With the project Brutalist Pink, designer Serdar Ayvaz and Berlin-based studio Yont Studio explore the boundaries between sculpture, sound, and ritual. An evolving trilogy that reinterprets brutalist aesthetics through a pop and material lens, giving shape to audio objects with a strong visual and emotional impact. Pink, solid, intimate yet monumental, the three elements — DJ booth, listening station, and speakers — are designed to rewrite the way we relate to music.

It all begins with Brutalist Pink 01, an altar with contemporary vibes for DJs. The pink block, compact and rough, draws inspiration from the language of ruins, blending archaeological references with a pop palette that subverts the severity of classic brutalism. It’s a monolithic console, created for slow, almost ceremonial performances, where gesture takes center stage and sound claims its space. It’s an object that plays with contradictions: materiality and abstraction, presence and intimacy, sacredness and irony.

The second chapter shifts the project from a public to a more personal dimension. Brutalist Pink 02 is a monolithic yet domestic listening station: a pink chewing gum cube sculpted as if it were a relic from the future. Inside, there’s a Technics SL-1200 MK7 turntable, an integrated amplifier, vinyl storage, a headphone niche, and wheels for easier movement. The pastel pink, seemingly soft, becomes a symbol of silent strength. It’s an invitation to slow listening, to rediscover music as a physical, intimate, and continuous experience.

The trilogy is ideally completed with Brutalist Pink 03, a pair of speaker-sculptures still in development but already clear in their intent: merging sound with matter. The speakers take on an almost totemic shape, sculpted as ritual objects that amplify not only music but also presence within space. A natural extension of the first two pieces, this chapter brings the project’s vision to completion.

Brutalist Pink is much more than a series of audio furnishings: it’s an aesthetic and political statement on slow listening, on domesticity as a creative space, and on material as a narrative form. Between performance and contemplation, between retail and installation, this trilogy invites us to pause, listen, and truly inhabit sound. With softness, volume, and presence.

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