Minimalism as the antithesis in a complex world

Four questions for Sascha Sartory

Sascha, you are convinced that a designer's job is not only to solve problems, but that a product should always create an emotional connection with the user. Can you explain that in more detail?

Sascha: In my opinion, the emotional connection between people and products is one of the most important factors in creating a durable and sustainable product. If a product works well, then I can use it, it is effective and perhaps even efficient. But if it also appeals to me aesthetically, then I want to use it and enjoy it for as long as possible. Appreciation increases, products are better cared for and, simply put, their life cycle is extended. But the whole thing only works if the basic characteristics, i.e. the function, the material and the overall quality of workmanship, are right. Ultimately, it is a combination of many factors, of which emotional attachment is just one of many variables.

Many of my designs are based on simple, graphic patterns or shapes. In an increasingly complex world, these are, in a sense, a kind of counterpoint, easy to understand and timeless. The pattern for VERTIKO, for example, was created from two simple squares: a small one and a large one, which combine in their arrangement to form an interesting pattern. This creates the basic grid that runs through the entire collection. An interplay of open and closed compartments then adds variety and excitement to the design. Müller Small Living stands for modular furniture that adapts to any living situation – the best example of this is the VERTIKO series.

How flexible or adaptable do you think furniture should be?

Sascha: Durability also plays an important role here. Most people naturally change their living space during their lifetime by moving house or altering it through renovation, conversion, etc. With its different elements, VERTIKO can be adapted to individual changes in the living space. The system works just as well in the smallest of spaces with only one or two elements as it does in large rooms or combined living areas, where six, eight or even more elements can be combined. The beauty of it is that, despite a continuous grid, there are many different variations available and the ‘face’ of the storage furniture can be changed again and again. If, after years, you have grown tired of a particular arrangement, you can give the product and thus the room a completely new look simply by rearranging the cubes. This distinguishes VERTIKO from other storage systems, which are usually very linear and uniform in design.

What does the topic of small living mean to you personally?

Sascha: For me, ‘small living’ means not only consciously choosing a smaller living space, but also making the most of it. In other words, despite the limited space, there should be no compromises in terms of comfort, functionality, aesthetics and quality. Whether it's a tiny house, micro apartment, co-living or other forms of living: if these concepts are to work, attractive and well-thought-out furniture concepts must offer users the freedom to design their living space individually and flexibly.

We mainly use birch plywood, and the plywood edge really comes into its own in the mitred VERTIKO elements. What comes to mind when you think of this material?

Sascha: In my opinion, birch plywood has many different properties that are advantageous in furniture construction. Due to its construction, it provides stability and strength as well as high load-bearing capacity. This, in turn, is an important factor for the quality and durability I want to achieve in my designs. In VERTIKO, the plywood edge also emphasises the graphic grid that visually connects the different cubes. The interplay between coloured and white surfaces and the light, natural and warm plywood edges creates a visual tension and aesthetic quality that I find very appealing.