Christian Haas on his new timeless tap collection for Villeroy & Boch

Renowned German designer Christian Haas reveals why the fusion of technology and form will enable his latest fittings collection for Villeroy & Boch to stand the test of time.

Q: With Vea, you have designed a collection of fittings that has a very sculptural effect. What was the basic idea behind this design?
A: My approach is often a search for what I call 'sensual reduction'. In my opinion, a sculptural approach and calm design are not mutually exclusive. With Vea, the aim was to achieve a high degree of independence and recognisability that nevertheless blends discreetly into different architectural contexts. Nowadays, bathrooms are planned in cycles of 20 to 30 years. There is no room for short-lived trends. That is why we deliberately moved away from short-lived trends and focused on the essentials: balanced proportions and precise lines. My goal is always to create a design language that is permanently convincing and does not wear out visually.

Q: A striking feature of Vea is the faucet. How did this detail come about?
A: The inspiration actually came from the classic design language of a perfume bottle. For me, a classic glass bottle always has something very elegant about it, almost a natural, everyday luxury. That was our starting point.

The next step was to translate this idea into a robust, architecturally relevant design. The faucet should not appear structural, but rather define the edges and shape the entire form. The interplay of light and shadow makes the fitting appear slimmer and more clearly contoured.

At the same time, there is a reference to classic craftsmanship, inevitably bringing to mind cut glass. We have translated this aspiration into industrial precision. The result is a fitting that lends character to the bathroom and combines elegance with a contemporary, architectural attitude.

Q: To what extent did ViPush technology influence your design process?
A: That was actually a turning point. We had originally been working on variants with classic levers. When the ViPush control – i.e. pushing and turning instead of levers – came into play, we discarded our initial ideas. The lever is often a visual distraction in the silhouette of a tap. Without it, we were able to reduce the body to a clear basic form. The result is a cohesive image in which technology, design and user experience form a unified whole.

Q: One detail is the ceramic inlay in the control knob. Why was this combination of materials so important to you?
A: It's all about haptics. In the bathroom, people primarily interact with ceramics and water. The tap is the element in between. The ceramic inlay creates a material connection to the washbasin. When you operate the tap, you don't just feel cold metal, but the familiar, warm surface of the ceramic. As a result, the tap is not perceived as a necessary component, but as a sensual and design-defining part of the wash area.

Q: Your designs are often characterised by their universal relevance. How does this claim fit in with a collection as distinctive as Vea?
A: For me, a successful design means that it is functionally accessible and aesthetically balanced in such a way that it works in a wide variety of living environments. Vea is extremely versatile: in chrome with a white inlay, it looks classic, almost traditional, and fits wonderfully into a renovated old building. In matt black, on the other hand, it becomes ultra-modern and displays a stark architectural edge. This versatility allows the collection to retain its strong character without imposing itself on the user or the architecture.

Q: To what extent did your expertise in tableware – your experience with glass and porcelain – influence this sanitaryware design?
A: Absolutely crucial. When you work with porcelain for years, you learn that small changes influence the entire character of an object. I transferred this sensitivity for precision to Vea. Thanks to the technical expertise of Villeroy & Boch, we didn't have to compromise on the proportions either.