Raw and honest

Can raw concrete tell a story? For Joern Scheipers and David Kosock, co-founders of Berlin’s VAUST, the answer is a resounding yes. With a deep connection to Berlin’s architectural history, Joern and David use rough materials like concrete and stone to create spaces that feel both timeless and strikingly modern. VAUST’s approach isn’t just about aesthetics – it’s about blending art, design, and architecture all together. Whether it’s a retail store or a restaurant, VAUST designs with the intention of making you feel something visceral, transforming everyday environments into boldness. 

hube: VAUST has a distinct brutalist and minimalist aesthetic. How do you approach balancing these elements in your designs to create spaces that are both functional and visually striking?

Joern Scheipers and David Kosock: The key is our focus on materials from the very beginning. We try to achieve a certain contrast or duality in materials, which creates balance. There are no strict rules when we design – we question the materials and the room, again and again, until we find a subjective balance. It’s not about following a formula; it’s about sensitivity to the space. This is what defines our brutalist and minimalist aesthetic.

h: Does this aesthetic come naturally to you, or do you find it challenging to achieve?

JS and DK: It’s not something we consciously aim for. We don’t sit down and say, ‘Let’s design a striking space’. It’s more of a natural result, something we would call our handwriting. It’s difficult to teach because it’s so personal and subjective. There are so many different approaches to interior design, like asking a chef how to make the perfect bolognese – there are lots of ways to get it right.

h: Considering the foundations of your work, how do you perceive the relationship between architecture and time? Do you think that the essence of a design should evolve with cultural and societal changes, or should it stand as a timeless artefact unaffected by temporal shifts?

JS and DK: That really depends on the project and the client. For retail spaces, for example, designs might be trend-based because it’s a fast-moving market. Those spaces are meant to change frequently. But for residential projects, designs tend to be more profound, something that lasts longer. So, the relationship between architecture and design can shift depending on the context. When it’s retail, the design will change as trends do. In a home, it might be more about creating something lasting.

h: When we talk about Brutalism, it often gets compared to architecture designed for future generations – like nuclear waste cemeteries. Would you call that Brutalist, and do you think upcoming generations will find it repulsive or be too curious to leave it untouched?

JS: There’s actually a documentary called Into Eternity that discusses this. Brutalism can evoke fear or respect, but I think humans will always be curious and explore, no matter what the architecture is trying to communicate. Look at the pyramids – they were built to create reverence and fear, but people still explored them. I wouldn’t say Brutalism is necessarily about fear; it’s more about rawness and honesty in the structure, showing the essence of the building without decoration.

h: So you see Brutalism as being raw and honest. Would you say there’s a connection between Brutalism and nature?

JS: Yes, I think so. Nature has a certain pragmatism and Brutalism shares that. It’s minimalist, focusing on the structure without excess decoration. Nature is never decorative for the sake of it – it’s always functional. The same applies to Brutalism; it’s about revealing the building’s structure in its purest form.

h: Your designs draw heavily from Berlin’s architectural legacy. What are some specific buildings or landmarks in Berlin that have significantly influenced your work?

JS and DK: We wouldn’t say we draw direct inspiration from any single building. Instead, Berlin as a whole influences us. The city itself is an incubator for inspiration. For example, when we worked on our Total Exposure series, we researched various Brutalist buildings with washed aggregate concrete facades, but it was more about understanding how materials are used across different buildings rather than focusing on one structure. Berlin, as a city, shapes our work more than any particular building.

h: VAUST is known for its innovative use of materials. What is the most unconventional material you’ve worked with, and how did it enhance the design?

JS: It’s funny, I wouldn’t describe us as a studio known for using innovative materials, but I see how others might perceive it that way. One material that really stood out for us recently was an acoustic plaster spray made from recycled paper. We used it in the Highsnobiety project to create acoustic-friendly spaces. It enhances the room’s atmosphere by absorbing sound, creating a sense of well-being. It’s not about inventing the material but using it in a new way that suits our projects.

h: How do you see the role of architecture in shaping human behaviour and experience? Can the design of a space influence the way people interact with each other and their environment, and if so, what responsibilities do designers have in this regard?

JS and DK: Architecture and design have a massive role in shaping behaviour, whether it’s creating a space for people to linger or to move quickly through. For example, retail spaces are designed to either encourage you to spend more time or to rush you out. The layout, lighting, and even the temperature of a space – all influence how we behave. Designers have a lot of responsibility in shaping those experiences.

h: With the rapid advancement of technology, how do you foresee the integration of digital and smart technologies impacting contemporary design? Can it coexist harmoniously or do you see potential conflicts arising?

JS: I see big potential in technology, but also some danger. When AI gets involved in design, it can lose that human touch. Personally, I appreciate work much more when I know it was made entirely by a human. On the other hand, technology speeds up processes and can improve quality. But from an aesthetic point of view, I’m still conflicted about how much it should influence design.

h: What are some upcoming projects or areas of design that VAUST is excited to explore in the near future?

JS and DK: We’re really interested in collectable design right now. We recently hosted a show at our studio, featuring designers from across Europe. There’s a lack of awareness around collectable design, especially in Berlin, compared to cities like Paris or Milan. We want to raise awareness and explore this area further – there’s so much potential here.