Jony Ive designs oak rostrum for Christie’s auction house

Jony Ive’s studio LoveFrom has collaborated with UK studio Benchmark to create a rostrum for Christie’s that replaces one designed by Thomas Chippendale. The rostrum, which was unveiled last week, will replace Chippendale-designed podiums in all of Christie’s…

Jony Ive's studio LoveFrom has collaborated with UK studio Benchmark to create a rostrum for Christie's that replaces one designed by Thomas Chippendale. The rostrum, which was unveiled last week, will replace Chippendale-designed podiums in all of Christie's auction houses around the world. LoveFrom founder Ive aimed to create a rostrum that was informed by the auction house's history and described following in the steps of Chippendale, who remains one of the world's best known furniture makers, as "rather intimidating".

"As a team, we have a robust research discipline," he said. "I often think our understanding of the future and our approach to design is absolutely based on how well we understand the past." "The original Thomas Chippendale design is masterful and remains rather intimidating," he continued. Chippendale's original rostrum was first used when the auction house opened in 1776. It was destroyed in 1941 by bombing during world war two, with reproductions used by the auction house since.

Because of the nature of the rostrum as the raised platform used by the auctioneer, it is often the most visible symbol of the auction house. "The purpose of the rostrum is to literally and figuratively elevate the auctioneer, providing a stage for their authority and expertise that proudly carries the Christie's mark," said Ive. Given that auctions are now watched by many on live streams, as well as in the room, Ive aimed at creating a podium that could be seen from all directions.

The rounded rostrum was made by UK studio Benchmark from 200-year-old oak, which was sourced from the same forest used to restore the Notre Dame cathedral in Paris. "It's a beautiful thing that you can take a modest material – such as oak – and that with the expertise of the design and craftspeople involved, value is added in the process," said Ive. "I find that magical." "We were struck by Benchmark's biological understanding of trees and the ethical sourcing of the timber we used, as well as the machining and creating of prototypes and the finished product," he continued.

Throughout the rostrum, Ive was keen to ensure that attention was paid to all the details, including how the podium would be used by auctioneers and the elements not seen by the public. The stairs were designed to deploy silently using a touch mechanism, while particular attention was paid to the stainless steel latch to ensure it did not jar as the only non-timber element. "So much design fails at the junction, at the composite of materials with such different properties," said Ive.

"The way two different materials connect can often feel uncomfortable. We had to work hard for some of the very visible elements – such as the latch on the door – not to be conspicuous, which is not the same as hiding it," he continued. "For it to appear obvious and inevitable. And that sense of inevitability is really hard to create." According to Ive, this focus on the details that may not be seen aligns with the principles pushed by Steve Jobs when he worked at Apple.

"Steve Jobs spoke about the great cabinet makers caring enough to finish the back of a drawer," said Ive. "Caring about the unseen is a defining characteristic of our work." Ive founded LoveFrom in 2019, after nearly 30 years at Apple, where he designed many of the brand's leading products, including the iPhone. Recent projects by LoveFrom include creating the interiors of Ferrari's first electric car and a nautical lantern for Japanese manufacturer Balmuda.

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