Unconventional Thinking and Strong Aesthetics Come Naturally for VAUST Studio

Uncovering the Unexpected Beauty of Everyday Materials

Name:
VAUST Studio
Photography:
Courtesy of VAUST Studio
Words:
Marissa Stempien

Even in the most creative and open-minded of artistic circles, you might be hard-pressed to argue that concrete can be beautiful, let alone an artistic medium of any real merit. But Joern Scheipers and David Kosock of VAUST studio would suggest otherwise. The two CEOs and creatives see the beauty and undiscovered artistry that lies within. Their Berlin-based, award-winning interdisciplinary design studio works between interior design, object design, and creative direction to find the untold story and genius in even the most everyday materials.

With the “VAUST language” they write a story through interior design, furniture, and everyday finds. In their spaces, which includes everything from homes to corporate offices, they’re dedicated to unconventional thinking (hence the concrete) and distinctive aesthetics that make their work stand out. They’re clean, neat, and well-structured, yet their materials give a brutality and strength to them that comes off as calm and definitive rather than hard and unforgiving. It’s in this balance that Joern and David seem to find their creative mastery.

Visual Pleasure Magazine: Why do you find Berlin to be such a structurally inspiring city?

Joern Scheipers: Berlin has been home for ten years now. To me, it’s mostly about the city’s diversity. The city is full of stories and history and has the amazing ability to tell people who carry an interest in that. Its vibe is driven by a lot of contrast. I like that.

David Kosock: I’d say Berlin’s magic comes from its distinctive mix of cultural richness and the highly multi-facetted local design scene. Even though the city has been experiencing massive changes throughout the past decade, there is still no city in Germany offering such a diverse scope of people, places, atmospheres, culture … and thereby inspiration.

What is it about the city you are hoping to capture and share through your art?

Joern: In our upcoming work we strongly focus on a material phenomenon from architecture which took place during the ’70s and ’80s—washed aggregate concrete. Mostly used on facades and even urban city furniture, the material left a rather ugly impression in people’s minds. These days certain cities proudly announce that they finally got rid of the material. Nevertheless, we do think that it’s an uncut diamond—totally underestimated. Therefore we’re going to master a finish and translate it into a venerable formal language. The objects shall refer to brutalism, to materiality, and communicate a vibe. The vibe of the city’s never-ending contrasts and opposites. Contrasting material is a language you defiantly recognize when reading our work.

David: The way this city is influencing our work is best described as processing. Of course, we capture visual aspects in terms of architecture and public art in our daily routine—but more as a very natural process of observation and reflection. When it comes to a project like the “Berlin Perception TOYS” we basically try to translate our experiences and sentiments into objects to somehow preserve them.

Do you find this inspiration is harder to evoke through one medium more than the other?

Joern: You can’t generalize the answer to a precise yes or no since every material comes with certain difficulties and a whole catalog of knowledge about it. There are artisans and artists who dedicate their whole work to a certain material, to master it close to perfection. The story we want to tell comes with certain materials. Some are easy to understand and to interpret through materiality, some need more space for interpretation. Also, our objects themselves vary in their intentions. There are sculptures which implement a deep translation of an atmosphere of the city we live in, others are just there. To look at, to sit on it, or just to adore it.

David: Not sure which medium makes it is more or less hard, but for sure every medium processes inspiration very differently. Photography, film, painting, craftsmanship, sculpturing, fashion, music, dance … they all have their very own art form, their own magic, and their own craft of evoking inspiration from this city.

What is your favorite medium to work in and why?

Joern: I like to see it in a way of seeing us, as a studio, as the medium. Obviously as one which is always in a process of change. In that case, the medium is the VAUST language. Giving a project that sparkle is the fun.

David: The choice of medium is strongly connected to the field of work, I’d say. Since all our thoughts are connected to the triangle of spaces, objects, and people, this is how we’ve chosen our mediums. Space and object—and that is where the process begins.

Your interiors feel streamlined and clean—what inspires you about this crisp aesthetic?

Joern: So far we were in the great position to work with amazing clients who kind of gave us a carte blanche—at least when I came to the design—budget-wise we’re still working on that. I do have the feeling that the result of our work is kind of mirroring what is going on inside us. I’m pretty anal about clean and structured spaces. Rather less, but thought through. It somehow comes with quite an artistic interpretation of spaces. We often took references from art galleries or museum-like ways of displaying. We do have a thing for that. It also puts materiality in focus and transports a certain honesty.

David: It’s a snapshot of our minds’ current status quo. Might change, to be honest.

Do you often get to combine your interior design with your object design?

Joern: Sometimes. If it makes sense, it’s a great thing to do. Nothing I would call necessary though.

David: We are not forcing it, but whenever it seems to make sense it comes very naturally. It happens quite often that clients start being interested in our objects before we even start discussing a potential interior project. In this case, the question is if one of our pre-designed objects fits more likely than a commissioned piece.

How do you feel that your physical mediums inspire and lend themselves to your creative direction?

Joern: They might inspire. Sometimes even us and sometimes they might also function as a reminder to never stand still and even more important—to question. Questioning and challenging your own work might be one of the most important tools.

David: It is hard to say how our pieces inspire others. If you say they do, this is already a fantastic achievement and compliment.

What are some projects you’re hoping to work on in the near future or some inspiration you’re looking forward to bringing to life?

Joern: I can’t wait to bring our current ideas and thoughts to life in autumn. Its so much fun deep diving in this new field and getting a feeling for new objects. Other than that it would be the greatest thing to get more into real estate. I am very much under the impression that we would do good in that area.

David: We are very thrilled about our next project that will launch October 2020. It will demonstrate new ways of working for our studio and showcase a material that we have had a heavy crush on for months now. Future-wise one of many dreams is to work on a small and very personal boutique-hotel in full scope. From concept and identity to interior, object, and furniture design. In size and location, maybe someplace like the Hotel Particulier Montmartre in Paris.