YOUNG TALENTS
A winning combination
Elisabeth Bohnet: You recently visited the 3daysofdesign in Copenhagen. As a young designer, what particularly impressed you there this year?
Lukas Heintschel: It was actually my first time at the 3daysofdesign and the format in a public space and in the fresh air really appeals to me. The atmosphere is accessible and lively. And it was nice to see that there was a very balanced juxtaposition of the big, established brands that exhibited there and many small labels, some of which I had never seen before. That was very inspiring.
Lukas Heintschel: Some time ago, I was able to introduce myself to the management and product development team via a contact in COR's sales department. We liked each other's work, but COR had no specific need for a new product at the time. However, they cordially invited me to come by for a factory tour. If I had an idea, it could possibly lead to a collaboration. After the visit and an intensive examination of the brand, it became clear to me that COR has incredible expertise in the craftsmanship of upholstery and the processing of textiles. That is the company's DNA. In the second step, I then realised that the side tables product category does not reflect this DNA in any way. The tables are usually made of steel, glass, natural stone or wood, often made of cold and generally hard materials that don't capture this cosiness and homeliness. My concept for COR was to transfer the brand's textile and upholstery expertise to the side table category and make it visible there. I was met with a very open ear. We worked closely together to develop the Echo tables, which showcase COR's brand essence in a product category where nothing had ever been done with fabric or upholstery before.
Does the shape also originate from the desire to generate more space for a coverable surface?
Lukas Heintschel: We experimented a lot. Upholstered furniture often looks very heavy. We wanted furniture that radiates lightness. It should also be special in its design, but not too loud. The aim was also to ensure that all fabrics really work well on it, from a neutral grey fabric to a colourful one, and that these are in the foreground. The shape also picks up on the softness of the fabric. The nice thing is that people have completely different associations. Many see a tent, others an architectural element such as a pillar, and organic structures such as trees or mushrooms are often interpreted. This is great for us, because we didn't want to make furniture that has a very clear interpretation, but rather one that resonates with the viewer.
You studied product design at the University of Applied Sciences in Munich. What did you specialise in during your studies?
Lukas Heintschel: Actually, completely different ones from what I do now. I mainly did classic industrial design during my studies. I designed a lot of medical technology projects, worked with user experience and carried out user interface projects that were very research-based. It was about how people interact with products and user interfaces, for example in anaesthesia machines and in products for people with physical disabilities. This technical, classic industrial design was highly interesting and very instructive.
I ended up in the interior sector in a roundabout way. During my studies, I developed the rechargeable suction cup lamp "Neozoon" and quite naively started a crowdfunding campaign. I wanted to find out what would happen and see what the steps after graduation would actually look like in practice. The campaign was actually successful and I used it to found a small lighting label, which I still run today. Back then, I took "Neozoon" to various newcomer exhibitions, from the Ambiente Talents area to Light & Building and Milan. I made my first contacts in the interior design industry, which resulted in collaborations such as with COR.
Where do you get your inspiration from? Does Munich influence your design?
Lukas Heintschel: I don't think that Munich or Freising, where my studio is located, strongly characterise my view of design. The art museums are certainly an enrichment. My inspiration actually always comes from working with the desired product and the requirements it poses. The conceptual idea is first and foremost. Then I think about how I can materialise these ideas into an object. I want the designs to have something playful, something unexpected about them, but at the same time radiate a friendliness and accessibility. And they should also simply be fun to look at or use. To achieve this, I often try to twist things a little, to break conventions.
The "Flumen" flower vase is a good example of my process: it all started with the simple idea that vases are actually about the flowers. Of course, the vase is also a great object in itself, but it is primarily a water supply and presentation surface for the flowers. I wanted to give the flower as much space as possible and externalise the vase's function. That's why the flowers have literally been moved to the outside and attached with rubber bands. When analysing the market for the suction cup luminaire, I found that all the major manufacturers often produce classic umbrella luminaires, only without cables. This archetype comes from a time when light bulbs were state of the art. With LEDs and rechargeable batteries, completely different things are actually possible. I wanted to utilise the freedom that technology gives the product and add possibilities for interaction.
You designed a table, chair and sideboard for Carel Woodworks.
Lukas Heintschel: The "Heron" collection for Carel Woodworks is made of oak. The briefing from the Romanian manufacturer was quite specific. They wanted something classic, but with a certain lightness and a focus on detail. I developed the table from the groove of the sideboard, which in a way quotes the gable table. The sideboards are implied in the arches. And the chair picks up on these arches again. It has become a very architectural collection, which also fits in with Romania's architecture with the spanned arches. As a country between Central and Eastern Europe, it was often dominated by a wide variety of nations, from the Ottoman and Roman empires to the USSR. The resulting mix of architectural styles also served as inspiration for the collection.
How do you select your cooperation partners?
Lukas Heintschel: It's important to me that not only the designs are great, but that the brands I work with emphasise good quality and craftsmanship. And that the products don't break after two years of use and end up in the bin. Like COR, for example, who really think through everything par excellence, such as reparability or separability. The great thing about this kind of collaboration is that the brands' decades of experience with processes and materials are met with my fresh perspective. I consider this fruitful process to be very valuable - and that's how great things are created.
What are you currently working on?
Lukas Heintschel: I'm currently working on a piece of solid wood furniture for Auerberg, who are also based here south of Munich. It's a side table with a special function that should be coming out in the near future. A tile collection is currently on the home stretch of securing the process. We wanted to make a prototype for another project and, through a mistake, came across a great way to handle the material. Because we were so enthusiastic, we put the other project on hold for the time being. I also have a project in the pipeline with the start-up Recozy from Bremen. They work with recycled plastic and print furniture, lights and home accessories in 3D.
I'm looking for a cooperation partner for my latest stool "Tilda". The stool is intended for New Work applications, but it's actually also great for use at home. In fact, it is inspired by the Alpine milking stool: made of solid wood with a grip hole and a wide seat. The way the legs are designed also interprets the milking stool as the origin of the mobile work stool here in southern Germany. So perhaps I am inspired by Munich and the region here after all? The highlight: it is easy to reposition and supports active sitting with its rocking runners and convex seat. You can sit on it normally or turn it round and sit in a saddle seat. This makes it a product that really has a strong combination of ergonomics and something playful - and therefore offers health benefits. I have tried it out with many friends to ensure comfort for as many body types as possible. This process is certainly based on my training in classic industrial design, where you develop very close to the user.
