2016
• RED DOT 2015 BEST OF THE BEST
• ALSACE INNOVATION AWARD 2015
• GERMAN DESIGN AWARD 2015
• LIT DESIGN AWARDS 2011
• REDDOT 2010 BEST OF THE BEST
• HUNGARIAN DESIGN PRIZE 2009
• BATIMAT DESIGN AWARD 2009
• VOGUE TRAVELLER ECOLOGY PRIZE, SOLAR TREE MAK VIENNA, 2007
• ELLE DECOR 2006
• GOOD DESIGN 2006
• WALL PAPER DESIGN AWARD 2006
• WORLD TECHNOLOGY PRIZE, TIME MAGAZINE/CNN 2005
• FINAL NOMINATION FOR THE PRINCE PHILLIP DESIGN PRIZE 2004
• GOOD DESIGN 2004
• JANUS PARIS 2004
• AWARDED ROYAL DESIGNER FOR INDUSTRY BY THE ROYAL SOCIETY OF ARTS 2004
• ‘DESIGNER OF THE YEAR’, A & W HAMBURG 2001
• ID MAGAZINE GOOD DESIGN AWARD 2000
• IF INDUSTRIE FORUM DESIGN AWARD, HANNOVER 1999
• MEDAILLE DE LA VILLE DE PARIS 1998
• GEORGE NELSON AWARD 1998
• D&AD SILVER MEDALIST







BD LOVE LAMP





YOU WERE A PIONEER IN THE USE OF 3-D PRINTING IN YOUR DESIGN WORK. HAS THAT PROVEN REVOLUTIONARY?

I’d say technology [such as] 3-D printing has had an effect that’s both good and bad. I’ve always tried to adapt – Darwin never spoke about the ‘survival of the fittest’ but the ‘survival by adaptation’ and I remembered that, so any time some new tech comes along that will change the polarity of how we create, I jump on it. I did the world’s first magnesium-injected chair years ago and I made a model of [it] in my workshop, spraying foam, covered in dust, breathing it all in... And that was the last time I ever did anything in a workshop. After that, I hired the right people, bought these new computers, bought the software and, rain or shine, decided that approach was what I was going to do.

Ross Lovegrove







THE TOOLS AND PROCESS YOU OFTEN USE ARE ESSENTIALLY CUTTING-EDGE. HOW DO YOU MONITOR THE SPEED OF TECHNOLOGICAL CHANGE?

We work with a network of the most advanced people across Europe and beyond, and my team are high-level generative designers, mainly architects who understand modern processes. The creatives I work with are among the best in the field of parametric modelling and 3D printing. We are like a digital SAS unit. At our level, the process of computational work is very intense, but the positive side that you get to create things that are very enriched, formally really beautiful and ever so complex in a sculptural sense. You see this kind of extreme digital design mainly in
architecture, like with Zaha Hadid studio, or 2D AI-generated imagery, very rarely in physical industrial design like I do.

Ross Lovegrove







BD LOVE BENCH





KEF MUON

Sculptural loudspeaker for KEF, 2007. The aim with the creation of Muon was to marry a sensual yet logical organic form to state-of-the-art audio technology. Ross Lovegrove is a visionary, materials-led, industrial designer. His career has been galvanised by the form-inspiring and poetic qualities of materials and manufacturing processes – what is unique about his work, is his holistic approach to design – his aim is always to create objects in which functional and ergonomic refinement are united with deep emotional magnetism.The result of this collaboration with KEF is a speaker which holds a seductive, curvaceous form, inspired by the abstract sculptures of Barbara Hepworth and Henry Moore, yet boasting a technology- driven acoustic design that has managed to establish a major benchmark in clarity. As KEF’s senior Acoustic Engineer, Andrew Watson states ‘we wanted to take our technology to the limit and then develop some more on the way.’ The upshot is an unparalleled loudspeaker that will bring to serious audiophiles as well as music lover’s sound quality that defies belief - a product that is spectacular and which is able to imbue the perfect synthesis of art and science.











VİTRA İSTANBUL SERIES











DOES BEING THE ‘ORGANIC DESIGN GUY’ FEEL RESTRICTIVE TO YOU SOMETIMES?

Well, I’ll never forget dealing with VitrA – the bathroom company in Istanbul, not the other Vitra, (by the way it took about 45 minutes after they called to work that out) – and [spending] an hour talking [to them] about sculpture….We spoke about Henry Moore, paganism – all that – and it was that connection that made me take on their project. Anyway, at the end of the day, they said they wanted a ‘Ross Lovegrove’ bathroom. I said, “Please tell me, what’s a Ross Lovegrove bathroom?!” And they said “It’s white and organic” – which, as it turned out, was actually right for the product. Still, slowly over the years I’ve been trying to twist that white, curly and futuristic label to get a bit more free from what people expect you to deliver as a designer. Organic design is just one of the definitions describing what I’m trying to do with creativity and expression.

Ross Lovegrove





VİTRA İSTANBUL SERIES





SPINE CHAIR





GINGKO CARBON TABLE 4





HOW IMPORTANT IS THE SCULPTURAL ELEMENT IN DESIGN TO YOU?

I believe I am a sculptor; designer is just a title. I’m more interested in the emotional presence of the object. Mine is a form of generative design, meaning they grow. If you think of old mechanical objects, they were bulky and oily and squeaky. But we’re in a new age now – with digital design, you press a button and this object grows out of nowhere. It is incredibly emotional. So, why would anyone do things the way they were done a hundred years ago? Some of my designs may seem insignificant, but at least they test an ideology.

Ross Lovegrove





YOU TALK OF CREATING A NEW AESTHETIC FOR THIS CENTURY THROUGH THE CONVERGENCE OF TECHNOLOGY, MATERIALS SCIENCE AND INTELLIGENT ORGANIC FORMS. HOW DO YOU SEE THIS SHAPING?

I’ve been designing since I was 16, and there hasn’t been a day when I haven’t considered how things are made. Design has therefore become instinctive. You can get through this business being distant, copy and be lazy. But I won’t make anything that could be made even five years ago. I want people to be able to carbon date my designs, to remain relevant, not only in terms of process and materials but also the changes in our environment, social and cultural. What we do here is an aesthetic revolution - sculptural and technological.

Ross Lovegrove














ISSEY MIYAKE HU WATCH






ARTEMIDE SOLAR PANEL







DESCRIBE YOUR STYLE AS A GOOD FRIEND OF YOURS MIGHT DESCRIBE IT

I’m an evolutionist, more than a designer. I don’t know what design is anymore, I create form, I understand form and I’m enjoying the digital age to create it. I’m hoping to push that even further. My work also relates to nature, in an evolutionary sense as I’m concerned with reduction. I exercise what is called ‘organic essentialism’ which means using nothing more – nothing less than is needed. I feel comfortable in this organic, isomorphic, anthropomorphic, liquid age of making things, but I try not to force it into things that don’t need it.

Ross Lovegrove





WHICH OF YOUR PROJECTS HAS GIVEN YOU THE MOST SATISFACTION?

Personal projects because I do them for myself. I loved working on my design-art seminal works. A series of pieces that I have made in carbon fibre and aluminium. Those really synthesise the concept of ‘organic essentialism’. Art kind of works and exhibitions are always a moment of hesitation for me, I’m looking internally at what I do so that I can grow again. Then there are also the products that I’m known for, like the water bottle for instance, that have sold very well, but these projects for me are really more about the meaning of ‘why we produce them’. I’m always trying to do things with minimum resources but at the same time achieve the maximum iconic effects. Ultimately I’m looking for a ‘system’ that can let me approach the work that I do with some degree of logic and intelligence.

Ross Lovegrove







MUMM PACKAGING













X APPLE VISION PRO









SERRALUNGA NEW WAVE





CAN YOU DESCRIBE AN EVOLUTION IN YOUR WORK?

One grows up, and has a series of influences and those influences bear down on how you design objects eventually in your life. Some of my early work was definitely experimental. I was exploring and trying to see where I would fit in. A defining moment was a camera that I did at the Royal College Of Art during my studies. At the time the Memphis movement was all the rage, but I doubted that whole language to be honest, the colours and basic geometries didn’t feel very natural to me. So I designed this camera, that to me defined some sort of restraint, which I still have in me. Very much like my DNA staircase, a self made object, which has everything that I’m looking for – in terms of elegance of form, minimum material, appropriate technology and succinct function. If I were to do a camera now though, I have this feeling that I should do it in a cartilage type of material, somewhere between nylon and silicon, or biological skin. I’m often looking at principles called netification, choralization and reduction of mass through perforation and so on, not necessarily in terms of products but cars and architectural projects too.

Ross Lovegrove





BERNHARDT GO

Go chair for Bernhardt Design. 1998-2001. This chair, manufactured from pressure die-cast magnesium, is the first of its kind in terms of its use of such technology, materials and fluid organic language in the field of furniture design. Seen as defining a new aesthetic for the 21st Century, born out of an anatomical approach to form and produced in light of the advanced principles of automotive precision manufacturing, the Go Chair was selected by TIME Magazine as one of the finest examples of design in the year 2001. As seen in Tadao Ando’s Fort Worth Museum of Contemporary Art in Texas, and Elon Musk’s Space X factory in LA, it is actively collected by various museums around the world and used in contemporary sci-fi movies.







APPLE AMONITE





AN LEPH SWIVEL CHAIR, DRIADE





DRIADE GEO













DISC CAMERA

The Disc Camera first developed by Kodak in the US was an attempt to create a new photographic formatting system. It was an array of negatives 11x9 mm that would rotate into alignment with the lens. The design for its body did change in accordance with this new geometry but the result I thought was quite banal and cheap and below the potential of the technology. I took on this project as my Master Degree at the RCA in order to rethink product design and establish a discipline in my thinking. The Disc Camera was built like a coke can with thin aluminium shells, reduced to its minimum I mounted the film cassette externally to slim the form and sculpt it to be as slimline as possible not dissimilar to the lines of a later Macbook Air, a method of visually and morphologically thinning technology.





KEF MU7 EARBUDS





WHAT ARE YOU DOING NOW?

I thought that by now I would have completed a project for an electric autonomous car and a new small-scale architecture that would both relate to contemporary issues and material/technological capabilities. I was getting really close up until about two and a half years ago and then covid and the Europe-Russia political crisis hit and kind of took away these possibilities. I had spent a lot of time and energy trying to set these up, so I became rather demoralised and it took the wind out of my sails for a little bit. Now I'm trying to reinstate those ambitious projects again but in the mean time I keep myself busy working on speculative and personal art pieces with as much invention and optimism as I can.

Ross Lovegrove





LIQUID BIOFORM







LANDSCAPE







WHERE WOULD YOU LIKE TO BE IN A FIVE-YEARS’ TIME?

In five years I would hope to have had some exhibitions of my work that give me the opportunity to organise my mind and understand better what my contribution was, is or could be in the creative world. I will probably look for projects that complete my body of work as a designer, or revisit some projects that I always thought could be better. As a sculptor/artist I will continue to express my inner most feelings which indirectly reinforce my design and explore concepts that move people emotionally from the deep past to the deep future. I will continue to seek out my dream of transportation and architecture even at a modest scale but if this does not happen by commission I will probably try to build those myself. I will always continue to draw and try to stay relevant.

Ross Lovegrove







VONDOM BIOPHILIA











YOU CALL YOURSELF A SCULPTURE OF TECHNOLOGY, ARE YOU A DESIGNER OR A SCULPTOR?

As a Designer I consider myself a sculptor of materials and technology; and as a Sculptor I am aware of the transformational power of form whether it reveals functional intelligence or expressive abstraction.





WHAT ARE THE DIFFERENCES OR SIMILARITIES BETWEEN DESIGN AND SCULPTURE?

Sculpture within design brings iconography and strength of concept whereas Design within Art becomes a popularising weakness in my opinion.

Ross Lovegrove







MOROSO MONOLITH

Roto-moulded chair for Moroso, 2016. Monolith takes a cubic block and sucks in the form to establish a visual dialogue between the organic and the linear. Organically Essential it is where human anatomy informs physical mass ….. There is a powerful geometric emotion in its presence, its inviting for a human to sit but also space defining so that alone it speaks as a sculpture either in an organised or random way in space.







CAN INDUSTRIALISED AND MASS-PRODUCED OBJECTS BE REGARDED AS ART?

If you look at them as facsimiles, and referenced for printed art editions, then yes. Higher numbers tend to reduce the value but equally make the initial art accessible to a greater audience. For example the TyNant PET water bottle I designed in 2001 has sold multiple millions of examples. As an icon of water itself it was conceived by drawing on an early digital Wacom tablet then carved by hand in the analogue sense. For me the initial intense months of search for its unique, immaculate form was never lost in the massreplicated industrialised product and remains as a seminal embodiment of Art in Design.

Ross Lovegrove







WHAT MOTIVATES YOU MORE: CREATING SCULPTURE OR CREATING DESIGN?

Design is a process of calculation and problem solving where reasoning leads to success. It's where you have a clear vision and then have to convince many others to approve or believe in your aesthetics and objectives. I’ve always had a problem reconciling my concerns about the
motivation of design as a service linked to consumerism in the negative sense. I am personally motivated by ultimately achieving with clarity my first conceptual vision without compromise no matter what I’m working on. I am searching for something with sensual, emotional and physical qualities that are previously unseen or untouched. Design and the industrialisation of it, is a powerful contemporary indicator of our modernity and command of our resources. So I’m seeking to create, fresh, new-born and inspiring physicality in my designs that are not superficial, that’s why I look to sculpture for some form of endurance over technological obsolescence. But in being true to self I am spiritually moved by sculpture that seems to have emerged from the Earth or the human imagination and that retains a living power of its own. There is force and energy in form and material fusion that pulls on you and I want to understand with my work if there are new original aesthetics emerging that can augment this evolving phenomenon.

Ross Lovegrove





ZANOTTA BRASILIA





CRYSTAL AEROSPACE

Crystal Aerospace conceptual advanced automative concept for SWAROSVKI Optical Laboratories. 2006. Since I can first remember the shape of the cars developed from the trans-Australia Solar Car Race have fascinated me.This a world where nature and technology fuse with mans ambition to achieve ultimate performance levels and create a true sense of a sustainable future for us .The forms that have evolved from this particular science embody logic and beauty and stimulate visionary dreams of lighter structures, advanced materials innovation, ecologically harmonised transportation systems and a life of silence and clean air.Such scientifically engineered entities are art forms of the highest order, and now that we have entered the 3rd Millennium with all our collective hopes and fears, they for me symbolise the potential of man’s creative thinking and help us refocus our collective ambition.Instinctively I present this as a concept which converges the intelligence of solar innovation with the optical, scientific arm of Swarovski in order to investigate the potential of using crystal to amplify light.Polycrystalline Photovoltaic cells embody the word ‘crystal’ in their original definition so the legitimacy of their correspondence in this project to evaluate discovery and performance is the key to my work in this field.





LUCEPLAN SOLAR BUD











ESTABLISHED & SONS MOOT

MOOT or Mood Of Our Time is a carbon fibre chair that continues the ongoing interest that I have in elevating the perceived value of this incredible material. The chair remains a good host for exploring the relationship between materials, technology and structure. Moot explores the skin dynamics of a single surface that absolutely adheres to and respects the contours of human anatomy and the concept of ‘exoskeleton’ in structural support. Between Art and Design it is limited in its production edition by virtue of its requirement of advanced skills in carbon layup and craft which are rare.









ARTEMIDE SKYDRO





WHAT ARE YOUR THOUGHTS ABOUT AI SOFTWARES AND THEIR INTERVENTION IN THE CREATIVE WORLD?

The emergence of AI softwares to imagine and visualise is an inevitability given the human desire to bring the hyper-realism of advanced CGI and animation - that we have seen in movies for the last couple of decades - into the fields of three dimensional creation. Parametricism, scripting and the use of subdivision and morphogenesis has led to exciting new structural aesthetics that are helping us transition towards a more biological expression and 3D physiognomy in our physical environment. The potential link to additive manufacturing is profound at all scales and physical states... what is unfolding is an unstoppable new force of nature that acts in symbiosis to challenge all previous methodology and results in terms of the otherworldliness that is emerging in human visual expression.

Ross Lovegrove





HOW DO YOU WORK WITH MIDJOURNEY AND DALL-E?

Well first their titles do describe this as a journey of discovery and surrealist dreams  suggesting that AI is releasing a form of sub-consciousness that consciousness in the human  imagination is too self-conscious of exploring. For years I have been experimenting with the concept of complexity, form, structure and  material appropriation moving from the Analogue process of the 20th Century into the  Digital realm of the 21st Century using every new tool that’s come available at its inception. What creatives can see in my work now with this new software is a dialogue between my  life’s work and an artificial intelligence that is fully informed by imagery and discourse, so  that outputs are initiated by acceptance and freedom of co-expression, then revised over  and over until the design becomes closer to my vision.  The results often challenge my philosophical position about purpose, scale, extreme  expression, fabrication and even what my design represents but I accept that these concerns  will meld into the process once the ability to talk and express feelings together will resonate  in a highly sophisticated mutually future orientated ambition. One way to start this process is to see this software as partner in redefining one’s creative  language and thus guiding and influencing a new evolutionary curve. In both of my TED talks I have eluded to this synergy founded upon our increasing  understanding of the building blocks of life…at TED Global in Oxford in my talk entitled  ‘GENESIS’ I was articulating the need to use algorithms to replace human design process in  order to form a closer bond to the logic and beauty of our biosphere and Nature’s  embedded intelligence. I believe that with the correct inputs, agency and awareness of all  things considered, AI will be capable of defining the absolute logical basis of why, how and  what we create…so that DESIGN becomes a new force and regenerative tool for life  addressing all the issues that confront us.

Ross Lovegrove





HOW DO YOU SEE THE FUTURE OF THE DESIGN AND ART PROFESSION?

Once we understand how to create the manufacturing data set from this AI softwares  visualisation and produce almost at a cellular biological level, then the forms and structures  we see will drive a radical and disruptive-paradigm-shift in the physicality and perceived  value of everything including Art. When I see works by artists like Refik Anadol’s ‘Quantum Memories’, the emotional charge is  like nothing else we’ve ever experienced. It is truly mind-blowing as well as mind-expanding  as an alternate dimension of the natural World and a radical visualisation of our digitised  memories of Nature. The future will hopefully pull together the best of VR, AR, QP, AI, EI, The Metaverse , NFTs  and more, to makes us realise that what we create and make in the real dimension of our  existence needs to be ultimately more inspiring, experiential, meaningful and emotional.

Ross Lovegrove











MOROSO SUPERNATURAL







MOROSO SUPERNATURAL













WHEN YOU WERE A CHILD, DID YOU WANT TO BECOME A DESIGNER?

No, it was rather incidental. I don’t come from a family that has any relationship with design. I grew up in wales in a military family, so there’s a sense of strategy in me which helps me organize. I didn’t know that I would be a designer, though I’ve always been interested in form since I was a young child.

Ross Lovegrove





WHO WOULD YOU LIKE TO DESIGN SOMETHING FOR?

I would have loved to design for David Bowie, I’d like to work with a great musician. somebody that I could design a great bespoke musical instrument for that would perhaps allow them to experiment.

Ross Lovegrove





IS THERE ANYTHING THAT YOU ARE AFRAID OF REGARDING THE FUTURE?

It is a bit like boiling the frog at the moment, something is certainly bubbling on the surface. I doubt we really get the big picture. We live in these big cites or comfortable places where food is delivered to our door and everything else is there for us. I don’t think that we fully understand the implications of climate change, political instability, population growth and resource draw-downs. There are some really big things happening in the world that will start to eclipse the superficial debate about aesthetics within the creative fields. There is an amazing potential for the industries and brands to engage in something that is way much more meaningful, global and human in the bigger debate. In my opinion there is more opportunity and business to be made joining the front-line of the revolution rather than going against the grain of basic human needs.

Ross Lovegrove





DANESE 100%









FRIGHETTO OASI







YAMAGIWA  ANDROMEDA  LIGHT










FOLIATES






SALVIATI





DNA 01

High-perfomarce composite staircase, 2003. The DNA Staircase bridges product design and architecture, demonstrating its designer’s philosophy towards the coalition of beauty and logic, as inspired by natural forms. Made using the process of bladder moulding – a contemporary technology developed in the field of high-performance, composite material component manufacture – DNA is the first project to be both designed and produced by Ross Lovegrove. It is made from a combination of fibreglass and unidirectional carbon, endowing the piece with enormous structural integrity and resilience. It achieves much through its minimalism with form, material and technology working in unison, not unlike the structure of bone, it is informed with evolutionary purpose by Lovegrove’s origination of Organic Essentialism.











MOROSO DIATOM









MOROSO DIATOM

100% aluminium vertical stacking chair for Moroso.DIATOM as the word implies is a design which has been generated by the beauty and logic of natural lightweight structures familiar to architects and marine biologists who study intelligent growth logic. The chair has undergone a series of developmental iterations to arrive at a design that responds to the logistics of contemporary aluminum pressing technology and its origins in the automotive industry. It is entirely computer generated resulting in a universal geometry that is ergonomically neutral, lightweight and providing a vertical stack that is rarely achieved. My path in the designing of chairs is to embrace technologies that open up new possibilities and with this a commitment to explore the moment where industrial investment can result in products which are aesthetically uplifting, long lasting and respectful of environmental issues yet economically accessible from a cultured design house to a wider audience.







WHAT IS THE BEST MOMENT OF THE DAY?

I think about four ‘o’ clock in the afternoon as I tend to slow down a little and contemplate what has happened, what I have done so far and what I still have to do that day. It’s a very critical and anxious moment in my day, it’s either love or hate.

Ross Lovegrove





MALETTI WET







WHAT BOOKS DO YOU HAVE ON YOUR BEDSIDE TABLE?

I don’t have a bedside table, rather a huge pile of books that are next to my bed, mainly on art and architecture: Tony Cragg, Anish Kapoor, Isamu Noguchi and many exhibition catalogues.

Ross Lovegrove





BERNHARDT ONE





BERNHARDT ORBIT











VOID ILLUSION