CMG Orchestra in Hollywood performing a piece composed by AIVA. Photo by Lance Bachelder

AIVA AI is an AI music composer which allows people to create their own personalised life  soundtracks. Here, LUX speaks to its founder, Pierre Barreau, about the future of AI and its impact on the music industry

LUX: Can you give us some background about your company and why you founded it?
Pierre Barreau: AIVA is a company I started almost seven years ago with my co-founder, whom I met at university. We were both musicians and engineers, and there was a natural inclination to start this company with a focus in both fields. The premise we started with was that, while music is an insanely rewarding thing to do and create, it also requires a lot of time, money, and tools. We believe more people out there should be able to create music and would enjoy it, but they don’t have the time or resources.

Our idea was to bring music creation to the masses: we want to help people who are complete amateurs or be able to create music with technology, as well as assisting professional musicians who may just want an assistant to suggest ideas when they have writer’s block, or need a guiding hand to in their creative process.

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LUX: You have both a creative and scientific background, from your filmmaking experience to your studies in computer science and engineering. When did you realise it was possible to marry these two fields?
PB: When you do any sizable project, it becomes very obvious that a good director or composer is one who is well-versed in technology. As a film director, you need to deal with camera software to edit the video you are shooting, you need to deal with lighting. For music creation, it is a bit more nuanced; of course, you can write music with pen and paper, but some of the most prolific music creators these days use their laptops to create music or synthesisers to create music digitally.

You open yourself up to the realm of possibilities if you consider technology as a creative partner when creating music. There is sort of no way, in my opinion, you can be an effective composer or director if you completely shut off technology.

Pierre Barreau

LUX: How would you respond to claims that AI is going to devalue the work of human beings, especially in the creative industries where job security is an issue?
PB: It is an important question; whenever you have a technology that raises the bar for what people are able to do in terms of creating music, it can be a bit scary. But what I would say is that historically there have been other technical advances that have brought music-making to the masses, and these have not reduced human creativity. In fact, they have supercharged it.

When the synthesiser was created, people were very scared that it was going to replace acoustic instruments and that it was going to lead to this world of digital, horrible sounding music. Instead, what it created was a world where we have new genres of music like hip-hop and electronic music. Another example is the invention of the digital audio workstation. It allowed people from their bedrooms to become producers so they didn’t need to hire expensive studios to record their music.

LUX: Can you tell us about your vision to create a personalised life-soundtrack for every person?
PB: I think the interesting thing is using AI to do what we can’t do as humans right now. One such thing is this idea of personalised soundtracks; let’s say you are going running and you want music tailored to your own performance or to stimulate you for the extra mile. Then imagine an AI that could compose what you need based on your own rhythm.

I think that would be a hugely powerful thing to have for very different industries, in this case, running, video games, and interactive content that have a lot of diversity in the gameplay and the stories that they tell, but the music tends to stay the same. Just being able to generate the music as the player moves through the game and the experience, and help them create their own story, can enhance the experience they are having.

LUX: Do you ever think this tool could ever be a danger to society? Could people use it as a means to cause damage?
PB: I don’t think I am worried about the directly manipulative aspects of AI, specifically in music. There could be a lot more said in other domains, like the audio, text and visual domains.

CMG Orchestra in Hollywood performing a piece composed by AIVA. Photo by Lance Bachelder

I think one potential challenge that could be very real is giving powerful tools to those whose intentions are just to flood the market and devalue music by humans. But I think that, fundamentally, human music operates on a completely different set of parameters. We go to concerts not to see a computer performing music but a performer dances, has a show and tells us about their own personal life story through their lyrics. People connect to stars because of their own personal drama and the story surrounding them. I think for that reason, It is more about the economic side, not about manipulation, despite what many depictions of AI would have you think.

LUX: Do you think we could ever get to a point where AI could compose a piece of musical genius, or would they always need human input to do this?
PB: In my opinion, whether we call someone a genius tends to be determined by two things. Firstly, the personal; some people will argue certain composers are geniuses, whilst others will argue totally the opposite. It depends on taste. Secondly, there is hindsight, like how we celebrate composers of the past who weren’t appreciated in their time. I think one of the reasons for that is because, in order to create something which is truly genius, you have to be ahead of your time. It won’t be appreciated immediately, but people will learn.

I think with AI , the aim is to create something humans appreciate now – that’s kind of the point. I am not sure anyone will be able to connect to something that an AI creates that we can’t appreciate now. That is also part of the reason why I am hopeful there will still be human creativity, because we can really only connect to something that pushes the boundaries if it is created by humans, if there is a story behind it. Otherwise, it may be devoid of meaning. But as far as creating something that is exceptionally good in terms of quality, I think AI can definitely do this.

CMG Orchestra in Hollywood performing a piece composed by AIVA. Photo by Lance Bachelder

LUX: How do you imagine an amateur would use your service, and how is this different to the way a professional musician might use it?
PB: For amateurs, the AI will help them to create a composition. Maybe they will modify the composition to better fit what they have in mind, or swap an instrument, add a little bit of musical effects, or switch a few notes here and there. But fundamentally, they will be equal partners, with the AI as writers.
Professionals may use more in-depth features like providing their own musical material instead of letting the AI generate compositions based on that. In general, Making a more in-depth modification of the material is usually the difference between the two.

LUX: Will AI be able to create experimental music like the kind that has never been heard before, or would it always be taken from what’s already existed?
PB: It is very possible to do something that does not exist. But again, we go back to this idea of being able to appreciate what pushes the boundaries, and I think it is harder for humans to appreciate something that is truly out there if it is created by a machine. Whereas, if it is created by humans, it is easier to find a way to connect to the story behind it, which leads you to appreciate this novel idea. Whilst it is functionally possible to do it, I don’t think it creates as much value as when a human does it.

Read more: Deutsche Bank’s global innovators meet in Silicon Valley

LUX: Do you think musicians today are welcoming this kind of innovation, or do you anticipate any backlash to this? What responses have you received so far?
PB: Both. Some people are extremely enthusiastic, even some professional composers that see it as an extension of their own abilities, as a tool. And then there are some people who are completely against it. Looking back at previous technological innovations, it is pretty much the same as before. There tends to be a change of opinion when people try it. Once they begin to try the software, they quickly realise it is just a tool. But when you just talk about AI music on a high-level, conceptual basis, people might be more inclined to fill in the blanks and think the technology is something that it actually isn’t, or does something that it actually can’t do. And so, for that reason, the feedback tends to be quite positive when people tend to use the product themselves instead of discussing high-level concepts.

Find out more: aiva.ai

All photos courtesy of AIVA AI

Pace Gallery’s new space in Palm Beach, Florida

As part on an ongoing monthly column for LUX, artnet’s Vice President Sophie Neuendorf discusses the cultural shifts caused by the pandemic and forecasts the future shape of the art industry

Sophie Neuendorf

Prior to the pandemic, city life was often synonymous with a thriving arts and culture scene. Most of the world’s major cities offered a plethora of  national and international galleries and museums to tempt tourists and locals alike, alongside the global rota of art fairs and biennials. It was an exciting ecosystem that was supported by constant stream of international art lovers and collectors.

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However, as James Tarmy recently wrote in Bloomberg, the pandemic has radically changed the status quo and has been vastly more painful to museums and nonprofit art organisations than to commercial galleries. The main reason for the disparity, he explained, is that “buying art is mostly a private activity; seeing art is much more communal.” His article reveals that sales have remained surprisingly robust at multiple levels of the market, from modestly sized dealers like James Fuentes and François Ghebaly to blue-chip galleries like David Zwirner and Hauser & Wirth. The rapid pivot to online sales are largely responsible last year’s robust sales, with $10.1 Billion spent on fine art sales in 2020 (Source: artnet Price Database). Private sales have also proved resilient— perhaps not surprising, given that the collective wealth of America’s 651 billionaires, for example, has increased by $1 trillion since the start of the pandemic. Strong interest from millennials, who squirrelled away vast amounts of disposable income amidst the lockdown, and robust activity from Asia are further fuelling demand.

When it comes to projecting the art industry’s timeline for full re-emergence from lockdown, it would be wise to note not only the rate of vaccination as a benchmark, but also the psychological impact and cultural shift initiated by the pandemic. For example, countryside living is having a renaissance, fuelled by remote working. While previous generations were drawn to cities for work and leisure alike, the restrictions of our global lockdown have bought about a counter-reaction to city life. A shift to working from home, zoom calls, and decreased business travel support this change. But what does this cultural shift mean for the art industry? How will galleries, museums, and institutions respond to collectors’ migration away from the world’s major cities?

Hauser and Wirth Somerset

As restrictions in movement and social distancing measures continue, more and more galleries, artist residencies, and institutions are finding homes in coastal towns and the countryside, opening up spacious, Covid-19 friendly spaces to attract collectors in a safe space.

Read more: Philip Hewat-Jaboor on discovering art through materials

Last summer, already saw an increase in pop up gallery spaces in popular destinations such as the Hamptons, Aspen, St Moritz, and Mallorca. Hauser & Wirth was ahead of the trend with its opening of H&W Somerset and this summer will see the launch of a new space in Menorca, and  in Monaco. Similarly, Pace Gallery is expanding within Seoul, as Asia is recovering more rapidly from the pandemic in comparison to European countries. The gallery is also catering to its Western clients who are migrating to coastal towns, by opening up spaces in East Hampton and Palm Beach.

As more and more galleries are responding to the “new normal,” a hybrid model will most likely develop. Taking advantage of the increased collector confidence in online transactions, galleries as well as auction houses will be able to connect with their clients online, while also opening up Covid-friendly spaces in more rural locations.

Hauser and Wirth Menorca is scheduled to open in July 2021

The drama of quarantine also opened up previously unlikely collaborations between fairs, dealers, auction houses, and even luxury brands. For example, Bulgari sponsored Sotheby’s Old Master Week in January, outfitting the auctioneer and staff in the brand’s jewels. I suspect we’ll be seeing many more partnerships of this kind as well as auction-art-fair hybrids like Christie’s recent project with the 1:54 contemporary African art fair or Johann König’s ‘Messe’ in St Agnes.

The incredible innovations rapidly developed during the pandemic—from live-streamed sales to a rolling battery of online offerings—are here to stay. Industry insiders and experts are predicting a surge of post-lockdown activity, but physical openings and exhibitions will continue to be complemented by online sales. The art industry has definitely changed, but I’m hopeful for what comes next.

Follow Sophie Neuendorf on Instagram: @sophieneuendorf

From David Eustace’s series ‘Mar a Bha’, which translates from Gaelic to ‘As It Was’

The investment community is waking up to the opportunities in our oceans. Impactful ethical investments in the blue economy can involve plastic waste prevention, sustainable seafood, maritime transport, eco-tourism and more

Photography by David Eustace

DEUTSCHE BANK WEALTH MANAGEMENT x LUX 

Robert Goodwin was on a mission to solve Haiti’s cholera problem. For nine years after the island nation’s devastating 2010 earthquake, periodic cholera outbreaks started hurting communities, doing the most damage to people with limited access to clean water and sanitation. The country’s clogged water canals were to blame for spreading the disease. Goodwin, the former CEO of Executives Without Borders, started looking at why the canals were so clogged. “I’m a root-cause guy,” says Goodwin. “I knew that cholera was a water-borne disease and saw that flooding was causing all the transmission. When I looked at the canals and what was causing the flooding, I saw that it was a lot of plastic trash that could have been recycled.”

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Haitian communities could recycle materials such as metal and aluminium, but there was little in the way of plastic recycling infrastructure. So, Goodwin started a business, paying local people to pick up plastic trash and then sort it by colour, weight and type. They were paid cash on the spot. Goodwin’s efforts eventually grew into a new company, OceanCycle, a New York-based social enterprise aiming to help businesses integrate ocean-bound plastics into their products and improve traceability across the supply chain. (Ocean-bound plastic is the waste from areas in close proximity to the coast, where cutting off streams of plastic before they reach the ocean is most critical.) Companies such as OceanCycle are part of the growing blue economy, which the World Bank defines as the “sustainable use of ocean resources for economic growth, improved livelihoods and jobs, while preserving the health of the ocean ecosystem”.

“We want to turn off the tap,” says Goodwin. “Once the plastic has been in the water for too long it breaks down and it’s harder to recycle. If we want to stop the flow of any new plastic into the ocean by 2030 we have to put a value on recycling ocean-bound plastic.” Consumers around the world are more interested in ridding the ocean of plastic than they have ever been. More than 90 countries have placed some kind of ban on plastic bags, straws or other single-use plastics. The Ellen MacArthur Foundation predicted in 2017 that unless things changed the ocean could contain more plastics than fish by 2050. Consumers wanting to protect the ocean are becoming an incentive to create a now fast-growing market for cleaning up ocean trash. Sportswear company Adidas has teamed up with non-profit Parley for the Oceans to sell trail-running shoes made with ocean plastic, Method makes dish-soap containers from plastic picked up on the beaches of Hawaii, and Patagonia is making jackets from yarn derived in part from fishing nets. But plastic is only part of the new blue economy.

Approximately 70 per cent of our planet is covered by water and the ocean is a critical resource providing food for three billion people around the world. Seaweeds and miniscule ocean plants known as phytoplankton provide more than half of the oxygen we breathe, according to the US National Oceanic and Atmospheric Administration. There are approximately 680 million people around the world living in low-lying ocean areas, and the blue economy, which includes tourism, fishing and shipping, generates $3 trillion of economic output each year, according to the United Nations. All told, the services provided to humanity by the oceans are valued at $24 trillion and create a value of more than $2.5 trillion each year.

Read more: Deutsche Bank’s Claudio de Sanctis on investing in the ocean

But we don’t own the oceans or pay them for their services. “The ocean is not just a provider of value. It also helps us to digest the negative results of industrialisation,” says Markus Mueller, Global Head of the Chief Investment Office at Deutsche Bank Wealth Management. “There’s also a deep human attachment to our coastal regions. The ocean gives an emotional connection,” Mueller says. “People are divers and go on vacation at the beach. They’ve seen all this plastic in the sea.”

Beyond ocean plastic, the oceans have seen fish stocks depleted, coral reefs die and beaches recede as a consequence of human activity. It’s not a case of the tragedy of the commons, in which people who act in their self-interest spoil a shared resource. But, Mueller explains, the oceans “are more or less a tragedy of laissez-faire because they’re not governed. We need some governance around this to prevent tragedy and right now there is no incentive system that gives us the direction on what to do.” Some countries, including small island nations such as Seychelles, are issuing blue bonds that prioritise ocean health, and the Maldives is working to vastly reduce plastic waste. But governance is much needed.

A report published in September 2019 by the UN’s Intergovernmental Panel on Climate Change (IPCC) stated the world’s oceans are experiencing drastic changes. And these changes are not only impacting people and the planet but also placing the global economy at risk. The report highlighted the troubling changes occurring across oceans as a result of increased emissions from greenhouse gases. Oceans are absorbing 30 per cent of carbon emissions, making them a crucial resource in the fight against climate change. The report predicted that sea levels will rise by up to a metre by 2100, there will be markedly fewer fish in the oceans and stronger, more intense hurricanes will cause billions of dollars’ worth of damage.

From David Eustace’s ‘Highland Heart’ series

Investing in the blue economy is just beginning, but it’s expected to grow at a faster rate than traditional investments. In 2018, the World Bank announced PROBLUE, an umbrella multi-donor trust fund (MDTF), with the goal of supporting healthy and productive oceans. PROBLUE is part of the World Bank’s overall blue economy programme, which takes a co-ordinated approach to ensure sustainable oceans and coastal resources. Focused on four key themes, the fund was created out of client demand, and to aid the bank towards a better understanding of the current and emerging threats facing the world’s oceans.

Most investments in ocean-related assets at this stage are privately held venture-capital or private-equity firms, and opportunities reach far beyond plastic-waste prevention, to sustainable seafood, maritime transport, eco-tourism and coastal adaptation.

“Oceans have played a critical role in mitigating climate change – they have stored 93 per cent of the planet’s carbon, and produce over 50 per cent of the oxygen,” says impact investor Shally Shanker of AiiM Partners Fund, based in Palo Alto, California. “Every second breath we take comes from the oceans. Ocean ecosystems are deeply interconnected with land and air. Yet, oceans remain a very underinvested sector.”

Read more: Kering’s Marie-Claire Daveu on benefits of the blue economy

Some of the blue economy-based investments Shanker is focusing on include sustainable replacements for plastic and Styrofoam, reducing antibiotics in farmed seafood and cost-effective data collection. Since three billion people depend upon the oceans for their primary source of protein, food security and growing protein demand are other areas of her work’s focus. Sixty per cent of new seafood demand is coming from India and China – two emerging economies each with populations of more than one billion. To identify viable replacements, Shanker says she is investing in plant-based and cell-based seafood alternatives. “Most of the problems in the ocean start on land,” she says.

Redesigning humanity’s relationship with the ocean is no easy task. There’s no choice but to start taking better care of the seas, because our economy has changed them. Coral reefs worldwide, for example, continue to be ravaged by bleaching. According to the International Union for Conservation of Nature (IUCN), the Great Barrier Reef in Australia and the Northwestern Hawaiian Islands saw the worst bleaching on record for three years in a row. “The Red Sea, where I grew up, is the most luscious sea on Earth because it is the newest sea,” says Ibrahim AlHusseini, an entrepreneur and environmentalist who has founded impact investing firm FullCycle. AlHusseini, a lifelong scuba diver, became an environmental investor 15 years ago when he noticed the sea was changing. “I would go back and go scuba diving and year after year there were fewer fish, less coral, less vibrancy and more plastic,” he says. “I just remember thinking, what is the point of accumulating all of this financial success if the things that I enjoy are fading away?” He spent a year studying ‘carbon math’, ocean toxicity and climate change, before deciding to invest in companies such as Synova Power, a waste-to-energy business that can create synthetic gas from plastic waste heated to high temperatures, and then harness it for power.

The ocean’s great resources could also hold a key to the best materials of the future. Seaweed, kelp and algae production was valued as a $55 billion market in 2018, but the market could expand to $95 billion by 2025. In Amsterdam, a start-up called Seamore is turning seaweed into bacon and pasta equivalents, while biofuel producers also use it. US-based start-up Loliware is creating compostable alternatives to plastic out of seaweed. “It’s plentiful and highly regenerative and sequesters carbon 20 times faster than trees,” says Chelsea ‘Sea’ Briganti, the founder of Loliware, which is developing nine products that use seaweed instead of plastic packaging material.

Investors who want to put money to work in service of the oceans should push companies to provide better data about their impacts, and also think creatively about what they do and don’t want in their portfolios, says Mueller. “All companies thinking about using natural resources are the profiteers from it. So, transparency is a key factor – if the impact of cruise liners and shipping companies becomes more transparent, investors can adjust.” There are new rules in effect in 2020, for example, from the International Maritime Organization to prevent atmospheric pollution from ships. Shippers are investing in scrubber technology and cleaner fuel, but data for investors about the impact of the changes is lacking.

The key to sustaining the oceans in the future is to rethink how humanity extracts resources from it. “We have to protect the value the ocean is providing rather than overusing it”, Mueller says. To make the blue economy work we have to replace old business models with more sustainable ones, then we have to put a lid on it.”

Ocean Learning

As sustainable development in a blue economy develops, the first step is awareness: to think beyond the traditional extractive economy to a regenerative one. A blue economy improves biodiversity as well as food and job security for local communities, while limiting pollution and preserving the ocean’s role as a carbon sink. Here are some private organisations focused on blue economy education.

Lisbon Oceanarium

With its almost 1,800km of coastline, Portugal is using its historic relationship with the sea to show how the blue economy can aid economic growth. The Oceano Azul Foundation, led by José Soares dos Santos, is working with the Lisbon Oceanarium to teach future generations about ocean conservation and promoting the ethical values of using marine resources sustainably.

oceanario.pt

Monterey Bay Aquarium

The Monterey Bay Aquarium runs programmes on topics from cleaning up ocean plastic to how to restore the Pacific blue-fin tuna population. The aquarium, founded in the 1970s and supported by The David and Lucile Packard Foundation, has become a centre of various blue economy initiatives. Its Center for Ocean Solutions is searching for ways, such as protecting kelp forests, to fight climate change.

montereybayaquarium.org

Musée Océanographique de Monaco

The museum, located on the Rock of Monaco, highlights hundreds of species that live in the Mediterranean. The Monaco Blue Initiative, launched by H.S.H. Prince Albert II of Monaco in 2010, is focused on marine protected areas that can help conserve unique ocean species and habitats.

musee.oceano.org

Find out more: deutschewealth.com

This article originally appeared in the LUX x Deutsche Bank Wealth Management Blue Economy Special in the Summer 2020 Issue.

French designer Philippe Starck. Image by JB Mondino.

Legendary French designer Philippe Starck gives Mark C. O’Flaherty his radical vision of the future: a time when designers won’t be needed – and maybe even chairs

“I’m not interested in aesthetics anymore,” says Philippe Starck, sipping on a glass of mineral water in the Royal Academy in London. “I am interested only in our evolution, and how the intelligent craft of human production is going to be rerun by dematerialisation. We are working on making things disappear.” As Starck speaks, I notice the periodic flashing of a red LED from beneath the skin on a fingertip of his left hand. It’s extraordinary. I ask him what it does – is it connected somehow to his laptop, perhaps? “Ah, it’s magic!” he says, cryptically, before steering the conversation to his ongoing project with the Roederer champagne house: “I never wanted to just design a bottle, I wanted to share in the making of what was inside. And it was about creating something that had less in it, nothing added, no sugar.”

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We are at the Royal Academy for the launch of the new Roederer-Starck 2012 rosé champagne, where he is judging a competition between 13 artists at the Academy’s Schools to interpret the taste of the champagne through their art. His choice of winner – a white-on-white embossed spiral on paper called Cycles, by Sofía Clausse – is apposite for his ongoing philosophy of design: “It was the most accessible piece,” he says, “It was simple. It captured the spirit of champagne, which to me isn’t a wine, or a reality, but an idea.”

Starck’s AI Chair for Kartell

When the world first caught sight of Philippe Starck’s work in the 1980s, the Parisian-born designer had been creating products for a new way of living. He was changing the vocabulary of interiors, rephrasing the language with futuristic accents on everyday items. His choice of materials was aggressively different from the tradition of French design – he selected transparent plastics, metallics and pop colours. He was as New Wave as the cinema of Luc Besson and Jean-Jacques Beineix and of the architecture of Jean Nouvel. Today, at 70, he is one of the most prolific designers who has ever lived, having created literally (his studio can offer no official number) countless products from clocks to yachts. Today, he still works on an average of 200 projects a year. And yet, as he tells me, he believes that “fifteen years from now, thanks to technology, every material obligation will have disappeared.”

Read more: Chaumet’s CEO Jean-Marc Mansvelt on historic innovations

How does a designer who has been apocryphally credited with 10,000 products balance his current view of a future with nothing in it, with his business model? “The business element will shift,” he says. “We debuted the AI chair with Kartell at Salone del Mobile in Milan this year, and it was the first of its kind ever to be created with artificial intelligence. AI is going to create a new freedom in design. With AI, we can now ask any question, but it’s all about knowing the right question.” He also sees a time beyond furniture. “Design as we know it will be dead,” he says. “There will be better solutions to sitting down than a chair. I think a chair has always put you physically in a bad position. We can do better than a chair.”

The entrance to the Starck-designed L’Avenue restaurant at Saks Fifth Avenue, New York, with stained glass by his daughter Ara

Starck has always been radical. In 1984 he created the interior for Café Costes in Les Halles. With its theatrical blue staircase and oversized minimal clock, it was as much a postmodern landmark leisure-time interior as Ben Kelly’s Haçienda in Manchester, and Arata Isozaki’s Palladium in New York City. All were created in the same decade, but Starck’s project was notably more dramatic because of its location. This was Paris, a city still stuck in Belle Époque aspic. French design was frozen in curlicues and froth. Starck was an iconoclast.

Entries to the Brut Nature competition from Royal Academy students, with (top) The Philosophers’ Reserve by Max Prus, and (here) Tidally locked by Olu Ogunnaike

After a series of successful Paris interiors, he was aligned for a long period with Ian Schrager’s fantastical hotel projects, bringing some of the eccentric visual flair that Schrager and his late business partner Steve Rubell brought to Manhattan nightlife with Studio 54. There was a fairytale, supersized element to much of what he did, from elevated swimming pools to triple-height billowing curtains. From the Royalton in Times Square in 1988 onwards, their partnership helped take Starck’s name and distinctive, witty style to the world.

Read more: Founder of Nila House Lady Carole Bamford’s guide to Jaipur

While his peers, including Marc Newson – who currently holds the record for a design object at auction after one of his Lockheed Lounge chairs sold for over £2 million in 2015 – focused on rarefied edition pieces, Starck focused on mass production. A rare blue glass Illusion Table sold for $50,000 a decade ago, but Starck is known more for his alien-looking Juicy Salif lemon squeezer – which first appeared in 1990 – and continues to be one of Alessi’s best-selling products of all time. At one point, the company produced 10,000 gold-plated versions, purely for display in the home (lemon juice discolours the surface). His transparent plastic chairs for Kartell – the La Marie, which launched in 1999, and the Louis Ghost armchair, which debuted three years later – are as instantly recognisable as any piece of furniture ever made. They brought avant-garde design to the mass market. But when plastics are being demonised, do his polycarbonate objects belong to the past? Starck remains a passionate cheerleader for the material. “For me, it’s the only way to achieve the quality product I want,” he says. “There is a great difference between single-use plastic and a chair that you can keep for a century or more. The media has created great confusion. I prefer to work with fossil energy than to cut down trees and I would rather use vinyl for upholstery than kill cows.”

Two further entries from Royal Academy of Arts students to the inaugural Brut Nature competition judged by Philippe Starck, with (top) Self-portrait as a Champagne Fountain (2019) by Clara Halstrup and (here) Sun on the coast of the moon by Richie Moment

One area in which he, and indeed most of us, remain guilty in terms of the unfolding climate crisis is in carbon emissions from flying. But Starck is one of the busiest designers on the planet, and for someone who still uses pen and paper and tactile models to create (“If you create using a computer, you are just creating within the frame of the guy who created the software!”), he needs to appear in person for projects. The day after we meet, he has to get up at 4am to catch a plane to Milan where he’ll be for a few hours before flying off again, heading further south. “It’s fine – I am so used to it,” he shrugs. “I once went to Seoul from Paris for three hours.” At 70, he shows no signs of slowing down, but when he takes time out, it’s the most understated resort he has ever designed that he likes to head to. “I like lots of places I have been involved with,” he says, “but the one I really love is La Co(o)rniche in the Bay of Arcachon near Bordeaux. It’s really just a few cabanas on top of the Dune de Pilat, the highest sand dune in Europe. You are there looking at the waves and the sunset and it feels like the best place in the world.”

The choice of a fairly rustic, nay, Zen destination ties in with his world view right now, and his intention to both continue democratising design and make it vanish. Just as he believes the future is chair-free, so he believes our everyday tools and indeed all of our furniture will go. “Designers won’t dictate the aesthetic in the future,” he says, “it will be down to your coach and dietician, because telephones and computers will disappear and everything we use will be incorporated within the body. We will be naked in an empty room, and we will be able to conjure flowers or whatever we want from nothing.” As Starck gesticulates, the red LED flashes on his finger tip again. “So, come on, tell me…,” I ask, “is that part of the new cyborg tech you are talking about?” He smiles. “Oh, this? I got it from the Harrods toy department. Fun isn’t it!?”

Louis Roederer and Philippe Starck

The recent launch of the 2012 Roederer and Starck rosé champagne marks 13 years of the designer’s collaboration with the French family-owned champagne house and maker of Cristal. Starck has been involved in each step of the production, including, of course, the champagne’s packaging. From the first brut-nature product in 2006, the champagne has been created sugar-free, with zero dosage. As Jean-Baptiste Lécaillon, Roederer’s chef de cave  says: “We have used nature as our collaborator as much as anything with our work with Philippe – it is organic, with minimal intervention and a focus on the real taste of champagne. This came from our discussions with him.” The presentation attempts to democratise the luxury product – it looks more like a chic bottle of olive oil than a grand cru. The hand-lettering on the label and box and the rough line of fluorescent pen creating the edging makes it look effortless. As Frédéric Rouzaud, president and family scion of Louis Roederer says: “It represents spontaneity. He wanted a simple paper for the label, and just wrote by hand what the product is. He wanted it to be approachable, to speak to everyone.”

Find out more: louis-roederer.com & starck.com

This article was originally published in the Spring 2020 Issue.

Swarovski Designers of the Future 2018: Study O Portable, Frank Kolkman and Yosuke Ushigome (from left to right)

Every year, the Swarovski Designers of the Future Award x Design Miami/ selects a group of promising designers and studios from across the globe who are seen to be pushing the boundaries of design culture through innovative processes and new technologies. Beyond pure product design, these are designers working in the realm imagination, concept and dreams.

Swarovski provides the winners with a topical brief and invites them to immerse themselves in the brand’s world at the mystical mountainside headquarters in Wattens, Austria.

This year, the designers have been presented with the theme of ‘smart living’, for which they will create works and environments that incorporate advanced Swarovski crystal technologies, considering sustainability, accessibility, interaction and future lifestyles. Their projects will form a single installation to be unveiled at Basel this June.

LUX meets the 2018 winners: Frank Kolkman, Study O Portable and Yosuke Ushigome

Frank Kolkman

Experimental Dutch designer specialising in robotic technologies

Frank Kolkmann

What he says:

“I’m interested in unpicking the social, economic and aesthetic dimensions of current and near-future technologies through design. By developing confrontational prototypes, experimental products and interactive installations that are subtly disruptive, I aim to instigate reflection on the processes, systems and values that underpin our technology rich environment.

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It’s really about trying to imagine, generate and test alternative ways of doing, seeing and understanding beyond what is familiar to us or what’s probable in the future. By making these alternatives tangible it allows us to collectively discuss their preferability in relation to what’s already there. In turn, it helps us gain insight into what we really desire or expect from the technologies we surround ourselves with daily – and how we might get there.”

What you can expect to see at Basel:

The ‘Dream Machine’, an immersive experience generating light and sound patterns from Swarovski crystals that synchronise with alpha and theta brainwaves to allow individuals to enter a state of deep relaxation or ‘artificial dreaming’. The project attempts to design a smart solution to help us cope with the cognitive demands of modern life.

frankkolkman.nl

Study O Portable

Research based Dutch-Japanese practice making objects about the designed environment

Study O Portable

What they say:

“We’re always interested in how we’ve been interacting with the designed environment throughout history; one of the most exciting things right now is the development of technologies that help us understand the past. In a way we know more about the past 1000 years now than we did 50 years ago, and it’s an exciting idea that the past is now bigger than ever before.

Read more: Moynat’s Artistic Director, Ramesh Nair’s guide to Paris

The access to a wider range of information is what drives our work; it allows us to form new connections between different fragments of information that previously might have not been so easily accessible.”

What you can expect to see at Basel:

An exploration into the blurring of light and colour created by crystals. The practice associates blurry and fading colours with nature (think sunsets and autumnal leaves) and are creating a series of surfaces that will be translated into home objects that may trigger emotional responses from the user.

studyoportable.com

Yoksuke Ushigome

Creative Japanese technologist specialising in emerging technologies

Yosuke Ushigome

What he says:

“My design projects often speak about possible and impossible future visions; I tend to draw references from fictional objects from films and unlikely events and human behavior throughout history. I like to do a thought experiment on how an emerging technology might play a role in a very specific scenario — taken from the references — and imagine how that might change our behavior in the future.”

Read more: Visions of Henri Michaux at the Guggenheim, Bilbao

What you can expect to see at Basel:

‘Can Crystals Interface Us to AI?’, an exhibition exploring the potential of crystal as an alternative interaction between human and machine intelligence that occurs within the Smart Home environment. As opposed to the voice-command capabilities of devices such as Amazon Echo and Alexa, the project utilises the  emotional quality of crystals to examine familiar behaviours between us and machine intelligence.

yosukeushigo.me

For more information visit: designmiami.com / swarovskigroup.com

Driverless cars – this year’s big thing in automobiles – trade emotion for efficiency. Can the company that invented the motor car combine both? Caroline Davies speaks to Mercedes- Benz’s Dr Thomas Weber to find out

Tomorrow’s World:
The driverless Mercedes F 015 takes to the road

The world of autonomous – or, in lay parlance, self-driving – cars, which has been on the horizon for a few years, is finally threatening to become reality very soon. Self-accelerating, self-braking, self-navigating models will soon follow today’s self-parking models in to the marketplace. But motoring is, for a significant minority, more than just the least painful way to get from A to B: in the world of luxury, a car is an end in itself, not a utensil. And for them, Mercedes-Benz has created a striking concept car, snappily named the ‘F 015 Luxury in Motion’.

Not available in a showroom near you ever – its purpose is as a debating point and research showcase – the F 015 re-conceptualizes the purpose of a car. Tellingly, rather than reveal it at a motor show, Mercedes-Benz selected the Consumer Electronics Show (CES) in Las Vegas, the world’s biggest tech fest: a signal that this is not just a car. It is also the company’s riposte to latent threats by Apple, Google and other tech firms that they will disrupt the world of cars like they disrupted the world of the PC.

At the CES I spoke to Thomas Weber, effectively the global number two at Daimler, the parent company of Mercedes-Benz, about why they had developed it. “We asked ourselves, ‘What is luxury [motoring] in the future?’” he said. “It is time, space and access to information.” That was the driving force behind the future driving concept.

Meet the Mercedes: Dieter Zetsche, head of Mercedes- Benz and chairman of Daimler, unveiled the F 015 in Las Vegas

As the executive board member in charge of research and development for the world’s leading luxury car company, Weber’s view is carefully observed by industry watchers. The monolithic design of the car gives passengers the largest possible space, he says. The inside, upholstered in white leather and open-pore walnut wood, has four rotating chairs, allowing guests to look at the road or each other. The door panels are touch screen, allowing passengers to call up contacts, information, the route, music or points of interest along the way. Unlike the original cars Google produced, there’s a steering wheel, should you feel the need to take over. Also unlike Google’s cars, it feels like a car, not a disposable electronic device.

The car is, in part, a response to what Mercedes-Benz feels will be one of the major issues of the future: a burgeoning urban population. As the world moves to live in the city, roads will become increasingly congested. An automated car provides two solutions to the problem. Firstly, it gives the passenger time back, free to do what they want instead of driving. Secondly, it allows for cars to be shared; once a car has dropped off one passenger, it is free to collect another rather than sit in a car park.

“If you want to create more than only a car, then you have to do more than only look at the car,” says Weber. “You have to ask what a city in 2030 will look like. We know that more than 50 per cent of all people will live in crowded urban areas. Then what happens? What will the customer do in their car? You have to understand their lifestyle. The car is part of your daily life, your digital companion.”

Weber believes that while a self-driving car from Mercedes may be an efficient space when it is driving itself, it will still provide pleasure when you want it to, unlike other modes of transport. He does not believe that driving will become obsolete.

“[Transport autonomy] will happen in taxis and trains but not in the car,” he says. “It is comparable to skiing. Everyone takes the lift to the top, but the enjoyable part – downhill – you want to do yourself.”

City Slicker:
The Mercedes F 015 could revolutionize urban life

Admittedly, a machine would in most circumstances be a better driver than any human; they don’t get tired, distracted or forget which side of the road they should be on. Accidents could reduce to near zero; insurance, too. “We need autonomous driving to realize our vision of accident-free driving,” says Weber. “With sensors and these machines we can mitigate most of the critical situations where accidents happen.”

There are still issues – technological and legal – to iron out before these cars will be on the road. “There is a concern that some of our colleagues will do certain steps too early and terrible accidents could happen based on poorly realized autonomous cars,” says Weber. “If that happens then we could be forbidden from developing these cars. We need to do everything possible to mitigate these early failures.”

One such issue is strong internet signal; creating a bandwidth strong enough to control a full highway requires creating this digital infrastructure. Manufacturers will also have to wait until the legal framework is in place. Who is to blame if an autonomous car hits a pedestrian? What if a car was faced with a moral dilemma: for example, a mother pushes a baby in a pram into the path of an autonomous car on one side, as a cyclist is overtaking it on the other. Which way should it be pre-programmed to go? An autonomous car, for all its computing power, will not make decisions of its own: it will do what it has been told to do.

Weber is keen to have these discussions early. “Legal discussion, social discussion, acceptance discussion – these things take time,” he says. “But we have cars on sale with first situations of this technology. We have a road map.” The first autonomous cars will probably be developments of today’s self-parking cars, with drivers taking control at times.

Legislators have already started thrashing out these details and manufacturers have begun to steadily introduce autonomous elements, easing the population into the idea with the expectation that fully autonomous cars will be on the road as early as 2025. For many, that remains a frightening thought, but we have been entrusting our lives to aeroplane autopilots for years. At least style needn’t be a worry; with Weber in charge, autonomous cars will have plenty of panache.