Jürgen Seidler

I started my career as a mechanical engineer specializing in fiber-reinforced plastics in racing sports, where I realized it takes two things to capture people's attention. First, it’s the performance of a product. Second, it needs to be well-designed so that the crowd likes to look at it. A racing car needs to be fast, light, and perfectly maneuverable. This makes design more complicated because not every functional design looks good, but it shaped my philosophy. If you get it right so that the crowd loves it, they will remember it for years. This mindset has carried me through careers in the sports and leisure industry, consulting, medical products, and finally to audio products.

Loutd is a company that specializes in audio products for design-savvy music lovers. With the rise of digitalization and streaming in this industry, we recognized the need to rethink the values for users and the industry. Traditional analog premium customers are accustomed to having products that last for years, if not decades. Therefore, bringing premium quality to WiFi and streaming audio systems requires a fresh approach. This fresh, cheeky and value-retaining approach is what we are standing for.

It’s a combination of life integration and artistry. For me, integrating into a customer’s life means prioritizing functionality and upgradability over the product's lifetime. The principle of design following function creates good, functional designs. However, when you shift the paradigm to view artistry as part of functionality, even greater things can evolve.

These are products designed to last a long time, not just fashionable luxury items, but highly valuable investments for the regular consumer. They are products that consumers might need to save up for, holding significant importance in their lives and maintaining this high standing over the years. This requires a timeless, overarching design.

A few years ago, I stumbled upon a used watch that caught my attention. I was drawn to its classic design, which still looked modern in 2018. Upon closer inspection, I discovered that the watch was from 1940. On a whim, I purchased it in France and had it restored. The watchmaker informed me that it featured a P450 standard movement from Jaeger-LeCoultre, for which replacement parts are still available. The construction was designed for easy repair, and original stamps were still available for the dial. This experience taught me that even back then, there was an effort to develop platforms that allowed for variations in exterior design without constantly reinventing the complex mechanics. The timeless design of the watch, the fact that it still performs excellently 85 years after its creation, and its continued viability into the future make it the most impressive example of design I have encountered.

In 2006, we developed a wheel rim made from carbon fiber reinforced plastic, which was a first for the racing industry. This innovation reduced the moving and undamped mass of the wheel rim from 5 kg to 1.5 kg, significantly enhancing the car's agility. The production process we developed for this wheel rim remains state-of-the-art and earned us an engineering design award sponsored by McLaren.

It's any material that can be efficiently injection molded, forged, bent, milled, deep drawn, thermoformed, welded, or coated, and is suitable for production in small to large series. This includes aluminum, steel, and thermoplastics.

During the design process, I prioritize life integration, aiming to create products that offer increasing value over time through expanding functionality. My goal is to develop items that excel in performance while boasting a timeless, captivating design that connects with consumers. I underscore the durability and upgradability of the product to guarantee its enduring value and relevance. Additionally, I place great importance on materials and production processes, favoring efficient methods suitable for both small and large-scale production, including injection molding, forging, and thermoforming, using materials such as aluminum, steel, and thermoplastics.

It's an ambivalent feeling. Almost one of uncertainty that only subsides when the first reactions from users with the product come in.

Is it fast fashion or is it made to last? I imagine what place the product will hold in 10 years.

I can only speak for myself here. Some time ago, I realized that individuals are not inherently interested in the environment. Their interest lies in fulfilling their needs. I see it as my task to design products, goods, and services that meet the needs of the customer and are still sustainable without aggressively conveying this. For the customer, I prefer to translate this as "value-driven" design instead of sustainable. That’s something an individual finds a need fulfilled.

Creatives will become more productive. The developments in visualization have been breathtaking lately. This allows for an even faster generation. It will become more difficult to keep track of things, or to attract attention despite having an excellent design.

I like simple design. Simple shapes, few breaks, silhouettes that make big things appear smaller. Efficiency in production and material use is very important to me. With my designs, I like to break away from the usual forms without conjuring up any dysfunctionality.

I live in Austria. More specifically, in Graz. To describe the Austrian soul, I would like to play with stereotypes, not entirely politically correct. It's a country that lies in the middle between the emotionally appreciative South, valuing the good things in life, and the pragmatic, goal-oriented North of Europe. Being able to showcase both aspects of the Austrian soul is what makes Austria an exciting place to try out new things. Known for its great composers, café culture, and long history, it is rarely a country known for outstanding designs.

I enjoy collaborating directly with people on a daily basis. This allows me to quickly grasp how the company operates and understand its essence. I often transition from this observational role to actively participating in projects.

Ask yourself whether you would prefer a draft, a prototype, or a scaled series of the product/service. Each class is a world unto itself, requiring consideration from the very beginning. This also determines the type of designer capable of handling it.

It usually starts with a problem, either technical or procedural in nature. In a first step, I try to break down the problem into numbers to describe it. Yes, starting a creative process in Excel... not something you hear every day. After describing the problem, I like to outline the prevailing constraints. These can include dimensions, cost structures, quantities, main and ancillary functionalities, compatibilities, and more. Then, I assess the possibilities on-site. I want to find out what resources are available. These can be manufacturing processes, systems, or other assets. With these, I draft an initial design.

An Apple TV4k, an MG5 Chair, OVETTO GALA, Jäger Le Coultre P450, KitchenAid Classic

If a product is meant for daily use, both partners living together should be equally attracted to its design. This ensures harmony at home and keeps the desired item in the house.

The most important skills for a designer include patience, resilience, and the ability to anticipate future trends or needs.

Must, should, could, would not." I do my best to stay agile and focused on the things that are essential.

Interestingly, it had nothing to do with engineering and design. One influence was my time in consulting. Observing the struggles of production and logistics to maintain high productivity gave me a different perspective on producibility. The second influence was a job in the finance field, where I learned that sustainability can only be achieved when it can be translated into something that improves financial indicators.

I prefer on working a team. Nothing great came without a good team.

We will create a smaller version of Musegg, where we will also integrate lighting, without compromising the modular design.

My journey spans several years, beginning with a background in mechanical engineering and automation technology. Alongside my technical expertise, I've always been involved in various business aspects throughout my career, which have shaped my view on how design works.

I started my career as a mechanical engineer specializing in fiber-reinforced plastics in racing sports, where I realized it takes two things to capture people's attention. First, it’s the performance of a product. Second, it needs to be well-designed so that the crowd likes to look at it. A racing car needs to be fast, light, and perfectly maneuverable. This makes design more complicated because not every functional design looks good, but it shaped my philosophy. If you get it right so that the crowd loves it, they will remember it for years. This mindset has carried me through careers in the sports and leisure industry, consulting, medical products, and finally, audio products.

It's a combination of life integration and artwork. For me, integrating into a customer's life means prioritizing functionality and upgradability throughout the product's lifetime. The principle of design following function creates good, functional designs. I want to shift this paradigm by considering potential future functionality as part of the present function. This led to our modular design.

Designing evokes a range of emotions for me, from excitement during the initial idea phase to fulfillment upon completing a project. The satisfaction of solving problems creatively and seeing tangible results is what drives my passion for design. There's also a lot of resilience involved, helping me through frustration and pushing me to keep going when I hit a dead end. Before presenting, I often feel ambivalent, almost uncertain, which only subsides when the first reactions from users with the product come in.

Interestingly, the aspects that shaped me most have nothing to do with engineering and design. One influence was my time in consulting. Observing the struggles of production and logistics to maintain high productivity gave me a different perspective on producibility. The second influence was a job in the finance field, where I learned that sustainability can only be achieved when it can be translated into something that improves financial indicators.

We are just starting to market our product. We are also working on ensuring that the smaller version of our latest product, Musegg, will feature a 360-degree lighting system. This will undoubtedly elevate the product to the next level, but it also presents significant challenges with light management, maintenance, and industrialization. The learning curve is quite steep at the moment.

Try to use your product and service designs in daily life and ask your partner and your friends to do the same. If they don't use it with the same joy, ask for the reason.

Please realy, try to use your product and service designs in daily life and ask your partner and your friends to do the same. If they don't use it with the same joy, ask for the reason.

There is no set pattern for my day. Depending on what needs to be done, I plan each day individually.

I use my network and specialized social media channels to keep pace with trends and technology.

I'll try to describe it... When I visit some of my design-savvy friends and notice a new gadget in their living room, I ask myself: will it still be there the next time I visit, or even in a few years? If the answer is yes, then it's good design that has integrated well into their lives. In short, a good designer creates designs that last for years, not fast fashion.

I never decide if a design is ready. I always let others make that decision. Every time I present a status to the public, I look at the reactions and decide based on them if it's ready or not.

The greatest design is Musegg, the reason why we are talking. It’s the first time I had the chance to contribute to various aspects of the design process. This involved creating artwork, incorporating feedback from market research, conducting industrial design, integrating feedback from production partners during Series 0, and finally, revising the product with all that knowledge gained to refine the Bill of Materials (BOM) and redesigning the architecture of the product. I think it’s a great product because it’s ahead of its time. It combines a widely accepted design with great functionality, and we were able to address the sustainability issue of this type of consumer electronics.

I would name Marcel Breuer because he has had the most influence on me.

I live in Austria, specifically in Graz. To describe the Austrian soul, I would like to play with stereotypes, not entirely politically correct. It's a country that lies in the middle between the emotionally appreciative South, valuing the good things in life, and the pragmatic, goal-oriented North of Europe. Being able to showcase both aspects makes Austria an exciting place to try out new things. I think this is also a big cultural influence on me, allowing myself to try things out but being strict enough to know when to stop.

I intend to work fact-based. It usually starts with a problem, either technical or procedural in nature. In a first step, I try to break down the problem into numbers to describe it. Yes, starting a creative process in Excel... not something you hear every day. After describing the problem, I like to outline the prevailing constraints. These can include dimensions, cost structures, quantities, main and ancillary functionalities, compatibilities, and more. Then, I assess the possibilities on-site. This is more or less the assets available for realizing a design. These can be manufacturing processes, systems, or other assets. With these, I draft an initial design.

I can only speak for myself here. Some time ago, I realized that individuals are not inherently interested in the environment. To put it pragmatically, their interest lies in fulfilling their needs. I see it as my task to design products, goods, and services that meet the needs of the customer and are still sustainable without aggressively conveying this. For the customer, I prefer to translate this as "value-driven" design instead of sustainable. That’s something an individual finds fulfilling and globally impactful.

A’ Design offers a well-designed process and workflow, as well as a nice personal service. I’m already curious about how this will impact my future life. In any case, it’s a big honor that makes me proud.

I would describe myself as a crossover. I studied mechanical engineering and automation technology and have always been responsible for economic matters in my roles. My artwork activities originated from industrial design.

I started my career as a mechanical engineer specializing in fiber-reinforced plastics in racing sports, where I realized it takes two things to capture people's attention. First, it’s the performance of a product. Second, it needs to be well-designed so that the crowd likes to look at it. A racing car needs to be fast, light, and perfectly maneuverable. This makes design more complicated because not every functional design looks good, but it shaped my philosophy. If you get it right so that the crowd loves it, they will remember it for years. This mindset has carried me through careers in the sports and leisure industry, consulting, medical products, and finally, audio products.

"Forced" is a strong word. Over the years, different fields of design have naturally become a major part of my work.

I design products made to last a long time, not just fashionable luxury items, but highly valuable investments for the regular consumer. These are products that consumers might need to save up for, holding significant importance in their lives and maintaining this high standing over the years. This requires a timeless, overarching design.

I'll try to describe it... When I visit some of my design-savvy friends and notice a new gadget in their living room, I ask myself: will it still be there the next time I visit, or even in a few years? If the answer is yes, then it's good design that has integrated well into their lives. In short, a good designer creates designs that last for years, not fast fashion.

It's a combination of life integration and artwork. For me, integrating into a customer's life means prioritizing functionality and upgradability over the product's lifetime. The principle of design following function creates good, functional designs. However, shifting the paradigm to include artwork and potential future functionality as part of the present function makes for truly great design.

That's not how I work. I'm sure if I have the time, it will find me.

The attitude when you come to a dead end. I think this can best said with Franks word’s. Each time I find myself layin' - Flat on my face - I just pick myself up and get- Back in the race

My favorite example is a design where, unfortunately, I only know the company but not the lead designer. A few years ago, I stumbled upon a used watch that caught my attention. I was drawn to its classic case, which still looked timeless. Upon closer inspection, I discovered that the watch was from 1940. On a whim, I purchased it in France and had it restored. The watchmaker informed me that it featured a P450 standard movement from Jaeger-LeCoultre, for which replacement parts are still available. The construction was designed for easy repair, and original stamps were still available for the dial. This experience taught me that even back then, there was an effort to develop platforms that allowed for variations in exterior design without constantly reinventing the complex mechanics. The timeless design of the watch, the fact that it still performs excellently 85 years after its creation, and its continued viability into the future make it the most impressive example of design I have encountered.

The actual greatest design is Musegg, the reason why we are talking. It’s the first time I had the chance to contribute to various aspects of the design process. This involved creating artwork, incorporating feedback from market research, conducting industrial design, integrating feedback from production partners during Series 0, and finally, revising the product with all that knowledge gained to refine the Bill of Materials (BOM) and redesigning the architecture of the product. I think it’s a great product because it’s ahead of its time. It combines a finely accepted design with great functionality, and we were able to address the sustainability issue of this type of consumer electronics.

Try to use your product and service designs in daily life and ask your partner and your friends to do the same. If they don't use it with the same joy, ask for the reason.

Design, for me, is the sum of all properties that define how a product can integrate into someone's life.