BUILT TO BE FELT: DESIGNING THE MOMENT

The creative studio ST.ROBO's work thrives on building tension and technical wow factor seamlessly merging multiple disciplines. Their full circle approach ranges from creative direction, production design, and visual content for live entertainment and spatial experiences.

To get some insight into the studio’s work and what it’s like to work for names as Travis Scott, FIFA, Nike, Rock am Ring and UEFA I got in touch with the studio to ask a few questions.

ST.ROBO will speak at the Forward Festival Berlin.

Your studio is like a jack of all trades combining a lot of different practices from production, design, concept and content. How did you come together to create a studio operating in such diverse fields?

We founded the company as a trio with the specific goal of rethinking these disciplines together, rather than keeping them in silos. We wanted to offer a holistic approach where everything comes from a single source. Since we all come from different backgrounds—lighting design, video design, and technical planning—we were able to build on that foundation, expanding the team over the years to add new competencies that round out our vision.

What does it mean to you to be a visual storyteller?

One of the most exciting parts of our job is adapting to new artists and brands, working with them to develop a shared visual language and dramaturgy for their live events. Our goal is to find a structure that supports the content on a visual level, amplifying the message they want to convey.

What is your greatest source of inspiration, and what drives you to do what you do?

Inspiration can come from anywhere—architecture, landscapes, graphic design, fashion, or pop culture in general. We try to approach every project with fresh eyes and without preconceptions, looking for new angles that allow us to support the artist or project in a way that feels comprehensive and right.

The concepts you work on are quite diverse. How would you describe the studio’s signature style?

Our main focus is always to tune into our clients and develop a presence that fits them best. That said, we naturally draw on our own experiences and influences, which are reflected in the work. We are often told that our projects have a recognizable quality, though we don’t necessarily view it that way ourselves, as we approach each project individually.

Can you tell us a little more about the process of developing an idea for a project. What is the biggest challenge in your working progress and studio life?

We usually start with direct conversations with the artists or brands to understand their vision. From there, we move into a concept phase with mood boards and sketches, working closely with the client to develop an overall production design that includes every discipline. We also bring in production partners and technical providers as early as possible to keep the design focused and budget-aware. The biggest challenge is often carrying the original approach through the production and implementation phases, ensuring the design remains intact despite technical complexities.

In spatial and stage design, the dialogue between space and visitor is essential. Visual language shapes the energy, mood, and meaning of the experience, bringing people together in a shared moment. How do you translate space into a visual language that captures this atmosphere?

Whenever possible, we try to create a dynamic tension between the performer and the space, often breaking with classic formats. This might mean bringing the artist closer to the audience to create moments of intimacy. However, we often have to work within the specific constraints of different venues, which requires a high degree of flexibility to translate that atmosphere effectively.

A lot of your work consists of collaborations. How do you handle collaborations and are there any collaborations that you would personally like to work on and with whom would that be?

We really enjoy working with other artists and creatives. Incorporating their perspectives adds a lot to a project—such as our collaboration with Jeroen Erosie for the Peter Fox tour. Without naming specific people, we are open to many potential collaborations, whether with visual artists, lighting and video designers, or architects.

Working at the intersection of music and brands specialising on tour production and public events can always bring a momentum of surprise and unforeseen events with it like for example weather changes, technical issues etc. How do you prepare for such challenges?

Over the years, we have developed a robust technical setup that has proven to ensure reliability. We also maintain backup personnel for all positions who can step in if necessary. Of course, with live events there is always a certain residual risk, but thorough preparation helps us manage it.

Is there a work of design or art that deeply inspired you, and why did it resonate so strongly?

There are many. In the field of stage and spatial design, figures such as Es Devlin, Willow Perron, and James Turrell have been significant influences. We are also strongly shaped by other creative fields, including graphic design, music videos, and architecture.

For people thinking about making the big step and starting their own studio or following their artistic career, what are the biggest challenges one faces?

As always, a lot of it is about building and finding relationships with artists and brands. Beyond that, navigating the tension between technical feasibility, budget constraints, and the creative wishes of the artist is demanding. It requires a clear overview and a deep understanding of all the trades involved. Being aware of that balance is key to working successfully in this field for the long term.

Interview by Tina Enöckl