បទសម្ភាសន៍ជាមួយ Jürgen Seidler

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.

There are many products in consumer electronics, especially for loudspeakers. The main goal while making Musegg was to transform the understanding of value as it's understood now—like the value of gold, the value of real estate, or the value of a house—into a new understanding of value. Value as a function that delivers something to me.

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. We wanted to shift this paradigm by potential future functionality as part of the present function. This is what led to our modular design.

We are just starting to market the 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 some significant challenges with light management, maintenance, and industrialization. The learning curve is quite steep at the moment.

We started 5 years ago with requirements engineering and artwork. The artwork took us around 2 months. After finishing the first prototype and receiving much feedback, we redesigned the hardware and software architecture, which also had massive impacts on the artwork. There were some slight reworks in the architecture due to improvements identified while building up Series 0. So, overall, we spent more or less four years working on Musegg.

Some of my equipment broke down, and I wasn't able to repair it, so I had to start researching how to replace it. I found that there is no product that meets my expectations in both audio quality and design simultaneously. While Bluetooth speakers offer excellent industrial design, usability, connectivity, and decent sound at an affordable price, premium HiFi, also known as high-end, still adheres to its traditional setup of multiple separate components. One function per device, just as it was 30 years ago. This market observation inspired us to reimagine premium HiFi for a new generation. It should offer excellent design without occupying much space, be easily accessible for trial, be customized to the user's audio preferences, and seamlessly integrate into users' rapidly evolving environments.

We produce it ourselves with the help of some great partners. We are just beginning with the marketing and are still looking for good partners for this.

Alongside the breakdown of my own beloved equipment, which had served well for decades, there was a realization from a past project I did for the brand Carboton, where I designed a speaker enclosure from fiber-reinforced composites. This particular design was too polarizing; it mainly attracted men. This opened up a discussion, leading to the requirement for the design to be more inclusive and not to polarize.

To pick just one, Marcel Breuer inspired us with his timelessly modern furniture designs.

Our product is tailored for the design-savvy music lover. We have developed a digital product that focuses not only on quality and performance but also on sustainability and resource conservation.

There are two main points of differentiation that are unique worldwide. The first is our understanding of sustainability, realized through a modular concept that we communicate as allowing for value-retaining consumer electronics. This approach enables users to replace rapidly developing electronics by simply swapping out one module for another, without requiring any technical knowledge.

The second is an ultra-personalization through a remote service where the device is customized to the customer's needs. Our audio design philosophy centers on the human being and their individual hearing characteristics. Our habits and experiences shape our perception of sound. Therefore, everyone perceives music differently and has unique preferences. The environment in which we listen significantly affects the playback. Our individual fitting service, guided by an audio specialist, analyzes your room acoustics and creates a fitting tailored to your preferences, regardless of where you are in the world.

The name came up naturally. After struggling for months to find an appropriate name, we showed it to the public, and everyone referred to it as an egg. Being a sound system meant to play music, the name "music-egg" or "musegg" was given.

It's definitely the personalization service as part of our audio design, which is completely new to the industry and could offer a fresh perspective to an industry that is currently struggling to find a new direction.

As soon as we began industrialization, we partnered with experts who contributed their knowledge to help us develop the necessary details.

Technology plays a major role in musegg. The development of connected streaming services like Spotify Connect and TIDAL Connect made our development possible. The advancements in industrial computers and operating systems enabled the kind of sound processing we implement like the devices ability to be really (not just EQs) fitted to a unique user.

Shaping something the size of a barrel in a fresh and captivating manner posed a significant challenge. After countless design drafts, the elliptical design emerged, with proportions balanced by the golden ratio. From a mechanical and acoustic design perspective, this shape has great advantages, which we knew from theory and proved with extensive FEM analyses. This led to an enclosure architecture with an unprecedented weight-to-stiffness ratio, reducing the material used and enabling easy shipping.

Developing a manufacturing process for the enclosure, where 8 thermoplastic parts can be seamlessly and flawlessly assembled into a monocoque and easily coated with an ultra-matte finish, making the silhouette appear even slimmer.

Creating a process for remote interaction between the user and an audio specialist with synchronous data transfer. While collecting the customer's needs, the specialist can view user data, analyze it, and create an acoustic fitting, which the user can set up on-site.

I'm not a designer as you might think. I'm more of a crossover between a data-driven engineer and an industrial designer. So it “happened.” First, I was just curious and uploaded some photos without extensive descriptions for preliminary judging and nearly forgot that I did. Some weeks before closing, I received an email with an invitation to attend. It wasn’t an automated one but contained some personal words, which gave me the confidence to participate.

We learned that artwork and concepts are good, but functional and life-integrating design is much more. A design concept is the beginning, leading to various disciplines like mechanical engineering, hardware engineering, software engineering, logistics, quality, and more. We learned that classical project management makes no sense for such large projects. It is much more effective to have these disciplines work in parallel and make small agile iterative progress.

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 think it’s a long way for me to truly become a legend.

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.

A good design retains its value and is worth the investment.

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

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

Andy Warhol, Marcel Breuer, Philippe Starck

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.

It’s my family and my friends.

It's my secret sauce.

We will create a smaller version of Musegg that fits into smaller rooms without overwhelming them. We plan to achieve this by incorporating the functionality of a 360-degree lighting system without compromising the modular design.

To see my designs making people smile every day for decades

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.

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

It’s the design we are talking about.

Industry should stop talking about sustainability. Instead, it should learn about the opportunities that sustainable design opens up, including from a financial perspective, instead of repeating what they've been doing since the invention of the steam engine. This could help solve some of the problems we are facing.

Creatives will become much more productive and yield significantly more output. The advancements in visualization and modeling have been remarkable lately. This enables even faster generation. However, it will become more challenging to keep track of things or to attract attention despite having excellent design.

Four years from the first sketch to delivery of series 1

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.

Everyone thinks it's not possible. Unfortunately, they didn't tell me. So I did.

That’s a tough question. I view design as more than just artwork; it encompasses engineering design and all its subfields. It's the technical progress that drives hypes or trends, and it's the artwork that gives them their identity.

It is usually the spark that ignites new eras.

It makes up a significant part of all that can be a sensual experience. Therefore, colors and materials are good tools to convey the right foundation of where customer experiences should start from

It's a simple, jaw-dropping 'WOW,' and the second thing is the need to find out how the designer realized it.

It’s a person who takes feedback as a chance to evolve. Even though I struggle with this myself, these kinds of people are hard to find. And yes, as soon as you move to industrialization of complex products, some helping hands or partners are really necessary.

It's people who can tell me why something they are using is not working the way they want or need.

There was definitely no 'one' book. I absorb information like a sponge, gathering it from the web and from books

I’m not sure if I deserve to be called a master. I think it had nothing to do with engineering and design itself. A significant step in my development was my time in consulting. Observing the struggles of production and logistics to maintain high productivity gave me a different perspective on producibility. A second catalyst 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.

Giorgetto Giugiaro. I would like to ask him about the boundaries Volkswagen gave him while designing the Golf."

It’s a great honor to receive an award because it means that others recognize the same developments in the future. However, I'm definitely not famous.

In order... depending on my mood, the Wörthersee in Carinthia, simple pasta Bolognese, impossible to answer with just one thing, and B&O.

We spend months to trying to find a good and unique name for the design. When showing it to the public for the first time, everyone called it an egg, which naturally gave Musegg its name.

Getting a step further

No, definitely not.

I see two ways. One way is that we integrate Isaac Asimov's rules into the technology that is evolving right now. Then it will be a brighter time than now, with fewer of all the hard things we struggle with as mankind today. The other way is that we do not manage to agree on these rules.

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.

Value over time

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

Sorry There is no “one” day :)

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.