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Brutalist Comfort in the Collaboration of Heilig Objects and B&T Design


© Daniel Heilig


Germany-based design studio Heilig Objects and design brand B&T Design teamed up with Lebanese interior designer Thomas Trad to create a seating group for "The Forum" at Downtown Design 2024. The seating was custom-made to complement Thomas Trad's minimalist, Japanese-inspired spatial concept for The Forum. We had a conversation with Daniel Heilig, founder and creative director of Heilig Objects, about their collaboration with B&T Design and their design practice.

Interview: Onur Çoban


Who is Daniel Heilig? Can you briefly introduce yourself? 


I’m Daniel Heilig, a Hungarian-German designer living in Darmstadt, Germany. I’m the founder and creative director of Heilig Objects, a contemporary German design brand with a bold, innovative approach. Guided by the mantra “created for nonconformists”, my work includes the COMPAGNONS DE VIE and MONUMENTS interior collections, along with unique furniture pieces and limited-edition collectible designs. Everything is handcrafted in my studio. I’m passionate about blending different cultural influences, experimenting with unusual materials, and letting my creativity run free. The result is objects that sit between design and art – each with its own story, a distinctive signature, and an emotional, thoughtful design language.


How would you define your design philosophy? 


I’m a self-taught artist, photographer, musician, and designer. My creative energy knows no limits. Design is a part of who I am, and I find inspiration everywhere – in the beauty of a fleeting moment, the icons of history and architecture, or the magic of happenstance. Everything is connected, and it all constantly fuels my creativity.


I don’t follow the strict rules of my discipline. What matters to me is good design: design that brings aesthetic value, atmosphere, and a unique story into living spaces. It’s about expressing individuality and creating something meaningful that lasts for generations. I started my brand, Heilig Objects, to fill what I saw as a gap in contemporary German furniture design. My goal is to fill that space with an authentic design sensibility, crafting harmoniously elegant creations and one-of-a-kind furniture pieces that blur the boundaries between design and art.


How were the seating areas created in collaboration with Heilig Objects and B&T Design integrated into the design of The Forum? When you came together for this project, how did the creative processes of Heilig Objects and B&T Design merge? How did you complement each other?


First off, I just want to say how grateful I am for this amazing collaboration with Thomas Trad and B&T Design. They both gave me total creative freedom to explore my ideas and trusted that something great would come of it. That trust was the foundation of such a rewarding partnership and really set the tone for this whole creative journey. 


© Daniel Heilig


Working with Thomas and teaming up with the Turkish design brand B&T Design couldn’t have been a better match. It reflects my passion for working with people who share a commitment to progressive craftsmanship and fresh, innovative approaches. This one-off conversation piece tops off a year of really pushing my creative boundaries. It’s part of a line-up of my work showcased at top international design fairs, like Collectible Brussels and Milan Design Week’s Fuorisalone. Returning to the MENA region and connecting with its creative leaders has also been such an exciting opportunity to tap into the region’s vibrant and evolving design scene.  


For Downtown Design, I wanted to try something a little different in how I presented myself as a designer. Since I’m based in Germany, setting up my own booth in Dubai would’ve been tricky and expensive. So, when Thomas asked me to contribute the centrepiece seating ensemble for The Forum – the main space for all the creative talks and panel discussions – I was immediately interested. His spatial design, inspired by mid-century modern and Japanese aesthetics, used green fabric throughout the space. I decided to create a striking contrast with a bold red seating design while keeping the overall atmosphere comfortable and inviting.  


 

"The seating ensemble strikes a balance between bold and gentle, drawing inspiration from Brutalist architecture. It’s a continuation of my fascination with monumental design. The sculptural form serves as both a symbolic portal for new perspectives and a practical centrepiece for The Forum. It set the stage for Downtown Design’s impressive programme, which featured leading international design professionals like India Mahdavi, Lina Ghotmeh, Karim Rashid, and Eames Demetrios." 


 

© Daniel Heilig


B&T Design was the perfect partner to bring this vision to life. I first came across their work at Dubai Design Week in 2023 and was blown away by their craftsmanship, their commitment to local production in Istanbul, and how quick and agile they are as a brand. From the first sketch to the finished piece, the whole process took less than eight weeks – incredible, right? B&T didn’t just manufacture a high-quality sofa; they completely understood and brought my design ideas to life. It was such a seamless and inspiring collaboration.


What I appreciate most about this collaboration is the ongoing dialogue we’ve built. It’s not just about Downtown Design. Our work has continued well beyond the fair as we’ve refined and perfected the sofa design. I’d say it demonstrates our shared commitment to creating meaningful, high-quality pieces that reflect the true essence of great design


What role do sustainability, digital production techniques, or robotic technologies play in your design practice? How do these new technologies and approaches shape your design process, and what innovations do you expect to see in these fields in the future?


I have to say that artisanal craftsmanship remains incredibly important in my studio and workshop. All of our furniture is handmade. Since I focus on limited edition and collectible design pieces, robotic technologies don’t play a significant role for me. I see them more relevant in the context of industrial production.  


In terms of marketing and customer experience, we’ve started experimenting with virtual and augmented reality. For example, if a customer in the US or Asia is ordering a dining table from Germany, they’d want to try it out first to see if it works stylistically and fits in their dining room. This is where digital tools are really useful. You can check it out on your smartphone at: https://www.heilig-objects.com/ar-objects.


Sustainability is very important to us. For my own collections, I use locally sourced German woods like oak and ash, both FSC-certified, and we can trace the supply chain all the way back to the forest of origin. My production partners are also located nearby, which means we have a tightly connected network and very short transport routes. Even in my collaboration with B&T Design, we chose a recycled material for the fabric to support sustainable practices.  


© Anna Maria Nielsen


Looking ahead, I’m definitely curious about new innovations on the horizon. That said, I find 3D-printed designs a bit underwhelming. Too often, the focus is on the technology behind the process rather than on the quality of the design itself, which doesn’t resonate with me. AI is, of course, the big buzzword right now, but my designs are usually rooted in deep context and personal connections, whether that’s with my clients or the project itself. It’s a very human, subjective way of working. When it comes to inspiration, I’d much rather dive into museum archives than scroll through digital platforms. The further something is from the mainstream, the more it sparks my curiosity.


Could you tell us a bit about the sources of inspiration behind your work? Are there any figures, in this field or across different disciplines, that you follow with great interest? 


For my ongoing furniture collection, MONUMENTS, I'm inspired by all sorts of architectural styles, periods, and details. For example, one of the stools, PAGODE, takes cues from traditional Pagoda architecture, while a coffee table, PONTI, is inspired by the fort architecture of Naples. This creative journey has also led me to explore the endless possibilities within Brutalism. In general, I love playing with contrasts and testing whether a concept can work in an entirely different context. I was especially curious to see if something from Brutalism could be reimagined and fit into the warm, cosy interiors Thomas has created.


© Daniel Heilig


Are you excited about the future? What are your plans for the future? 


Honestly, I have mixed feelings about the future. On one hand, it’s clear we’re living in times of political and economic unrest. In Europe, I’m noticing a lack of drive, and society just seems a bit saturated. As a creative, I feel it’s so important to be surrounded by a positive, energetic environment – wouldn’t you agree? I frequently travel between the Arab world and the West, so while I’m grateful for the learning experience, I’m also a little unsettled by the double standards we live with.


When it comes to creativity, I believe you need to be sensitive to really tap into it, and that makes you vulnerable. You don’t want to just skim the surface – you question things, you challenge norms, and you go deeper than just the basics. For me, it’s always a pretty exhausting process.


But if I shift my perspective and look at it positively, I feel incredibly privileged to be able to create and express myself through art. There’s this continual debate about whether creativity is something everyone can access or if it’s only for a lucky few – personally, I believe it’s for everyone – but discovering, nurturing, and expressing your own creativity is such a gift. So, in that sense, yes, I’m really excited about the future. There’s so much more to discover!




BASILI EDİSYONLARI KEŞFEDİN

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