“I started out working in a bank, then did an international business degree which I ultimately changed to an engineering degree.  After uni I worked as a research scientist on design projects before finally landing in the design field working on crystal palace exhibitions for Swarovski.”

Growing up in East Germany in the ‘70s and ‘80s, Moritz describes his childhood as “one long experience of limitation.  Very little travel and nothing in the shops that was worthwhile to mention, but also this contrast of western TV and the full consciousness that there was a very different world just an hour’s drive away.  I think it helped me to develop a very vivid imagination. “

He has since put his imagination to use through the philosophy of playful experimentation in the intersections between technology, art, fashion and design in his London-based multidisciplinary collective, Studio Waldemeyer.  “When I started out, I was was the only person in my immediate vicinity with a technical background who also understood the aesthetics that designers had in mind.  So, from the very beginning, I enjoyed the opportunities and innovation that were possible by applying technology to the design work.  The possibilities are endless and keep pulling me in.”

With an educational background in engineering and mechatronics, Moritz has always embraced the need for the technical skill to support his design work.  “The more technically informed you are, the better a designer you can be.  A great example is Elon Musk, who looked at a rocket engine, decided it was not much more than advanced plumbing, sat down and learned all the technical basics and is now the most successful space entrepreneur in the world.”  

Moritz’s fascination with the limitlessness of technology informs the design aesthetic of his work, he says.  “My favourite projects are the ones where I can create a sense of wonder in the user.  Our technology is so unbelievably advanced and we take it for granted every day.  I love it when I can create an emotional response in people when they look at a piece of design.”

No project, perhaps, has created more wonder than an eccentric headpiece Moritz designed for Jamiroquai front man, Jay Kay, in 2016.  A series of 3D printed robotic pangolin scales with independent light and movement control, he has described the piece as looking like the wearer’s nervous system.  “All of my projects have their own interesting story but Jay Kay was a hero of mine.  To work with him on an equal creative level was incredible.”

There are also emerging manufacturing techniques and materialisations which Moritz says have played a big part on how his work has evolved in recent years.  “The range of digital design tools that we can access now is incredibly powerful.  In CAD, we have parametric design tools that apply algorithms to draw hugely complex shapes which we can then 3D print or CNC cut right in our studio and have an object in our hands the very same day.  It is certainly an exciting time to work in this field!”

One of Studio Waldemeyer’s most ambitious technical projects to-date was a concept car designed for Bentley to celebrate their 100th anniversary.  With a focus on the seamless fusion of materials, technology curation and the introduction of light as a luxury material, the Bentley EXP 100 GT project featured an entirely unique approach to light design and engineering.  “The clients put a lot of faith into the studio’s ability; a large company like Bentley allowing us to put our hands on their 100-year anniversary car is unheard of.  Being part of a team with some of the world’s top automotive designers was a wonderful experience and the result is simply breathtaking.”

Like everyone, Moritz has had to reframe and adapt this year in light of COVID-19, but he remains optimistic about the possibilities for his studio moving forward.  “We took it as an opportunity to re-evaluate how we work, where we work and what we want to achieve in the next few years.  I think we will come out much more focused and stronger from this experience...  Hopefully the future will be in small, super-enabled teams that work locally in small digital workshops.  This will allow us to go back to local work, manufacturing and consumption and, in the process, help to solve some of the very large structural issues of our civilisation and how we impact the environment.”

In the meantime, Moritz is currently working on building a new studio in London’s Epping Forest.  “We will have our own fab lab and some electronic manufacturing capability – ready to be as flexible as possible for any challenge that the post-COVID world might bring.”

To connect with Moritz and with Studio Waldemeyer, visit Moritz Waldemeyer Website