The kitchen of a Cologne family designed for socialising, with Gaggenau equipment including a 200 series oven, a 400 series cooktop and discreetly hidden fridge-freezer and dishwasher.

The impact of climate change, digitalisation and the pandemic is demanding bold, new visions for our homes and public spaces. Here, Millie Walton speaks to Sven Baacke, Head of Design at the luxury home appliance manufacturer Gaggenau, and Ian Lambert, Director of Cambridge-based architecture and design studio Inclume — who recently created an installation for Gaggenau’s London showroom — about sustainability, adapting to shifting lifestyles, and the experience of luxury

SVEN BAACKE
Head of Design at Gaggenau

Sven Baacke is Gaggenau’s visionary head of design. Visionary in both senses of the word: he is a passionate, radical creative, and a kind of prophet. Then again, part of his job, and perhaps of all good designers, is to anticipate the future and in some ways, also to shape it.

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Baacke is in the business of kitchens, which means any emerging cultural or social trends are filtered through a very specific perspective: “What will that mean for kitchens?” and more specifically, “What will that mean for Gaggenau’s luxury appliances?” Take, for instance, the trend for biophilic design. While the desire for creating living spaces that are more closely connected to nature might not directly affect say, the design of an oven, it does affect the architectural structure of the home, which in turn, means rethinking the positioning of the kitchen and the way that people move through and use the space. “Our customers are increasingly creating environments such as outdoor kitchens or gardens where they can grow their own ingredients,” says Baacke. “But what we think about is: how far can Gaggenau go? Is the kitchen the limit for us, or beyond?”

Gaggenau’s design team

The brand’s global success is built on its ability to create a range of good-looking, technologically advanced appliances that effortlessly respond to these shifts and demands in lifestyle. Baacke calls their approach “traditional avant-garde”, in the sense that they are a historic brand with a contemporary ethos. At one point during our conversation over Zoom, he holds up the Gaggenau designer’s handbook, flicking through the pages to show me what seems to be mostly images, which Baacke describes as “mood boards”. “It helps to have guidelines,” he says, “but it’s not a cookbook.”

How does Gaggenau decide what to make next? “Our designers are very curious, so there are always a lot of vibrant ideas floating around. Mostly, we are thinking of what not to do and I don’t just mean physical design, shapes and colours, but also topics. There are so many things already out there. You really need to think twice before you create something new and to ask what difference will a new product make in the world.”

Despite fluctuating trends in aesthetics, the kitchen remains a central feature of building design. Even if it is becoming increasingly integrated into our homes, for now, at least, we still need somewhere to cook, eat and gather. “There’s a big chance the kitchen will become invisible in the future, but there are two poles of opinion about that,” says Baacke.

Paris kitchen designed with Gaggenau equipment by the Russian architecture and design studio IQOSA

Gaggenau’s appliances might look like design objects, with super-sleek metallic finishes and sculptural lines, but they are also made for everyday usage. “The tactile element of our products is very important,” says Baacke. “Nowadays, with the increasing digitalisation of our lives, nothing is really by chance, everything is calculated. So, it’s nice to still have something in your hand, to touch a real material.”

Read more: How Andermatt became a leading luxury destination

At the same time, technological advances have undoubtedly enabled Gaggenau’s appliances to provide increasing levels of precision and ease in both professional and domestic kitchens. The heat in their combi-steam ovens, for example, can be controlled to within one degree, a process which continually revises the estimated cooking time based on temperature-probe readings from three different sensors. They can also be integrated with voice-controlled AI systems such as Alexa. Is this the modern-day definition of luxury?

“There are a lot of products that are high-end, but luxury is more of a feeling. It’s very individual, and it’s not just about the technology,” says Baacke. “We try to create feelings. When you use our appliances in your beautiful home which is connected to your family, that can be a luxurious experience.”

Gaggeanu’s 200 series ovens

Gaggenau’s materials (think stainless steel, dark aluminium, rich woods and glass) are selected for technical and aesthetic reasons, but also durability, which is a crucial part of the brand’s approach to sustainability. Baacke’s response, as always, is to look to the future, and longer-term solutions, rather jumping on the sustainability trend as a marketing tool without properly considering the consequences.

“We create appliances that are really reliable. You can buy our ovens from the 1980s on the internet and they still work and look good,” he says. “But it’s also a mindset. Does a patina on a surface mean that you have to throw it away, or could it be like a leather bag that gets better over time and tells a story? Crucially, for us and the whole industry, sustainability also means repairability. Can you unscrew the appliances? Can you separate the materials?”

Alongside an increased cultural awareness of the environment, the difficulties of the past year have brought with it a new appreciation for a slower way of living, which in turn has led to a renewed interest in antiques, vintage products, and craft and artisanal practices that all speak to a certain feeling of nostalgia. Since 2019, Gaggenau has been supporting small-scale makers and producers through their Respected by Gaggenau initiative, and Baacke himself recently bought a BMW motorcycle from 1973 that he describes as “the true essence of a motorcycle”. “There’s a lot of anxiety about what the future will bring, so I think people need to have familiar things around them, things that make them feel good,” he says.

Sven Baacke: Where to start with redesigning your kitchen

The first question has to be: why? What don’t you like? Is it the colour, the arrangement of cupboards or the appliances? Has your lifestyle changed in some way? Has your family grown, or have your kids moved out? Do you like to host dinners? Do you enjoy cooking with guests in the kitchen, or would you prefer for them to sit while you cook? Start with the small things, and the ideas will get bigger.

Ian Lambert with Fragment in Gaggenau’s London showroom

IAN LAMBERT
Director of Inclume

LUX: Your installation for Gaggenau’s showroom in London made innovative use of paper. How did that project come about?
Ian Lambert: We won a competition which was run by the London Festival of Architecture in partnership with the paper supplier G.F. Smith, so a large part of the brief was to create something using paper. We have used paper in the past and it’s actually a great material to work with because it’s malleable and very lightweight, which especially helped with Fragment, the window installation, as we were suspending 4,000 polygonal forms. The design took inspiration from the craftsmanship that Gaggenau has pursued since it started as a hammer mill and nail forge in 1683. The polygonal forms were an abstract representation of fragments of metal and we chose colours that reflected the history of the brand, with the black signifying the Black Forest in Germany, where the brand was born, and the orange representing the roaring fires of the furnaces used to craft the appliances.

LUX: What’s your process for coming up with an initial design? What are the factors you consider?
Ian Lambert: We usually start with a brief, which will be formatted as a response to a question. Visiting the space, talking with the client about how they’ve used the space, what works for them, what doesn’t work for them, and how we can introduce new things – all these factors provide a narrative and a set of parameters to work within.

LUX: Where do you, personally or as a studio, find inspiration for new ideas?
Ian Lambert: I think we’re inspired by what’s around us. It’s difficult to pinpoint a specific place. Looking online is quite a dangerous thing to do – you don’t want to copy other people, but you can find inspiration in little details from different projects and also by revisiting ideas that you’ve already done. At the end of each project, it’s not the final piece, because we can always improve. We take each project and then try and build on that next time by refining details. Over time, it gets better and better.

Read more: How to create a truly sustainable luxury hotel

LUX: In your opinion, what are the key principles to good design?
Ian Lambert: I think good design makes your actions feel easier in daily life. That doesn’t necessarily mean that you have to identify with what’s good architecture or good design. It doesn’t have to be noticed, it can be subtle and understated.

LUX: Do you think the pandemic has had an impact on how people perceive their living environment?
Ian Lambert: I think people are beginning to appreciate the things around them and the value of the spaces that they inhabit. Most people have been working from home lately, so it’s about adaptability. You might have your kids or your partner around and you’re also living in the same space 24 hours a day, so you are able to more easily identify the things that work and the things that don’t work.

LUX: How much of a consideration is sustainability in terms of the materials you use?
Ian Lambert: We’ve always been fairly conscious of what materials we use. With an existing house and its various elements, we try to keep as much of the original as possible, but create a new focal point. We also use a lot of materials, particularly in our installations, that are recycled. It presents a challenge as to how we can use and modify them to create a different experience. It might be just paper or some old pieces of timber but it can be aesthetically amazing if you see something that’s been recycled and then used in a very good way. At the same time, it doesn’t mean that using brand new materials can’t be sustainable. You need to consider other elements. If you’re doing an installation for example, how long will it be up for? Will it get chucked away at the end? Or are you then prolonging the longevity of the material by reusing it in a different way?

LUX: What makes a design luxurious?
Ian Lambert: I think luxury is subjective. For us, as a studio, it’s something that makes your life easier in a seamless way, whether that’s through bespoke design or creating a positive experience for someone. For example, we did a project where we made a raft out of sustainable materials such as recycled timber pallets and barrels. We took it to a lake and it was very complex putting it together, but when you sat on the raft on the water in silence beneath the canopy of trees with different shades of light filtering through, it felt like a luxury space. Luxury experiences can also be about the fun and enjoyment of doing something with other people.

Find out more: gaggenau.com/gb

This article was originally published in the Autumn/Winter 2021 issue.

Robilant + Voena at Masterpiece London 2019, photography Ben Fisher, Courtesy Masterpiece London

In his final column for LUX, art collector, advisor and chairman of Masterpiece London Philip Hewat-Jaboor shares advice on collecting art, and pairing contemporary and antique objects

My belief is that we all have the urge to be surrounded by beautiful objects, and this has only been intensified by our time spent in lockdown. When we are living with things we love, we have a sense of place and stability that enhances our lives and brings so much pleasure and enjoyment.

I was introduced to the wonderful world of collecting, and specifically cross-collecting, by my grandfather who carefully mixed Chinese ceramics with British sporting pictures and English furniture in his home. These three specialist collections came together to form balanced and unified interiors that have continued to inspire me.

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Collecting and displaying historic artworks and objects alongside contemporary pieces is a trend that can be traced back to ancient Roman times. This is evident, for example, in the great collections put together by the Medici family, which can still be seen in the interiors of the Palazzo Pitti in Florence and the acquisitions by King George IV in the early 19th century also epitomise the richness to be found from cross-collecting (part of his extraordinary collection is currently on display at the Brighton Pavilion, re-installed in the original sumptuous interiors). This is also the way I like to collect personally, with carefully curated combinations, enriching the whole.

Philip Hewat-Jaboor at home in Jersey, 2019, photo Danny Evans, Courtesy Philip Hewat-Jaboor

How do you start collecting?

The art world can sometimes appear baffling and opaque, but don’t let this put you off. Visit museums, art galleries, auction houses and art fairs. The most important thing is to look, and continue to look. Discover what excites you and why. Is it the history of the piece? Are you drawn to a particular material, to  contemporary pieces or to more traditional fields?

Put aside the current fashion of separating contemporary art from the traditional – this is a modern distinction, which I personally believe limits our imagination. That said, the contemporary art world provides the opportunity to engage with the artist or designer, and to understand and learn from them first hand.

Build a relationship with a trusted dealer or advisor. They are knowledgeable and passionate, eager to share and there is no better way of learning. Read as much as you can, and most importantly buy with your heart.

What makes a good work of art?

Why is one work more desirable than another? I ask myself about the overall integrity of design (if a three dimensional work), the quality of the material and how well it is used, and the craftsmanship. To me a measure of great design is demonstrated be being able to scale an object up or down in size without loss of its integrity. The condition of a piece plays an important role, and it’s important to look for original surfaces on furniture and sculpture, concealed damage to ceramics, and ensure that works are not over cleaned. Look for signs of conservation rather than restoration. However, less than perfect condition should not be a deterrent if the work is particularly rare or unusual. Provenance (who owned the work previously) is vital both from the point of view of reinforcing authenticity but it can also tell a story and add to the piece’s desirability. In my opinion, a great work of art is both beautiful and intellectually rewarding.

Read more: Why the Swiss village of Andermatt is designed for living

Oscar Graf at Masterpiece London 2019, photography Ben Fisher, Courtesy Masterpiece London

How much is it worth?

It can sometimes appear difficult to establish value. There are numerous ways to search for comparable pieces online, however, this does not give you a complete picture; every work is different (they are not like shares), you cannot judge condition nor the circumstances of a previous sale, which can give rise to both inflated and low prices. One of the positive outcomes in the growth of online selling platforms is an increased transparency about prices.

Do your homework, but ultimately, it comes back to trust and buying from reputable sources. Many of the works I treasure the most are those which were a financial stretch to acquire, but I have found myself repaid a thousandfold in pleasure.

How do you display artwork in your home?

Thoughtful display plays a crucial role is showing works to their best advantage and creating a dialogue between them. As a favourite of mine, the early 19th century cross-collector William Beckford said, “Everything depends on the way objects are placed, and where. Horrors in one place discount beauties in another.”

I have been taking advantage of my time at home this year to really look closely at objects in my collection. I also regularly move works around. For example, I placed a contemporary alabaster bowl by Stephen Cox next to a recently acquired Egyptian unguent vessel that was made some two and half thousand years earlier, but the pieces are identical in material and the pairing has given rise to a wonderful conversation between two diverse works. Beautiful objects resonate with other works of beauty. Too many people are afraid of scale; works that you might feel to be too large often hold a room. There is no need to be timid. Decoration should be conceived to enhance how we sees works of art and not be a diversion.

Buy what you love and look for beauty, take good advice, do your own research and don’t worry too much about the cost which is soon forgotten!

Philip Hewat-Jaboor is Masterpiece London’s Chairman of the Fair. Read his previous column here

Masterpiece Online, sponsored by Royal Bank of Canada, is taking place from 24-27 June 2021. For more information visit: masterpiecefair.com

Ali Behnam-Bakhtiar. Image by Marko Delbello Ocepek.

Iranian-born designer Ali Behnam-Bakhtiar does it all – interiors, architectural design, weddings. Whether large-scale events or private homes, a converted airplane or a château, he runs the gamut from extravagant to minimal with equal flair and imagination, bringing his clients’ stories to life. Torri Mundell reports

Architectural designer Ali Behnam-Bakhtiar is a man on the move. Since 2003, his striking design projects have made their mark on coastlines, private islands, mountainsides and city streets in Europe, Asia and the Gulf, while his events company operates from Dubai, London, Paris and Monaco. The spaces he conceives, from the cargo plane he transformed into an airborne apartment to a spectacular eco-friendly château in Provence and a refurbished 150-metre yacht extended with landscaped green spaces, are equally dynamic. “I think of spaces and events like personal books,” he says. “They are stories that we experience through an introduction, a body and a grande finale.”

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Though Behnam-Bakhtiar claims not to have a signature style, the emphasis on experiencing a space – rather than simply passing through it – is an essential part of his aesthetic. “To create this kind of extra dimension, I am very detail orientated. I study the space carefully, I envision the memories that can be created and I focus on the senses that can be discovered.”

Behnam-Bakhtiar’s floral design for a wedding in Ljubljana, Slovenia. Copyright and courtesy Ali Bakhtiar Designs

Ali Bakhtiar Interiors clients do not commission him to create something they have already seen somewhere else. “Everything I do is one of a kind,” he says. “I don’t hold on to what I have done or what has been done.” Conceiving wholly original designs for every project can be hard work, he admits, but it means that he never caves in to “the dullness of repetition.” Instead, each project is always “a learning process that definitely keeps me challenged and excited.”

Read more: Meet the marine biologist pioneering coral conservation

Behnam-Bakhtiar’s curiosity, extensive research and the relationships he fosters with his clients to “deeply understand their values, wants and needs” all feed into his vision for a project. Every aspect of design is thoughtfully considered to create a harmonious whole, but his spaces are also full of daring, unexpected moments. Consider the château he restored in Provence: he preserved the historic façade and added a self-sustainable modern basement, a pond that irrigates the rest of the estate and a formal dining room with a glass floor that overlooks a garden lavishly planted with lotus flowers. “I believe it is important to embrace modernity as much as ancient knowledge, because something might look cool and new but it also needs to age well,” says the designer about his blend of the traditional and contemporary.

A 2019 house on Saint-Jean-Cap-Ferrat designed with glass walls to make the surrounding forest part of the interior. Copyright and courtesy Ali Bakhtiar Designs

Though the scale of the properties he designs can be vast, Behnam-Bakhtiar imbues his spaces with personal elements as well. “Generally, my favourite events or interior projects are the ones in which I deeply connect with my client, because this is what inspires me to go beyond expectation, and create something ‘out of this world’, a visualisation of their dreams and more.” In the château, for instance, each of the 34 suites was decorated to represent places or moments in time that are meaningful to the owner.

Creating a blueprint that encompasses both grand design moments and personal detail requires a nuanced approach. “Architecture to me is about conserving memory; creating spaces that host our lives but remain in existence beyond it,” Behnam-Bakhtiar continues. “Unlike events, architecture has permanence and so you are not just working on one experience in time, you are working on a timeless structure that impacts repeatedly. I believe architecture, landscaping and interior design need to merge to bring true and lasting harmony.”

He takes his cues from the outdoors to create this harmony. “I used to design houses that stood out from nature,” he remembers. “I now create ones that integrate with nature. The house becomes engulfed by the landscape rather than being simply set in it.” This approach also chimes with the current drive for sustainability. “Much more than ever, we now see nature as something that needs to be integrated in interiors and architecture. Rather than fighting the rules of nature or working against it, which we have done for so long, we are finally starting to see the incredible benefits of an alliance.”

A 2018 house design in Florida with a characteristic Behnam-Bakhtiar blending of natural and built environments. Copyright and courtesy Ali Bakhtiar Designs

The “green and self-sustainable” glass house he designed for a client on a private island epitomises how this can work. In building the residence from scratch, Behnam-Bakhtiar gave it a “system that transmits and observes energy” along with an ultra-modern, sleek exterior and sumptuous Art Deco furnishings.

Read more: American artist Rashid Johnson on searching for autonomy

Similarly, on a property refurbishment in the French Pyrénées, Behnam-Bakhtiar preserved the ancient rocks that predated the house by encasing them in glass boxes and installing a “hydraulic system to make the house ‘convertible’; completely open towards the seascape, on multiple levels. We also created several distinct courtyards and fountains, to give the landscape exciting layers.”

A render of an island house off the coast in Abu Dhabi, with an Art Deco inspired interior in contrast to the building’s ultra-modern minimalist exterior. Copyright and courtesy Ali Bakhtiar Designs

Born in Tehran, Ali Behnam-Bakhtiar was still a child when he moved with his family to Paris after the Iranian Revolution in 1979. He grew up surrounded by art and culture and his parents indulged his drive to “redecorate their interiors on a weekly basis”. Even so, he says, “it was very much a conscious adult decision to develop my creativity professionally.”

His early memories from Iran, particularly before the revolution, “in which large-scale events and gatherings were considered normal” may have informed Behnam-Bakhtiar’s other hugely successful business: event planning. Orchestrating large-scale, fantasy weddings, celebrations and parties is a complementary discipline to his design work but he came upon it entirely by chance. “I was working on the interior design of a palace for a client of mine, whose daughter was in the midst of planning her wedding. Completely uninspired by the process, she had sort of given up on her dream wedding until she coincidentally saw my plans for their winter garden. In love with the plans for the garden, she convinced me to design her large-scale royal-like wedding for 2,500 guests.”

A reception that took place in Hall of Mirrors at the Palace of Versailles. Copyright and courtesy Ali Bakhtiar Designs

Behnam-Bakhtiar’s ability to imagine multidimensional, immersive spaces works as well for one-off events as it does permanent buildings, and working across the two disciplines allows for a beneficial cross-pollination of ideas. “I mix architecture and interior design with event planning, and do things that have never been seen or done before. This has allowed me to evolve and remain modern. I embrace the future and the process of change and growth.” In 2019, Ali Bakhtiar Designs was named “best wedding planner in the Middle East” at the Destination Wedding Planners ACE awards, and in the same year the company won an honorary award at the Influencer Awards Monaco.

As with his architectural designs, the events he designs are inspired by their setting. “The location and not the budget is what creates the possibilities,” he says. What would he conjure up for a wedding at a castle with an unlimited budget? “I’d probably create a sunset moment, curate different areas so there is movement and a multi-layered experience of the castle. I would also do something with the façade, so the guests can view it differently throughout the evening.”

Read more: Why the market for modern classic Ferraris is hot right now

He is delighted to be commissioned for wedding and parties abroad. “Like creating a world from scratch, the entire infrastructure is purposefully built and specifically curated for the event, in the middle of nowhere.” The possibilities are endless, he points out, describing a beautiful event he planned on “a private island lit by 50,000 candles. The guests arrived by raft laid with beautiful flowers and in the middle of the island, we created a pond and fountain on which the gala’s dinner tables floated.” More unusually, Behnam-Bakhtiar also oversaw a divorce party on a cruise ship.

As with his design projects, Behnam-Bakhtiar and his team ensure they have oversight of every detail. “The design of the food, the uniforms, the bar; anything that has to do with the visuals, the service, the presentation… To me an event is never just about decoration, it is about continuous implementation; everything needs to run smoothly and as we visualised it.”

An impression of flower-covered columns for a wedding at the Basilica della Santissima Annunziata in Florence, January 2020. Copyright and courtesy Ali Bakhtiar Designs

A rendered image of a tunnel of flowers for a wedding in Cape Town, 2020. Copyright and courtesy Ali Bakhtiar Designs

With high-profile architectural and interior design clients and starry party guest lists, discretion is part of the Ali Bakhtiar Design service. He will not be drawn on the high profile personalities that have commissioned him. “We work with a lot of different people including celebrities and royalty, but under no circumstances do we share our clients’ names, whether we signed confidentiality agreements or not. We pride ourselves on being private.”

Word, however, is out – partly because of the design company’s huge international reach. “We go where our clients are, so it was only natural to expand,” Behnam-Bakhtiar explains of his company’s outposts in Dubai, London, Paris and Monaco. The company does not promote its productions but exposure has come nonetheless through guests’ photos on social media. And who can blame them? The vast hall filled with reflective ponds and dancing LED lights for a party in Shanghai and the arcade of pink roses for a church wedding in St Barts demanded a selfie. “Much of the current exposure of our work is not just because we have expanded but also because it is shared,” Behnam-Bakhtiar agrees.

A digital impression of a 2019 building design in Switzerland that brings nature into the heart of the home. Copyright and courtesy Ali Bakhtiar Designs

Like the architectural design industry, the events business is also becoming more mindful about expenditure. “I would like to see more consciousness around long-term trust and a sustainable use of funds,” Behnam-Bakhtiar asserts. “Rather than creating an event for the budget and exhausting funds, we now look at what we need for the event. This means we spend less on unnecessary things, so that these funds can be used elsewhere or go to charity.”

Behnam-Bakhtiar’s diligence is even more relevant in a post-Covid era. “Events of up to 7,000 people are postponed for at least a year,” he says, “but the smaller events are starting to take place now, in a more down-sized manner. We’re on stand-by, like the rest of the world.” With his vivid imagination, a roster of international clients and almost two decades of experience, he won’t be standing by for long.

Find out more: alibakhtiardesigns.com

This article features in the Autumn Issue, which will be published later this month.

ME Ibiza Rooftop Pool

Why should I go now?

The summer family crowds have left the island and the weather is perfect, and less scorching.

What’s the lowdown?

The ME is in a quiet cove on the south side of the island; step through the open lobby on arrival and you are greeted with a view across the huge pool, across the bay, to the mountains beyond. It’s right next to Nikki Beach, but there’s no reason to go there when you have your own poolside and an even more exclusive and panoramic pool on the rooftop.

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The cuisine is Ibizan chic, grilled fish and meats, a little north African influence; there’s a cool but understated party scene at the Radio ME rooftop bar. This isn’t a hotel for the desperate aspirationals; more for those at peace with themselves. And there’s enough of a choice of hangouts that you don’t feel forced to party, or to chill; while the party was going on upstairs, we had a quiet meal by the sea downstairs.

The open lobby

Getting horizontal

Minimalist bedrooms

Décor is minimal white Ibizan but without suffering preciousness or impracticality; our room was on the small side, but the open-plan bathroom and a beautifully-selected array of materials made it comfortable, not over-designed.

Nitpicking

The food could have been even simpler, to suit the minimalist ethos; and the service was occasionally a bit laid-back, but this is Ibiza. The club scene at Ibiza Town is a 25-minute taxi ride, and the beach clubs at Cala Jondal a little further – but once you’re at the ME, you’re unlikely to want to leave.

Rates: From 240€ ( approx. $300/ £200)