Stoer, hip, cool, klassiek, vrolijk, creatief, stijlvol, informeel? De FestivalChair is het allemaal (bekend en beroemd van onze Dutch Design Chair die wereldwijd in mooie design- en museumwinkels wordt verkocht). Dit veelzijdige kartonnen krukje creëert iedere uitstraling die u wenst voor uw evenement. Uiteraard is de FestivalChair customised te bedrukken. Voor een indruk van de mogelijkheden ga naar Creatieve mogelijkheden Op veler verzoek is er een nieuwe versie van onze FestivalChair ontwikkeld; Deze hoge variant is even sterk en makkelijk in elkaar te zetten als de gewone FestivalChair en je kunt er mee aan tafel zitten. Klik hier voor meer informatie. Wilt u een Dutch Design Chair kopen? We are finalists of the annual Dutch Design Awards! The judges state: "the RvR Chair is produced in half an hour, a substantial gain in time in comparison to the time which was needed for the making of the first copies in 2010. This indicates that the printing of furniture may be a useful technique, and competitive, both in cost (an expensive mold is not required) and in terms of production time.
The committee appreciates the merging of the colors, the use of recycled materials, the stacking system and the robustness of the end product." If you want to support us, please vote through the following link. Four years ago, Sight Unseen featured the first product by what was then a brand-new studio on the scene: The Syzygy series by Dutch duo Os ∆ Oos consisted of three lamps whose intensity depended on the subtle rotation of three light-filtering discs placed in front of the bulb; it was inspired by the astronomical phenomenon of three celestial bodies aligning in space. As a design product, it was both conceptually driven and artistically minded, but it was, at the end of the day, a lamp. “We’re definitely not artists; we’re designers,” clarifies Oskar Peet, who with Sophie Mensen makes up the Eindhoven-based studio. “We like to make functional projects.” That mix of dreamy ingenuity, conceptual rigor, and deft practicality is what’s come to define Os ∆ Oos in the four years since and what’s brought them to the forefront of the Dutch scene.
“We always try to make everything a bit too complex, but it’s an urge that we have. It can’t just be another light sitting there; it has to have another layer to it,’”says Mensen of the inherent way their objects tempt the viewer to take a closer look. Looking around the duo’s studio — as we did this fall when we visited them during the annual Dutch Design Week — it’s clear that this conceptual thinking plays out as a synthesis of configuration and experimentation. Mensen and Peet share the same feeling for shape, form and materiality, an appreciation they honed while studying together at the Design Academy Eindhoven. They’re often drawn to the unpredictable behaviors of new materials, a fascination that sees them constantly forging relationships with unusual suppliers or manufacturers with whom they can push new material applications. “We try not to make things that could have been made 50 or 100 years ago,” Peet says. “It’s nice if you look at the materials that are newly available to you at this moment and try do something with those.”
(It’s why the two don’t naturally gravitate towards working with, say, wood.) For instance, the conjoining elements of their LED Mono-Lights are made from a specially developed extruded silicone foam, allowing them to flex accordingly. Other interesting materials that have crossed the designers’ paths include Hi-Macs, an acrylic stone surface that allows for malleable, yet durable, surfaces; and, most recently, recycled glass. And so what’s behind their name? “Os is from Oskar — that’s quite obvious,” laughs Mensen, who reveals that the name “Oos” is a family nickname from her childhood. “Oskar is of course my boyfriend, so when he came into my family they were always like, ‘Hey Os and Oos!’ So before we even had that name for our studio, we were named like that by my family.” PHOTOS BY FLOOR KNAAPENDutch Design Chair Jamie Oliver KerstpakketDutch Design Chair Portugees TilesSet van 3 waterglazen van 100% recycled glasWater karaf met 1 glasThee selectie in 3 smakenSinaasappelsapLatte macchiato en cappuccinoRoomboter amaretto amandel koekjesChocolade biscuitsKnapperige toastStazak gekruide pinda'sOld goude smeerkaas 48+KaneelstokjesBruschetta gegrilde kruidenSoepstengelsGevulde tomatensoepPortugees tiles servettenPorta da calade vinho tintoInhoud: 17 artikelenVerpakking: Multifunctionele Dutch Design ChairCulinairVrouwenJamie OliverBorrelLuxeWijnThema kerstpakketten
If there is a “godfather” of Dutch Modernism, it is Hendrik Petrus Berlage. The Amsterdam-born, Swiss-educated designer’s influence—as an architect, urbanist and, as per today’s parlance, “product designer”—has resonated through the decades in both pedagogy and practice. His work, developed at a moment when European design was coming to terms with the potential of industrialized manufacturing and mass-production, represents a particular variant of the early modern style, Hollandse Zakelijkheid, or Dutch Pragmatism. He advocated simplicity at a time when everything—from façades to chairs to teacups—bristled with ornament. And so it makes considerable sense that the Beurs van Berlage—an enormous complex completed by the architect in 1903 and newly re-opened following a 2015 renovation by Bierman Henket—has chosen to reflect on this man’s legacy and impact on contemporary Dutch design. Unfortunately, however, Berlage: Godfather of Dutch Design covers so much territory, with so little context, that it mostly fails to do justice to either Berlage’s oeuvre or his legacy.
The exhibition is arranged according to seven themes, including Technology, Structure, and Style, which are meant to contextualise the over 40 chairs and stools, tables and desks, light fittings, textiles, and art installations on display. These pieces are some of the finest examples of contemporary Dutch design, encompassing work from Holland’s heyday in the 1990s to more recent years. From Christien Meindertsma’s materially-innovative and surprisingly elegant “Flax Chair” to Henk Stallinga’s “The New Berlage”—a stackable chair commissioned by the Beurs van Berlage for use in its concert hall—there is a real wealth of work on view. In this sense, it’s a rare visual treat. But it’s not enough to simply scatter objects and encourage individualized connections. While the approach—that of providing a framework for these disparate designs—is not innately flawed, it suffers from a lack of context and curatorial input, leaving the visitor feeling untethered, bounced from decade to decade and object to object.
Moreover, the very act of elevating pieces on individual podiums begins to diminish the objects’ functional values, transforming chairs, tables, and utensils into distant, aestheticised objects. It begins to feel like a collection of product placements. There are moments, however, when you can glean Berlage’s presence in the overarching narrative of Dutch design, such as the impressive taxonomic presentations of wooden chairs, coat-hooks, and glazed bricks that at least address a central concern of Berlage’s philosophy: that of mass-production. The exhibition’s most cogent and engaging space can be found in a room tucked in the back. Here, away from the catwalk of objects, a series of archival artifacts begin to piece together Berlage’s architectural output in the context of Amsterdam and, more importantly, the building itself. Etchings, orthographic drawings, and photographs begin to probe the extent of Berlage’s work at different scales—allowing the uninitiated visitor to begin to recognise the impact of his legacy.