Brutalist Pink: the sonic sculpture by YONT Studio
From Berlin to the world, YONT Studio is redefining the codes of contemporary sound furniture through pieces that fuse brutalism, humour and visual presence. Their latest creation, Brutalist Pink, bursts forth as a material manifesto that blurs the lines between sculpture, furniture and architecture.
A founding contradiction
According to the studio, Brutalist Pink was born from “a contradiction we wanted to sustain in a single object: an architectural mass that belongs to the musical universe, but refuses to behave as mere technical infrastructure.”
Through their work in DJ and livestream environments, YONT identified a gap: sound furniture tends to be either functional or decorative, rarely both. Their goal was clear — to create a “third way”: a piece that offers technical precision while standing as a spatial and aesthetic protagonist.
What began as a creative spark became a commissioned work when a client requested a custom version for their record label. From there, the piece evolved through material testing, prototyping and production into an expanding series.
“Brutalist Pink bursts forth as a material manifesto that challenges the boundaries between furniture, sculpture and architecture.”
Berlin as material and cultural reference
Berlin is more than YONT Studio’s home base — it’s a constant reference point for their creative language. Brutalist Pink draws on the city’s brutalist architecture and alternative sound scene, its repurposed bunkers, mythic clubs and studios where art and technology exist without hierarchy.
The studio cites environments where objects don’t merely serve a function but generate atmosphere — record shops, clubs and art installations where use and expression coexist. “We’re drawn to reduced geometries, weight, the honesty of materials,” they say. They also admire works where the surface shows the process, rather than hiding it.
The foam revolution: a material out of place
One of the boldest — and most successful — decisions in the creation of Brutalist Pink was choosing foam as the main material. Often used as a base or prototype material, here it becomes the core substance. “We were intrigued by using a material that’s usually hidden and asking: what happens if this ‘non-material’ becomes the heart of a musical object?”
Foam allows for forms that flirt with the archaeological and industrial, producing objects that feel like future relics and functional sculptures all at once.
To ensure durability, the foam is reinforced with epoxy and layered with paint, intentionally preserving signs of the process: exposed edges, seams, tool marks. The result is a surface that doesn’t strive for perfection — it tells its story.
Brutalist pink: colour as a radical gesture
For YONT Studio, colour isn’t decorative — it’s part of the concept.
The vivid pink that defines the series doesn’t soften the brutality of its form — it amplifies it. Inspired by the raw interiors of Berlin’s Boros Bunker, this “sugary pink” creates a striking clash between the monumental and the playful.
“We wanted the colour to redirect the perception of the brutalist mass without neutralising it. It doesn’t make it sweet, it sharpens it, makes it more paradoxical.” the studio notes.
Sculpture in use: a hybrid typology
Brutalist Pink was conceived from the outset as a piece that inhabits the in-between: neither sculpture nor furniture, but something in-between. It’s not just a DJ desk — it’s a sculptural object that commands space with aesthetic autonomy.
The piece meets real-world needs: stability, ergonomics, cable management, precise height. But it does so without sacrificing its formal clarity. “We wanted it to meet technical demands without diluting the strength of the gesture,” explains the studio.
Expanding the language: new pieces in the series
Beyond the original DJ furniture, YONT Studio has developed two new pieces that extend the Brutalist Pink aesthetic and functional language:
– The Vinyl Listening Station: a sculptural yet domestic setup for vinyl lovers.
– Brutalist Pink Turntable: a conceptual record player, still in development, imagined as the next step — a sound device that’s also a sculptural statement.
“We’re working on it and excited to see where it might lead,” says the studio.
Between error and intention: the creative process
Designing an object that sculpts space using unconventional materials is no easy task. The creation of Brutalist Pink involved trial and error, as each material layer altered the shape, and each coat of paint changed the surface’s reading.
The biggest challenge was turning foam into a structurally stable material without losing its expressive quality. At the same time, integrating the precision required by professional audio setups demanded form and function to truly align.
One piece, many contexts
One of Brutalist Pink’s most remarkable qualities is its spatial versatility. Though conceived for the world of sound, the piece fits seamlessly in galleries, homes, studios or installations. Its interpretation shifts with context — it can be sculpture, furniture, or both.
“We think in terms of atmospheres and spatial narratives,” YONT adds. It’s this architectural sensibilitythat allows the series to operate beyond utility: as a formal statement, a sensory experience, and a visual provocation.
“One of Brutalist Pink’s greatest strengths is its spatial versatility.”
What’s next: scaling up the language
YONT Studio is now working on expanding the Brutalist Pink series into new typologies and formats. At the same time, they’re exploring projects where object and spatial design become a single, unified gesture.
Driven by an interest in sound, domestic rituals and cross-disciplinary collaboration, YONT is shaping a distinctive design language: recognisable yet ever-evolving. A language built from the tension between the raw and the refined, the serious and the pop, the architectural and the emotional.
(*) Images courtesy of YONT Studio.
