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  Frame Chassis designThe art of designWhen Paul described his idea for a new line of products, I was eager to work with PS on the design. Paul's  description of the products sounded like they had the potential to be true classics. My first real piece of audio gear was a PS Audio 4.6 line stage- I bought it because my manufacturing company, Neal Feay, fabricated the chassis and panel. When I plugged it in (replacing the line stage section from an old NAD integrated) the difference in music was revolutionary to me. I have had a respect for Paul's design skills ever since. He seems to have an uncanny ability to always look at a problem from a different angle. There is nothing 'me too' about any PS Audio products and I think the HCA-2 is a perfect example of this. A historical overview The design of high-end audio electronics is, in my opinion, one of the most rewarding fields of industrial design. You are enriching people's lives by helping bring music into their homes. When Neal Feay began to work in the high-end audio video arena in the late eighties, much of the equipment was purchased despite its looks. The 'industrial design' of many products was an afterthought- usually knocked out by the electronic engineer at the last minute. Through the nineties, Neal Feay and A.rex design were one of only very few companies instrumental in raising the bar for design, fit and finish in high-end electronics to the point where we are today. A certain level of attention to the enclosure is now de rigueur.  This makes high-end audio more attractive and successful. Not just in 'WAF', but in engaging the consumer that wants the best, but is not willing to compromise cosmetics. One of my favorite moments that demonstrates this observation came at a Stereophile show when the P600 was first being released. Paul was speaking to a room of consumers about the advantages of power regeneration and being able to manipulate the sine wave. One gentleman listened intently to the entire speech. Shaking his head afterward he said 'I still don't understand why I need one, but it looks so cool, I am going to buy one'. I bet he did. I also bet that when he got it home and plugged his system in he was moved by the music in a more emotional way through PS Audio's unique product. I realize that the majority of PS customers are very educated and sophisticated audio consumers. They, like me, are excited to see PS back into the audio component business. For them, we have designed a line that will not only have a classic look, but will look better and better as more products from the line are added. The design process We have designed a line of components that will complement each other as they sit together. This look will work for many years into the future- each component purchase hopefully making the last one look better. PS Audio pursued the SDAT™ technology because of its unique ability to solve some of the problems that have always plagued amplifiers. The fact that it is small and runs cool and is affordable is a very happy coincidence.  The small size and lack of requirements for large and expensive heat sinks allowed us to design an enclosure with very high perceived value - still staying within the budget. My task as an industrial designer is to package the design in a functional yet aesthetically pleasing manner to help bring PS Audio's technology into a persons home. The design needs to communicate the properties of the product. It also must fit well into your home. The appearance needs to give pride of ownership at a minimum, and 'man-I-gotta-have-it' lust ideally. The product also needs to blend into many different environments as well as pass my personal acid test- would my wife and I put it in our living room. A George Nelson bench from 1947 works as well today in many different styles of living room. This product line needed the same classic quality. This amp has a precision and accuracy that keeps the music true to the source. At the same time, by not creating distortions that 'harden' the sound, it makes the music approachable. It is very clean - nothing is added - nothing getting in the way of the music. The amp has soul. The design needed to communicate all of this.  For inspiration I looked to architecture and to automotive design. The clean lines of some of my favorite architects were much of the inspiration for the enclosure. I decided that a conventional 'box' shape was most appropriate for this line. The swooping forms of the P300 and P600 were appropriate for those 'stand alone' products, but this line called for a shape that could work well on either a shelf or a rack. The Swiss firm of Herzog and de Meuron, famous for their museums, do groundbreaking work often within the confines of a 'box' shape. In their own way they are every bit as creative as Gehry's organic curves. Jean Nouvel, Richard Rogers, and Norman Foster all are consistent sources of inspiration. The form of the building for the Laguiole Knife Factory designed by Philippe Starck was the image that 'turned on the light'. The uniquely Starck thing about that building is the knife form that penetrates it- but it was the box that caught my eye.  The idea of a silver frame- extruded back in space- surrounding a negative space that extrudes back as well was captivating to me. It was not a panel with a box. It was a frame form that extruded back to form the box. This idea is taken further on the products to come. Simplicity, beautiful details, innovative use of space. It would be asinine to leave out the master, Mies van der Rohe. Without Mies van der Rohe, none of the above would have happened. The Farnsworth house alone is enough to spark the design. God is in the details. In my teens I spent a summer in Japan. The incredible woodwork in the pagodas stuck in my mind. The precision and art of the locking wood structures is beautiful. It reminds me of the way technology and music come together in this product. The tight reveals in the corners of the frame strive to have some of this quality. The Audi TT also was inspiration for some of the HCA-2's front panel details. The tight reveals in the corners of the HCA-2's outer front panel frame are  found in both the Audi TT and classic architecture.  The Audi TT was most inspirational in the design of the HCA-2's front panel power/standby button detail that will appear on all future products. From across the room - the front panel frame is the visible part of the design. When you get to arms length the button detail seduces you and just begs to be touched.  Take a look at the interior of the Audi TT which has much of the same seductive tactile qualities as the front panel button on the HCA-2. I would be remiss if I did not acknowledge the constant inspiration of my wife. Her great taste and innate sense of style are invaluable to me. Less endearing, though no less crucial, is her willingness to say 'yuck' when I am off of the path. Thanks for your time. If you have the opportunity, take one home and enjoy the design up close. View it from across the room. Touch the power button, put some music on, and enjoy. Alex Rasmussen |
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