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Call for entries Dutch Design Week EXPO 2021 – 16 to 24 October
After a completely virtual edition in 2020, this year we are aiming at a physical Dutch Design Week! If you would like to exhibit at our place, please do not wait too long and send an email to Pim Hoff: pim@pietheineek.nl, preferably before the 30th of June. Please consider the following before signing up for […]
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Call for entries Dutch Design Week EXPO 2021 – 16 to 24 October
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Room is a collective rug collection presented by El Espartano during the 2026 edition of Milan Design Week at Galleria Rossana Orlandi.
Curated by Lidewij Edelkoort, the collection brings together 11 limited-edition rugs developed with five female designers: Carole Baijings, Kiki van Eijk, Ina Meijer, Mariola López Mariño and Edelkoort herself.
Manufactured in Buenos Aires, Argentina, using 100 per cent locally sourced wool and hand-tufting techniques, the collection was developed in collaboration with El Espartano’s Design Lab.
Room explores the idea of the room as a place of intimacy, shelter and emotional connection through texture, colour and material experimentation.
The works of Thera Hillenaar were created during her artist-in-residence periods in Spain over the past years. She works off-grid, immersing herself in the quiet rhythm of nature. What at first seemed still, turned out to be a world that breathes softly and powerfully — vibrant in its subtlety.
With a background in fashion and costume design, she mainly works with re-used materials such as recycled leather and wooden toy blocks. These materials carry traces of previous lives — touch, memory, and play. In contrast to the pace of the city, her work offers space for stillness — an invitation to reflect on time, material, and imagination.
ATTRAVERSO is built through translations.
A collection of three bio-based lighting objects by Italian designer and material researcher Alessia Pasquini, ATTRAVERSO translates gestures and techniques from fashion and textiles into a new material language, from the body to the object, from soft surfaces to rigid structures, and from craftsmanship to material innovation.
At its core are translucent surfaces made from a gelatin-based biopolymer, formulated, cast and coloured by hand in the studio. Rather than applying the material to an existing object, each structure is designed around the material and its behaviour.
The bio-based surfaces are designed to evolve over time. Through a system of eyelets and lacing, they can be removed and replaced with new materials, colours and textures, while the reusable metal structure remains. The structure lasts; the material evolves.
In Italian, attraverso means “through”, but also “I traverse”. Light traverses the material, revealing new colours, depths and transparencies, while the project itself traverses disciplines, techniques and ways of making.
ATTRAVERSO looks towards new material futures without leaving the gesture of making behind.
Website
alessiapasquini.it
Instagram
@creativelab_alessiap
Miru means to see, observe, look after, view, and take care of, and that idea shaped this collection from the beginning.
I wanted to create eyewear that doesn’ t just help you see the world differently, but also changes the way you observe the object itself.
Each frame in the collection, from the Robyn sunglasses to the Sui reading glasses, is built from layered materials: a translucent top structure surrounding the coloured metal frame. As the two interact, the colours of glasses and lenses shift and glow, creating unique tones that reveal themselves differently depending on the light, the wearer, and the moment.
The Japanese braided cord is designed for the same reason. It ensures the glasses stay close and cared for, a small gesture that carries the spirit of Miru into daily life.
Working with Ciqi allowed for a shared appreciation of precision, clarity, and craft. Every detail has been carefully considered so that the collection not only looks after you but invites you to look more closely.
Designed as a child’s first work of art, each tactile wall sculpture represents a different character and strength. Bertholt the Bear is incredibly strong and a friend to everyone. Mrs Owl sees what others miss. Victor the Fox always has a clever plan, while Dientje the Dino happily goes her own way. Freya the Ice Dragon brings wisdom and a cool breeze.
Together, these wonderfully quirky animals inhabit the Sonnebos, a growing fantasy world that extends into illustrated stories, a children’s book, original music and colourful wallpaper. Children can encounter the same characters through art, storytelling and songs, discovering qualities they recognise in themselves or would like to develop.
Created by illustrator and designer Sonja de Boer, Sonnebos invites children to explore, imagine and discover their own strengths.
Braat Visual Creations explores how branding, design and acoustics can come together in a more sustainable way.
We create visual and acoustic solutions for interiors, events and exhibitions, using reusable systems and materials such as printed textiles and recycled PET felt.
Our goal is to create strong brand experiences with less waste, without compromising on design or impact.
We’d like to connect with companies and designers looking for smarter, more sustainable ways to make brands visible.
www.braatvisualcreations.nl/
https://www.instagram.com/braatvisualcreations/
Dutch painter and ceramist Sjaak Kooij presents a selection of his work in La Petite Galerie at our showroom. The exhibition brings together his latest ceramics and will be on view until the end of October.
A piece of art from the street.
By carefully cutting and drilling the metal, I was able to make a unique and eye-catching candle holder that speaks.
to the industrial history and character of the vibrant city of Amsterdam.
www.tramrailskandelaar.nl
https://www.instagram.com/tramrailskandelaar/
The Primitive Line: Industrial Archaeology explores the collision between industrial infrastructure and traditional Korean Ottchil craft. Juyun re-contextualizes discarded industrial molds into functional furniture.
Cubcho is a family of hands-on mechanical tools that transform discarded paper and other materials into playful building blocks, inviting children to experiment, create and shape their own play.
The interactive presentation brings together the growing Cubcho family, from the original stainless-steel and wooden version to new constructions, materials and ways of making. A large-scale press introduces collaborative making, while new relief plates, lino-carved surfaces and interchangeable imprints open up possibilities for exploring texture, pattern and storytelling through the blocks themselves.
The original Cubcho remains designed to last for generations. At the same time, a new line of research asks the opposite question: what if the tool itself could be temporary? A prototype 3D-printed in biobased, biodegradable PHA explores the possibility of a fully biodegradable tool and a different relationship between durability, use and material life.
Suitable from age 3+, Cubcho is intuitive and engaging for children while also offering an inspiring hands-on process for adults, educators, makers and anyone interested in material experimentation, learning and playful reuse. The system is adaptable and accessible across different ages, abilities and ways of learning.
At Piet Hein Eek, visitors can explore the Cubcho collection, experiment with the process and make their own block to take home.
Pluktuin is an immersive installation presenting a new collection of sustainable design flowers. The project transforms the exhibition space into a contemporary flower garden where visitors can move freely between sculptural blooms and experience the collection as a landscape.
Each flower is created at the intersection of art, craft and technology. Rather than starting from traditional sketches, I work intuitively and directly in space. Using bio-resin, I ‘draw’ flowing lines that gradually gain volume and develop into unique, three-dimensional forms. The making process remains visible in every piece.
With Pluktuin, I explore how the fleeting beauty of nature can be translated into lasting objects while retaining a light, playful and poetic character. Vivid colours bring energy to the installation and guide the eye through the field. Arranged in clusters and changing heights, the flowers create a softly undulating landscape that visitors can discover from different perspectives.
Add a touch of wonder to your coffee cup or dining table with the glass tableware and cutlery collection designed by Studio Fleur Peters – each one a unique piece of table jewelryThis collection was born from an experiment with glass fusing and slumping techniques. Every object begins as a carefully cut piece of glass, placed in the kiln and gently melted into shape. The result is a playful series that explores layering, transparency, and the blending of colors. This tableware and cutlery add a vibrant palette to your table and interact beautifully with light, casting magical reflections that make every dish feel special.
By CRIS is the Dutch Design label dedicated to framing your identity and amplifying your strength. It is the visual translation of what intentional design (ranging from bags to interior objects) does to your posture and your energy. Every design emerges from the art of harmony: a pure interplay of form, materials, and color.
Founder and designer Chris de Geus built the label on a rich background in fashion, fine art, and design. What began with a single handcrafted bag has grown into a versatile lifestyle label. After living with epilepsy for 25 years and undergoing a life-changing brain surgery, her perspective on freedom and creation shifted forever. That reclaimed zest for life became the driving force behind By CRIS: the profound realization that life is too precious not to pursue what makes you truly shine.
Experience the transition from noise to stillness yourself during Dutch Design Week. Immerse yourself in an exhibition where craftsmanship, exclusivity, and fine art converge and discover that undeniable spark in your own eyes.
Artists:
Kiwano Concept is an Eindhoven-based design studio creating sculptural furniture and objects in natural stone. Our work has a geometric and architectural character, with arches, cones, layers and repetition appearing throughout the collection.
During Dutch Design Week, we open the doors of our studio to present our latest designs alongside pieces from our existing collection. Visitors can see the work up close, discover new materials and finishes, and experience the pieces in the place where they are developed and prepared.
Natural stone is at the heart of what we do. We work with its texture, veining and natural variations, allowing these characteristics to become part of each design. Combined with recurring geometric forms and architectural references, every piece develops its own character while remaining functional.
Our Open Studio is an invitation to step inside, explore the collection and discover how material, form and function come together in our work.
CANVAS
Surface of Sleep
A bedding collection by Studio RENS for Auping, developed from hand-screenprinted colour studies.
A bed is never just a bed. It is the largest surface in the bedroom. For CANVAS, that surface becomes a field for colour.
The collection started with a series of hand-screenprinted works. Layer by layer, colour was built by hand through movement, pressure and repetition. Small shifts, overlaps and imperfections remain visible, carrying the trace of a physical process.
Translated into soft bed textiles, these works move from the studio into everyday life. What starts as a colour study becomes something close to the body, used every day.
RENS ON DISPLAY
A studio presentation of recent work and colour studies by Studio RENS.
RENS opens its studio doors. Recent work and colour studies come together in one intimate presentation.
A look inside the studio, and into a design practice that keeps bringing more colour into life.
From the dawn of humanity through the Iron Age and into the Industrial Revolution, society has built itself with a spine of metals. Steel, Copper, Gold and Silver have functioned in currency, machines, and culture alike. Before the age of synthetic plastics, many household items were fashioned from metals. Metals are indispensable.
With the use of metals comes the cultural phenomenon of Heavy Metal. Whether you think of raging guitars or steampunk societies, metals hold a place in the heart that is not only physical. The heavy shaping and processing metal spawns an aesthetic and cultural niche, defined by the greasy shimmer of metallic objects. How humans could take an inconspicuous rock ore and create such a vast array of objects is what we aim to explore in our theme Heavy Metal. From the cult status of metal artists to the finest details in jewelry, we show you the breadth of the world of metal, encapsulating why it fascinates us to this day as a material.
hetbeuncollectief.nl
https://www.instagram.com/
During Dutch Design Week, we’re opening the doors of our studio for Sneak Peek an exhibition presenting a first look at our latest work.
For this special occasion, we’ll be showcasing a collection of new products, concepts and designs, all presented for the very first time. Sneak Peek offers a glimpse into what we’ve been working on behind the scenes and gives visitors the opportunity to discover our newest creations up close.
Come visit us at the studio, explore the exhibition, and get a sneak peek at what’s next.
Open studio by fffunction. Meet the team, explore work in progress, get asked amazing questions or join the daily Q&A.
At fffunction, we believe great (brand) design needs more than good taste. From early positioning and strategy to identities, packaging, digital experiences, motion and physical objects, we’ll share the research, conversations, decisions and creative work behind our projects.
Have You Asked Your Mother? is a question we ask ourselves whenever an idea becomes too complex, too familiar or too rooted in the design world. Do people outside our bubble see what we see? Do they understand what we mean? And does it make them care?
Throughout the week our studio becomes a place for conversation. Meet the team, explore work in progress, get asked amazing questions or join the daily Q&A.
Because a good conversation is the best start to something better.
Afterimage is an ongoing material-led furniture and object collection exploring the relationship between natural wool, transparent resin and light. Developed from a self-created composite of wool and resin, the collection investigates how this material language can shift across different scales, functions and spatial presences. In this new direction, wool moves beyond its familiar qualities – warmth, softness and naturalness – taking on an additional dimension: structural, translucent and shaped by depth, colour and light. Enclosed in resin, the fibres co-create the monolithic form of each piece and its internal structure. They build a layered depth within the composite, where colours subtly merge and shift with the light. The collection brings traditional natural material together with experimental process, translating them into contemporary timeless forms. Rooted in personal authorship, material intuition and meaning, Afterimage creates calm, sensory objects that are functional, yet open to contemplation – personal afterimages inscribed in material, with a quiet sense of timelessness.
@kas_hofman
The works are a duo of 2 textile objects: a sun and a cloud. They feature many comical faces in various sizes and expressions, made by hand. The idea behind the series comes from how children often imagine the world around them, and how it is often portrayed in children’s books. They tend to see seasons, flowers, trees, clouds etc. as characters with personalities. These artworks reflect that kind of thinking, seeing the sun and cloud as a playful, expressive figures.
www.dangonen.nl
@dana.judaica
Presented by NCS Colour. Concept and curation by Other Degree. Creative direction and installation design by Rive Roshan. In collaboration with Broeinest.
Every day, we make thousands of decisions, some consciously, many without noticing. More and more, the world around us decides for us, through feeds, algorithms and systems. Ways of Seeing creates space to design something for ourselves.
It is an invitation to pause: not to escape the world, but to reconnect with your own way of seeing it.
Ways of Seeing is an immersive installation where colour becomes something to explore rather than something to consume. Move through a landscape of colour, materials and light. Rearrange it. Play with it. Make it your own.
Rather than telling you what it should look like, Ways of Seeing asks a different question: what feels like you?
Created by NCS Colour, Other Degree and Rive Roshan, the installation transforms colour from something you simply observe into something you actively use. It is an exploration of perception, intuition and choice, a reminder that even in a rapidly changing world, some things can only be discovered through your own eyes.
Come in. Take your time. Compose your own scene.
Website: https://ncscolour.
Instagram: @ncscolour · @riveroshan · @broeinest.nl · @other.degree
Made from woven metal. It definitely required a lot of time and persistence, but there’s something truly mesmerizing about these fine strands and unraveling edges.
Like a woven rhythm: intuitive and a little unpredictable. Each strand finding its place, creating a surface that feels both delicate and strong. There’s a quiet tension in the material, between control and letting go. Slowly unfolding, still becoming. Shaped as much by the process as by the material itself.
Website: www.saudade-collective.com
Instagram: @saudade_collective
Behind the Facade is one of the projects through which Sandy Bruns explores the dignity and value of materials that have lost their original function. The collection focuses on window glass: a material once essential to the facades of buildings, but increasingly replaced as technological developments demand higher levels of energy efficiency. Behind The Facade documents this evolution in sculptural design.
The collection also raises a question about sustainability and technological progress: when materials are removed in the pursuit of greater energy efficiency, what happens to the tactile value of what is left behind? And when energy and resources are invested in transforming discarded materials into objects intended to last, where does sustainability begin and end?
Sandy Bruns invites you to experience the tactility and purity in person, engage in the conversation and discover the characteristics of the material from a different perspective. All sculptural works are available for purchase and can be taken home directly to become part of your interior.
https://sandybruns.com/
@Sandy.bruns
The Utopian Blue Mountain
This project is rooted in ‘Cheongsanbyeolgok’, a legendary Goryeo-era (12th–13th century) Korean song capturing the ultimate human desire for escape. Written during a time of social chaos, it tells of people seeking an idyllic haven in an imagined paradise: ‘Cheongsan’ (The Blue Mountain). More than a physical landscape, Cheongsan is a utopian sanctuary free from worldly su ering. Living in today’s overwhelming world, this same timeless yearning remains.
Translating this 800-year-old poetic vision into physical reality, the project builds a utopian landscape from tactile porcelain. By bridging cultural heritage and contemporary design, the work transmutes the heavy psychological weight of modern life into a comforting sanctuary. It demonstrates how ancient texts can become a universal design language, offering audiences a much-needed moment of contemplative escape.
Website: https://bellamingoinwonderland.cargo.site
Instagram: @its_bellamingo
SOGA is a design project that turns its attention to ordinary objects often overlooked in cities and everyday life, rediscovering the forms and beauty hidden beyond their functions.
The project applies Ikanbari, a traditional Japanese craft technique, to industrial products such as nets, chains, barbed wire, and expanded metal, which are usually recognized through their specific functions. Ikanbari is a technique traditionally used mainly for baskets, in which layers of washi paper are applied to a base and finished with persimmon tannin or lacquer, preserving the form and texture of the underlying material while adding strength.
Through this process, the objects are distanced from their original functions and familiar appearances, revealing structures and forms that normally remain in the background, such as grids, repetition, knots, spikes, and transparency.
Rather than creating new materials, SOGA begins by looking again at what already exists around us. At Dutch Design Week, alongside the objects and art pieces developed so far, SOGA will present its first furniture collection.
Website
https://cultureclub.design
Instagram
https://
Bestraat (‘Paved’) is an ongoing project that explores different aspects of the Dutch streetscape as subjects for design.
Viewed as a whole, streets can appear uniform. However, when examined up close through their materials, forms, and textures, each element reveals its own identity. This identity emerges through subtle imperfections, signs of wear, and irregularities.
Stoeptegel Furniture
These furniture pieces are built around the commonly used 30 × 30 cm paving tile, placing a material often discarded and regarded as waste in a new context. The combination of paving tiles determines the function of each object.
The first piece in the collection, the Stoeptegel Stoel (‘Paving Tile Chair’), uses 30 × 30 and 15 × 30 tiles as its seat and backrest. The beechwood frames follow a scalable system, allowing the pieces to serve different purposes while establishing a shared language across the collection.
Bestraat Carpet
The carpet is based on a surface made from used paving stones. Once part of a street, these stones were arranged into a new pattern that reflects their familiar use in public streets. The resulting surface was then documented and printed onto the carpet.
A collection of handmade table accessories, made from reclaimed porcelain. Delicate and tactile items like chopsticks invite you to eat with more focus and intention. Creating a whole new dining experience. Designed in addition to the STUCCO tableware collection, made of 100% reclaimed porcelain.
Every type of production creates waste. With slipcasting I create trimmings; leftovers from cutting off excess clay. With this project I am cleaning up my own mess, trying to use every bit of material in my studio.
The porcelain trimmings used for this project are collected during the workshops I host in my studio. It’s a mix of multiple colours and by mixing them together they end up in a grey slip. When left unmixed they become a beautiful coloured marble, pressed into a mold by hand. Each combination of scraps is carefully selected to create a unique colour way.
Turning waste into tactile design.
https://inekevanderwerff.nl/
instagram.com/studioinekevanderwerff
Matter & Mind presents the outcome of a year of research and experimentation exploring waste as a creative resource. Through a series of objects made entirely from discarded materials, Jérémy Bergeaud investigates their potential for transformation, whether sourced locally or from other territories.Beyond recycling, the project questions the very act of producing: how can we design with what already exists, use fewer resources and, ultimately, generate no waste? Through experimentation, simple manufacturing processes and an attention to the social dimension of production, the project advocates for a more restrained and responsible approach to making. From an artistic yet critical perspective, waste becomes both a material to transform and a starting point for a broader reflection on the way we produce and consume.
https://www.jeremybergeaud.
https://www.instagram.com/
Three independent practices share an interest in everyday objects, each reworking familiar forms through different materials, processes and functions.
Choi Hyukjoon presents Functional Cabinet, a series of cabinets fitted with three, four, or five handles. Each cabinet can only be opened when all handles are operated simultaneously. While more handles suggest greater functionality, they make the object harder to use. By exaggerating this familiar functional element, the project explores whether an object might be valued for how strongly it signals function, rather than for how well it actually works.
OBJETFORMT presents Microwave Light, which reinterprets the familiar behaviour of a microwave as a lighting object. Light, rotation and timed waiting become part of the experience itself. Using digital fabrication, mechanical systems and custom electronics, the project explores how the behaviour of an everyday appliance can become a functional, collectible object.
Bom Noh presents Sugarcoat, developed in collaboration with local trade studio Super Spray & Build, which reconstructs ready-made objects through layers of plastic and construction silicone. Familiar items, ranging from architectural doors to lamps, are re-sculpted by hand. By transforming commercial sealant into glitched structures and crafted details, the project explores where craft begins in synthetic materials.
choihyukjoon.com
bomnoh.com
objetformt.com
@joonchoii
@bomnoh
@objetformt
Through and Through 2.0 is a cushion collection based on the scoubidou knot. By experimenting with this knot in diDerent ways, new possibilities came to light. The cushions are made by Ditte during her artist in residency at the Valkhof Museum. The collection consists out of three different types of cushions. A big floor cushion, a rectangular cushion in combination with a bench and a square cushion for on a stool or chair. Scoubidou is usually known for making bracelets and keychains. Experimenting with this knot resulted in new possibilities. Knotting with different materials, scale and colours, resulted in different objects. The cushions consist out of hand made cords that are sown together in the middle with a wide zigzag stitch. These cords are then knotted into a cushion. The layers of the knot is what gives the cushion its softness and unique shape. The patterns of the fabrics are designed for the cushion. Photographing, sketching and testing different colour combinations resulted into four final prints that match the pattern of the knot. The cushions are now in use at the museum café of the Valkhof Museum and available in the museum shop.
Variety of products emerge from the observation and experimentation with materials, taking shape as everyday objects.
Audible furniture is a series of furniture with sound, a study in mechanically produced sound and its application on furniture. Hemmo Honkonen is a designer based in Helsinki, Finland. He holds a Master’s degree in interior architecture from Aalto University and has graduated as a guitar builder/luthier-artisan from IKATA. In his work, Honkonen combines aspects of his educational background, furniture and instruments, sound and movement. All the sounds in the works are acoustic and mechanically produced, meaning that a mechanical movement is always required to trigger the sound. The furniture make sound when used. In Honkonen’s work, sound takes centre stage. Mundane furniture items take on a new dimension and purpose with sound.
https://www.hemmohonkonen.com/
https://www.instagram.com/hemmohonkonen
Everyone experiences stress. Yet talking about it is often difficult.
Navigating Stress is a design driven method that makes stress and mental health discussable. Through keynotes, team sessions, train-the-trainer programmes, and a physical serious game that works as a conversation starter in any setting.
Participants build their own stress landscape using tangible objects and metaphors. Places like the Lake of Expectations and the City of Never Ending Tasks. They find words for things they have been carrying without a name. And search for routes to another state of mind.
Every element is designed with intention. The form is the function. Grounded in the picture superiority effect: people process and remember visual information significantly better than words alone. That is why the landscape works.
Over 1,000 people have already navigated it. Across organisations, universities, healthcare institutions, and refugee reception centres.
Born at DDW 2021, where the design received the DDW Design Award. At DDW 2026, visitors are welcome to explore the toolkit, discover the method, and see what Navigating Stress could mean for their team, organisation, or community.
The conversation starts here.
www.navigatingstress.nl
https://www.instagram.com/navigatingstress?utm_source=qr
Emerging Indian design studio Atelier Arunika presents the Ramino Series, a narrative-driven exploration of luxury postmodernism by designer Arunika Sarkar. Launched at AD Design Show 2025 in Mumbai, the five-piece limited-edition collection marked the studio’s entry into collectible design. In 2026, Ramino made its first international exhibition debut in Milan during Milan Design Week, introducing its distinctive visual language to a global audience. Inspired by the dynamics of the card game Rummy, the collection transforms play, symbolism and strategy into sculptural furniture. Cinematic symmetry, expressive colour and the whimsical nostalgia associated with Wes Anderson further shape its theatrical compositions. Among the collection, Picche — The Chest of Drawers emerges as a distinctive sculptural statement. Its carefully stacked, pill-shaped volumes create a rhythmic silhouette, softened by rounded edges and elevated on slender, playful legs. The layered geometry gives the piece a sense of movement and personality, while its generous storage function maintains its practical purpose. More than a conventional chest of drawers, Picche feels almost character-like—an object that brings humour, nostalgia and visual intrigue into contemporary interiors. With Ramino, Atelier Arunika positions furniture as narrative artefact, blurring the boundaries between art, design and spatial storytelling.
Rooted in traditional Chinese painting and cross-cultural evolution, the artist’s work acts as a tactile visual archive of nomadic life. This practice is anchored by the studio Jubel Seele Licht—a conceptual acronym of the artist’s initials representing Joyful Experimentation, Soul, and Light—which forms the foundation of Chronomad. The purpose is to democratize this high-end art language out of a pure love for life’s everyday fragments. Translating fine art into functional objects dissolves elite art’s distance, inviting everyone into a warm, open space of creative playfulness. The core value lies in making art an intimate companion, transforming fleeting memories into a shared heartbeat. This exhibition is a soulful invitation to present my private microcosm to the world’s macrocosm, proving our inner worlds can joyfully connect. Operating as a curated micro-gallery, the exhibition presents a collection of vibrant small-format original oil paintings, unique handcrafted artist’s books, and wearable textile artifacts. While the paintings remain unnumbered, organic art, each wearable piece is a numbered, single-edition artwork designed to bring a sense of ritual to our daily lives.
Reinder Schmidt is a Dutch artist and fashion designer exploring the intersection of craftsmanship, material revaluation, and tactile abstraction. Grounded in a background in traditional tailoring and sustainable fashion, his practice centers on giving discarded materials a new life.
At Dutch Design Week, Studio Reinder Schmidt presents Textile Fragments hosted at Piet Hein Eek This new collection of abstract, monochromatic artworks crafted from production offcuts sourced from Dutch fashion and interior industries. Driven by a deep appreciation for the making process, Reinder Schmidt stitches disparate fabric remnants together into composite three-dimensional canvases before applying a layer of paint. This minimalist intervention unifies the composition while revealing the rich interplay of raw textures, structural patterns, and subtle depth inherent in the materials. Rather than hiding the origins of industrial waste, Textile Fragments transforms overlooked scraps into contemplative spatial compositions. The artworks celebrate the tactile beauty of craftsmanship while posing a quiet question on how we value materials and handle waste in contemporary society.
www.reinderschmidt.com
@studio.reinder.schmidt
Studio and gallery: Kerkstraat 44, Arnhem
VAN-Jorn vernieuwt de camperwereld met een volledig modulair en toekomstbestendig interieur, gebouwd op een zelfontwikkeld aluminium railsysteem. In plaats van vast te zitten aan een standaardindeling, stellen klanten hun bus zelf samen met keuze uit ruim 80 modules en accessoires. Veranderen je levensomstandigheden over de jaren? Dan verandert het interieur gewoon met je mee.
Duurzaamheid, herstelbaarheid en prijstransparantie staan centraal. We werken met natuurlijke materialen zoals FSC-gecertificeerd hout. Door de modulaire opbouw is elk onderdeel los te repareren of te vervangen, wat verspilling voorkomt en de levensduur aanzienlijk verlengt. Onze lichtgewicht bouwwijze maakt bovendien emissievrij reizen met elektrische bussen vandaag al praktisch haalbaar.
Ons warme, Scandinavisch geïnspireerde design is bekroond met de Red Dot Design Award 2025 en de titel NKC/ANWB Camper van het Jaar 2025. Door het ontbreken van zware vaste tussenwanden ontstaat een ruimtelijk ‘loft-gevoel’ met vrije zichtlijnen. Slimme ruimtebesparende innovaties, zoals onze uitschuifbare badkamer en opklapbare lengtebedden, bieden de luxe van een eigen douche, toilet en grote bagageruimte wanneer je het nodig hebt, zonder dat je overdag leefruimte inlevert.
At Piet Hein Eek, Teun Zwets presents a new selection from the Splitted Collection, focusing on the wall and the furniture designed to inhabit it. The presentation brings together a series of new wall works, including a mirror, medicine cabinet, shelf, and other items. These pieces bring the characteristic language of the Splitted Collection to a range of functional furniture designed specifically for the wall.
A selection of furniture from the collection is also shown at Piet Hein Eek, alongside the new wall works. The presentation features a new collaboration with photographer Jeroen van der Wielen.
Alongside the presentation at Piet Hein Eek, 50 new chairs from 50 different collections are on display in Teun Zwets’ new workshop, at Hallenweg 11a.
The structures and patterns found in manhole covers, drainage systems, and metal constructions serve as the starting point for my work. I create ceramic tiles based on textures I encounter not only in the Netherlands but all over the world, pressing the most interesting sections into clay. Once the clay has dried, the tiles are painted to accentuate the patterns. Next, the coordinates of the location where the pattern was found are engraved on the back, and the tiles are glazed. Tiles can also be commissioned; I can create impressions of patterns from any desired location. Ultimately, it is all about memories, observing the world with care, and focusing on things one might otherwise overlook—finding beauty in the unnoticed. In today’s fast-paced world, my work fosters a sense of slowing down, personality, attentiveness, materiality, and uniqueness. A selection of these pieces will be on display during Dutch Design Week.
www.corinebarendregt.com
https://www.instagram.com/corine_barendregt/
GROUND is a furniture collection that explores how material design can create less intensive, quieter experiences at home.
The project began with my experience of living with elderly family members with vision loss, which led me to question why furniture is so often designed to be functional for the visual. The collection creates objects that evoke emotional resonance with the wild through multisensory experiences brought by the furniture’s material quality.
Made from a bio-based composite of expanded cork granules and natural latex, the pieces have a flexible, near-body-temperature surface with an irregular tactile quality. The material’s dark, tar- or asphalt-like appearance contrasts with its bouncy character. Its resilience makes interaction more engaging, while its close-to-body temperature brings the feeling of tree bark into interior spaces.
By bringing sensory awareness into everyday domestic rituals, GROUND presents this furniture collection as a multisensory presence more than only a problem-solving object.
https://luisweeiii.cargo.site/
@weeiiidsgn
studio fuem is a product design studio with the core goal to rethink everyday helpers with neurodiversity in
mind. Our products offer practical solutions to often niche problems and at the same time aim to empower our
target group through good design. Based on this very mindset, our first product PELA is revolving around the
topic of time blindness. A minimal clock, providing a quick visual indicator of how much time has past in a day –
acting as an aesthetic anchor to those that easily loose track of time. The passing time is visualised by a
continuous movement of two interlaced discs. The inside disc is slowly revolving as the hours of the day pass
and – assisted by a special levering mechanism – either intrudes or protrudes from the outer disc, depending on
the phase of the day.
studiofuem.com
@studiofuem
What defines upholstery? The Carpet Collection challenges this question by stacking leftover carpet from temporary event installations, transforming the material into a constructive volume for seating.
Rather than concealing its structural logic, the collection embraces it: a simple exposed steel base supports the carpet layers, positioned and secured with visible screws. The construction method is direct and intuitive; assembly becomes part of the formal language.
Developed through a partnership between design studio Venetucci and Virô, a creative laboratory working with scenographic waste, the collection emerges from a joint investigation into the constructive potential of surplus materials. By shifting carpet from a superficial covering to a structural and volumetric element, the project challenges traditional expectations of upholstery in furniture, proposing a reading in which materiality and form coexist without hierarchy.
The pieces are made of stacked carpet remnants, supported by an exposed steel structure and secured with visible screws.
ABOUT: VENETUCCI x VIRÔ
The partnership between Venetucci studio and Virô transforms set design leftovers into authorial design pieces, Venetucci leading creation and design direction, Virô producing with scenographic material that would otherwise be discarded.
https://sofiavenetucci.com/
@sofia.venetucci ; @oqueviro
IKONIC curates a distinctive collection of contemporary Dutch Design that celebrates simplicity, craftsmanship and playful thinking. From collectible objects to functional design, every piece reflects the belief that great design enriches everyday life.) Designs by Floris Hovers, Teun Zwets, Mart van Schijndel, Maurice Doorduyn, Lex Pott and others
Dare to stand out with exciting designs and a unique character. At Balliater, we believe in the power
of unique design that inspires, moves, and surprises. Our designs are bold, distinctive, and always
eye-catching. From refined forms to innovative production techniques, every detail is crafted with
care and passion. For those who want more than the standard and are looking for the innovation of
tomorrow.
At Balliater, it’s all about characterful design that suits you. With our online configurator, you can put
together your ideal piece of furniture in three simple steps. This makes it easy to order your Balliater
furniture through our webshop. You can also request material samples via our website. This way, we
make it easy to choose a piece of furniture that truly suits you.
Balliater is a Lande Family brand. Lande Family is a forward-thinking family business with passionate
craftsmen who create timeless, custom-made furniture. Six strong brands that excel in the fields of
home furnishings, commercial interiors, shipping, and the recreation sector. The most innovative
ideas come to life at our production facilities in the Netherlands, Belgium, and Turkey.
www.balliater.com
instagram.com/balliater.furnituredesign
The Faculty of Architecture at the Academy of Fine Arts in Gdańsk presents an exhibition at Dutch Design Week 2026 built around two voices: the work of students from the Interior Architecture and Public Space Architecture programmes, and accompanying projects by the Faculty’s teaching staff. The freshness and experiment of a young generation meets the mature reflection of experienced practitioners. The student works lead the viewer through the scale of furniture, interiors and shared urban space. They take up the question of the human relation to the environment and show that design today is no longer only about form and function — it becomes a response to the complex challenges of our time: the climate crisis, more inclusive communities, physical and psychological well-being, and the conscious use of new technologies. Selected works by teaching staff develop these threads from the perspective of design and research practice — a reflection on material and craft, strategies responding to cultural and technological change, second lives given to industrial elements. It is the voice of experience, entering into conversation with the students’ proposals without taking their place. Together they hold a shared conviction: that architecture and design can co-create a more sustainable, accessible and empathetic world — designed with both people and the planet in mind.
https://en.asp.gda.pl
https://www.instagram.com/aspgdansk/
Shift hook is an aluminum/brass/pla wall-mounted hook for keys and small accessories.
The project examines spaces of transition, specifically the threshold between entrance and exit. The keyhole acts as a gatekeeper, serving as a point of contact for moving into and out of a space simultaneously. Shift hook captures this duality of arrival and departure, holding traces of leaving while welcoming the user in.
The gesture of loading/unloading the hook creates an intuitive interaction that feels intentional.
Exploring the fundamentals of writing tools, axis pencil distills writing instruments to elemental forms. A triangle, rectangle, and circle intersect to create a minimalist silhouette.
Featuring a lathed and threaded aluminum ball, the user can spin it to make it travel along the steel rod shaft. Depending on where the ball lands, the function of it transforms; stand, rest, grip, and cap. The pencil is fitted with a replaceable magnetic graphite tip.
www.malyu.ca
@myu.ca
The Living Canvas is an interactive installation that invites visitors to create a living artwork together.
With Walleaf, Dutch designers Adinde and Elisa put nature in the spotlight. By drawing attention to a single
flower or leaf, Walleaf invites visitors to take a closer look and discover all the details that make nature so
remarkable.
Visitors choose a flower or plant, place it in a wall vase and add it to one of the canvases. As flowers, plants and
vases are continuously added, moved and rearranged, a collective artwork emerges that evolves throughout
the week.
Along the way, visitors are invited to explore colour, shape and composition. Which flower is still missing?
Which colour brings balance? How does the shape of a flower change the composition?
Inspired by Ikebana, the Japanese art of flower arranging, The Living Canvas embraces simplicity, space and
harmony. It translates these principles into a contemporary, interactive experience where nature, design and
creativity come together.
www.muurbloempjes.com
@muurbloempjes
Studio Paulus is based in a 400-year-old farmhouse. From materials
found in the farmyard Paulus creates furniture and art objects. Like the
WheelChair collection, a series of tables and chairs made from brightly
coloured tractor wheels. Or Scarlett Ibis, with cast-iron wings from a
beetcutter and a scythe for a beak. Oryx has antlers made of a pitchfork.
The work Skull of a Woolly Dwarf Mammoth is made from the iron seat of
a tractor and the runners of a sleigh. A 1960s oven from the former
farmhouse kitchen is now part of the installation Sunday Roast.
The TRANSFARMATIONS project gives a second life to discarded
agricultural machines and equipment, by recycling industrial antiques.
Reshaping our farming heritage for the future, in cast iron and sheet
steel, colourful and robust.
www.studiopaulus.com
@pauluslaseur
For me, one thing is clear: art cannot exist without marketing. In fact, I see marketing as an art
form in itself. Through Aesthetic Studios, I explore how the strategies of luxury brands and the
visual language of advertising shape our attention and create desire. By positioning myself as a
brand, I blur the boundaries between art, branding, and commerce.
In my current work, the focus shifts from recognizable, almost edible forms towards more fluid
and abstract appearances. I investigate how attraction emerges when an object resists immediate
explanation and instead invites the viewer to look a little longer. To achieve this, I combine cera-
mics with fused glass—two materials that naturally resist one another. Their contrasting properties
create a continuous dialogue between control and chance, allowing the making process to remain
visible within the work.
My objects appear soft, fluid, and almost temporary, yet they are created from materials that inhe-
rently resist one another. Within this contradiction, I explore how form, material, and presentation
shape the way we perceive value, desire, and attention. Not only the object itself, but also the
way it is presented, influences how it captures our gaze.
Welcome to the world of Aesthetic Studios.
https://aestheticstudios.nl
@aesthetic_studios_nl
My work begins with a fascination for classical sculpture, translated into a contemporary
practice where digital craftsmanship and traditional making come together.
I sculpt directly in ZBrush, using the software as a digital extension of handcraft rather
than as a technical tool. Guided by hand and eye, the forms remain intuitive, irregular, and
open to change. Digital sculpting allows me to create structures that would be difficult to
achieve by hand alone.
Each sculpture is produced in the material that best suits the work. I work with natural
materials such as sand, wax, metal, and wood, embracing their individual qualities. The
grain of sand, the tool marks in CNC-milled wood, the seams of cast wax, and the subtle
imperfections of metal all become part of the final sculpture. Instead of controlling every
detail, I let the material shape the outcome.
For this presentation, six sculptures are displayed on individual pedestals made from
reclaimed wood. Together, they explore the relationship between digital creation, material
translation, and craftsmanship, while giving each work its own distinct identity.
www.jacquelinebaselier.nl
@jacqueline_baselier
Margriet Foolen creates thoughtful, functional objects that combine timeless design with innovative materials, circular thinking and a distinctly Dutch sense of simplicity.
I Felt Good Vase
A felt sleeve that transforms a used glass bottle into a new vase. Made from discarded textiles by I-did, combining circular design with social employment. Designed and made in the Netherlands. The vase is shipped flat, reducing both material use and transport impact.
Menorah Candle Holder
Inspired by the ancient seven-branched menorah, Margriet Foolen created a contemporary interpretation that preserves its iconic form and function while giving it a modern, minimalist character.
Tornare – L
A minimalist brass candle holder, made in the Netherlands. Its reversible design accommodates different candle sizes. Beautifully gift-packaged and compact enough to fit through a letterbox.
Restwood Branch Vase
Made from leftover wood from tree pruning. Each substantial branch is turned into a unique vase, retaining the natural character and grain of the wood. A glass tube holds the water, and the wood is finished with natural Danish linseed oil.
Multi Candle Holder
Hand-turned from leftover wood, each candle holder is unique. Its clever design accommodates three candle sizes and combines natural materials with functional simplicity. Finished with natural Danish linseed oil.
Make Room is an interactive installation by Studio Jes Iken, Meet Me at the Wall and
illustrator Aniek Bartels, inviting visitors to rediscover the world through the eyes of a
child. The project explores how furniture, illustration, colour and interior design can
shape the way children play, think and grow within a space.
At the heart of the installation is a specially designed table by Studio Jes Iken, serving
as a creative starting point where visitors can experiment and play. A large fold-out
panel reveals different wallpaper designs by Meet Me at the Wall, layered with playful
illustrations by Aniek Bartels, creating a variety of visual worlds to discover.
Together, the three disciplines create an environment that encourages both children
and adults to explore, play and rethink the possibilities of the child’s room — a space
for imagination, storytelling and creative confidence to grow.
www.meetmeatthewall.nl / www.jesiken.com / www.aniekbartels.nl
instagram.com/meetmeatthewall.wallpaper / instagram.com/jes_iken / instagram.com/aniekbartels
Lulu Lamp is a series of collectible, handcrafted lighting pieces made from reclaimed paper pulp. Built on a playful, weighted base, it actively invites touch and tactile interaction — when tilted, the light shifts before slowly settling back upright, a metaphor for pause, resilience, and return.
The name Lulu draws from Ludic Design, a philosophy that embraces play, curiosity, and joy in the objects we live with, while the interchangeable shades echo childhood memories of dressing up dolls, offering that same gentle comfort to adults today. Each piece allows for personal expression, bringing warmth and quiet companionship into domestic spaces.
Loneliness is one of the most ordinary experiences of modern life, present in our homes every day, yet rarely acknowledged. By reimagining the domestic lamp as an interactive companion with personality, sound, and touch, Lulu Lamp asks: what if the objects we live beside could quietly feel us back? In doing so, it turns the experience of everyday solitude into something worth noticing and gently held.
Each base is hand-treated to resemble metal, ceramic, or concrete. The shade is constructed from recycled wool, upcycled textiles, and found objects, assembled by hand.
https://nunuchu.com
@nunu_chu @nunununu.c
Universal Rhythms is a series inspired by the recurring patterns and rhythms woven throughout nature—from microscopic biological structures and botanical landscapes to the vast formations of the cosmos.
By abstracting these forms, they become part of a universal visual language, where shapes transcend scale and definition. The same rhythms seem to repeat across different layers of existence, revealing connections between worlds that at first appear entirely separate.
Each piece is entirely handcrafted in glass. The glass is carefully hand-cut and intuitively composed, allowing the process to unfold through touch, movement, and instinct. The making is slow and attentive, requiring patience and a close dialogue with the material. Every fragment is deliberately placed by hand, creating subtle variations and traces of the hand itself. For me, this craftsmanship is what gives the work its soul. The human touch becomes part of the rhythm, allowing each piece to carry its own presence and “soul”.
The works invite us to pause and look beyond the surface—to sense the patterns that connect all layers of existence.
@eline_laauwen
Wanderlights are designer candles that float! They feature a fire-resistant wick that never burns out,
have a burn time of 4-6 months, and are locally produced.
Woel is the new way to hide your TV on the wall! It’s a subtle mounting system that uses wall hangings
made from surplus wool, which improve the acoustics in your home.
www.wanderlights.com / @wanderlightscom
www.woel.store / @woelstories
EEG Bench
“Within every fragile shell lies the courage to become something new or to reinvent oneself.”
GINETTE Bench
“A place for sharp conversations.”
www.mar-ta.be
instagram.com/mar.ta.be
Organic Pressure is a collection of sculptural wooden pieces exploring the tension between natural growth and controlled force. The collection consists of a coffee table, plinth, art frame, and candle holder. Each piece is handcrafted from wood and finished with a high-gloss lacquer that enhances the depth of the wood grain while transforming the rough material into a smooth, reflective surface. This contrast between natural texture and refined finish forms the core of the project. Blurring the boundary between function and sculpture, the pieces feature flowing, organic forms that appear to have grown rather than being made. Organic Pressure reflects my fascination with craftsmanship, material transformation, and the relationship between nature, pressure, and design. Through this collection, I invite visitors to experience wood from a new perspective, where raw material becomes refined, sculptural objects.
caspersmits.com
@casper.smits
The Kerroksia Series is a collection of sculptural ceramic lamps in which light, material, and layering take center stage.
By combining 3D-printed ceramics with hand-finishing, each piece gains its own distinctive appearance.
No two lamps are exactly alike; every lamp is a one-of-a-kind object with its own character and unique details.
https://studiovanderbent.com/
@studio.vanderbent
Raw Willow is a design style consisting of furniture and home accessories that stand out through their natural, organic appearance. The designs combine raw wooden branches with smooth, matte bioresin, which binds the different elements together. The finishing process enhances the natural grain, texture, and patterns of the wood, revealing unique compositions within every object.
What started as a combination of willow branches and raw bioresin—where the name Raw Willow originates—has grown into an extensive material exploration. I have expanded my research by experimenting with a variety of branches, including hazel, birch, chestnut, bamboo, and many others. The possibilities are endless, as every branch has its own unique structure and character. No two patterns are ever the same, creating a playful dialogue between the organic qualities of the wood and the clean lines of the bioresin.
The contrast between the smooth, geometric forms of the bioresin and the organic textures of the wood defines the essence of this collection. These objects are not only designed to be functional but also to serve as striking statement pieces that bring character to an interior.
Sustainability is a fundamental part of the Raw Willow philosophy. The materials used are entirely natural and are considered biowaste. Tree branches are typically pruned, shredded into composite boards or compost, or simply burned. Through Raw Willow, I give these overlooked natural materials a second life by preserving their raw textures and transforming them into distinctive design objects that celebrate the beauty and uniqueness of nature.
https://www.studiodwarshuis.com/
@studio.dwarshuis
Water Purifier explores a post-plastic future through a three-part installation that reimagines the domestic water purifier. Rather than proposing a simple material replacement, the project examines how products might evolve through repair, regeneration, and coexistence with living systems. Made from Earthware, each purifier represents a different stage of transformation, gradually shedding its plastic body until only the essential nozzle remains emerging from living soil. The work questions whether sustainability should be understood not as permanence, but as an ongoing process of adaptation between products, materials, humans, and nature.
Website
https://www.linkedin.com/in/
Instagram
@b_gmmm
Kosima Lighting is a sculptural floor lamp that explores the intersection of craftsmanship,
materiality and light. Hand-built ceramic modules create an irregular outer shell through
which light escapes, emphasizing texture, depth and the individuality of each piece. The
object functions both as a luminaire and as a sculptural presence, creating atmosphere
through ist warm, diffuse illumination.
The lamp has an overall height of 1610 mm, a tube diameter of 110 mm and a base plinth of
180 mm diameter. The lamp is dimmable.
www.cortomagdelft.com
@cortomagdelft
Material Studies presents the latest developments of Small Factory Ring through an exploration of new materials.
Designed by Japanese contemporary artist Kaori Tazoe, Small Factory Ring is a modular jewelry system in which interchangeable ornamental Heads are screwed onto a Base Ring, allowing the wearer to continually reconfigure the ring’s appearance.
Tazoe collaborates with specialised, small-scale precision metal-processing factories in Tokyo, originally producing tiny components for medical equipment. Each piece is produced in small batches by skilled craftspeople using precision machinery.
This presentation introduces new Heads made from mother-of-pearl, abalone shell, Moss Agate, and Lapis Lazuli in three distinct cuts as well as white enamel. Each material contributes its own color, texture, and character while expanding the possibilities for personal expression.
By combining industrial precision with natural materials, Material Studies explores how a single jewelry system can offer both a clear design concept and the freedom to create a ring that reflects the wearer’s own style.
Why spiral phyllotaxis? The pattern in a sunflower’s head is the question Bastiaan Luijk keeps returning to. In the lamps, it has an answer: printed as a whole field, the pattern brings nature close and lets it be experienced in new ways. The shelves leave the question open. Zoom in, crop a cluster of cells from the larger field, and the qualities of the whole no longer apply. What qualities does this local structure hold instead, and how can such an intricate pattern be built modularly, and used?
That open question takes shape as Luzon: a modular shelving concept to build and grow, made with Circulair Warenhuis in Leiden from solid wood panels of secondhand furniture no longer sellable in thrift stores.Baguio and Flores have evolved through many iterations into the table lamps they are now, printed in PHA – a bioplastic that degrades in any natural biotope without microplastics. The same intricacy that makes printing sensible for the lamps, applies to Luzon at another scale: variations in cell shape are resolved in the joints. While there are only a few archetypes, every joint is unique – designed for digital fabrication and printed in recycled PETG.
When material leads, form follows.
During Dutch Design Week, Studio Sam Linders presents her work at Piet Hein Eek. The collection consists of ceramic objects that emerge through the material itself. By experimenting with different types of clay, form, colour and texture develop naturally. The outcome is not predetermined but evolves through the making process.
The objects are left unglazed on the outside, allowing the natural qualities of the clay to remain visible. Each piece is unique and carries the traces of its own making.
Situated between design and sculpture, Sam explores what happens when the material takes the lead. The result is a collection of quiet objects with a strong physical presence.
WEBSITE: www.samlinders.com
Crossing Borders is a collection of contemporary objects exploring the spirituality, memory, and cultural identity embedded in African craftsmanship.
Using African artisanal techniques, the collection brings together hand-woven leather chairs, hand-engraved stools, handmade rugs, and hand-painted sous-verre artworks. Each piece creates a dialogue between ancestral knowledge and contemporary design, revealing the gestures, symbols, textures, and stories carried through generations of craftsmanship.
The project draws from the spiritual dimension of African craft — where making is not simply a technical process, but a connection between the hand, the material, the community, and the world around us. Wood, leather, textiles, and glass become vessels for memory and cultural expression.
Through Crossing Borders, EFASA Moto explores what happens when heritage travels: how traditional techniques can evolve, cross geographical boundaries, and enter new contemporary contexts without losing their soul.
The collection celebrates craftsmanship as a living language — one capable of connecting past and future, Africa and the world, tradition and innovation.
Ultimately, Crossing Borders is an invitation to experience African craftsmanship not only as design, but as a form of storytelling, spirituality, and cultural continuity.
Website
www.efasamoto.com
Instagram
@efasa_moto
AWAI no ISHI is a series of works born from the encounter between glass and stone. “Awai” refers to the space that emerges where different things overlap.
Stones, shaped by nature over millions of years, carry traces of landscapes and memories. In contrast, blown glass takes form in a brief moment through heat and the human hand, changing its expression with light and reflecting the present moment.
The two materials originally exist within different realms: nature and the artificial, memory and the present, and different scales of time. Yet when they overlap within a single work, these contrasts gently dissolve and their meanings begin to shift.
AWAI no ISHI explores this “awai,” where opposing elemKASAents coexist and new landscapes quietly emerge from their encounter.
The works combine stones collected from coastlines with blown glass, while also incorporating discarded glass from the making process. By focusing on stones often overlooked as part of the landscape and glass fragments not valued as products, the project creates new relationships while preserving their forms and traces, reconsidering the value already present within them.
The English word ‚to animate‘ originates from the Latin word ‚animare‘, which translates to ‚bring life‘ to something.
A good example of this original meaning are animation movies, where a stationary picture becomes ‚alive‘ through the optical illusion of movement.
But there is more to it. Each single drawing tells a story, but only if we watch them in succession with other pictures can we start to grasp the deeper meaning of the movie.
I have always been fascinated by the idea that all physical things could contain some sort of ‚life‘ or ‚anima‘, which turns rather ordinary objects into something meaningful that deserves to be treated with a certain amount of respect.
My ‚Play Anima Sculptures‘ originated from the idea of giving new ‚life’ to leftover pieces from my old works that, for me, already contained a meaning or memory.
‚Play Memory Structures’ are in some way a continuation of my ‚Play Anima‘ concept. They combine old pieces from my workshop with objects that were once part of somebody else’s life. Each element, no matter if it was manufactured by my own hands, gifted to me, bought at a flea market, or found on the roadside, has its own meaning and tells its own story, just like a single picture in an animation sequence. But as a part of a ‚Play Memory Structure‘ all pieces can serve as a projection surface for the associations and memories of other people, gain a new meaning as a unit, and become ‚alive‘ again.
My work explores the relationship between color, line, form, and the balance of weight and lightness in natural materials. Using silk and hand-spun wool dyed with colors extracted from plants I have grown or gathered, I weave to explore what can emerge through the encounter between nature and myself.
The design and development process of our first Original Sneaker, showcasing the initial production run in three available colorways. These can also be tried on, and remaining sizes are available for purchase. Additionally, we present the sample of our upcoming production: Industrial Garbage — featuring material choices and our uniquely designed circular sneaker bag made from leftover materials, replacing the traditional shoebox.
Instagram: @hey_silke_design
Re:Layered is a collaboration between Silke Grimmelmann and Angharad Summers, transforming recycled plastic and rescued timber into meaningful, high-quality objects. Each piece tells a story of reinvented waste and action.
website: www.angharadsummers.
Instagram: @angharad_summers_
Re:Layered is a collaboration between Silke Grimmelmann and Angharad Summers, transforming recycled plastic and rescued timber into meaningful, high-quality objects. Each piece tells a story of reinvented waste and action.
Stoksel designs are driven by the interaction between light, material, and form. Drawing on
ancient techniques such as enamelling and applying them in contemporary ways, Stoksel
creates tables and cupboards that are both tactile and visually dynamic. Anna UitdeHaag
and Bart Stok form the heart of the Stoksel studio, which is based at Mietair, Artist in
Residence, in Beers, the Netherlands.
Tables
The tabletops are crafted using fused glass on stainless steel, creating surfaces that shift with
the light. Colours deepen and reflections move as the day progresses, allowing the tables to
transform with their environment. Each piece is a composition of contrast: opaque and
transparent, robust and delicate, smooth and textured. These tables are not static objects —
they are experiences of changing light, surface, and depth. Designed to catch the light in
ever-changing gradations.
Cupboards
The same sensitivity to light and contrast is present in Stoksel’s cupboards. Built from a
dialogue between aluminium and wood, the cupboards explore the balance between
openness and enclosure. Their open structures allow light to pass through, casting patterns
and shaping the interior. Light becomes an active designelement, not just revealing, but also
accentuating the sense of shelter and intimacy within.
Each cupboard is a composition of lines and light, a sculptural quality that invites a slow
gaze.
www.stoksel.com
instagram.com/stoksel_furnituredesign
Broken Reflection is a collection of works that brings together ceramic and traditional Iranian mirrorwork (Āyeneh-kāri), reinterpreting this centuries-old craft through a contemporary sculptural language. Each piece explores the dialogue between material, light, and perception, where the act of reflection becomes both literal and symbolic.
Fragments of mirror and clay come together like traces of memory, transforming brokenness into beauty. The surfaces shift and multiply, inviting viewers to see themselves within the fractures — where identity, tradition, and emotion intertwine. Through this meeting of craft and concept, Broken Reflection reflects on themes of displacement, fragility, and renewal, turning the broken mirror into a poetic metaphor for transformation and the reconstruction of self.
Saudade Collective is dedicated to creating timeless objects that fuse craftsmanship with contemporary design. Each piece is carefully handmade in collaboration with skilled artisans. Together we create objects that feel both poetic and functional, combining traditional techniques with a fresh, modern aesthetic. Our glass utensils, for example, embody this balance – designed not only to serve but also to spark joy in everyday rituals.
These wall hangings by designer Robert Knight are the result of a
research phase in collaboration with TextielLab. The work explores how
biobased yarns, made from corn, can be applied within the realms of
interior design and architecture.
These textiles use a technique in which the structure reveals two
distinct faces. Each piece has its own surface and colour combination,
subtly shifting depending on perspective and light.
Collaboration with TextielLab, Hazenberg, and KAW Architects has been
essential in grounding this experiment within a broader design practice,
where material research, craftsmanship, and architectural application
come together.
This work represents an intermediate step in a longer trajectory. It is
not a final product, but a tangible phase of research: how can new,
sustainable materials become not only functional, but also aesthetically
meaningful? In this way, the wall hangings are both study objects and
autonomous works – an invitation to reimagine the future of textiles and
architecture.
@: info@robertknight.nl
www.robertknight.nl
www.instagram.com/eat_it_yours
Discover SKUA’s new accessories collection: “The Survivor.” This first ready-to-wear collection marks a new
chapter for the brand, distinguishing itself from the couture collections under the name SKUA Studio and
now also focusing on more accessible pieces under the name SKUA.
“The Survivor” is a powerful tribute to instinct, fighting spirit, and the wild nature. Inspired by the urge to
survive, this collection combines elements from the sports world, such as tennis, with the raw energy of natu
re. Whether in sports or in the jungle, the struggle is to outlast the strongest—a universal theme reflected in
every product. SKUA remains committed to its craftsmanship and always fights to preserve the artisan skills,
which is expressed in sustainable, functional accessories you can wear every day.
The collection captures the vibe of the early 2000s, a period that still resonates in SKUA’s creative energy. The
feelings of rebellion, strength, and perseverance are reinforced by Destiny’s Child’s song “Survivor,” which is
often played in the studio during late nights—a soundtrack for racing against the clock for a fashion show,
and for those who constantly seek to reinvent themselves.
With “The Survivor,” SKUA presents a collection that is not only stylish but also a statement of strength and
resilience. Ready to wear, rugged, and meaningful—the collection for the trailblazer in motion.
Rob Henderson and Ariane Stracke-Henderson, have created a minimal, lightweight, and comfortable rocking chair using LFAM (Large Format Additive Manufacturing). The design combines elegance with industrial-scale 3D printing, featuring a single continuous surface that also creates a custom infill pattern that forms part of its identity. Developed with and produced by Nagami, the Septa Chair can be produced in a day, and is available in serial production and limited editions.
Ciavuru, meaning “scent” in Sicilian, is the title that encapsulates the olfactory and emotional core of this collection. These worksdraw on past social and sensory dynamics, reactivating them with a grammar that rejects sterile rationality, offering insteadpermeable objects imbued with history and intimacy. Scent thusbecomes a trace of collective memory, not nostalgia, buttransformative action.
Babbasune, table lamp x2
Babbasune is a compact, flexible table lamp that responds to user interaction. The textile base allows it to bend and tilt, altering both light direction and form. Made of plaster, metal, and leather, it combines structural clarity with expressive movement.
Picciriddu Floor Lamp
Picciriddu is a floor lamp made from wood, plaster, and hand sewn leather. Its flexible leather extension spans over three meters, balancing rigidity and softness in a dynamic, sculptural form. As it moves, light shifts, creating an interactive experience that blends precision with fluidity.
We create interactive designs where material itself plays a big role in
shaping the final outcome. Instead of forcing a form, we explore how
the properties of materials can be stretched, deformed, and used
as active components in the design process. It’s like a collaboration
between user and material, both defining the final shape.
Founded by Marie van der Kroft, the studio focuses on interaction
within design: objects are not static, but respond to their environment
and the user. Through experimentation and research, the material
itself plays a big role in shaping the final outcome. It’s like a
collaboration between user and material, both defining the final
shape.
Atelier Makr works on both self-initiated projects and commissioned
works, constantly pushing the boundaries of material use, tension,
and transformation. Each design is an invitation to explore.
The studio believes in a design where the material helps shape
the final result, creating a dialogue between object and user.
Willem Zwiers is a Dutch designer who graduated from the Design Academy Eindhoven in 2023. His work balances between art and design, exploring the boundaries of materials and production techniques. During Dutch Design Week 2025, he presents a selection of new and existing works at Piet Hein Eek: from ceramic objects that experiment with unconventional methods such as inflating clay and extruding with a modified meat grinder, to new designs from his Transformed Remnants series and objects developed in collaboration with Cor Unum. The exhibition showcases a collection of experimental designs that point towards the next steps in his practice.
Atelier Willem Zwiers
“Work In Progress”
https://www.instagram.com/willem.zwiers/
atelierwillemzwiers@gmail.com
The plain MDF T-desk
MDF is a material that is usually covered with an opaque color, but here it is used precisely for its characteristic grain.
The pink T-armchair
MDF is usually not associated with strength, but in the T-collection it is used in a slender way as a construction material.
This stays T – outdoor furniture
This collection of outdoor furniture is designed so that, through the right design, materials, and construction, furniture is created that weathers over time but does not deteriorate.
Treehouse
A real treehouse can’t be ordered. You build it yourself.
That’s why we struggled a bit with how to respond positively when a client asked us: “Can you design a treehouse for us and guide its construction?” Because in our view, a child plays the longest in a treehouse that he or she has built, rebuilt, taken apart, and rebuilt again.
We then came to the conclusion that the best way to help was to design a product that forms the basis and ensures that any sturdy tree can become a suitable tree. From that base, children can hammer away to turn it into a treehouse, a boat, or a spaceship.
Website: www.lucas-vanstratum.nl
Instagram: lucasenvanstratum.nl
Strong cuts, precise constructions, and high-quality materials are the guiding principles towards function and
shape.
It is a continuous developing collection where with every series of bags & garments, high quality
woven fabrics, know-how and skills from the ethno cultural origins of the materials are studied and
subsequently interpreted in each individual pattern language.
I work with the material as the starting point of my creations.
I approach a new bag, coat, or garment by the textile itself, manipulating the fabric, exploring the natural raw
materials like linen, cotton, and pure wool.
The development of the collection is a very organic process.
It consists of timeless versatile pieces that transcend seasons through the conscious selection and application of
the textile materials.
SENNES wishes to encourage a more ethical and responsible approach by proposing a
‘Made to order ‘principle. I present my collection pieces along with, and according to available fabrics and only
when ordered each item is individually crafted.
Manufacturing takes place entirely in Portugal in my own work studio.
Website WWW.SENNES.ORG
Instagram @sennes_neledeblock https://www.instagram.com/sennes_neledeblock/
Facebook https://www.facebook.com/sennes.org/
Humor is rarely seen as a serious design method, yet it has the power to challenge conventions and reshape how we relate to objects. In these light pieces, humor becomes more than decoration: it is a tool for disruption and curiosity. Familiar forms are altered, their function questioned, and their role within space renegotiated. This playful tension between illumination, material, and expectation undermines the rigidity of conventional design and opens new perspectives. Humor has always been essential to life — why not to design?
Eindhoven, September 2025 – During Dutch Design Week (18–26 October), artist Wijnand
Driessen will present his monumental cardboard sculptures in the exhibition space of Piet
Hein Eek in Eindhoven. Visitors will be fascinated by how he transforms cardboard, often
seen as a leftover material, into works of art that are both detailed and layered.
For Driessen, cardboard is not waste, but a material full of potential. Layer by layer, he
constructs sculptures that evoke stories of what once was, what is, and what might have
been. His work moves between strength and fragility, between play and rediscovery.
“Cardboard gives me the freedom to create childlike fantasy worlds,” says Driessen. “I can
build and play with it as if it were a toy, yet on a scale that raises questions and sparks
imagination.”
With his presentation at Piet Hein Eek, Driessen invites visitors to pause and reflect on the
value of the temporary. His work is an invitation to look again, not at what cardboard is, but
at what it can become.
www.wijnanddriessen.com
https://onedrive.live.com/?qt=allmyphotos&photosData=%2Fshare%2FD522FD833EC3352B%21s4181b71456e5421c919a8400a5bb1dd1%3Fithint%3Dvideo%26migratedtospo%3Dtrue&cid=D522FD833EC3352B&id=D522FD833EC3352B%21s4181b71456e5421c919a8400a5bb1dd1&redeem=aHR0cHM6Ly8xZHJ2Lm1zL3YvYy9kNTIyZmQ4MzNlYzMzNTJiL0VSUzNnVUhsVmh4Q2tacUVBS1c3SGRFQm9CLV9LSk5IZVVzRmRqOTRtS1ZweWc&v=photos
Zaiye is an independent, one-woman brand based in Germany, entirely handcrafted by product designer Zhihui. The name of the brand comes from the Chinese word “在野” (Zaiye), meaning “in the wild,” inspired by the idiom 如花在野 — like flowers blooming freely in nature. ZAIYE transforms natural elements such as fruits, flowers, vegetables, and nuts into playful, tactile objects that bring beauty and delight into everyday life.
At this year’s Dutch Design Week, I will showcase a selection of bold and playful products. These include ’freshly baked’ waffles lamps and keychains made from recycled plastic, bow-shaped bouquet bags crafted from leftover truck tarp materials, and stress-relief objects made from silicone originally used in soft robotics. Come and discover a unique piece for yourself!
@zhihuidesignstudio / zhihuidesignstudio.de
Drawing inspiration from nature, Natsuko Mizushima, a Japanese artist based in Berlin, creates jewelry and objects from natural materials, incorporating silver. Her work highlights the beauty of the natural world by observing, collecting, and processing materials to reveal their unique properties.
This necklace is not merely an adornment, but a symbol of blessing. Created with gratitude and a wish for the richness of the environment that sustains our lives, it reflects the ever-changing nature around us.
By wearing it, we hope it serves as a gentle reminder of the connection between the wearer and the natural world.
In this exhibition, Natsuko will also present collaborative works with beading artist Alina Naomi.
By combining their creative practices, they explore new dialogues and forms between materials, highlighting the possibilities that emerge through collaboration.
website: liledeau.net
instagram: instagram.com/lile.deau
Egglamp is a fun lightbulb made from real eggs. We handmade them at our studio in Amsterdam. We could not do it without the chickens. This year we present a very special egg, that has been broken into a thousand pieces. A collaboration with Japanese artist and designer Ayano Koda.
Products emerge from the observation and experimentation with materials, taking shape as everyday objects.
Circular Warenhuis and designer Max Lipsey are working in Leiden on tableware and terrazzo made from residual streams. Their project shows how recovered materials can be transformed into sustainable designs and highlights the value of reuse and circular design.
Dutch Design Week calls for boldness.
Lartura responds with light that refuses to play it safe.
Iconic Lighting as sculpture: circular by origin, eccentric by nature, provocative in presence.
Bright Future is not a promise, but an act.
Unique, acoustic wall decoration
DotDotDo® is unique modular wall decoration made of thick acoustic felt, combining high sound absorption with personal design. Through an interactive configurator, you can playfully create your own image. The product is locally produced, circular, and recyclable.
Patented Design: Enrique Jungbauer x Rodney Glick
ORDINÆRE ® is a chair for rooms that trade in ideas: the client suite of a law firm in New York where assurance and wit matter; the boardroom of a London ad agency where concepts earn their keep; the quiet of a high‑end gallery in Tokyo where seating can be sculpture; the charged spaces of architecture biennales where objects argue in public. It is a contemporary meeting chair—for extraordinary meetings, for chair aficionados, for people determined to live an original life.
@ordinaere.official
RE/CRAFT integrates sustainable and creative design,artistic expression to guide the public to think about the relationship between humans and future.
RE/CRAFT project hopes to explore the delicate relationship between humans and the environment through artistic practice. Sustainable materials are a perfect theme to connect art, the public, and the environment. Recycled wood, scrap metal, biodegradable plastics, recycled clothes, magazines and even organic plant fibers have become a language in the hands of artists.
Through these media, RE/CRAFT attempt to construct a new aesthetic that allows viewers to not only see the works themselves, but also to reflect on the resource flows, ecosystems, and our shared future behind them.
We are a collective of six emerging designers from Design Academy Eindhoven. Brought together by curiosity and collaboration, we share our work as part of an ongoing journey of learning, making, and growing in design. Our collective relies on us coming together as individuals with different projects and approaches that compliment one another and become one cohesive exposition.
Levi Lingerak – @levilingerak
Clara Kovacic – @clra.design
Jaan Van Rompaey – @studiojaanvanrompaey
Jorrit Ruijs – @jorritruijsdesign
Marten Bijlstra – @studio.mert
Livia Hultermans – @_studio.livia_
I continue the work that my father, Nob Ruijgrok, left behind. His love for craftsmanship forms my foundation, but I put my own spin on it: with passion, a fresh perspective, and my own signature. Each piece of furniture is created step by step, with care and precision.
So much is thrown away in our society. When I came across a piece of old tram rail, I decided to turn it into a candle holder.
By carefully cutting and drilling the metal, I was able to create a unique and striking piece that reflects the industrial history and character of the vibrant city of Amsterdam.
Ply One’s Wares: A series of furniture made from poplar plywood and
meranti. A reflection of roots between the cultures I lived in.
Poplar is a tree that grows a lot in the Netherlands. Historically,
the dutch clogs are made from that. Meranti is a wood that grows in
the South East Asia region. I am familiar with it growing up in
Singapore. I used it during my design and technology classes. I made
my first namecard holder when I was 14 years old from it. I was
definitely very surprised how much the construction industry in
Netherlands uses this wood. In true dutch spirit, it is seen as the
affordable hardwood. And also they really have a nice warm brown tone.
The texture is made together with @nieuwenostalgie , a company in
Eindhoven that restores 2nd hand furniture with a social mission that
provide jobs to people who don’t have access to the labor market.
Website: www.zavierwong.net
Instagram: @zavierwong_
“Kaori to Kioku” is a design project based in Japan and the Netherlands.
Our collection features beautiful hand-made ceramic / lacquerware incense holders, some with botanical motifs using 100-year-old moulds and others
made with traditional Japanese potter’s wheel techniques.
All incense sticks are 100% natural and plant-based.
These organic incense sticks are free from chemicals. All products are made in Japan.
We connect the worlds of craftwork and scent with the concept of redesigning traditional design.
Structures and patterns from manhole covers, drainage systems, or metal constructions form the starting point of my work. I create ceramic tiles from structures I encounter not only in the Netherlands but all over the world. From these, I press the most interesting sections into clay. Once the clay has dried, the tiles are painted to highlight the patterns. The coordinates of the place where they were found are then engraved on the back, after which the tiles are glazed. During Dutch Design Week, a selection will be on display. Each tile is a unique piece for the wall.
www.corinebarendregt.com
https://www.instagram.com/corine_barendregt/
ARCEO Flow is part of our new light, fluidity, and movement exploration. Its curves evoke the
fluidity of a freehand-drawn line while engaging in dialogue with the surrounding space. The
pieces integrate into architecture like a luminous trace, light, and sculptural. Each thermoformed
plexiglass tubes hold a 360° LED neon, set into a precision-machined aluminum base. ARCEO
Flow explores the boundary between installation, drawing, and luminous object.
The series was presented for the first time at the Good Selection exhibition in Milan in April 2025,
a show curated by Lucas Zito and Marika Caputo.
All the luminaires are designed, manufactured and assembled in our own workshop. Being based
between France and the Netherlands allows us to bring together two design cultures: the poetic
and sensitive tradition of French craftsmanship and the experimental and innovative approach of
Dutch design. This fusion feeds a singular practice that questions the place of light in
contemporary space.
Designer Philip Bogaerts explores sustainable design with the Mohs Armchair & Echo Side Tables. The Mohs Armchair embodies Dutch minimalism, designed with the future in mind to allow for easy material separation or repair. The Echo Side Tables are an experimental project, crafted from playful leftover shapes of recycled material from the Bogaerts Butler table collection. The half-round cutouts of the original panels leave behind organic forms that form the basis of the Echo tables. The name Echo refers to how these shapes resonate like an aftersound of the original tables. Together, they create a dialogue between structure and flow, leftover material and value.
Our collective has recently developed a new material that is made by cutting an intricate pattern into plywood and filling the voids with a flexible polymer. We can vary the cut patterns across the material surface to provide locally customised properties according to the specific requirements of a particular condition. Combining polymer and plywood in this new way creates a strong, multi-pliant, and thin sheet that can be used in a range of cool applications.
https://www.wasatchdesigncollective.com/
Amidst the noise of progress and the endless pursuit of more, you’ll find a space where time stretches out. A place that feels like home, detached from urgency. With tables that seem to wait for someone to join, a chair that doesn’t call out but gently invites, and lamps that don’t demand bright light but whisper softly. The furniture is not just designed to live with, but to pause with. Each piece, from candleholders to coffee tables, is born from the mind and hands of a single maker. One project, one focus, one story. These pieces ask for nothing. They simply are. And that is where their quiet strength lies. The shapes combine softness with edge, round with angular. A subtle nod to the seventies, when contrast was embraced. Freedom wasn’t a trend, it was a way of life. That spirit lingers here, without shouting. You recognize something, but it shifts just enough to make you look again. What you see is wood. What you feel is intention. Each design begins as a sketch and slowly becomes reality. Nothing here is rushed. As the furniture slows down, so will you. This is not a space for noise. This is a place to remember how things could be. Come closer, the furniture says. But don’t rush
VAN-Jorn builds unconventional campers for unconventional people. Modular and fully customizable. The VAN-Jorn Adventure is the latest model from VAN-Jorn, combining a tough, rugged look with the striking design of our interior modules — inspired by organic forms from nature, giving your camper a unique and warm character.
https://www.facebook.com/vanjo
During DDW at Piet Hein Eek, Margriet Foolen will present, among other things, felt vases. These vases are made from discarded, used clothing and uniforms, such as those from the military and KLM. All this discarded textile is shredded and turned into felt in The Hague by I-did. The I-did factory is the only one of its kind in the world to bring a fully circular felt chain together under one roof. This beautiful felt also forms the basis for a social mission: helping long-term unemployed people back into work.
Inspired by the softness and strength of the felt, Margriet Foolen designed a series of vases. Each vase is cut by her on the cutting table and then stitched together. By using an existing glass bottle over which the felt vase is slipped, a new product is created without the need for new raw materials.
Jo Foulon and Stoffel Van Verrewegen are childhood friends with a shared fascination for
remarkable objects. Jo is a visual artist working – among other – with glass. Stoffel is a
craftsman specializing in wood. Two crafts, two materials, two temperaments that both
reinforce and challenge each other. The resulting objects are functional, but always
ingrained with a poetic quality.
At Dutch Design Week, they will present their first collection of three objects. This work
showcases the dialogue between their contrasting approaches and preferred materials.
These pieces embody the core of their collaboration: the harmonious tension between
glass and wood, precision and intuition, and function and poetry.
https://foulonvanverrewegen.be/
https://www.instagram.com/foulon_vanverrewegen/
For me, it’s absolutely clear: art cannot exist without marketing. In fact, I see marketing itself as an art form. I explore how I can use the marketing strategies of major brands like Jacquemus and Gucci to draw attention to my own work. With this in mind, I’ve chosen to present myself under a brand name: Aesthetic Studios. This allows me to create more distance and volume, while highlighting the remarkable power of marketing.
Welcome to the world of Aesthetic Studios.
How can design help us eat more consciously, waste less, and reconnect with the rhythms of nature? In Poma/Olera – setting a future food table, House of Thol brings together centuries-old knowledge and contemporary challenges in a layered installation featuring food-saving designs, research visuals, and tangible insights. An invitation to awareness and change — at the table.
https://www.instagram.com/houseofthol
https://www.facebook.com/houseofthol
Project 1830 by Tulisan (Jakarta, Indonesia) embodies a multidisciplinary dialogue, blending illustration, slow fashion, literature, and extended reality. The cross-platform experience bridges wearable artefacts and digital scholarship through QR-linked cognitive exhibitions. Each artefact is a collectable, limited-edition artisanal serigraph, sustaining a circular economy. The project reframes the complex histories of Java and harnesses visual methodologies to “reverse the gaze,” transforming colonial aesthetics into a platform for Javanese storytelling. We reinterpret historical lithographs from the British Library and Rijksmuseum, drawing aesthetic references from Delft Blue, Azulejo, and Toile de Jouy—to reconstruct missing narratives and addresses ruptured cultural identity of Java.
website: https://tulisan.com/
Social media: @mytulisan
Studio HKA is a one-man business run by Hannes Backer, focused on designing and building LED lighting. During DDW, he will present his current lamp, the Fish, alongside his newest lamp, the Ginkgo. This lamp is inspired by the Ginkgo Biloba tree and, like the Fish, is a pendant lamp made from thin steel rods with integrated LED lights.
Philosophy: Hannes prefers to do everything himself — from designing prototypes to making the lamps. He even builds and uses all the tools needed to create them. His designs are minimalist in nature, and he favors natural materials and locally produced components.
https://www.instagram.com/studiohka/
https://www.linkedin.com/in/hannes-backer-ab58704/
At Relooped by You, you can turn your own drawing — or your child’s — into a custom-knit
scarf or blanket.
We transform spontaneous sketches, heartfelt doodles, and detailed illustrations by artists
into soft, wearable stories.
No drawing skills needed, just imagination.
With every unique piece, we challenge throwaway culture by creating something that lasts:
made-to-order, sustainably produced, and full of personal meaning.
A memory you can wear — knitted with care.
Website: https://www.relooped.nl/
Instagram: https://www.instagram.com/relooped_by_you/
Facebook: https://www.facebook.com/reloopedbyyou
Tik Tok: https://www.tiktok.com/@relooped_by_you
Three-dimensional wall objects and mirrored surface elements for interiors
https://www.schittny.de/tubes-info
https://www.instagram.com/schittny/
YUAN explores the tactile and emotional connection between humans and porcelain through the simple yet symbolic shape of the circle. The unglazed and glazed surfaces invite touch, creating a sensory moment of stillness, warmth and presence. This collection aims to slow us down — to feel, to hold, and to reconnect with form through the senses.
Designed by Japanese contemporary artist Kaori Tazoe, Small Factory Ring features a unique screw-on system that lets you pair a Base Ring with interchangeable ornamental Heads—offering endless customisation. Since its 2014 launch, the collection has expanded to include classic materials such as pearl, jade, and lapis lazuli, all with a modern twist, as well as an attachment for earrings—making it even more versatile. Created for all genders.
https://www.tran-scape.com/
https://www.instagram.com/tran_scape/
In every imaginable field, the world is in transition: climate, energy, food supply. We are not living in an era of change, but in a change of era. At the heart of this storm of upheavals lies the agricultural sector. Intensive farming and industrial livestock breeding are depleting the earth. That things must change radically is clear. But with that change also comes the risk that a deeply rooted and cherished farming culture will disappear from our society forever.
Project TRANSFARMATIONS gives discarded agricultural machines and tools a second life. Our farming heritage, reshaped for the future. In wrought iron, cast iron, and sheet steel: shaping the past.
Studio Paulus is based in a 400-year-old farmhouse. From materials found on the farmyard, Paulus creates furniture and art objects. Like the WheelChair collection, a series of tables and chairs made from brightly colored old tractor wheels. Or Scarlett Ibis, with cast-iron wings from a beet cutter and a scythe for a beak. The Oryx has antlers made of a pitchfork. The work Skull of a Woolly Dwarf Mammoth is made from the iron seat of a tractor and the runners of a sleigh. The 1960s oven from the former farmhouse kitchen was incorporated into the installation Sunday Roast.
Bold Objects, Playful Presence
BLUBA Studio presents a collection of sculptural interior objects that blur the line between function and expression. Combining large-scale 3D printing in biodegradable PLA with precise steel elements, each piece is crafted in small batches to minimize waste while maximizing individuality.
Material Dialogues
Inspired by the Memphis Group and Space Age aesthetics, the designs embrace curved, rhythmic geometries and vibrant color. The contrast between layered, printed surfaces and crisp metal details creates a tactile and visual tension, turning everyday furniture into collectible design pieces.
A Unified Universe
From modular lighting to stools and tables, BLUBA Studio builds a cohesive yet eccentric world of domestic objects — grounded in sustainability, animated by bold form, and elevated by a hint of mischief. These are objects that anchor spaces, spark curiosity, and invite a closer look.
OBJETFORMT is a design brand that explores objects as structured formats—intentional, minimal, and quietly conceptual. We work between product and practice, between form and code, using format as a design language.
At Dutch Design Week 2025, OBJETFORMT presents its debut lighting collection: the STACK series. Rooted in digital logic and 3D printing, the series takes inspiration from overlooked, everyday paper packaging—disposable containers, recyclable trays, stacked boxes by the door. These forms, typically designed to be thrown away or ignored, are reimagined as vessels for light.
Each object in the collection is based on the universal geometry of the box: modular, spatially neutral, and quietly familiar. But instead of suggesting containment or waste, these objects emit light. The paradox is intentional—a box that reveals rather than hides, a container where light is not stored but transmitted.
Produced in matte, non-organic PLA surfaces via additive manufacturing, the pieces subvert the softness usually associated with 3D-printed forms. Visitors will encounter six distinct lighting forms, composed in a spatial installation that evokes stillness, structure, and subtle presence. Numbered 1 to 99, each light exists within a defined edition—emphasizing the tension between reproducibility and individuality.
This logic echoes the brand’s interest in system and identity, format and function. More than decorative objects, the STACK series invites viewers to reconsider how light can live in space: not as a spectacle, but as quiet matter. It is not the form alone, but the act of placing, numbering, and formatting that completes the work.
Bold Objects, Playful Presence
BLUBA Studio presents a collection of sculptural interior objects that blur the line between function and expression. Combining large-scale 3D printing in biodegradable PLA with precise steel elements, each piece is crafted in small batches to minimize waste while maximizing individuality.
Material Dialogues
Inspired by the Memphis Group and Space Age aesthetics, the designs embrace curved, rhythmic geometries and vibrant color. The contrast between layered, printed surfaces and crisp metal details creates a tactile and visual tension, turning everyday furniture into collectible design pieces.
A Unified Universe
From modular lighting to stools and tables, BLUBA Studio builds a cohesive yet eccentric world of domestic objects — grounded in sustainability, animated by bold form, and elevated by a hint of mischief. These are objects that anchor spaces, spark curiosity, and invite a closer look.
Squish, mix, press — with Cubcho, the child-friendly press that turns old paper into strong,
colorful blocks. Using only paper, water, and natural materials, it’s a hands-on way for
children to design and create their own toys while learning throughout the whole process.
Built like something you’d find in a proper workshop, Cubcho feels like (and truly is!) a real
tool, filling young makers with excitement and pride by putting them in charge — from
mixing the pulp to pressing and shaping their next block. The results? Unique, textured cubes
that spark building, storytelling, and creative exploration.
Designed for curious minds aged 3 to 12, Cubcho grows with them — and invites adults,
educators, and people of all abilities into an eco-friendly, multi-sensory learning adventure.
At DDW @ Piet Hein Eek, you can mix and press your very own block to take home.
ROTORAMA explores the phenomenon of rotation through objects that capture movement as if they are frozen. Using materials such as plaster, tin and aluminium, I create forms that reveal the dynamic and force of the rotation principle. The process embraces chance and material interaction at the same time. These studies evolve into creations that carry the essence of movement into everyday objects.
Three objects, three everyday shapes… each with a previous life. In the studio, they are given a new function: what was once a tin can, a dessert jar, or a milk funnel now serves as a mold for a sustainable and playful design.
The Korean word ‘Gyeol’ means the grain within material, a trace shaped by the accumulation of time and force.
I explore the endless possibilities of paper and the transformations that emerge through its grain. Using discarded materials such as newspapers and egg cartons, I build each layer by hand, allowing time and touch to settle into visible texture.
Some works reinterpret Korean traditional objects such as the Gyeongsang table, Sabangtakja, and Onggi jar, while paper lamps recall the memory of wood, hinting at the material’s quiet transformation. Through these processes, the grains of paper unfold into new forms, seeking sculptural and procedural possibilities that bridge material, hand and time.
The English word ‚to animate‘ originates from the Latin word ‚animare‘, which translates to ‚bring life‘ to something.
A good example of this original meaning are animation movies, where a stationary picture becomes ‚alive‘ through the optical illusion of movement.
But there is more to it. Each single drawing tells a story, but only if we watch them in succession with other pictures can we start to grasp the deeper meaning of the movie.
I have always been fascinated by the idea that all physical things could contain some sort of ‚life‘ or ‚anima‘, which turns rather ordinary objects into something meaningful that deserves to be treated with a certain amount of respect.
My ‚Play Anima Sculptures‘ originated from the idea of giving new ‚life’ to leftover pieces from my old works that, for me, already contained a meaning or memory.
‚Play Memory Structures’ are in some way a continuation of my ‚Play Anima‘ concept. They combine old pieces from my workshop with objects that were once part of somebody else’s life. Each element, no matter if it was manufactured by my own hands, gifted to me, bought at a flea market, or found on the roadside, has its own meaning and tells its own story, just like a single picture in an animation sequence. But as a part of a ‚Play Memory Structure‘ all pieces can serve as a projection surface for the associations and memories of other people, gain a new meaning as a unit, and become ‚alive‘ again.
“When material leads, form follows”
At Dutch Design Week, Sam Linders presents a unique collection of ceramic objects that balance between art and functionality. Each piece is shaped by the material itself, which guides the final form. Experimentation and working in dialogue with the material are central to her process.
The collection includes pressed objects, blown balloon forms, draped pieces, and works using the Obvara technique. Every object is one of a kind in shape, color, and texture. The pieces are grounded, honest, and sit at the intersection of sculpture and design.
On view at Piet Hein Eek during Dutch Design Week 2025.
https://www.instagram.com/aidanneuf
I’m Simon Schüler, an artist from Germany.
I believe that objects speak their own language.
I try to listen and understand what they are saying.
My work is not about creating something new,
but about revealing what has already been there.
To make visible what the object is saying.
Each work on display tells its own story.
All of these stories have one thing in common: skin.
Fabric sculpted in wax lamps
ANAN explores the meeting point of light, material, and memory. Each lamp is created using natural processes, indigo-dyed textiles shaped and preserved in wax. Indigo has a transformative quality: the fabric first appears green, then deepens into blue as it slowly reacts with the air. This gradual shift is part of the work itself, mirroring the way moments unfold in time.
Wax, in contrast, captures movement in an instant. It allows the fabric to freeze mid-motion, as if suspended between states. ANAN, meaning cloud in Hebrew, reflects this quality: the forms are loose, amorphous, and guided by intuition rather than control. Each piece is handmade, shaped by chance as much as intention—like a fleeting cloud momentarily held in place.
The pieces are sculptural yet intimate, inviting viewers to notice the subtle qualities of natural materials and the atmospheres they create. ANAN is less about an object and more about an experience: the quiet presence of light, texture, and the feeling of a moment preserved.
Instagram: @tamaralon10
Basically, just an eclectic collection of different things that we (jointly) create at the glassblowing workshop (de Oude Horn). 🙂
@nienke.sikkema
@bernard_heesen
After being awarded “Best Unreleased Product” for the Seminario section of the fair in EDIT Napoli 2023 and being nominee as a finalist in Isola Design Awards 2024, Lockwerk collection’s products by Giorgio Bena land in Eindhoven for the DDW 2024.
Lockwerk collection consists in stainless steel objects that flaunt and highlight all those connecting elements (such as screws and bolts) that are usually hidden in furnishing objects, and the entire formal development of the collection is centered on the possibility of these furnishings traveling disassembled within packaging reduced to their minimum.
The objective was to create furnishings with a strong authorial personality and a unique and recognizable identity that took into consideration elements (such as logistics and reproducibility) typical of an industrial product.
website: https://giorgiobena.com/
instagram: https://www.
One-off papier-maché masks by Park Pardon, the collaborative work of Dutch artists Bloeme van Bon & Geran Knol, based in Antwerp, Belgium. Park Pardon was founded in 2012 as a collaborative project that sees their individual work come together to form a new narrative across drawing, publication and sculpture.
“Schijngelaten” is an ongoing collection of masks that explores identity and the inherent use of masks used in celebrations and commemorations across cultures worldwide. Each individual mask is hand-formed using papier-maché techniques and hand painted, where each is one-of-a-kind.
https://teunzwets.nl
Hul le Kes is a designer label from Arnhem, known for its upcycled clothing. During Dutch Design Week, you’ll find a selection of unique upcycled designer pieces at Piet Hein Eek, made from vintage wool rugs and repurposed workwear. All Hul le Kes products are crafted in their own studio in Arnhem, which is also home to the Hul le Kes Recovery Studio. This studio is a place for the recovery of both textiles and people; while employees carry out handwork and repairs, they also work on their own mental well-being.
Website url https://hullekes.com/
Instagram https://www.instagram.com/hul_le_kes/
Facebook https://www.facebook.com/hullekesfashion/
LinkedIn https://www.linkedin.com/company/hullekes/
YouTube https://www.youtube.com/channel/UCwMzosjM4M8btRZENQQVsqA
Tiktok https://www.tiktok.com/@hullekes
Welcome to snackbar esthetica
Snackbar esthetica is an atelier space run by four artists / designers that create works collectively and individually.
Together, they present ‘not a snackbar’ in the Piet Hein Eek straat, where they have designed and build a pop-up installation to present unique furniture and artworks in their imaginary snackbar.
Website: snackbaresthetica.com
Instagram: @snackbar.esthetica
Gallery Untitled is the largest art gallery in Rotterdam, located in a monumental 1912 school building with four different rooms full of colorful and unique contemporary art. Our artists vary in subject matter, style, and approach, but they all share one unifying trait: refined skill and a great eye.
Photographer and art director Lenny Oosterwijk founded Gallery Untitled in 2011. Oosterwijk was the art director of the magazine Rails for many years, where he experienced his first successful years as a mentor and curator of artists—something he has now expanded to include managing Gallery Untitled.
At DDW, we showcase Carlijn Kingma, Floris Hovers, Sander Buijk, Wandschappen, Lenny Oosterwijk, Driessens en van den Baar, Telmo Pieper, and Hans van Asch.
GALLERY UNTITLED
Koningsveldestraat 14, Rotterdam.
Open: Friday, Saturday & Sunday 11:00 – 17:00
mail: info@galleryuntitled.nl
phone: +31 (0)651426758
site: www.galleryuntitled.nl
Step into the surreal world of WhiteNoiseDada! A five-year journey of bold colors, strange shapes, and wild creativity comes together in one must-see retrospective exhibition. Visit us at Atelier no.15, Piet Hein Eek, and explore how we turn waste into functional art. Discover unique designs that challenge the norms of consumer culture with humor, satire, and a rebellious spirit. Intrigued? Don’t miss this experience during Dutch Design Week!
Photocredits: Kaatje Verschoren
Bricks are made of earth but they are industrially produced and nowadays they symbolize a society which has been driven continuously by money and productivity.
Highlighting their subtile colors, their extensive textures and their graphical qualities, Aurélien Veyrat resets our vision : while looking at his columns or sculptures of repeated elements, we feel a confrontation between past and future, between low- and high-technology, between industry and craft.
As an archeologist, Aurélien Veyrat keeps, classifies, archives all the precious wastes he creates by sculpting bricks.
This parts inspires him new shapes and new associations. As far as his wastes go smaller, he has a new challenge.
Questioning the relation between decor and construction, with common elements we never care about, he develops his own imaginary spaces and let the visitors interpret scales and combinaisons in their own ways.
We can be moved by the beauty of these ruins while our world seems so troubled.
Website : www.aurelienveyrat.com
Instagram : @aurelien_veyrat
PET Lamp is an innovative project that transforms discarded PET plastic bottles into unique lampshades, blending design, craftsmanship, and environmental responsibility. Launched in 2011 by the Spanish designer Alvaro Catalán de Ocon, the initiative addresses the global plastic waste problem while promoting cultural exchange and preserving traditional craftsmanship. Since its inception, PET Lamp has expanded worldwide, collaborating with artisan communities in Colombia, Chile, Ethiopia, Thailand, Ghana, Australia, and Japan.
Each collection reflects the cultural heritage of its region, combining local weaving techniques with contemporary design, which not only promotes sustainability but also helps preserve indigenous crafts.
The project has gained international recognition for its social impact and creative approach to repurposing plastic waste. PET Lamp collections have been exhibited globally, serving as a model for combining design with environmental and social responsibility.
One of the latest projects by Alvaro Catalán de Ocón is the Frafra Tapestry, which stems from extensive research into Frafra family compounds in Ghana. Local artisans use elephant grass to weave these tapestries, visually representing the architectural plans of these compounds. This meticulous weaving captures the traditional layout of rooms, courtyards, and walls, reflecting the cultural heritage and daily life of the Frafra people. The result is a poetic, bicolor design that blends architecture with art, documenting a building tradition that is at risk of disappearing.
The PET Lamp Gurunsi collection takes inspiration from the same Frafra architecture. By abstracting the architectural plans, Catalán de Ocón and the artisans created large-scale, lamp shades woven from PET bottles and natural materials. These lamps feature interconnected circles around functional light points, casting playful shadows while serving as contemporary lighting solutions. This collection underscores the projects values of sustainability, community, and cultural preservation, emphasizing womens participation and solidarity in rural communities.
At the heart of PET Lamp is Alvaro Catalán de Ocón, renowned for his blend of simplicity, functionality, and social commitment. His work has garnered numerous awards, including Spains 2023 National Design Award, and is featured in prestigious museum collections, including the Centre Pompidou (Paris), the Victoria and Albert Museum (London), the National Gallery of Victoria (Melbourne), the Denver Art Museum, M+ Museum (Hong Kong), and the MAK Design Lab (Vienna).
Through projects like PET Lamp, Catalán de Ocón continues to push the boundaries of sustainable design with cultural dialogue.
The Electric Modular Van Camper VAN-Jorn
It’s finally here! The freedom of traveling with a fully-equipped van camper, now fully electric. The interior of the camper we will present at DDW 2024 is a true eye-catcher. Its rounded shapes, soft color tones, and open sightlines immediately draw attention. We like to highlight the materials so they can speak for themselves. With solid hardwood slats, raw aluminum, and matte Corian, this isn’t difficult to achieve. Come see how you can assemble your ideal (electric) van camper with our interior modules!
The project Onderhuids is part of a research initiative from Fontys School of Health and the Arts Academy, in collaboration with the Historical College FNI of V&VN and the Pulse Network. Under the Surface is a project where art, heritage, history, care, and nursing work converge.
This project comes together beautifully in an exhibition during the upcoming Dutch Design Week (October 19 – 27). The platform at the Piet Hein Eek location serves as a unique backdrop where three artists creatively explore the boundaries of the nursing profession. Come listen to an original composition by Aart Strootman in a perfect wooden replica of a shipping container, where you can experience the sounds of a nursing home. Admire a light installation by Dana Dijkgraaf inspired by the stained glass of the Kempemhaeghe epilepsy center, or interact with the life-sized care game by Nieke Koek.
Want to learn more about the Onderhuids project? Visit us during DDW and check out the website of the Chair of Person-Centeredness in an Aging Society.
https://www.fontys.nl/Onderzoek/Persoonsgerichtheid-in-een-ouder-wordende-samenleving/Onderzoeksprojecten-2/Onderhuids.htm
Proust Effect: Our incense (Kaori) triggers memories (Kioku) of your past and future.
“Kaori to Kioku” is a design project based in Japan and the Netherlands.
Our collection features beautiful ceramic / lacquerware incense holders, some with botanical motifs using 100-year-old moulds and others made with traditional Japanese potter’s wheel techniques.
All incense sticks are 100% natural and plant-based.
These organic incense sticks are free from chemicals.
All products are made in Japan.
Translating the Venetian tradition into a new context Studio Marc Barreda will present his entry to the Dutch Design community with fire and light. Bask in first chandelier of its kind and watch the magical process of forming sand. You are welcome every day at the PHE-Complex early till late.
Many cultures describe a bird of fire. Born from ash and soot to bring light and generativity into the world. A cycle of tragedy and resurrection. A testament to the resilience of the soul. In our days, months, and years on this planet we have all been confronted with the devastating effects of living. This chandelier is dedicated to all of us who face the relative challenges that threaten to snuff us out and it represents the regenerative nature that lives within us all to emerge anew with vigor and fire.
To Mom. To Pui. To David. To Rosa. To Anne. To Justin. To Suzanne. To Peter. To Lucie. To Greg.
During Dutch Design Week my new haven at the Piet Hein Eek complex will be transformed into a presentation of all the capacity that resides in my hands. Come watch sand come to life as I manipulate this molten material to manifest objects, community and possibility. Visit me in a special showroom and workshop constructed for this week alone. Built primarily for this pioneering endeavor to create a chandelier inspired by the Phoenix. My passion for glass resides in every object that I make and this presentation represents the pinnacle of 25 years of devotion. The objects represent my creativity, as I will be presenting and producing original designs. You will also see another collaboration in glassblowing as I mentor and work with five energetic students from the Design Academy Eindhoven on the realization of their projects. And finally I will be premiering the designs of three young designers who have been selected by Piet Hein Eek and myself to have their Drinking Glass Designs produced and offered for sale at DDW 2024. Piet and I are excited to support and work with the next generation of creatives who are designing our world.
Inspired on the myth of “King Erichtonius”, Arkhē: Collective exhibition aims to establish an intimate connection with the artist and the viewer. Exploring the struggles, expectations and ambitions that come with youth, it will portray how these elements are shaping the identity and creative persona of a new generation of creative minds.
Glass will be the centerpiece of the exhibition. In a performative way, “Erichtonius: Seed and Sprout” will display each artist handblowing their designed pieces in an open-space-setting. Guided and supported by Marc Barreda Studio, each of the collective members will shape and craft their glass blown piece few hours everyday.
Through a material and performative approach, “Erichtonius: Seed and Sprout” will become the awakening moment for this new generation of makers and artists. Showcasing the beauty of the craft and referencing their ambition to shape their own struggles and identities.
lnstagram: https:/lwww.instagram.com/arkhe_col/ective/
Year: 2024
Materials:
Dimensions: Approximately 110 cm in diameter, height 75 cm.
The works are compositions of rhythm, logic, rules, and surprise.
The jumble of lines in the chandelier forms an organized whole of seven identical shapes.
The top (and bottom) view of the lamp resembles the regular pattern of a snowflake crystal.
At the top and center, there are four light points, cubes with circular indentations on the surfaces.
The base shape is called “Bicycle Rack,” created from the 12 ribs of a cube, originally designed as an object for parking bicycles.
The suspension consists of bicycle brake cables—an appropriate coincidence.
The chandelier is part of the growing “Bicycle Rack” line, which includes furniture, accessories, and silver & gold jewelry, as well as art.
In our ongoing research in craftmanship combined with modern technologies, we created a one-of-a-kind welding machine. It gives us the possibility to create and shape welded skinned objects with metal as our blank canvas. A tool that fits our pragmatic way of working. Hours of testing and perfectioning the machine led to our first ready-made works originated from the machine. A collection where handmade collectible design merges with functional use and simplicity. Each product is unique due to its signature welded skin by the hand of our artists.
My roots inspired me to create an immersive installation
Roetsj, a 360 cm tall marble run, allows marbles to endlessly circulate with the help of an elevator. The marble track produces a mesmerizing sound reminiscent of flowing water, creating an enchanting visual and auditory experience.
My Inspiration to build Roetsj
As a child. I always loved visiting my grandfather’s vegetable garden. Within his garden he had a small greenhouse. The light inside was beautiful, filling the space with a warm glow and a symphony of natural scents. It had a serene atmosphere. I always experienced time differently there, as if it stood still. You could almost see the plants growing and dancing in the sunlight.
This compelling memory from my childhood became the inspiration for building the Roetsj marble run.
Representation of the materials
I am deeply passionate about textures and materials. They subtly tell stories, even when we don’t realize it. To match the greenhouse, I used weathered materials such as reclaimed wood and rusty metal, combined with shiny Plexiglas tubing and new copper fittings, some of the materials my father worked with as a plumber.
These materials generate a striking contrast and friction, narrating the tale of the old greenhouse and its new plants. The greenhouse, like life itself, embodies continuous cycles, with the marbles symbolizing the unending circle of life.
Everyone wants to know how the story ends.
Besides being a Motion Director, I love building kinetic objects and immersive experiences. I am constantly seeking social disruption through curiosity.
Curiosity is a profound character strength, defined by an intrinsic desire to learn and explore new things. It serves as the foundation of creativity and innovation, driving individuals to seek knowledge, ask questions, and challenge established ideas. This desire for new understanding propels us forward, fostering progress and discovery.
Our curiosity drives us to keep watching. When we encounter something unfamiliar, we feel the need to understand it. This way, we open ourselves to innovation and change.
What sparks your curiosity?
Website: www.kevinmegens.com
LinkedIn: www.linkedin.com/in/
Insta: www.instagram.com/kevinmegens/
Youtube: www.youtube.com/@Kevin_Megens_
A Kingsize Grand-Lit and
a sturdy Garde-Robe
as the centerpiece of
an infinite space.
A bed, a wardrobe,
a hotel, a city.
Where you are one, but
especially together.
Handmade for a lifetime.
In nostalgia and future.
MAN architects and furniture maker STOONIE have joined forces. Under the name ECHOES, they are launching a collective where they design and produce furniture and objects inspired by design and architectural history.
During Dutch Design Week (DDW), they will present three objects/furniture pieces: STREETS, PIVOT, and TILT.
https://www.man-architecten.be/
www.instagram.com/manarchitecten
https://www.stoonie.be/
https://www.instagram.com/stoonie/
In ancient times, Helios was revered as the god of the sun, entrusted with the responsibility of guiding the sun on its daily journey across the sky. As he embarked upon an eternal voyage in his majestic golden chariot, coursing through the heavens, his chariot painted the sky with a mesmerizing palette of colorful and delicate hues. This breathtaking spectacle had the remarkable power to transform the heavenly sky, casting a radiant and enchanting glow upon the world below.
Drawing from ancient concepts, “Helios” pays homage to light’s circular dance. This design invites interaction, allowing you to play with light’s intensity by moving the sphere. Just as Helios shaped the sun’s path, you become the one who controls the brightness, creating a captivating dance of light.
How are you feeling this morning?
Happy? Sad? Or maybe a bit hungover?
Let’s talk with our playful little items handcrafted from wood veneer scraps.
They are sure to lift your spirits.
Have a good day!
Fresh steel sheets, offcuts of steel sheets, bricks and demolished construction material are being transformed in this collection of objects. They are being transformed into 3 objects that expresses the vision of Zavier’s practice which is “gardening an industrial wilderness.” Wall piece no. 2 is a shelf and an art piece. Zavier uses the material steel as a metaphorical social commentary on how social media reduces who we are and he subverts its reductive quality in steel into something reflective of who we are – layered and complex beings as seen in the geometry of the work. Junk to Funk Console Table and Side Table applies the principle of “valued based performance” to materials instead of what we traditionally know as “performance based value” to materials. Materials are first valued and then given a function instead of the other way where the function determine the material choice.
Website link: www.zavierwong.net
Social media – instagram handle : @zavierwong_
Nature Translations (NaTra) is the art of Juna Miedema, bringing natural elements indoors. Through research, NaTra captures details and translates them into ceramic sculptures. These range from works that integrate into spaces as installations to handmade, detailed sculptures.
Website: www.natradesign.nl
instagram: junamiedema.studio
LinkedIn: Juna Miedema
Skomer Studio will be exhibiting a selection of handcrafted jewellery, including unique one of a kind pieces that are produced incorporating off cuts, leftover scrap materials and repurposed gemstones. The one of a kind collection is inspired by the joy and creativity that comes from working with and bringing new life to existing materials. Pieces from the core Skomer Studio collection will also be on display.
Skomer Studio is an intimate practice that celebrates handcrafted design creating seasonless jewellery collections as well as one of a kind works and bespoke commissions. All Skomer Studio pieces are designed and created from, jewellery maker and goldsmith, Daisy Simpson’s workbench at The Goldsmiths’ Centre in London.
Embroidery artist Heidi Koers draws with needle and thread figurative embroidery art by hand. She lets herself in here led by the material and different textures.
For the project “REVIVE EMBROIDERY” she leaves old revive embroidery by combining the work with her own embroidery style. By playing with different ones embroidery stitches, thick and thin threads, shadows are created and different heights in her work. The dangling wires give the project movement and the artwork goes beyond the wooden frame.
INSTAGRAM | @p.m.k.d.2010
WEBSITE | www.p-m-k-d.nl
This project explores the upcycling potential of ‘selvage’—the edges of fabric produced during the weaving process. The selvages come from the last remaining name tag factory in the Netherlands and feature fringed tapes with colors that vary based on brand logo designs. Inspired by the material’s unique appeal, this project repurposes it into new products and artworks, showcasing its distinctive characteristics in a beautiful and sustainable way.
Upcycled secondhand furniture is wrapped in these tape-like fringes, adding texture and color while concealing imperfections and breathing new life into the pieces. This sustainable approach encourages interaction and affection, transforming interiors with a fresh, vibrant look.
Website: https://www.
Social Media Link: https://www.instagram.
Beyond the story of the colonial past, without forgetting these. Join the conversation about this subject through colorful illustrations.
The people that moved from Indonesia to The Netherlands around 1950 is disappearing. The new generation wants to keep the history alive and wants to know where they come from. There's a lot of information about this subject, but
what do we do with this? And what do we pass on to the new generation?
When the roots are deep, there is no reason to fear the wind.
Ten procent of the Dutch population in The Netherlands have roots in Indonesia. Lots of these people are interested in their family stories and the colonial history, because little or no attention was paid to this subject in Dutch school lessons. People look for information, recognition and connection with others via various platforms. This has resulted in wonderful and educational initiatives such as theater, art exhibitions, podcasts, magazines, books and documentaries. All kinds of beautiful projects are created to learn about our colonial history. And every year on August the 15th, a special commemoration takes place, in which the Second World War in Southeast Asia is commemorated.
Looking into the future.
Gigi van Grevenbroek is one of the persons with Indonesian roots, who is curious to research her family history and the general colonial history of The Netherlands and Indonesia. In addition to all the romanticized personal stories about the past, there is also enough information about the turbulent time in colonized Indonesia. This history evokes strong emotions for many people. In her environment, Gigi notices that many people get stuck in these sad stories that makes a melancholic atmosphere arises.
It is nice to support each other who share the same roots, but the history of our ancestors is much more than just a hell of a story. The Indonesian, Moluccan and Papuan community is strong and Gigi wants to show this in her illustrations. She wants to go beyond sharing memories and showing support, and believes that illustrations and opening up the conversation about this subject can create more connection. It is time to celebrate our freedom and think about what we are going to do with all the information and stories we have. What do we want to pass on to the generations that come after us?
Join the illustrative interaction during Dutch Design Week.
Gigi collects people’s thoughts around the question ‘What do we want to pass on to the next generations?’ and visualizes the answers in new illustrations for the project ‘Indo Future Talks.’ Together with her existing work, you can view and purchase these artworks in a cozy environment, which refers to the Indonesian, Moluccan and Papuan community. Through an interactive element and the designer herself, you can share your thoughts about the illustrations and this subject. Which elements in the image appeal to you? What do you know about colonial history in Indonesia? What stories do you want to pass on to the new generations?
With Indo Future Talks, Gigi wants to start a conversation about the complex subject and collect all the stories. This will serve as inspiration for more illustrations in for the project in the future. Because Gigi expects that the more knowledge about the Indian, Moluccan and Papuan community is shared, the more connection there will be between people. Whether you have or not have a connection with this subject, every visitor can connect with the detailed illustrations.
About the designer:
Gigi van Grevenbroek works as an illustrator from out De Havenloods in Utrecht. She works on projects for clients and runs her own webshop with postcards, prints and notebooks (all made from recycled and reused materials).
Gigi’s work is colorful and great for a wide audience. Behind every work there is a message about a social topic. She gets inspired by her Indonesian roots and equal human rights. She hopes to connect people with each other and create more awareness about these topics.
info@gigivangrevenbroek.com
www.gigivangrevenbroek.com
Casting Standards, looks to re-energize un-stylish utensils by deploying a technique of “repair-through-collage”. This project montages existing popular handles to restore forgotten tableware. Now, when you grab the spoon for a sip of soup, you experience a pair of pliers in your hand. An uncanny experience of seeing one tool but feeling another.
At MrStarsky, you can create your own artwork, designed by illustrators! Everything at MrStarsky can be personalized to your heart’s content—the position of the stars at birth, your child’s initial, or even their full name. Choose a design for the nursery and get started!
Website: https://www.
Instagram: https://www.
Facebook: https://www.
Pinterest: https://nl.
Strong cuts, precise constructions, and high-quality materials are the guiding principles towards function and shape.
It is a continuous developing collection where with every series of bags & garments, high quality woven fabrics, know-how and skills from the ethnocultural origins of the materials are studied and subsequently interpreted in each individual pattern language.
We work with the material as the starting point of our creations.
We approach a new bag, coat, or garment by the textile itself, manipulating the fabric, exploring the natural raw materials like linen, cotton, and pure wool.
The development of our collection is a very organic process.
The collection consists of timeless versatile pieces that transcend seasons through the conscious selection of fabrics.
We encourage a more ethical and responsible approach by proposing a ‘made to order ‘principle. We present our collection pieces along with, and according to available fabrics and only when ordered each item is individually crafted.
Manufacturing takes place entirely in Portugal in our SENNES work studio.
Website WWW.SENNES.ORG
Instagram https://www.instagram.com/sennes_neledeblock/
Facebook https://www.facebook.com/sennes.org/
House of Thol was founded by designers Thomas and Jana in 2014 with the aim to create functional, affordable products inspired by everyday challenges. This DDW, House of Thol is proud to showcase their growing research-based collection of products focused on easy & sustainable living.
House of Thol’s new designs often start with a personal challenge encountered by the designers in their everyday lives. This sparks a deep investigation into the root causes of the issue, examining it from various perspectives—practical, technical, and biological—as well as through historical, sociological, and anthropological lenses.
This Dutch Design Week, the designers will not only present their finished products but also launch an online portal that highlights the extensive research behind each concept.
Alongside their Easy Green Living collection, House of Thol is developing the Future Furniture line, featuring circular and reparable furniture and lighting pieces.
At Piet Hein Eek, they will present their ReCovered Cabinets, made from discarded metal filing cabinets. These cabinets can be converted on-site, significantly saving on logistical costs and transportation.
It’s not only about the final product, but also about the process.
It all started in collaboration with Tine De Cleer who has 20 years’ experience in fashion.
She knew from the inside that the fashion industry had reached a breaking point.
The studio’s philosophy is in line with the concept of slow fashion. I’m using artisanal techniques such as
dyeing and handweaving to give a heart and soul to the garment.
It’s a small range of one-off pieces with a timeless aesthetic.
The garments are a mix of handwoven pieces in natural materials such as linen and wool together with
high-quality deadstock fabric.
Linen is a part of my history; my grandfather was a Flemish flax worker.
They will be only on sale directly through events.
www.jeudefil.be
https://www.instagram.com/jeudefil.textiledesign/
Outside_in is a series of ongoing installations located at the openings of modern buildings (spaces in between the interior and exterior). Its purpose is to promote an in-house multi-dimensional sensory experience for people living and working in standardized high-rise buildings. The installations act as an intermediary in the process of natural resources entering the interior, leveraging the characteristics of materials and forms to maintain a fluctuating relationship with the external natural energy. Ultimately, the changes in this relationship are conveyed to the people indoors through multi-modal forms.
Ins:outsi_in
Website: zixuanzhangportfolio.com
For OR STUDIO FURNITURE, the Dutch Design Week 2024 will be the opportunity for an official brand launch!
Showcasing its statement piece, the Lounge Chair, which defends a vision of furniture design with strong lines and a close relationship to the raw material.
OR STUDIO FURNITURE draws inspiration from brutalist architecture and concentrates on solid European ash wood.
The approach is minimalist and radical, but also realistic in terms of use, comfort, and affordability.
During the fourth week of October in Piet Hein Eek’s showroom, you are welcome to visit, experiment, and support the design of this young brand.
Ig: @orstudiofurniture
For me, it is absolutely clear: art cannot exist without marketing. In fact, for me, marketing itself is art. I explore how I can use the marketing of major brands like Jacquemus and Gucci to draw attention to my work. With this in mind, I have chosen to present myself through a brand name: Aesthetic Studios. This allows me to create more distance and volume and to highlight the remarkable power of marketing.
Within my brand Aesthetic Studios, I design and create ceramic (interior) objects, installations, and more. Iconic, contemporary, and tasteful—the objects from Aesthetic Studios represent the pinnacle of craftsmanship and are unparalleled in their functional design and attention to detail.
Welcome to the world of Aesthetic Studios.
In addition to FIK’s successful collection of scented candles, we have passionately embarked on a new direction in interior objects, focusing on color and shape. The result: vibrant design where sustainability and playful compositions are at the forefront.
Wanderlights are candles like you’ve never seen before: floating on their wick, made according to an authentic recipe, and featuring a subtle color palette. A Wanderlight can be used both indoors and outdoors, burns for four to six months, and can be replenished since the wick is reusable. During Dutch Design Week, Wanderlights will present their collection at Piet Hein Eek.
Instagram: wanderlightscom
Buro Berger works with renowned designers and artists who do not stop at the submission of a design. They collaborate with them from start to finish. This results in contemporary, special and high- quality products for your home that last a lifetime.
During DDW they will introduce new work by Diego Faivre, Lex Pott, Martin Hirth and Nynke Tynagel.
Drawing inspiration from nature, Natsuko Mizushima, a Japanese artist based in Berlin, creates jewelry and objects from natural materials, incorporating silver. Her work highlights the beauty of the natural world by observing, collecting, and processing materials to reveal their unique properties.
The UMA project is designed to enhance taste and appetite, especially for older people whose taste buds and other senses have weakened, for those with appetite disorders, or for people who have completely or partially lost their sense of taste, for example, after contracting the SARS-CoV-2 virus.
According to neurological research by Charles Spence, elements such as color, shape, sound and material can be used to intensify, indicate, or create the illusion of taste. Each element contains information that our brain translates into physical sensations. Our mind creates taste expectations before the food reaches our mouths, so imagine that flavor could be created mainly, if not only in our minds, with the right tools.
With this knowledge we can reduce the amount of salt, sugar, citric acid and monosodium glutamate in processed foods, influencing healthier eating habits.
The use of appropriate visual stimulation enhances the taste of the dish, e.g. a pink, shiny plate with a smooth, streamlined form can make a low sugar dessert seem sweeter, food in a white plate with a rough texture will appear to taste more salty.
Uma tableware can facilitate not only healthy eating but also turning the duty of eating into an interesting experience for everyone.
https://www.instagram.com/
linkedin.com/company/hak-
Kaarigari uses the Indian steel tableware industry as a case study to explore the preservation of craftsmanship in a rapidly industrializing world. In India, mass production has sustained a market for artisans, while in Europe, the focus on exclusivity has marginalized similar crafts. This contrast reveals the complex interplay of market demand, cultural perceptions, and economic factors in shaping traditional crafts. Drawing from their experience in Eastern contexts and Western industrial ecosystems, they examine how traditional Indian craft techniques, particularly in metalware, have adapted to industrialization. The choice of studying tableware explains itself as it combines industrial and design principles. Which allows the duo to question whether industrial distribution is the only way to preserve traditional crafts and if the decreasing emphasis on utility in Western design signifies a decline in genuine innovation. Through experiments and collaborations, they aim to build an informed practice that challenges power dynamics and promotes meaningful engagement with global craft traditions.
@nielsnijmandiffre
@tanaykandpal
Linea proposes a collaborative network connecting local industries, materials, and culture in the Charente region of Southwestern France. It reimagines the production of goods as a process of collective effort, intertwining traditional rope-making with the renowned Limoges porcelain and the local oyster industry. Through a collection of vessels, Studio Noff aims to cultivate new practices and aesthetic culture that correspond with the material and social environments in which they operate.
Website: https://studionoff.com/
IG: @studio.noff
Amphoras in ancient Greece were used for transporting and storing wine and water. Among them were a few gold Amphoras (gold as a symbol of kingship and connection between humans and gods), offered as gifts to deities in order to ask for favours or to show admiration.
In today’s world of excess, my “pretend-to-be-gold” Amphoras serve as an offerings to the contemporary Pantheon.
Nudaforma is a multidisciplinary design studio founded in 2022 in Milan by Filippo Salis. We are interested in creating ideas and emotions blended with sustainable materials. Material experimentation takes center stage in our projects, aiming to create sensory experiences between object and user.
Get ready to embrace simplicity at “Product Design for Dummies!” This exhibition doesn’t focus on high-end design with complex concepts but invites you to explore a world where crafting techniques and playful forms take center stage. Celebrating the joy of creation, it’s a tribute to design that doesn’t take itself too seriously. Leave behind the stress of adulthood and rediscover the techniques you once used as a child, now elevated to a grand stage.
These hands-on techniques yield results that are both transparent and intimate, emerging from the simplicity of the methods employed. Imagine staples visibly connecting two pieces of paper, or glue leaving a mark after joining materials. What stands out is how the aesthetics of crafting highlight the joy of making. The playful and experimental nature of crafting emphasizes the process itself, rather than just the final product. Through experimenting with these techniques, I explored the boundary between crafting and design, seeking to blend the two through various production methods. This exploration has resulted in a range of products that reveal the dialogue between crafting and design, all of which will be showcased during the “Product Design for Dummies” exhibition.
The Re-Craft Project will be exhibited at Dutch Design Week 2024, showcasing works that blend art, design, and craftsmanship. By featuring various artists and their creations, Re-Craft aims to highlight the importance of craft and culture in design while giving the next generation of designers a platform to shine.
The project will present a cohesive theme, allowing each participating designer to stand out and tell their own story while also reflecting on Re-Craft’s current theme: the role of design philosophy in the transformative art of craft. The goal is to foster a deeper connection between design, art, craft, and the public while also bringing attention to emerging designers within the industry.
The artists participating in the Re-Craft project include: Bo Zhang, Li Ding, Xunxing Liang, Rui Huang, Yongzun Wu, Jiayu Zhu.
Website: www.deszoffice.com
Instagram: deszoffice
Jérémy Bergeaud, designer at Duranto Studio, showcases his experimental research focused on upcycling and weaving in various forms. He creates furniture and patterns using reclaimed tape and fabric made from recycled plastic bags.
Dear Plastic is an homage to the aesthetics of plastic. The objects aim to rise the appreciation for everyday plastic products by celebrating the beauty of their shapes, colors, and narratives without using the controversial material. Design elements of the omnipresent plastic world are transferred into sculptural, durable objects and thus liberated from the fast-moving throwaway mentality. Handcrafted production in high-quality materials honors those forms that are otherwise carelessly discarded.
Boiling 3D printed objects to inflate gives one-of-a-kind shapes.
Standing in front of a lake calms the mind. That’s why Moon Seop Seo wanted to take the lake home. But the moment he placed the glass of lake water he had collected on the table the magic was gone. Moon Seop wants to pay tribute to the living water and use its potential in the urban environment by creating a spatial experience where people can enjoy a moment of relaxation. Look at how a drop of water falls into a puddle and comes to life again. Experience the relaxing rhythm of the water in the middle of the city’s hubbub.
“Passage to the Lake”
“Standing in front of a lake makes me calm.
I could stare at it for hours.
I wanted to take the lake home with me.
So I took a glass of lake and brought it home.
With excitement, I placed the cup on my table.
The moment it was on the table,
It was dead.
I go back to the lake and sit closer.
Instead of trying to bring the lake home,
I create a small passage.
Whenever I am overwhelmed by the pace of the urban life,
I walk through the passage.
Standing in front of the passage to the lake makes me calm.”
The Offcuts project transforms discarded industrial metal into functional design. By repurposing steel offcuts, this project minimizes waste and energy consumption. The Offcuts chandelier, merging industrial aesthetics, symbolizes a shift towards responsible design.
Website: https://www.aidanneufeglise.nl
Instagram: https://www.instagram.com/aidann97
The Face To Face series is a collection of chairs that taps into the social rules that shape our lives. This series explores invisible but tangible boundaries that define how we relate to one another. With a keen eye for design, the Face To Face series allows the user to examine the emotions that arise from distance, closeness, and the space between individuals. What does it mean to be physically close, and why can this proximity feel either comforting or uncomfortable? These chairs invite the user to reflect on the experience of interaction and intimacy, offering a new perspective on how we connect with others.
https://nemomulder.com/
@nemo.mulder
Cengiz Hartmann is a German artist who tries to reduce objects to their essentials without removing the poetry. The word Begreifen serves as a key to his work – it means both to touch and to understand – or thinking with the hands.
Samuel Szraga and Ambre Pourcelot, two young designers based in Eindhoven and recently graduated from the Design Academy Eindhoven bring their two practices of steel lamps and ceramic bird whistles together. Both series of objects will be presented together in a harmonious presentation in which both objects interact and complement each other, the colorful magnetised birds ornamenting the tubular lamp structures as a nesting ground !
https://www.instagram.com/studio_szrag/
https://www.instagram.com/ambreprehistoric/
https://studio-szrag.com/
https://ambrepourcelot.com/
BIRNE is a line of porcelain objects by ceramist Massimo Pavan. The aesthetic aims at a meticulous repetition of lines and simple forms in limited pieces and variations. A quiet reflection on simplicity and deep attention to detail distinguish his practice. Each piece is carefully and exclusively wheel-thrown.
https://www.instagram.com/birne_ceramics/
The English word ‚to animate‘ originates from the Latin word ‚animare‘, which translates to ‚bring life‘ to something.
A good example of this original meaning are animation movies, where a stationary picture becomes ‚alive‘ through the optical illusion of movement.
But there is more to it. Each single drawing tells a story, but only if we watch them in succession with other pictures can we start to grasp the deeper meaning of the movie.
I have always been fascinated by the idea that all physical things could contain some sort of ‚life‘ or ‚anima‘, which turns rather ordinary objects into something meaningful that deserves to be treated with a certain amount of respect.
My ‚Play Anima Sculptures‘ originated from the idea of giving new ‚life’ to leftover pieces from my old works that, for me, already contained a meaning or memory.
‚Play Memory Structures’ are in some way a continuation of my ‚Play Anima‘ concept. They combine old pieces from my workshop with objects that were once part of somebody else’s life. Each element, no matter if it was manufactured by my own hands, gifted to me, bought at a flea market, or found on the roadside, has its own meaning and tells its own story, just like a single picture in an animation sequence. But as a part of a ‚Play Memory Structure‘ all pieces can serve as a projection surface for the associations and memories of other people, gain a new meaning as a unit, and become ‚alive‘ again.
The Surfaced Project is a project aimed at using up wood material to the last piece. In normal furniture production, each part such as legs, beams, seats etc. are pre-shaped and finished, and furniture is completed by combining them at the end. In the Surfaced Project, furniture is made in theopposite way, which is like sculpting. The wood is cut into small pieces and connected to make a large mass, and furniture is surfaced from there. The good thing about this method is that the loss of wood can be minimized and the leftover material pieces can be carried over to the next work. In the mass production process of normal furniture, for example, if the length does not fit the parts, the material is not used and it is either discarded or consumed as fuel chips. In the Surfaced Project, I give up efficiency and trade off to use the material to the last piece. The size of the material at hand is different each time, so randomness is included. Therefore, although the finished product has the same shape, the size and arrangement of the small pieces composing it will be different. It is also an advantage to produce rarity as a work for galleries.
For this year’s Dutch Design Week, JB was invited by Piet Hein Eek to build a new shed called the Lumber Camp. It is made from Piet’s leftover wood and JB’s colorful duct tape, with the help of some screws. JB’s abilities to adapt to any context helped him to create his own space, displaying his universe through recent works inspired from fantasy and video games.
This shed is made the same way as the furniture displayed inside, using the Bundle technique of tightening wood beams together with duct tape. Here, this Bundle technique is used on a larger scale. By looking closely at the construction, wobbly connections, visible screws and flaws can be seen to show the different steps of the process.
Visitors are welcome to come inside, have a look at the works, take a seat and enjoy a drink from the bar. This place is made for people to gather and relax. In this evolutive space, JB will be there to make tours of the shed and do construction performances during the week.
Website: www.jb-stuff.com
Instagram: www.instagram.com/persis_k
ZANDI
With sand as the basic material, Zandi has a special structure. A grainy material and one of the most common natural substances on earth has been transformed into a lighting object. Rock blocks become boulders, boulders become gravel and gravel becomes sand. Wind and water move sand grains and form sand shapes on the beach and in the dunes. The grinding effect of sand ensures that special objects are created. These sand shapes with matching layering are the starting points of the Zandi. These blocks can be printed using 3D printing technology. This means there are unlimited possibilities and the shapes are endless.
TRIGAMI
The Trigami collection focuses on one geometric shape: the equilateral triangle. Due to the strong properties of this triangular shape, architects regularly use it as a foundation. Sabine van der Ham has applied this triangle in an innovative way by folding it with origami techniques into an innovative lighting object. The material of the Trigami collection is ceramic, sustainable and completely recyclable. The Trigami hanging lamp is available in 5 colors. Please note: ceramic is a natural material, so each product is slightly different and may vary slightly in color shade. The ceramic lampshades of the Trigami hanging lamp are made by Cor Unum. This is a ceramics studio in ‘s-Hertogenbosch where beautiful ceramics from nationally and internationally known designers are made with great passion and craftsmanship. Cor Unum – literally: one of heart – is supported by many: by ambassadors and students, by designers and volunteers, by people at a distance from the labor market and professionals. They all share one common ideal: everyone deserves a place, everyone has a talent and everyone can contribute to making the world a better place.
Website: www.hetlichtlab.nl
What do a dilapidated sofa, broken floorboards and a rusty circuit board have in common? They are lying in the recycling yard waiting to be burnt. We, Dump Design, a collective of six designers, show another common denominator. Together, from different areas of expertise, we are investigating the potential of the environment street: The dumping ground for all waste. At our stand, you will see practical case studies that will inspire you. Jewellery from circuit boards, bags from sofas or a coffee table made from floorboards. Come and see the potential of the circular economy.
Embracing femininity and walking on the streets today is layered, urgent, and complex. There needs to be a safe space for reflection and discussion today. What are the movements, encounters, feelings, and experiences when walking in high heels in public space during the day and night? The project archives a series of walks in high heels from January to August 2023 and dives into the joys, dreams, pains and discomforts of being feminine and walking in high heels in the form of a live performance. The goal with this work is to create a platform and space where women and feminine people can freely walk on the streets no matter the time of day.
The entire collection is designed from a thought of simplicity and style. The elegant design puts the plant or object centre stage. This makes it an eye-catcher for both indoors and outdoors.
Designer Isabelle Schoenmakers – Leijser grew up as a farmer’s daughter among the meadows where there was always room for creative thinking and doing. While she considered this all normal as a child, she now sees how it has enriched her life. Happy Circle is her way of sharing nature and creativity. To share happiness.
At De KLEIN & VAN HOFF, we want to go back to basics. To well-made, comprehensible products that warm us, cook with and enlighten us.
This penchant for simplicity has nothing to do with nostalgia. The things we make stem directly from who we are. It is the way we have always looked at things and the world.
For us, no shiny gadgets or high-tech exteriors. We prefer to spend our time on projects and products that are close to ourselves and the user.
Small-scale, local production is the future. We are already making a start with practical, sustainable designs.
Long live buying for life.
Website: www.dekleinenvanhoff.nl
Social media: #dekleinenvanhoff
Together with the tapestry, Happy Kunst Garden (2022), Bom showcases twin lamps named Brand New Happiness(2023).
In the age of fast food, where speed and convenience dominate, ‘ Brand New Happiness mirrors quick access to happiness through consumerism.
Modern businesses persistently promote buying services and products in pursuit of happiness, governments emphasise individual happiness for the benefits. Wellness/happiness have transformed into commodities, becoming a form of psycho-politics that diverts attention from societal and political issues, driving people to chase the illusion of pursuit of happiness.
Brand New Happiness pulls a dialogue on individuals’ anxiety concealed beneath the facade of positivity promoted by the happiness industry.
Website: bomnoh.com
Instagram: @bomnoh
All jewelry is handcrafted in the attractive goldsmith studio “Atelier Aroha” in the historic Klokgebouw in Eindhoven. Our passion is creating responsible, beautiful and unique jewelry. Organic shapes and textures in harmony with precious gems and pearls, create unique nature inspired fine jewelry.
In the captivating world of art and design, “Harmony” stands as a testament to the profound impact of community on the rhythm of life itself. This presentation delves into the fusion of mental and physical expressions through a stunning array of shapes and colours, all carefully curated and brought
In the intricate tapestry of existence, our communities play an undeniable role in shaping the symphony of our lives. “Harmony” is an artistic exploration of this concept, an homage to the diverse voices, stories, and experiences that intertwine to create the vibrant rhythm of our shared existence.
“Harmony” encapsulates the essence of unity, coexistence, and interconnectedness. It serves as a visual and tactile reminder that, as individuals, we are each a unique note in the grand composition of our communities. Together, our diverse perspectives create a harmonious and ever-evolving melody. Every design invites you to explore the intricate dance between mind and body.
This collection has meticulously designed and handcrafted a collection of lamps and accessories that not only illuminate spaces but also our understanding of the world. Each item is a unique, as there exists only one copy of every creation in this collection.
Website: https://farzinkavaji.com/
Instagram: https://www.instagram.com/farzinkavaji/?igshid=xdf6966uu20h
We are excited to announce the launch of a collaborative furniture collection by Fiction Factory in partnership with designers Iñigo Puerta Uranga, Jesse Howard, and Paola Zanchetta. Crafted from waste material derived from Fiction Factory’s productions, we demonstrate various techniques for working with Found Objects components.
Found Objects is an open source design tool that transforms CNC wood-waste into a new building material. The tool creates unique components from the leftover sheet material in the CNC process: each component is generated to fill-in unused sheet-space before production begins. This means that while the exact shape of each component is unique – determined by whatever is being produced – the dimensions and general forms generated can be controlled: from organic and curvy to angular and geometric.
Our goal with this collection is to inspire others to utilize the Found Objects tool and material in their own creative projects.
Websites:
https://www.fictionfactory.nl/
https://inigopuertastudio.com/
Instagram:
https://www.instagram.com/
https://www.instagram.com/
Paulien Berendsen presents her latest project ‘Wanderlights; during DDW 2023.
Wanderlights are design candles like you’ve never seen before! Floating on their wicks, the candles create wonder and add a touch of magic to any space. This natural product is 100% Dutch Design and lovingly handmade in Paulien’s studio. An innovative concept for the design lover who can’t get enough of combining and wants to continue to be amazed.
Website: www.wanderlights.com
Instagram: www.instagram.com/
Our project started with an investigation into materials, waste and recycling, which resulted in a series of flat artworks with 3D elements. We translated this research into a marketable product to reach a larger group of people and not just leave it at a research or message. Our vision in this project is to create awareness about the value of reusing materials. The product we designed is a room divider made without residual waste. The design was determined by the waste material available (in collaboration with Mondilab). It is a puzzle, using all residual pieces in the screen. We will show a first prototype at Dutch Design Week, together with the earlier artworks.
Website: www.karsenboom.com
Home Base specializes in designing, building and installing patented garden offices and lodges in natural environments, such as in the forest or on the water. Whether you are looking for a tiny office, a tiny house, a lodge or a home, at Home Base we make your dreams come home. Our designs are stylish, environmentally friendly and sustainable. We strive to provide innovative solutions for people looking for a contemporary and conscious lifestyle. Our models feature smart and energy-efficient technologies so you can enjoy comfort and convenience while reducing your carbon footprint. At Home Base we believe that everyone has the right to live and work in an inspiring and sustainable environment. Contact us and discover how Home Base can help you realize your dream environment.
Website: www.home-base.co
Instagram: https://www.instagram.com/home_base.co/
Wheel is the record player that houses all technology underneath your record in a compact, minimal design.
Wheel turns counterclockwise and can be used upright.
Wheel is hand built by Peter, his son Piet and their team in Schagen, Noord-Holland. Wheel was a Dutch Design Award finalist at DDW 2017.
This time, we proudly show you how Wheel has evolved.
We’d love to show you all about Wheel and more!
See you at DDW 23 October 21-29 – Designer Exhibition – Atelier A1 – Piet Hein Eek factory – Eindhoven
Website: http://www.miniot.com
YOCHIYA presents a series of vases created by combining cloisonné, a traditional craft that is gradually being lost and has deep connections to Japan and Holland, with the highly improvisational contemporary techniques of welding and hydroforming.
Website: yochiya.co.uk
Instagram: https://www.instagram.com/y_o_c_h_i_y_a/
THE OWN YOUR OWN COLLECTION
With our latest collection “Own your own”, we want to set the industry on edge. We are at the forefront of our business, bringing the message that anyone who wants to walk in heels should be able to do so. A small-scale production of up to 200 pairs per colour. The pairs run up to size 46 and have a unique number. Shoes that enhance the person in who they are and what they are allowed to be. With our self-designed heels, we want to show diversity on different levels. The bold in the elegance.
Website: www.skuastudio.com
Instagram: https://www.instagram.com/skua.studio/
NINETY represents our commitment to locally sourced, adaptable furniture that provides the consumer with the option to interchange modular furniture pieces between varying styled collections. Simplicity is at the essence of each design. Every table is configured of four identical parts, manufactured using one process, adapting to interior space in several different ways. Each modular piece is cut from 4mm sheet aluminium, bent along two lines using an automated press brake, and finished either in a coloured powder coat, or a sandblasted texture. Each piece is fixed together using thumb screws, preventing the consumer from having to reach to their tool cupboard. Whether it’s creating funky aesthetic shapes, functional forms that integrate into a room, or keeping it minimal and doing nothing at all. Our goal is to provide boundless choice for users to customise their personal spaces.
https://www.instagram.com/ninetyfurniture/
https://www.ninetyfurniture.com/
https://www.linkedin.com/company/ninetyfurniture/
It’s not only about the final product, but also about the process.
It all started in collaboration with Tine De Cleer who has 20 years’ experience in fashion.
She knew from the inside that the fashion industry had reached a breaking point.
The studio’s philosophy is in line with the concept of slow fashion. I’m using artisanal techniques such as dyeing and handweaving to give a heart and soul to the garment.
It’s a small range of one-off pieces with a timeless aesthetic.
The garments are a mix of handwoven pieces in natural materials such as linen and wool together with high-quality deadstock fabric.
Linen is a part of my history; my grandfather was a Flemish flax worker.
They will be only on sale directly through events.
Website: www.jeudefil.be
Instagram: https://www.instagram.com/jeudefil.textiledesign/
Take good care of this egg but do not sit on it. Also no boiling.
Instructions: Before switching on for the first time, we advise you to yell ‘Cockadoodledoo’. Have fun.
A playful lamp made from actual eggs. As a fan Droog Design, Ruben de Haas create something simple and fun. These unique lightbulbs are surprisingly beautiful and interesting due to the imperfections of the eggshells.
Website: www.rubendehaas.com
Instagram: www.instagram.com/coloruben
Noranora.design presents the brand’s first product. The first product is the result of a quest to build the ultimate chair that delivers on our brand promises. This is literally years of experience at different brands in one chair. The design is archetypal, representing simplicity yet making a statement. A wide seat and back provide comfort for all users, while minimal curved details and open spaces keep the product elegant and light.
The frame is made of chromed steel and upholstered in high-quality vegan leather made from cactus plants. The entire structure is shipped in a flat box and is user-friendly to assemble.
Production currently takes place in Italy and some parts we assemble in the Netherlands.
Website: https://noranora.
This project came to life when we stumbled upon an abandoned chair on the side of the road. Determined not to let it go to waste, we meticulously crafted a pattern of the entire chair and utilized leftover wool from previous projects to create a circular aesthetic. This resulted in a unique and intricate pattern that serves as a second skin for the ‘doucette’ chair. Additionally, we utilized the chair’s pattern to create a complementary rug that mirrors the chair’s design.
Instagram: https://www.instagram.com/sameo.atelier/
BIRNE is a line of porcelain objects by ceramist Massimo Pavan. The aesthetic aims at a meticulous repetition of lines and simple forms in limited pieces and variations. A quiet reflection on simplicity and deep attention to detail distinguish his practice. Each piece is carefully and exclusively wheel-thrown.
Instagram: https://www.instagram.com/birne_ceramics/
AN „OOOOH“ WITH MANY POSSIBILITIES
“Ooooh” is made of 100% organic terry. And comes in three charming color combinations.
Like any ordinary towel, it has four corners. But only “ooooh” has a shapely hole in each corner.
This small difference turns “ooooh” into a bag, a towel for the deck chair or a non-slip shower towel. or a non-slip shower towel.
The holes also function as hangers. No matter whether coat hook, branch or door handle.
“Ooooh” can be casually hung anywhere.
It is space-saving, multifunctional and a 1A household aid: for example, as a laundry basket set.
It was originally created by designers Jan Dobmaier and Vincenz Warnke for exactly this purpose. The good piece is produced in limited edition in Turkey, certified according to BCI.
It is cuddly soft, 80 x 140 cm and washable at 40 degrees.
Website: www.studio6277.com
PIANI is a clearly designed storage space, sustainable and made to last: a delicate but sturdy frame construction made of high-quality material with changeable and interchangeable inserts that can make every shelf unique.
Website: www.bfgf.de
Instagram: https://www.instagram.com/
LinkedIn: https://www.linkedin.com/in/
Although he has always drawn, painted and photographed, Geert Slaats (1961) only became an artist at a later age. He works in fashion as a designer of sneakers and shoes. His artworks therefore revolve around the themes of fashion and street. He often starts from existing catwalk images or fashion ads. He edits them, makes them more abstract or adds new elements. Paradox: it is precisely what Slaats omits that shapes the image. He often works in mixed media and uses, among other things, residual materials from his shoe studio and sometimes even waste. His work thus connects in an original way with the comprehensive themes of recycling and circular art. Inner tubes become baseball caps, wood chips become couture dresses. The work is created intuitively through photography, drawing, painting and last but not least collage. Slaats’ work is graphic and powerful and exudes balance and simplicity. It regularly refers to the spirit of the pop art movements in art.
Website: www.geertslaats.com
Instagram: www.instagram.com/gerardusslaats/
High Vases are made from a single piece of fresh wood, carved by hand. After sculpting the final shape, the vases are burried into the ground to ensure a slow drying process and a unique colour as a result of the minerals in the earth. The size, colour and shape of High Vases allow to experience them as beings and to relate on a personal level.
Website: cengizhartmann.de
instagram: cengizhartmann
The designs of Isabel Quiroga are beloved for their combination of imagination and functionality. The designer’s focus is fixed squarely on the purpose of a product, but through her innovative slant on things she achieves the delicate balancing act of practicality and originality. Based in Amsterdam, she designs collections that combine vivid imagination and down-to-earth functionality.
Instagram: https://www.instagram.com/studioisabelquiroga/
Website: https://www.isabelquiroga.com/
Sebas Kops is inspired by decorative antique pieces of furniture. He uses this inspiration to create contemporary objects with stories. Craftsmanship is really important to him. He uses both old and new techniques to realise his pieces.
Website: https://sebaskops.nl
Instagram: https://www.instagram.com/
VAN-Jorn builds beautiful, self-assembly van campers based on its own line of interior modules. The modules are a counterpoint to typical motorhome interiors: no chipboard, veneer edges and chrome but solid wood, raw aluminium and matt corian. The modules have a recognisable design language with receding shapes at the hips and feet. The materials and clever ergonomics create beautiful lines and a warm atmosphere.
Website: www.vanjorn.com
Facebook: https://www.facebook.com/
Pinterest: https://nl.pinterest.com/
Instagram: https://www.instagram.com/
“Kaori to Kioku” is a design project based in Japan and the Netherlands.
We connect the worlds of craftwork and scent with the concept of redesigning traditional design.
The first collection features beautiful ceramic / lacquerware incense holders, some with botanical motifs using 100-year-old moulds and others made with traditional Japanese potter’s wheel techniques.
All incense sticks are 100% natural and plant-based. These organic incense sticks are free from petroleum-derived ingredients, synthetic colourants, synthetic dyes, and synthetic perfume.
website: kaoritokioku.com
instagram: @kaoritokioku
POKO is a sustainable multifunctional lamp that can both stand upright and hang from a shelf.
Website: www.poko-light.com
Instagram: @poko.light https://www.instagram.com/
Instagram: @vanplestik https://www.instagram.com/
Instagram: @lisavlamings https://www.instagram.com/
The operation of the construction can be traced back to the three dimensions, the x, y and z axis. There is a certain amount of pushing or pulling force on each axle, you must be able to understand these forces in order to see what happens. Once you understand that it is possible to block them, a construction is created.
From this line of thinking and a series of existing constructions, the concept was born to create a construction system that holds each other together by blocking all three-dimensional axes. No help is used from external already existing fastening materials.
This is a reference to an old technique they used to build wooden structures. This way of thinking or “embodied knowledge” was a matter of course at the time. The logic and simplicity are in danger of disappearing due to the norms and values that play a role in our time. For example, this project is about preserving this knowledge, but it also responds to the norms and values of the moment.
How can we use technology well to think like makers?
From these parameters we made a chair and stool by means of a CNC milling machine as our tool. Both share the same miter construction which is scalable according to the needs. By working with monomaterial, the recycling process is simplified and our dependence on suppliers is also limited even as the supply chain.
Website: https://www.structural-aspect.
Instagram: https://www.instagram.com/structural_aspect/
SENNES stands for North and South, Belgian linen and Portuguese wool, a new experiment from traditional craftsmanship.
Working exclusively with noble and ecological textile materials as the main guide to function and form.
A clean aesthetic in jackets and bags for men and women.
SENNES is globally inspired by climate change in nature and culture, therefore designed as an annual wardrobe.
A continuously growing collection where, with each series of bags and coats, high-quality woven fabrics, know-how and skills of ethno-cultural origin are studied and then interpreted in each individual design language.
A sustainable brand with an emphasis on quality.
SENNES is designed and handmade in Portugal by Nele De Block.
Website : https://www.sennes.org
Instagram : @SENNES_neledeblock https://www.instagram.com/sennes_neledeblock/
Facebook : https://www.facebook.com/sennes.org
Analog Fundamentals for Graphic Designers
A Practical Guide for Self-Sufficiency
Based on the core idea that a typographic design studio that designs and produces its own letters should also be able to make its own ink and paper. Analog Aesthetics explains how we can produce our own locally sourced paper and plant- and mineral based inks, in order to create our own parameters of design.
On the background of this exercise lies the need to face a global overly complex system of production, supply chains and restrictive industrial standards, that have shown their dangerous disruptive effects.
Analog Aesthetics is part of Novo Typo Offgrid, an ongoing research project about self-sufficiency and sustainability within the context of graphic design. The project started during the first lockdown in 2020 and is designed and produced within close proximity to Novo Typo’s Amsterdam studio. The project is described in the book Novo Typo Offgrid which is available through booksellers worldwide. The subsequent DIY-zine Analog Aesthetics will be launched in The Netherlands during Dutch Design Week at Piet Hein Eek.
Webshop: https://www.novotyposhop.nl/
Website: https://www.novotypo.nl/
Instagram: https://www.instagram.com/novotypo/
Facebook: https://www.facebook.com/novotypo/
MAKUS presents the first induction hob with extraction and colour at DDW 2023: the MAKUS Moon.
The designers at MAKUS have turned the induction hob into an interior piece. Induction in colour. This makes it possible to create even more harmony in an interior design. Stop by and take a look at the palette of designer induction hobs from MAKUS.
Website: https://makuskitchen.com/
Instagram: https://www.instagram.com/makuskitchen/
Central to the presentation is the jewellery line ‘Bicycle Rack’. The basic shape is a rearrangement of the ribs of a cube. Also on show are rough versions of a series of tall stools from a new furniture line.
How I work, what that has to do with autism, why the name of the presentation was changed and why there is a second presentation during DDW can be read on my site.
Website: www.ernadebie.com
LinkedIn: www.linkedin.com/in/ernadebie
Instagram: www.instagram.com/
Stylist: Roel Schagen
Photography: KlunderBie
Product and furniture designer Margriet Foolen (1982) started Studio Divers immediately after graduating from the Design Academy Eindhoven in 2006. Margriet mainly designs independently, but also works with Dutch and international labels. Inspired by function, nature, silhouettes and an interest in materials, simplicity and form, Margriet designs pure and smart designs.
Website: www.margrietfoolen.com
Instagram: https://www.instagram.com/
Zerogloss kitchen combines an easy-to-assemble and minimal material system with an understated aesthetic, inspired by a sense of simple living, both in style and usability. A kitchen that naturally connects to relationships, functions and spaces of daily life with a close, human attitude.
The series is based on a system that assures an efficient and responsible use of resources, a simple assembly process and flat packaging. Two steel frames, one front and one back, are connected through a series of brackets with a double function of structural fastening and support of storage elements and appliances. Using only mechanical fixings for every component, the system avoids the use of chipboard inner panels and any kind of glue. We made it simple to assemble and disassemble to potentially replace a worn-out piece or move the entire kitchen in a new house and to allow an effective separation and recycling of each part at the end of its lifespan.
Zerogloss kitchen range includes a series of low units and columns that can be arranged in different configurations with drawers, cabinets and appliances. We strive to create a design rooted in simplicity, clarity, and functionality that stands in the living space with sobriety, and ease, yet retains its nomadic and distinctive identity.
Zerogloss is a design and manufacturing studio committed to creating highly functional and carefully crafted pieces through honest materials and subtle interventions. We focus on smaller spaces and modular, transportable structures in our search for a reversible process, where the product can be easily disassembled, relocated and recycled and the materials endlessly reused. Working in our own workshop and in collaboration with local manufacturers, we try to take care of our land and community.
Website: www.zerogloss.com
Instagram: www.instagram.com/zerogloss
For visual artist Amber van Rangelrooij, it is absolutely clear: art cannot exist without marketing. Indeed, for her, marketing itself is art.
Amber is researching how to use the marketing of big brands like Prada and Gucci to get attention for her work. With this in mind, she has chosen to profile herself from a brand name: Aesthetic Studios. This allows her to create more distance and volume and draw attention to the miraculous power of marketing.
Within her brand Aesthetic Studios, she designs and makes ceramic (interior) objects, among other things. Iconic, contemporary, tasteful – Aesthetic Studios products represent the pinnacle of craftsmanship and is unsurpassed for its usable design and attention to detail.
A new collection will be launched during Dutch Design Week 2023; The Presentation Collection. The collection is an investigation in which Amber experiments with glass, ceramics and function. The object can function as a vase and upside down as a column. A functional object that can be used as a presentation in itself.
Come and visit the world of Aesthetic Studios!
Pushing the boundaries of delicate materials
Studio Fleur Peters, Iris Lucia Design and Emma Hoogstede are three individual design studios with a shared interest in exploring delicate materials such as glass, thinly printed plastic and ceramics. New products will be introduced during Dutch Design Week, such as Fleur’s new series of glass ‘Lolly spoons’, Iris’ series of vases ‘Delft blue’ made of 3D-printed bioplastic and Emma’s ‘Coasters’, woven colorful ceramic coasters.
https://www.studiofleurpeters.nl
https://www.irisluciadesign.com
https://emmahoogstede.com
outil.li was born from the ambition to renew the way we produce and consume everyday objects. We draw inspiration from the heyday of industrial design, when designers such as Dieter Rams and Ettore Sottsass were responsible for objects characterised by honesty, playfulness and intrinsic quality. outil.li strives to rediscover these values for our current times, a time when there is a clear need for a new sustainable approach to development and production.
By using small-scale digital production, recycled materials and by integrating the processes of development and production, we have developed a lamp as an object of use. A voluminous pendant lamp with lightweight construction and direct table operation offers perfect light in any context.
Website: www.outil.li
Instagram: www.instagram.com/outil.li
Our project is focused on solving problems through folding. Folding can be a way of simplifying production, reducing waste, and making something beautiful and engaging. Our collective core values include consuming responsibly while actively taking part in forming the things around us. We have designed several pendant and table-top lamps, made from bioplastics, that arrive flat and are folded into form by the end user. Visitors to our exhibit will see our work up close, both in flat and folded form.
Website: https://www.wasatchdesigncollective.com/
Instagram: https://instagram.com/wasatchdesigncollective/
IKONIC creates new, playful products and concepts with well-known designers. The products should inspire children and adults to think outside the box, and experience the creativity of playful design.
Ikonic aims to create new, iconic design classics, using the creativity of contemporary designers to develop collections that stand the test of time. We strive for sustainability, not only through the use of sustainable materials, but especially through the user establishing a relationship with the object. As a result, the product is cherished, preserved and passed on to the next generation.
Designers such as Floris Hovers, Kiki & Joost, Richard Hutten, Studio Kars + Boom and Joost Swarte design for Ikonic.
Playful. Minimalistic. IKONIC.
Website: www.ikonic.shop
Instagram: https://www.instagram.com/ikonic__design/
Pinterest: https://nl.pinterest.com/ikonic_design/
I describe the concept behind his work as follows: “Everybody owns some kind of memorabilia – a souvenir from the last vacation or photos of friends and family. They often remind us of bygone events that are very precious to us. Even if we are not able to turn back the hands of time, it’s these objects that help us to bring back those enjoyable memories. To be precise: We don’t even have to choose memorabilia by ourselves. How often do we encounter an object, a smell or a taste by sheer coincidence, that suddenly reminds us of something special. Furniture manufacturing has a similar meaning to me.
I want my furniture to cause a positive reaction. What exactly that is, I can’t and I don’t even want to decide. Many people told me, that the way I build my furniture reminds them of their childhood construction kits. I never played with those kind of toys, but I can relate to it, when they say, that it brings back memories of being carefree and playful. Manufacturing my furnitures is like a game to me. I might draw a rough sketch at the beginning, but the finished furniture rarely looks like I planned it in advance.This is very important to me. If I wouldn’t work like this, I would deny myself the freedom to stray from the original path and to discover new things along the way. If nothing else, I really think that it’s this curiosity and openness, that made our childhood such a pleasant experience, that we love to remember.
Website: https://shigekiyamamoto.
Mail: mail@shigekiyamamoto.com
Instagram: shigeki__yamamoto/
