STYLEPARK VILLEROY & BOCH
Setting new standards

Anna Moldenhauer: How did the collaboration with Villeroy & Boch come about?

Christian Haas: I have been working with Villeroy & Boch for more than 15 years now, across a wide range of business areas. Recently, we have intensified our cooperation in the bathroom and wellness sector.

Was there a key moment for this?

Christian Haas: I set up my own practice 25 years ago after completing my industrial design studies, initially specialising in tableware. Ceramics as a material opened up new areas for me, including bathrooms and fittings. There are always new design challenges that are exciting and help me to progress in my work.

‘Vea’ combines ceramic tradition with the technological expertise of Villeroy & Boch. How would you describe your collaboration with the various departments within the company?

Christian Haas: The integration of Villeroy & Boch ceramics brings together the two core competencies. The development of a product such as ‘Vea’ takes around two to three years, and there were quite a few changes during this time. Integrating ViPush-Technology into the project, for example, was an idea from Villeroy & Boch's product management team. This form of operation gave us the idea of incorporating ceramics as a key element in the design, as the main point of contact. In the early days of fittings as we know them, ceramics were often a component of the design. We wanted to take up this idea, but in a contemporary and sensually reduced form.

Were any tools or production processes adapted in the process?

Christian Haas: More than that, because Villeroy & Boch has since acquired Ideal Standard, a full-range supplier of bathroom solutions and products, thereby gaining a wealth of expertise in the field of fittings. The technical development of flow rates and economical water consumption is highly complex, so it was helpful to be able to draw on this knowledge in parallel with Villeroy & Boch's core competence.

The design language of ‘Vea’ is inspired by a perfume bottle. How did this idea come about?

Christian Haas: Villeroy & Boch kindly gave me a great deal of creative freedom. The operation and design language of beauty products were truly inspiring, including in terms of activating the water flow. I incorporated details such as the faceted edges of perfume bottles into the form of the tap in an abstract way.

ViPush-Technology is being used for the first time in ‘Vea’ and offers water control at the touch of a finger and temperature control by turning the knob. So did the technology also determine the design?

Christian Haas: We had originally worked on a number of variants that were designed for more traditional operation. When ViPush-Technology came into play, we discarded our initial approaches and concentrated on designing the control knob as it appears in the final product.

The collection is diverse and can be harmoniously combined with existing ceramics from Villeroy & Boch. What was the challenge here?

Christian Haas: We already mastered the biggest challenge a few years ago with ‘Conum’: designing the first series of fittings for Villeroy & Boch with high design standards and thinking about the collection as a whole right from the start. There are also numerous standards that a tap must meet for different installation situations. You work within a very narrow framework, but in the case of ‘Vea’, this actually fuelled my creativity.

The variety also extends to the finishes – from matt black to chrome.

Christian Haas: Exactly, because colours and different surfaces can greatly influence the effect of ‘Vea’ in a room. Chrome combined with white ceramic inlay creates a classic association, while matt black with pure black ceramic inlay has a modern effect. The design is always linked to the materiality. It was very important to me to create a product series that has its own characteristics and a strong recognition value, but still works well in different interiors.

‘Vea’ won the Designplus Award 2025 by ISH, which Stylepark co-sponsors. What was the reaction to your work from visitors to the trade fair?

Christian Haas: The feedback was very positive. It was important for Villeroy & Boch to demonstrate its design expertise in the fittings sector, which is becoming an increasingly important area of the business. ‘Vea’ has a very distinctive character without being overbearing, and the design is relevant. This surprised many in the industry and earned me compliments as a designer.

What is important today in the design of sanitary facilities?

Christian Haas: A holistic view that sees the bathroom as a personal retreat and deliberately sets accents. Designs for the sanitary area must be conceived to be particularly durable in terms of both quality and design, because bathrooms in Germany are normally only renovated every 20 to 30 years. This suits my personal approach, as I don't like to follow trends, but rather design products with a long service life. Working with Villeroy & Boch guarantees high-quality products that are well made and robust.

You focused on aesthetic design during your studies. Japan was a major source of inspiration for you. What appeals to you about this type of design?

Christian Haas: I grew up in Erlangen. My first encounters with design were as a child, through an interior design shop selling Scandinavian designs, where my mother often shopped. I discovered tableware during my studies in Munich. Our workshop manager at the time had worked for Wilhelm Wagenfeld for more than 30 years. Working with him, I quickly realised what a big difference a successful curve or an extra millimetre of curvature can make. Since then, I have developed a flair for the subtleties of form and balanced proportions, and have become an expert in this field.

Your design is very precise, but at the same time offers a sense of sensuality.

Christian Haas: Yes, that's important to me. I strive to create things that will stand the test of time. The greatest compliment for me is when I receive an enquiry about a design that is ten or 15 years old. I'm not very radical in my designs; I'm more of a democratic type and want as many people as possible to enjoy my products.

You set up your own studio very early on, just one year after completing your studies. What would you do the same way today, and what would you do differently?

Christian Haas: I learned relatively early on to diversify my work. This helps to cushion the frustration of failed projects. That's why we work on several projects in parallel in my studio, and there is constant overlap. As a designer, you also need to have thick skin and a certain distance from your own designs, even if you are deeply involved in the development down to the last detail. Not every project can be realised; it takes time to achieve initial success. The important thing is to persevere. For example, it helped me to start a small in-house production to bring the first products to market. It's just as important to maintain your own curiosity.

You live and work in Portugal. I assume that this also influences your view of ceramics as a material. After ‘Vea’, what else would appeal to you in terms of designing bathroom products for Villeroy & Boch?

Christian Haas: To design a complete bathroom with ceramics and fittings that meets my expectations.