My areas of work are manifold. My work philosophy includes a wide range of fields. I strive to create a certain Lebensgefühl (attitude towards and awareness of life) with my projects. Something I also live out myself. I try to push myself beyond typical creative work. The final result should not me limited to concrete object, a certain form or an aesthetic claim. I want more ...

My aim is to comprehend the evolution of the product over time; to discern the ways in which it is utilized; to imagine its development in the future.

In order to produce this Lebensgefühl, I allow myself to think differently. We need to break through our own thinking patterns and established systems.

Now to the design phase, probably the most valued part of my work, because this process demands diverse approaches.

A design process is simultaneously anCOalytical and synthetical; precise and general; transcendental and basic. It sticks to the matter and to demands; it falls back onto facts yet opens new areas of thinking.

Curiosity as the first impulse Art and culture, eating and drinking, science and technology are not just constant fascinations in my life but also important impulses for my work. Interests, work, and attitudes are mutually dependent.

In short, all of them combined form my life.

I refer to the description of ancient philosophers and teachers by one of my colleagues, Ettore Sottsas Jr. (1917-2007): „Those ancient masters in the workshops, those fencing teachers of old, those men of God, those ancient philosophers: they were inquisitive, very inquisitive people as far as life is concerned ... they went for walks, discussed, were patient, touched and tasted everything ... sketched and observed the heavens ... invested in life, were not satisfied with little, didn’t want just anything but wanted everything – or at least tried everything: they sought out all of life.“

Probing as the first approach Five sources are consulted: scientific-analytic research results; learning from other disciplines; results stemming from analysis of cultural evolution; learning derived from the unearthing of historic development; and evaluation of own empirical experience.

No product and no idea by me arises out of the contemporary context alone, but instead is developed via a complex, analytical process of questioning.

My attitude is to see in each product a certain symbolic value: the function of a chair will always be to be sat upon, the function of tableware is to facilitate the intake of food, and the function of a house is to shelter. The original functions, however, contain a certain Lebensgefühl, and this is exactly what I seek out in my projects and a try to convey. The wheel shall not be reinvented: I go beyond and apply the symbols – function and Lebensgefühl – to contemporary needs and to current users.

My process is expressed by borrowing Ludwig Wittgenstein’s motto: „every symbol is what it is and not another symbol.“

In regard to my projects My interest in the phenomena of the past and intercultural references recalls the architect Bernard Rudofsky as well as Charles and Ray Eames. Eames answered the question, „Is design the creation of an individual? “, with: „No, because to be realistic, one must always admit the influence of those who have gone before.“

Instead, I try to think constructively and creatively, in a manner filtered through the historical view but simultaneously directed forward into the future.