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How an object become a part of us.

Monday, May 18, 2015


I don’t know why  I have this anxiety about smartphones.

Maybe, it’s about dependence, it’s about feeling like something is missing when you don’t have it with you, like an actual part of you is missing.

Do we need smartphones, to avoid loneliness ? The relation we have with our phones is so intimate, we hold them in our hands, they connect to our bodies and became an extension of it.

My research became really visual as I found images that spoke stronger for themselves than what I was writing. Here is a selection :


existenz_controllerImages from the Cronenberg’s movie ExistenZ came back to my mind. In the movie, the design of this object really intrigued me, this “game pod” that could have been electronic but that is made in a really organic way. They plug it in their spinal column to be able to connect to it and play. Human and the machine are then one.


glove-one-the-wearable-phone-is-real-2Brian Cera is a designer that did this phone/glove called Glove One. He says: “It presents a futile and fragile technology with which to augment ourselves. A cell phone which, in order to use, one must sacrifice their hand. It is both the literalization of Sherry Turkle’s notion of technology as a “phantom limb”, in how we augment ourselves through an ambivalent reliance on it, as well as a celebration of the freedom we seek in our devices.”

 Another picture that was significative in my research

Capture d’écran 2015-03-24 à 18.45.45

This picture I made is one of my first step to visualize what I wanted to do



Quite fast I started to make some objects with clay as I wanted to work with touch and the feelings of materials in my hands. I wanted to make an object that you could use instead of your phone. An object that would be made with organic shapes and give a  conforting feeling. After using clay I wanted to try softer materials, more fleshy, I started with silicone and end with latex. Here is the evolution.

_MG_8411 - copie

_MG_8383 - copie

_MG_8384 - copie

_MG_8385 - copie

_MG_8396 - copie

_MG_8401 - copie

_MG_8403 - copie

_MG_8404 - copie

_MG_8410 - copie

_MG_8415 - copie

_MG_8426 - copie

_MG_8429 - copie

_MG_8435 - copie

_MG_8436 - copie

_MG_8452 - copie

This is my final object, made out of latex.




O & I

Sunday, May 17, 2015










Sound Sock

Saturday, May 16, 2015

Sound Sock



The startingpoint to my design project  was my interest in costumemaking and theatre. I arranged a meeting with the costumedepartment of the Nationale Opera & Ballet in Amsterdam. During my visit I gained insight into the process of costume making and was struck by the amount of detail, creativity and knowledge that goes into every piece.

What inspired me most was the fact that the goal is to create the perfect illusion, to make something look like the real thing in order to make a play, character or story believable.

First Tryouts

 To kick off my research I applied the idea of creating the perfect illusion onto the example of a sock. The questions I asked myself were:



-How is a sock constructed?

-What happens when commonly used materials are replaced?

-When is a sock a sock?





When taking a closer look at my tryouts it was clear that replacing common materials with new ones not only affected my object’s appearance but could potentially change its function. All of the sudden that sock had turned into something more. I decided to investigate this aspect more closely by moving away from the idea of simply creating a visually authentic object, like it is mainly the case with costume making, and instead tried to find a new or added function that would derive out of the use of a different material.

All the materials I had used so far in my research had very distinctive sounds. In the following steps I therefore narrowed my focus on 3 basic movements, 3 distinctive sounds and 3 different materials with the goal of making a sock that makes sound.



When making music, people like to tap their feet. When I play the guitar myself the rhythms in my right foot can be reduced to these three movements:










After having limited and simplified the movements I chose three different materials that would fit each of them and represent them with a suitable sound, looking for a high pitch for the area below the big toe, a short tap for the footpad and a dull, low sound for the heel.


Metal (big toe), plastic (footpad), plaster (heel); shaped to match my own footprint as it taps the floor:



Final Object

To combine these three sound-elements into one wearable and therefore flexible and fitted object, I needed a third component. For that part of my final object a material research I had made earlier on during the process, a combination of jersey fabric and metallic isolation material, seemed to have all the needed qualities and even came with an additional effect: a rustling, swooshing sound as the foot is being bent, the final sound.




architectural rendering: about

Saturday, May 16, 2015


Screen Shot 2015-05-16 at 2.34.29 AM

Screen Shot 2015-05-16 at 2.35.28 AM

Screen Shot 2015-05-16 at 2.36.35 AM

read it here

on issuu



Saturday, May 16, 2015



Listen to:







Roel Oostrom












dis play

Friday, May 15, 2015


who inspires you?

she asked


I thought…


I thought then…

meet this person and get inspired

make a work out of this experience

she said

and so I met a fashion designer

young man

very pretty

he said that fashion is like a colouring book

we have certain outlines and we have to fill the ´surface´

and then he said a lot of other thing, too

and made me pay for his coffee

and then, biking through Albert Cuypstraat, I was thinking of the colouring books

and about what it is, that we are filing the given shape with







I love sport



Bronx NYC crew


nike just do it


keep calm and swag



clothing is a billboard

I understood

a display which is touching every single corner of our lives except the shower corner

and then I thought further what makes us want to proudly wear a company logo on our chests and how could we make a use of this display that we are constantly wearing

and then I did not know what to do for a while

and then I knew again

I made a plan to make a comfortable universal sweatshirt which will have a displaying function beside the warm keeping, protecting and covering one

what would I fill the surface with?

what surface?

I wondered

and so I bought a surface

blank, grey sweatshirt

I decided to make a use of the existing shape of the sweatshirt and challenge the idea of temporary and replaceable advertisement on it

but how?

I thought

Removable sleeves?

but how?

adding a zipper?

or a velcro?


and so I added a zipper on the sleeves and by doing so, I allowed the printed advertisement/ promotional element to be easily removed or replaced by another one

I made a list of small businesses that I really truly want to support and promote

I gathered the logos of all of them

logos one

and two

the print will come on the sleeves

I made another decision

but how?

screen print?


the screen print studio works on the base of appointments

you must discuss your idea with the screen print assistant first

then an appointment is made

attention: it sometimes lasts over two weeks

you start printing with the assistant

hopefully you can work independent later


yes costs…


I am not going to screen print my logos

what else can I do?

transfer print it

of course

I printed my logos onto a specially coated transfer paper

then they were applied onto textile under the heat press

and there it was

logos on my sleeves

I looked at the sweatshirt in my hands

I wanted to wear it immediately

and I did

and it felt good

but it did not feel good enough

so I took it off and looked again

and after some time I wrote down

70cm metal zipper standard + another sleeves + velcro pocket question mark

and then I went to Jan

and made another pair of sleeves


I put transparent, removable pockets on them

and I like them a lot

and then I looked again

they told me I have to look and reflect on my work during my process

so I did

I reflected

and I asked myself

what is it that I have now?

sweatshirt design?


and what else?

and then I started my analysis

see here: video












untitled documentation

Friday, May 15, 2015








My idea behind this plan is based on what have been tried before.
But how come they did not work? Why do I go out of the city center?
With these questions in my motion, i decided to make a construction plan where student housing/cheap housing, is built around a galleria with some exclusive stores.
When i leave the center it is because i am going to visit someone or if i need to go to a specific place to buy something.
The area i decided was a place where it was possible to make fast collective traffic and effective bikelains into the center/out to the neighborhood.

Instead of creating a new area, how can i expand the already existing center?
Here are some try-outs where I am trying to add to already existing buildings:





Then it became like a game of tetris.
So you can always keep adding as long as you have the right piece.



Packaging for Jewelry

Friday, May 15, 2015

For the collaboration project I met Nadine Kieft, a young jewelry designer based in Amsterdam. I got in contact with her via her website. Her work looked fresh and trendy, not so traditional and a style that people would love to buy in these days. This was important for me because I was curious how she is working. How she is getting in contact with people and how she is organizing the sales of her work. Because her work looked so nice, I thought that she was a popular designer. I sent her an email and we made an appointment to meet for one hour or a little more. She told me that she was busy but that she could make a little free time for me.

I met her on a Thursday in January. I visited her in her atelier in the East of Amsterdam. She had a really nice working space. Not super big but enough space for the small works she makes.
I got a nice cup of tea and from that moment we talked about her work and her life as a jewelry designer. She told me a lot about how she started and about her study. She studied at a jewelry crafts man school in Amsterdam. She learned the craft there but later in her life she discovered that she did not got the appreciation for her work she deserved. It is super hard for her to get an exhibition space in a gallery for her jewelry simply because she did not study at an art academy. Because of that she is forced to sell her work via organized jewelry markets. These markets are quite expensive to join. To rent one stand on the market she had to pay around 1500 euro’s, what is quite a lot if you are just started with your own business.

Nadine told me about the rest of the organization she has to do for her business. It became clear for me that the part of organization, promotion, talks with customers, and website issues, is bigger than the part of designing and making jewelry. It is the bitter sweet truth about being an artist. It made me think. It made me think about the jewelry she makes, that the outside, the part that has the shiny stones and gold is not only the work but that there is much more inside one jewelry piece, namely all the organization around the piece.

I got an image in my head of a ball containing three layers. The ball is a symbol for the jewelry. The core of the ball is the concept, the personal part of the work. The layer around the core is the materialized work, for example the jewelry piece with gems and gold. The outside layer is the organization of the work. The promotion, the connections with people, all the things that are invisible to see but what is almost the most important part of the jewelry piece. The outside layer is invisible and visible in the same time. It is a kind of packaging what attracts customers to buy the work. It leads the eye to the work. Without this layer it will be hard for the artist to sell the work and to make a living out of it.

My thinking process went on. How to make an “organization” for a jewelry piece? What is “organization” exactly and how to materialize it. These questions where constantly in my head. As always, I got stuck with all these problems, I tried things out containing the “organization” idea but most of the hick ups didn’t work. It took me a while to find the right word for the “organization” to give it a more materialized meaning. I came up with “packaging”. Organization is the packaging of the jewelry piece. This helped me by developing an idea and when I am writing this I am in the middle of the making process.

At this moment I am making a packaging for a necklace. My idea is that the packaging becomes a part of the jewelry. Of course it will be the outside part. The packaging has to be wearable as well. I have to figure out now what a packaging makes a packaging. And how I can simplify it a little.
On the picture you see a necklace made of clay, inspired by the traditional pearl necklace. The necklace is captured in two layers of plastic, one of them is as you can see transparent. It is not possible to take the necklace out of the packaging. It is a starting point of the definite work.



(Unfortunatley the silk thread of the necklace broke and because it is not possible to take the necklace out, I had to put this picture on the designblog, a better photograph with fixed necklace will follow soon as possible…)

Note cup for composers

Friday, May 15, 2015

I met my professional, Niek, a music student, for this coorperation design assignment. We offered two cups of coffee at Starbuck at train station and we talked about his way of making music. Since he is a composer, so I am more interested in way how rhythm is made than the way how sound is made, which means that my direction is related to composing rather than instrument.

I wasn’t going so well at first on sketching since I couldn’t find things doable from our meeting. Sculpture which represents music sounds tacky, installation which can react differently to different music seems too big. I was praying god to throw some nice ideas into my mind just like the apple hit Newton’s head – suddenly I realized that what I need is what I should do – producing inspirations!
As we art&design students sometimes inspired by things we see, Niek told me that he also inspired by what he experiences in daily life, some specific shapes or feelings also have sence of music. When he has an idea he normally writes them (music notes) down on his notebook and then deal with it when he goes home. Since I decided to make a tool that helps making ideas in an extreme helpless enviornment, I went directly to the language of composers: staff (stave).
My idea was to create new piece of staff as starting point for composers. Once there is one good part of rhythm they can finish the rest. Since Niek and I made the conversation during drinking coffee, I found that a cup can be a good form for the tool, it is small and functional.The point was to produce new pieces of staff compeletely random and potentional of unliminate results.
1st step:
Thinking to make a tea set with a transparent cup and a plate with five circles or arc which represents the staff. When the composer spin the cup on the plate, from above he can see the handle of cup point out different notes. I studied a lot of round patterns but finally found out that it can’t work at all. The handle always points the same note or a same piece of music. Then I realized  that the circle staff isn’t necessary.

1st period




2nd step:

Researched the way that how notes can move at the bottom.

2nd periodway of moving


3rd step:

Turned to make a transparent cup cover with traditional blank staff (five straight lines) and put five to seven flowing dots as note at the bottom of the cup.



4th step:

Decided to let the cup itself carry all functions, which means that there’re no additional part for it, also simplized the shape of the cup.




It is a pitty that people from glass workshop told me that it is not so possible to make this cup precisely with glass because the whole process will be in a hot environment, the liquid and my hot glue notes won’t survive. Even if I  cut two existing glass cup together, the invisible glue is very expensive. I thinking the vacum modeling technique is what I can do so far. Despite the combining part and the color of notes, I’m quite happy about the result, and the experiment is telling me that this cup really works. Check it and you can ask me for that piece of ringtone~


Object of Curiosity

Thursday, May 14, 2015


When we got an assignment to contact a person that influences and fascinates us I got lost for a moment. There are simply too many people whom I would be curious to meet and ask about their work and inspirations! After a couple of failed email conversations with hard-to-reach professionals I decided to try another way. My inspiration comes spontaneously as a follow up of my daily curiosities. I personally find it very stimulating for my own working process to make a step aside from the main rout and see what is it there behind the corner because you never know! Following this simple idea I went to a butchery I have been to recently. I already had a short encounter there with a butcher Mike and a video of him slicing pork. Therefor we met again and I had a great opportunity to spend some time at the butchery with the best butcher-guide! During the meeting I discovered the world of modern dutch butcher and afterwords continued on searching for the best object i could make to tell the story of this meeting. In the gallery below you can find all the process steps that led to the creation of the final piece- OBJECT of CURIOSITY.

Ideas flow

OBJECT of CURIOSITY is a lottery ticket to the greatest trip of your imagination! In this object I tried to combine suspense with excitement, make it open and closed at the same time and, above all, interactive. This is a metaphor for the process of my work and a useful tool for others.


* discover a video of my butchery day in this could of tags *



Research EJ

Wednesday, May 13, 2015


“Hello Experimental jetset

My name is Claes and I’m a student at the rietveld academic, and my design teacher has given us an unusual assignment to contact people that influence our work and see if we can spend a short period of time with them. I had the chance to talk with one of you at the San Serriffe bookstore a while back and it was a really nice conversation. Your group is a huge inspiration to me and contacting you was the first thought i had! I hope that we could work something out at your convenience.

I look forward to hearing from you!


Best regards,


This is the first mail I sent to EJ and the starting point for a really nice project. The end result was the book in the first picture and a research book you can see below. I have attached two Pdf’s – The first pdf is the cover of the research book and the second is the research book it self. Enjoy.


cover research book

Research book


Wednesday, May 13, 2015

I spent approximately 3 months doing intermittent research and experiments related to bread making. I looked a lot at the process of making bread, the associations and relationship that we have with bread and tried to think about bread making in a different way from what has become such a stable and set way of working with and interpreting bread. This all sounds a bit silly, and in a lot of ways it was – one of the conclusions I came to was that because bread has ben such a common practice for such a long time that the way that it is done has been refined so much that it does not need a design student to come along and ‘re-invent’ it. When I came to this realisation in many ways it opened me up to experiment more and in different ways without worrying about the experiments having any particular meaning or significance.

I started my project by getting up at 4 in the morning and spending a few hours watching a professional baker work and talking with him about bread and baking. I was amazed at how he seemed to always know exactly what needed doing next, he almost never paused to think about what the next thing to do was.A good moment was when I had just arrived, he was pouring out some walnuts from a large bag into a bowl and one dropped on the floor; thinking to be helpful I picked it up and after a pause of not knowing where to put it I set it down on the corner of the metal work surface. Issa instantly picked it up and put it in a small bowl lower down and gave me a bit of a smiley but ‘what an idiot’ look which was fair, I hadn’t considered the hygiene level in a professional food environment!

One thing that I particularly liked about watching the baker work was the scoring of the bread before it goes into the oven. I originally thought it was just an aesthetic thing but it is an important element as it allows the bread to rise properly and cook more evenly, by scoring in a controlled way it also means the bread does not just split in random places. As a result of these thought I decided to do a small workshop with 4 of my class mates where I provided them with a piece of dough each and a razor blade and encouraged them to form their dough in whatever way they wanted and to try avoid the conventional way that bread looks. It was a fun experiment and brought a diverse range of results which I think pose an interesting question to how we all have a very set way of what we expect bread to look like and how it can be altered.

As a continuation from that workshop I thought again about the lack of experience and in particular tactile experience that we have with bread even though most of us are so familiar with it as the finished product. For my next experiment I decided to teach a friend of mine who has very little interest in cooking/baking and virtually no experience in bread making but eats bread almost every day how to make bread.

Having watched a professional at work and been inspired to go and experiment with baking myself I wanted to pass on the experience that I had had on to someone who was unlikely to have experienced it before. I guided my friend through the simplest bread making and talked to him about his connection or lack of with bread. As I am just learning myself it was enjoyable to guide him though it in an amateur way and work certain things out together at points and the discussion was entertaining. I was not looking to inspire him to become a regular baker but just to share the experience of making bread and hope that it would change his relationship with the thing he eats so often.

I also enjoyed the extreme amateur situation that we were doing it in, we did it in my tiny student accommodation kitchen and improvised a lot of parts where we didn’t have the space/equipment that a professional would use. This extension of the amateur level that we were baking at was something I enjoyed particularly because it shows just how simple bread making can be.

These are just a few examples of experiments that i tried out during my process, the project is ongoing and I now bake my own sourdough bread once a week and continue to experiment with the shape and ways that we look at and use bread.


Scan 23-crop


Beer Bottle Research

Tuesday, May 12, 2015

For our design project we where asked to approach a professional and start a collaboration. I decided to visit a glass factory and meet the persons how controls the machines. I wanted to see the mass production of daily glass objects, wine glass, beer bottles etc. The contrast between the two images that glass has, the cheap, no thought mass product and the crafted, expensive, complicated, cultural acknowledged glass, was strongly visible in the factory because they also had an craftsman department. Both in the same factory, completely different stories. I decided to learn to make my own hand crafted beer bottle to combine the cheap image of a beer bottle with the expensive of crafted glass. This process was longer, intenser, more impossible and way more difficult then I ever thought. In the end this process, of searching for methods getting to know the material (a little bit) and working together with all the elements that need to be just right in order for the glass to do what you want it to do, took over the functionality of the bottle. You work in service of the glass, if not it will master you. I had to adept to what the glass needed, the time, the pressure, temperature. I could want all that I wanted but there was only one way to go, the focussed and calm research of the glass. I feel silly or a bit like a cliché, but the glass forced me to work in a way which I often try but where I also often fail, it made me really be in the process.

glass factory Leerdam, Beer bottle machine 


Measuring the bottle
Blow a bubble
Take glass two times
Shape it
Glass to thin at the bottom
Broke when putting in cool down oven 500°C

Blow a bubble
Take glass two times
Bubble a bit small
Shape it
When putting in the oven

Blow a bubble
Take glass two times
Really hot
Bubble a bit small
Shape it
Put in oven

Blow a bubble
Shape it
Really thin glass
Broke when putting in the oven

Get a piece of colored glass
Blow a bubble
Take glass two times
Bottom to thin
Broke when putting in the oven

Get two pieces of colored glass

Mix them

Blow a bubble

Take glass two times




Door open cold wind

Glass cool down

Fall off

Broke totally



Make shape in sand
Make sand wet
Poor glass into shape
Sand to wet starts to boil
Making a glass volcano

Making a mold from plaster
Get glass
Blow a bubble
More glass
More glass
More glass
Turn a lot
Shape a bit
Wait for perfect temperature
Open mold
Let the mass sink
perfect timing closing the mold
Press mold as tight as possible
Blow Blow Blow Blow Blow
Open mold
Take out the glass
Cool a bit
make a cutting line
Glass to cool for cutting line
fall down
Transfer to cool down oven asap

Get glass
Blow a bubble
More glass
More glass
Turn a lot
Shape a bit
Wait for perfect temperature
Open mold
Let the mass sink
perfect timing closing the mold
Press mold as tight as possible
Blow Blow Blow Blow Blow
Open mold
To little glass and to cool
Take out the glass
Cool a bit
Transfer to cool down oven asap

Get colored glassMaking a mold form plaster
Blow a bubble
Get more glass
More glass
More glass
More glass
turn a lot
Shape a bit
Wait for perfect temperature
Open mold
Guide mass of glass bubble into mold
Let the mass sink
Way to hot and to much glass
Drops quickly to the bottom
Try to safe glass by pulling the pipe all the up
Pressing the mold
Glass goes trough the sides of the mold
Open mold
Glass still soft
Rest glass on floor
get gloves
Pick up glass
Bring to cool oven

Making a mold form plaster
Get colored glass
Blow a bubble
Get more glass
More glass
More glass
turn a lot
Shape a bit
Wait A bit more for perfect temperature
Open mold
Guide mass of glass bubble into mold
Let the mass sink
Still to hot
drops quickly to the bottom again
Pressing the mold
Glass goes trough the sides of the mold
Open mold
Take glass out
Glass again to hot still flexible
Try to rest on floor
Cool down a few seconds
Bring to oven with gloves
Close oven



Thursday, April 30, 2015

A brief research of who she was and where she came from

In February 2015 me and my class from Basic Year at the Rietveld Arts & Design Academy visited the exhibition “Possessed by chairs” at the Gocrums Museum.

The intention of the exhibition in Gocrum was to celebrate the history of design through picking out around 90 iconic chairs from the 100 past years. 90 chairs exhibited, a pretty broad selection from everywhere – everything from Scandinavian classics like Eero Aarnios famous Balls Chair, Hans J Wegners Papa Bear arm chair, chairs by Alvar Alto to international classics such as the MR 20, and off course – a couple of chairs made by the Dutch famous architect Gerrit Rieveld.

During my visit at this exhibition experiencing all those chairs, some questions popped up in my mind at one point. With looking at 90 chairs and every single one made by a male designer I couldn’t stop asking me: if all this chairs were made by men, who were they made for? Also for men? When I once thought about this I couldn’t stop looking at the chairs from another perspective.

I also somehow got a feeling that a lot of the chairs that were exhibited had a great aura of power in themselves and that one had to have a bit of courage to actually sit in them. I got a feeling of some position of power in the interaction with many of the chairs and I this brought me to even more questions about the purpose and the receiver of the chair, who it was meant for? Not many of them had a relaxed and non-hierarchic voice, which for me often is what I am looking for when I want to do the act of “sitting”.

But walking thorough this selection of chairs there was one that caught my eyes and that said something else to me.

It was a leaned back chair that almost reminded me about a sun-lounger, with a light green textile cover in a kind of plating webbing technique. For me the chair was manifesting a feeling of enjoyment and desire and in contrast to the other chairs that I felt it was speaking about something else. I got very touched by it.
When the title of the chair became clear for me it even more triggered me, because this chair actually had a woman’s name – “Pernilla”. A chair made for a woman? Later on I also found it kind of funny that the designer was a Swedish one, as I’m also Swedish. Did I unconscious recognize the chair from our home. Is it something underlying in the Scandinavian design that I’m not aware of but that has an impact? Why did I feel that I so easily could relate to this chair? Who was this Bruno Mathsson and who was Pernilla? I therefore decided to conduct my research on this questions.


bruno ma 1



Bruno Mathsson was born in a small city in the south of Sweden called Värnamo. Since Bruno was the fifth generation in a family of master cabinet makers Bruno was learn early how to to carpeting by his father. Värnamo was a small place a bit isolated from the rest of the world but this was not something that stopped Bruno from getting input from his surrounding world. After a visit at the Roohska Art and Crafts Museum in Gothenburg and he kept the contact with the manager of the museum and because of him was able to borrow literature from the museum. Soon large boxes filled with books were sent by trains between Gothenburg and Varnamo and by this Bruno had the chance and opportunity to educate himself through detailed study.

In 1930, at the age of 23 years, Bruno got the opportunity for the first time to put all his study and theories into real practice since he was commissioned to design a new chair for the Varnamo Hospital. Bruno took the chance to create something that he saw as less traditional and decided to make a chair without the old conventional and quite shabby sprung upholstery that the chairs of the hospitals used to have. He wanted to still keep the quality of comfort and he finally came to an unusual solution with a frame covered with plaited webbing supported by arms and legs in sold birch. The chair was not received very successful and the staff of the hospital nicknamed the chair “The Grasshopper” [x] and did not use it long after which they put it in the attic. What they did not know by then was that this controversial chair and the technique of plaited webbing would later be considered as one of the most famous art and design technique and style in Swedish design history.

Even as this first mission didn’t led to a immediate prosperity Bruno continued his work and carefully studied the ”mechanics of sitting”. He wanted to find the perfect sitting line, or curve and this he approached by different ways. One way of finding it he got through sitting in a snow-drift and then study the imprint his body had made. He began experimenting with techniques of bent laminating wood to gaining skills and found out compotes of great strength with gracefully executed minimalist details.

Between 1933 and 1936 Bruno through this research of sitting in snow-drives and so on, Bruno designed amongst others three results that would come to be three of his famous basic chairs. It were three chairs in one series that he called “Working”, “Easy” and “Loungechair” model 36. These chairs were all designed using one piece of frame covered with plated webbing supported by separate bent laminated legs.


br m 2



The three basic chairs can more or less be seeing as a breakthrough in Bruno Mathssons career because in 1936 Bruno got the opportunity to have an own exhibition in the Roohska Arts and Craft Museum (the same museum as where he got the books from in his earlier years) where he now could show his work for a much bigger audience. The exhibition was to become a big success and this led to a recognition of Bruno Mathsson as one of the leaders in the design from Sweden.

One year after the exhibition Bruno was asked to participate in his first international exhibition in Paris, “Paris Expo”, where he also won the Grand Prix for his bed “Paris” that he also showed. His furniture were received with a great appreciation and admiration and he got a lot of interested from all over the world. This also directed to an order of chairs from the Museum of Modern Art in New York. The same year his furniture also got represented at other exhibitions such as the world exhibition in New York and the Golden Gate-exhibition in San Fransisco.


Bruno Mathsson sometimes did struggled with the traditional approach that Sweden had to furniture design but still his home country meant a lot to him and he decided to stay and run his business in his city of birth – Varnamo, all his life. Here he had his roots and he could, in an safe and calm environment, develop his design works. Staying and working in Sweden didn’t mean that he did not aspire a international career. In early years he started to create a network around the world. In the 1940s he made a longer journey to the US with his fiance Karin which resulted in lots of new inspiration which led to an architectural work that would become very famous as built houses in glass. Houses placed in a city in Sweden called Kosta called and that is today week visited and called the Mathsson Glasshouses. The light was of great value for Bruno and that is something you can see both in his work in glass but also in the furniture. A close relation to the nature is also something you easily do feel when you study Bruno’s work and in creating the glasshouses he was able to get an intimate and direct relation to the nature as part of the idea of what a building can be.

Later during the winter times Bruno used to go abroad and spend some time in Portugal, and leave Sweden for some months working in one of his own glasshouses that was established. He always tried to stay updated and this was supported by leaving Sweden time to time, for some time. In the 1970′s Bruno also had a project going on outside of Europe, being part of a panel discussing design with a several hundred interior architects in Tokyo.

br ma 3 br m 4


The huge success that Bruno Mathsson and his companions experienced in the coming years meant hectic years for the small family company as the biggest part of the production was produced for export. The Second World War did however slow down the business a bit and for some years Bruno did directed more effort to the domestic market. By this Bruno also got more time to develop his own design further and in 1944 he launched the classic chair for resting “Pernilla 2” and then one year later the deck chair “Pernilla”. It was a chair in the typical style of Bruno Mathsson in which he used the technique of bending the laminating wood to get the curve he wanted and the plated web in the color of light natural green that covered the whole chair besides the armrests. “Pernilla” was also resourced with something that almost looked like a Canterbury which the sitting person could use for reading without having to use the hands.
The chairs were both named after a female journalist from the Swedish Newspaper “Dagens Nyheter” who had earlier visit him for an interview in 1943.


br m 6



Bruno Mathsson was a unique artist, he had a strong own intention and goal. He was a striking artist, got the self/will and had a lot of stubbornness. He was attracted by the simpleness where less is more. He always went for creative methods to reach the knowledge he needed for making the design he wanted, as for example the way of study the imprint of the body from the snow after sitting in it. His design was grasping for the pure form where finding the elegance was of a stronger impact. He always wanted to reach a good combination of functionality, ergonomic quality and beauty.

Something that was typically for Bruno’s design was that he built the chairs by gluing the veneer in layers and by this reach a capacity of bending them in the line or curve which could meet the curved, motion of sitting.

One more thing that signified Bruno’s products of design was that he almost always named the chairs by women. Eva, Mina an Miranda are beside “Pernilla” three of the most famous furniture that he made and were all named after women he met and had been important to him. This gave every chair a sense of certain identity. He continued his work for several years and never lost the aim of always being up to date. In 1981, at seventy-four years of age, he created a workstation for computer users that was equipped with a so called “wing” that supports the users shoulders. The last piece of furniture Bruno Mathssons made he made at the age of 90, the easychair “Minister” in 1986.

Bruno Mathsson died in 1988 leaving behind a rich cultural heritage. Today Bruno Mathssons design is still very present and even though its 70 years since he was busy as a designer the chairs seems trendy and to stays young.




Tuesday, March 31, 2015

Before my sister and I left the house of my parents there used to be a clear structure in chair-composition during the breakfasts and dinners.
A rectangular formed table surrounded by 6 chairs at the 2 long sides of the table. My parents sat in front of each other, and my sister in front of me in the middle of the table.




Everyday this composition was the same (although we tried a few times to change), except of 4 days a year, the birthdays.




The ritual of a birthday was that the lucky birthday person stayed in bed while the rest was preparing breakfast and the living room with as finishing touch the ‘birthday-chair’.
The ‘birthday-chair’ means that one of the chairs was covered in garlands and, very important, the chair was moved to the head of the table.
The chair, a simple and comfortable design by Gispen, inspired by the tube-construction of Marcel Breuer, used in a school, than sold to my parents for 5 guilders a piece, is quite hard to decorate because of the simplicity. 3 days a year it felt like my responsibility to decorate the chair in an artistic and surprising way.
The goal was of course to make the one who’s birthday it was feel important. It was his/her special day. By placing the chair at the head of the table he or she was the boss of the day. By making the chair look special I tried to make the person feel happy and loved.




What I realise now is that chairs can say a lot about hierarchy (throne). What I also think is very interesting is the contradiction between the super functional chair and the colourful (ugly) decoration what change the feeling of sitting totally. Can we consider this as a new ‘design’ chair?

Red&Blue or double Z ?

Sunday, March 29, 2015


Red&Blue or double Z?

A very short interview with André Klein.


What do you think of the red&blue chair by Rietveld?


“Hmmmm, it was never my favorites. It seems uncomfortable but I must admitted when you sit, its not so bad but after 20 minutes for me its maximum and I like the Zig-Zag chair much more as a design.”


De Stijl was one of the most significant art movements in the 20 Century in Europe. Especially in Cradle (Holland).

Piet Mondrian and Bart van der Leck created the most outstanding works for the De Stijl movement.

Gerrit T.Rietveld is a major artist from this period. As he took the movement from a one-dimensional to a three dimensional space. This can is seen in his most famous work the Red and Blue Chair. This represents the three-dimensional space from De Stijls movement.

The Red and Blue Chair has a radical form with perfect balance. Gerrit has taken Piet Mondrian’s painting viewed as one-dimensional painting. And translated it into a three-dimensional art piece. He has used Piet Mondrian grid system to achieve visual balance. The use of Piet Mondrian Bright primary colour palette enforces the structure.

The construction of the chair is important.

The structure of chair looks unstable and seat is quite low to sit on.When people first see the chair they doubt whether to sit on it as it does not look comfortable. But once they do they realize how comfortable it is.

Then the question arises:  For the people who have sat on the chair by themselves. Why they define the experience was comfortable?


As the author Marijke Kuper wrote from De stoel van Rietveld: “First of all, as an armchair, the sitting angle is good. The chair has armrests at the right height and of the right length. The most essential part of chair was the back. The back is long which gives support to the lumbar region and the shoulders. For the people who aren’t too tall could relax their head against the back. What’s more? It create a better sitting situation, combining the chair with cushion. The chair with its logical construction could easily be made much comfortable with the help of some cushions.”

In fact, present standards claims it is not a very comfortable chair. However, it wasn’t Rietveld’s original intention to design a chair for people to sit on it for hours on end. Besides, the culture of sitting experienced a great change. It is completely different between present-day sitting and sitting in the past was, according to the Australian engineer and designer Albert Linschutz in 1928.

Thus, it is not easy to draw a conclusion whether the red & blue chair is comfortable; all depends on people’s own preference and evaluation criteria.

Taking Andre Klein as an example, as his personal perspective, it is not so bad to sit on it. Luckily, I was fortunate to sit on chair. As my own perspective, it was lovely to sit on it, however it was bit difficult to get up due to the low position.


If we assume that the reason Rietveld made red and blue chair was respond to the De Stijl movement or explore De Stijl art movement in three dimensions.

As a properly design of a chair .is it zig-zag chair count, another chair by Mr. Rietveld.


The Zig Zag-chair was designed by Gerrit Rietveld in 1934. It is a minimalistic design without legs. Its made with 4 flat wooden tiles merged in a Z-shape using joints.The chair with four rectangular sections, the seat and back are joined by a system of “dove-tailing” or a “comb-system”. This signature design was to become an important addition to many of Rietveld’s later interiors.

When we talk about the quality of a design chair, we cannot only consider the idea but also function. Modeling. Material and other factors are involved. Zigzag Chair as a designed chair was one of Rietveld’s most economic design. The chair is in fact quite sturdy and comfortable. With or without the additions of cushions. These chairs have proved to be very efficient and have served their owner over many years.So far, Cassina S.p.A, an Italian manufacturing company, is still producing the Zig- Zag chair.

Overall, Rietveld makes both Red &Blue chair and Zigzag chair. The same technology and materials; the different outlook and structure are leads to two completely different results


Lets suppose I have those two chairs at same time at my apartment. I would like to put Zig-Zag Chair in the living room and put Red&Blue chair in the study corner. Zig-Zag chair as a designed chair has many more functions. Not only can numerous pieces placed on top of each other but the chair removes the least amount of volume from a room’s space.In my opinion Red&Blue Chair is a piece of art similar to a sculpture. Which is to be admired and appreciated and not used as a functional day to day chair.




Made by Material Experiment

Sunday, March 29, 2015

I was thinking, writing about a chair can be really interesting but for me it had to be more than only writing about a chair.

Waste, material, life, renovation, structure, experimenting, design.

A few of the words that were coming up in my mind when I saw and started to research this chair, so I thought this will be a perfect chair and designer to write about. To find out how deep this designer can go into material research, waste and renewable energy. Marjan Van Aubel is one of the designers who stimulates this.



Marjan van Aubel is a designer that makes everyday objects in new innovative ways. She is trying to make people aware of the fact that renewable energy is everywhere. Normally there will be a waste of 50/80% during normal manufacture.  Van Aubel and James Shaw found a way how to use and incorporate that wastage during the manufacture

‘The well Proven Chair’ is a design that is made with a new kind of material. It’s made out of bio-resin and shavings, left over after the production of making any kind of wooden furniture. The shavings with the bio-raisin will cause a strange chemical reaction and it will expand into a foamed structure, that gets 250% till 300% bigger than is original size.

By adding color dye and varied-sized shavings from different workshop machines, a colorful, lightweight and moldable material was created, reinforced by the fibers in the hardwood shavings.

When I saw “the well-proven chair” for the first time it looked like a normal chair because of the simple legs of the chair but when you see the back it becomes a object. For me it was hard to understand the material. I didn’t know where the chair was made of. The nice structure camouflages the fact that it is actually made out of  shavings and sawdust. With her designs she try’s to combine design and technology. She strives for a more renewable life

Well-proven chairJamesShaw+MarjanvanAubel

For me this was a really interesting topic because i didn’t know a lot about this kind of experimenting with material. There are so many young designers working with this way of designing. They are busy with making new materials to make life more renewable. I think these new materials are needed because our resources are running out.

The sitting part is beautiful and smooth, making this chair nice to sit on and really nice to look at. It’s good that the legs are simple so the focus stays on the sit area.

As an artist/designer she always was interested in how things are made. For me that is the same, also a reason why i feel related to her. I always want to figure out how ‘it’ is put together

She was also intrigued by solar panels and why they are so ugly and why they can ruin the face of a building. Why are the panels not integrated in the tiles? I really agree with her. When I too look at houses with solar panels, I right away don’t find them that beautifull anymore.

At her collage time she started a research about energy and graduated from RCA (Royal Collage of Art) as product designer with an inquisitive almost scientific perspective. She graduated with “The Energy Collections” a set of solar glassware that discharges through a matching bookshelf, which serves as a rather large battery. It’s a vaguely biological ecosystem: the tableware ‘drones’ gather energy during the day, ‘feeding’ the shelf, which can be used to power a lamp or charge a phone. There is so much light coming in, in our places why don’t we make use of it. The real magic lies in the physics: within each glass is a photovoltaic layer of dye Synthesized Solar Cell. This means that the properties of color are being used to create an electrical current Photovoltaic panels are made to transform sunlight energy into electrical energy, but it takes some conventional energy to make them as well. It is a technique based on the process of photosynthesis in plants. Like the green chlorophyll which absorbs light energy, the colors in these cells collect energy.

I have a lot of interest in nature.  For me that makes her work really interesting, because she interacts nature with design. I have a few works i made a few years a go which are also related to this. For me nature is a important way for making a work.


Her latest project was “The Current Table‘ which was also able to generate energy. However, for her it is also important that all the furniture she makes look really good too. Integration these two elements, making something that is beautiful, useful and renewable is the main aim of Marjan Van Aubel.


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