Dutch design agency Vruchtvlees is European Agency of the Year 2018

The Hague, 3 June 2018  – Vruchtvlees (read: Pulp) has been awarded European Agency of the Year 2018 by the European Design Awards. This award is the cherry on top for the work by this very talented digital design agency. To win this prestigious award is a real achievement, and the competition is huge. The judges are experienced design journalists and critics from all over Europe. In addition to the European Agency of the Year award, Vruchtvlees has also been awarded gold, silver and bronze in various other categories.

‘Every year we receive a huge amount of submissions, and the quality of design work in Europe is very high. Vruchtvlees have proven that they can deliver amazing digital design. By showing an incredibly strong position in the digital market, they managed to conquer the top spot for 2018’, according to Demetrios Fakinos (Managing Director, European Design Awards).

Vruchtvlees creates opportunities for ambitious brands, by offering hybrid design solutions that people love and make brands grow. Clients include De Vegetarische Slager (The Vegetarian Butcher), O My Bag ( and Theater Rotterdam. They are the first design driven digital agency in The Netherlands to receive this award. In addition to this, they also received gold for Integrated Identity, silver for Information Site and bronze for Branding – Company Logo, for Theater Rotterdam and the Hogeschool van Amsterdam (

‘We believe that our digital work and attitude is distinctive, and, therefore, appeals to brands, organisations and talent worldwide’, says Roman Stikkelorum (Founder, Vruchtvlees). ‘Dutch digital design is the continuation of the rich Dutch design history. Unconventional, solution orientated, open and down to earth. This recognition promotes Dutch digital design on a global scale. This is in line with our ambition to become the best design driven agency worldwide.’

The new Theater Rotterdam has taken it upon itself to break through the filter bubble and the theatre walls. The result of a merger between the Rotterdamse Schouwburg, Productiehuis Rotterdam, Ro Theater and Wunderbaum, Rotterdam’s new city theatre has positioned itself as open for debate, putting Rotterdam on the international theatre scene.
Vruchtvlees developed an identity for Theater Rotterdam that serves a purpose as much as it inspires. With intriguing campaigns and a strong online presence, we created the possibility for the dramatic character of Theater Rotterdam to become widely known. Vruchtvlees was also responsible for the campaign elements and the website.


Text and images via


“For the Pleated Seat collection Studio Joris de Groot was inspired by the production processes of air filters, a product partly made of Colback. Inspired by the construction of filters made of different layers and materials, Joris started his research for designing a new product.

Especially the structure of the pleated Colback and the strength that this material brings into the product, was key for the design. During this project Studio Joris de Groot collaborated with a factory with a specialization in laminating textiles and a factory specialized in pleating, two processes that are important in the production of filters.

In search for the right strength, visual effect and tactility Joris combined different materials with Colback and played with various pleating patterns. The collection seatings created by Studio Joris de Groot offers a new application possibility for Colback in combination with different materials, using existing industrial techniques in a new way.”


Text and Images via Studio Joris de Groot


Rug collection for Milan based carpet company cc-tapis by Mae Engelgeer. Launched during the Salone del Mobile 2017.

Keeping the playfulness of the Memphis movement in mind and experimenting with shape and color was the start of the BLISS collection. Mixing elements like pattern and form with different production techniques giving life to the rugs. Using high quality materials like Himalayan wool with pure silk makes some parts literally glow. I refers to it as “jewellery” for your space.

Proudly handknotted in Nepal. Himalayan wool and pure silk. Quality A+ (152,000 knots/sqm approx.)



Text and images via Mae Engelgeer

Dutch Design Blog


Metal Skin Cabinet by Job van den Berg

“The Metal Skin Cabinet, where industrial design meets authenticity”

The Metal Skin Cabinet shows the texture of wood grain, which Job achieved by forging wood veneer and sheet metal under high pressure. This process creates a unique and appealing texture adding character and individuality to each object.

Material: Metal
Dimensions: 196 x 110 x 50

Text and images via Job van den Berg

Dutch Design Blog


Ceramic Tap Water Carafe by Lotte de Raadt.

“Dutch tap water is top quality drinking water, and it is 2000 times cheaper than bottled water. And more importantly, it does not require any polluting plastic bottles or transport. With her traditionally crafted Tap Water Carafe Lotte de Raadt intends to promote the consumption of tap water.

The shape of the carafes betrays the origins of the water. The tall bottle with the long neck refers to water from deep underground; the low, stout bottle is the ideal shape for collecting surface water; the third can be filled with dune water. The stopper clearly displays the place where the contents were drawn: from the tap, naturally!”


Text and images via Lotte de Raadt 

Dutch Design Blog


“Print Your City by The New Raw explores the concept of applying 3D printing to plastic waste, as a way to re-design urban space. As the name suggests, Print your City! is a call for action, rallying citizens to recycle household plastic waste in order to transform it into raw material for public furniture, via a 3D printing process.

The first outcome of the project, which creates a circular stream within the city, generating more engaged citizens and less CO2 emissions, is the XXX bench, a furniture piece designed for the Municipality of Amsterdam.

Print Your City! is an on-going research project initiated by The New Raw.
It was kick-started in 2016 in collaboration with Aectual as 3D Printing in the Circular City (Stimulus project of Circular City Program of AMS Institute) and supported by the Technical University of Delft, and AEB Amsterdam .

For more information visit the project site: 

Text and images via The New Raw

Dutch Design Blog


“The Colour Catcher is a constant object to see shadows, hollow and convex surfaces and reflections, to make visible tactile colours in varying lighting atmospheres. A study on the colour of shadows. Objects in grey tones placed on colourful fields.




If we fold a piece of coloured paper a few times, we get several divided or sliced colours. Each plane of each folded surface acquires its own tone. The vertical surfaces are darker, the horizontal ones catch most light.
When shadows hit these surfaces they also fracture into many shades, where every fold or bend creates a new palette. The folded surface reveals the layered quality and refraction of a single colour. The folding turns the form of an object into a generator of new colour tones.




The Colour Catchers were designed for the exhibition ‘Breathing Colour’ (on dislay at the Design Museum London from June 28 through September 24, 2017).”


Text and images via Hella Jongerius


Fundamentals campaign by Raw Color for Dutch Invertuals

“Campaign for Dutch Invertuals – Fundamentals. 9 different masks are constructed with a selection of over 800 objects from 45 different participants. The objects are derived from the individual collections of the participating designers. They offer a glimpse into their private collections, resulting in a distinct reflection of the designers identities. Sharing these inspirational artefacts allow the visitors to experience various views on form, material, and beauty.

Participating designers:
Alissa + Nienke, Arnout Meijer, Bram Vanderbeke, Carlo Lorenzetti, Carolina Wilcke, Commonplace Studio, Daniel de Bruin, Daphna Laurens, De Intuïtiefabriek, Dienke Dekker, Earnest Studio, EDHV, Hongjie Yang, Jeroen Wand, Jetske Visser & Michiel Martens, Jo Meesters, Juliette Warmenhoven, Kirstie van Noort, Léa Baert, Laura Lynn Jansen, Max Lipsey, Michael Schoner, Mila Chorbadzhieva & Adriaan de Man, Milou Voorwinden, Nel Verbeke, Niels Heymans & Emilie Pallard, Nina van Bart, Odd Matter, Officina Corpuscoli, Olivia de Gouveia, OS ∆ OOS, Paul Heijnen Studio, Raw Color, Scheublin & Lindeman, Sigve Knutson, Studio Mieke Meijer, Studio Sabine Marcelis, Studio Truly Truly, Thomas Ballouhey, Thomas Vailly, Tijmen Smeulders, Tijs Gilde, Victoria Ledig, Wendy Andreu, Xandra van der Eijk

Project Team:
Christoph Brach, Daniera ter Haar, Mirjam de Bruijn, Lydienne Albertoe”


Text and images via Raw Color

Dutch Design Blog


“Stop talking. Let’s start doing! In an effort to help solve the plastic soup problem, Dutch organizations Plastic Whale and Vepa have launched Plastic Whale Circular Furniture: high-end office furniture that is made from Amsterdam canal plastic. What makes the collection special and unique is that the raw material used to manufacture the products has been fished out of the Amsterdam canals by Plastic Whale itself. The debut collection consists of a boardroom table, a chair, lamps and acoustic wall panels. Part of the sales proceeds will be invested in initiatives around the world that tackle plastic pollution.

“Our mission is to create economic value from plastic waste, involving as many people as possible”, says initiator Marius Smit, founder of Plastic Whale. Together with thousands of Amsterdam residents, Plastic Whale fishes plastic from the canals. The social enterprise has previously built ten designer sloops made from recycled waste, now used for plastic fishing. “With office furniture we can make an even greater impact, as many companies want to make a positive contribution to a cleaner environment. The Dutch Ministry of Infrastructure and Water Management and leading companies Vrumona, Nationale Nederlanden and DSM have, amongst others, already been confirmed as launching partners.”

Dutch furniture manufacturer Vepa – a leader in the field of sustainable innovation – is responsible for the technical development and production of the furniture range. “For the manufacturing of the furniture, we use PET bottles that have been fished out of Amsterdam’s canals. We are also using steel waste from our own factory for the cast-iron base of the chair,” says Janwillem de Kam, Vepa’s Managing Director. “We are rapidly becoming a waste-free factory and even process the waste of others in this collection as well. To ensure sustainability, we maintain full control over the production and consciously keep it within the Netherlands, which is quite unique. Moreover, our deposit-return scheme will ensure that no new waste is created: At the end of a product’s life cycle, we will collect it from the consumer, who will then receive a refund of the product’s surcharge. We will then disassemble the furniture so that individual parts can be reused or recycled.”

The whale as inspiration
LAMA Concept from Amsterdam is responsible for the design side of the collection, for which circularity is key and the whale has served as a source of inspiration. Yvonne Laurysen, co-owner of LAMA Concept explains: “Plastic soup is a huge threat for this incredible mammal, and so we have translated characteristic elements of the whale into the designs. Think, for example, of the look and feel of its skin, the adipose tissue and the impressive skeleton.”

Turning waste into impact
Part of the proceeds from Plastic Whale Circular Furniture will – through the Plastic Whale Foundation – be invested in local projects that tackle the plastic problem in places where it’s needed the most. The first collaboration has been entered into with SweepSmart, an organization that offers professional waste solutions in India, where the plastic problem is enormous. “Thanks to Plastic Whale Circular Furniture, it will be possible for SweepSmart to develop waste-processing centers in India, and subsequently reuse the collected plastic for the next furniture line,” says Marius Smit, founder of Plastic Whale.Join the mission
Plastic Whale Circular Furniture can be ordered via exclusive Plastic Whale Circular Furniture dealers as of today. International shipping is possible upon request. “The furniture is ideal for every company that wants to realize its sustainability goals. Purchasing it helps us tackle the plastic soup problem on a large scale and stimulate the local economy. Moreover, partners benefit from beautiful, state-of-the-art furniture in return – an item that is a real conversation starter. Together we can make an impact worldwide,” Smit concludes.For more information, please visit”


Text and images via Plastic Whale

Dutch Design Blog


“At movie theaters you will watch films in a black box; ‘Cycling Cinema’ by Milan Tak offers a broader scope, bringing the outdoor scenery into the picture. Instead of going to the movies, the movies come wheeling their way to you – or to any other location. A place that adds to the atmosphere on screen, for example, and intensifies the experience. The Art Deco design, in the typical style of old theaters, gives the bike that extra nostalgic movie vibe. With a projector, screen, audio system, lights, eight chairs and a popcorn container tucked inside, this adventurous vehicle holds all the tools to transform any site into an open-air cinema.”

Tekst and images via Milan Tak

Dutch Design Blog


“In the early Summer of 2017, the Zeeuws Museum, as instructed by Das Leben am Haverkamp, invites 40 visitors to give a description of 40 randomly selected objects of the museum’s collection out of storage. Objects in the storage rooms are anonymous, without judgment, without a story. It is that anonymity that appeals to the imagination. The subjective descriptions of regional costume, jewelry and household goods induced us to develop a new collec­tion without ever having seen the objects described.

With this method and our collection, Das Leben am Haverkamp aims to create a bridge between past and future, between knowing and fantasizing, between the image of yourself and that of the other.

Volkskrant described it as one of the cultural highlights of 2018. Glamcult said to go see this with your own eyes – “The journey is worth it”. Read about what i-D Vice and VPRO Nooit Meer Slapen had to say about it.

17 February 2018 – 5 May 2019”

Pictures by Pim Top
Text Das Leben Am Haverkamp

Dutch Design Blog


Dutch Design BlogWater Tower Sint Jansklooster by Zecc

“The water tower is situated in the middle of a protected nature reserve owned by the Dutch Nature Monuments; De Wieden in the province Overijssel. BOEi, Vitens and Nature Monuments took up the initiative to transform the tower to a watchtower. A spectacular ‘ route architecturale” will lead you up to a height of 45 m. At the top four windows give you a 360 degree view of De Wieden.

The journey begins with a closed staircase that leads to the first floor. Here you enter a room that is 24 m high and gives you a view of the spectacular composition of the old and new stairs. The new wooden stairs generates a warm atmosphere and leads through the body of the water tower. Where the old stairs runs up alongside the existing concrete walls, the new stairs zigzag across the tower to reinforce the spatial composition. A new, steel winding staircase departs from the floor below the water reservoir and goes right through the bottom of the empty tank. The stairs slowly winds up alongside the walls and intensifies the spatial perception of the reservoir, the heart of the tower. You feel small as a visitor and you get an impression of the huge quantity of water that used to provide water pressure for the entire region.

At the top of the tower you have reached the look-out point. The ‘lid’ of the tank has been partly removed in order to create a plateau to offer more of an overview for groups. The transparent raster floor makes you imagine yourself to be right in the middle of the tank. Alongside the four small existing windows four large ones have been added that complete the view of De Wieden. The public makes an exciting and multifaceted journey upstairs and is rewarded with a beautiful view.

The water tower is a national monument, which made alterations to the exterior and interfering with the reservoir a difficult point. The strength of this plan lies in a combination of extreme restraint on the exterior and an architectural statement on the inside of the tower.”


Images: Stijnstijl Fotografie
Text: Zecc

Dutch Design Blog


MVRDV and Tianjin Urban Planning and Design Institute (TUPDI) have completed Tianjin Binhai Library as part of a larger masterplan to provide a cultural district for the city.

The 33,700m2 cultural centre featuring a luminous spherical auditorium and floor-to-ceiling cascading bookcases not only as an education centre, but also social space and connector from the park into the cultural district.An oval opening punctured through the building is propped open by the Eye, a luminous sphere with an auditorium, which takes the main stage within the atrium and enlarges the perceived space within. Terraced bookshelves which echo the form of the sphere create an interior, topographical, landscape whose contours reach out and wrap around the façade. In this way, the stepped bookshelves within are represented on the outside, with each level doubling up as a louvre.

The futuristic library sits within a sheltered gallery, topped with cathedral-like vaulted arches, which winds its way throughout the scheme. MVRDV’s project is surrounded by four other cultural buildings designed by an international team of architects including Bernard Tschumi Architects, Bing Thom Architects

The five-level building also contains extensive educational facilities, arrayed along the edges of the interior and accessible through the main atrium space. The public program is supported by subterranean service spaces, book storage, and a large archive. From the ground floor, visitors can easily access reading areas for children and the elderly, the auditorium, the main entrance, terraced access to the floors above and connected to the cultural complex. The first and second floors consist primarily of reading rooms, books and lounge areas whilst the upper floors also include meeting rooms, offices, computer and audio rooms and two rooftop patios.

Tianjin Library is part of German architects GMP’s 120,000m2 masterplan which aims to accentuate the characteristics of the surrounding districts. Through its design, the complex will become a junction point for the CBD, old town, residential districts, commercial areas and the government quarter; hoping to compensate for any missing programme in each. The library’s outer volume was given in the masterplan so the Eye and its surrounding semi-public area are an internal space, like an inverted icon, acting as a central point and folly in the building.

The library is MVRDV’s most rapid fast-track project to date. It took just three years from the first sketch to the opening. Due to the given completion date site excavation immediately followed the design phase. The tight construction schedule forced one essential part of the concept to be dropped: access to the upper bookshelves from rooms placed behind the atrium. This change was made locally and against MVRDV’s advice and rendered access to the upper shelves currently impossible. The full vision for the library may be realised in the future, but until then perforated aluminium plates printed to represent books on the upper shelves. Cleaning is done via ropes and movable scaffolding.

The project is MVRDV’s second completed design in Tianjin. TEDA Urban Fabric, completed in 2009, provided 280,000m2 of mixed high and low-rise housing and retail.”


Text via MVRDV
Pictures via Ossip

Dutch Design Blog


The Cartoni 900 pendant by Wisse Trooster for Cartoni Design

“Due to the rise of LED, lighting has become more sustainable. With the Cartoni 900 pendant, designer Wisse Trooster goes one step further with the label Cartoni Design. In addition to applying LED technology, the lamp is made with recycled cardboard from Smurfit Kappa. The result is a minimalistic stylish pendant that can be used on its own or linked; in both work or living environments.

The Cartoni 900 is built up of several layers of corrugated cardboard. With a veneer top an undercoat of your choice the lamp can be assembled to your liking. Next to the label The name itself refers to the weight of the lamp; only 900 grams. Because the pendants can be connected from one to another, only one power adapter is required for multiple lamps.

The pendant is the first collaboration between Wisse and Cartoni Design and was shown for the first time at the VT Wonen & Design Fair and during Dutch Design Week in October 2017. Cartoni 900 is available in Cartoni Design’s shop, located in the circular pavilion ‘Circl” of the ABN AMRO bank in Amsterdam.”

Text by Wisse Trooster
Images via Cartoni Design and anemo-one

Dutch Design Blog


“A starterkit to start a small scale production in Uganda

Starting up business is difficult, especially in a developing nation in Africa. With procurement, production, sales and marketing, the first year of business really is demanding—even for anyone.Today, micro credits are becoming widely available to entrepreneurs throughout Africa, and institutions offer them general business courses.

But what is lacking is practical assistance in how to get a business off the ground. For my graduation project and in cooperation with Pim van Baarsen, we developed a ‘business in a box’ for the victims of the civil war in North Uganda, who don’t have the opportunity to provide for themselves.

 RESEARCH War in North Uganda

From 1986 until today countless men and women living in Northern Uganda have been mutilated and traumatized by the civil war led by Joseph Kony. In order to get better understand their situation we traveled through North Uganda. Through many interviews with groups of victims and customer journeys we got a clear view on the current situation.

Many traumatised men and women visit each other and sometimes live separated from the rest of the community. Due to their painful scars, heavy physical labour is not possible. Many of them stay at home, without any prospects of work or income. Throughout our research we found that most of the people wanted to participate in society and team up with other victims.

Bringing together different parties for brainstorming sessions led to the idea of setting up a small-scale local production. By doing market research, we discovered that there is a big demand for natural ointment. A salve that could not only ease pain in the scars of the victims. but also spark an economic impulse.  

What we designed
A physical starters kit with all the needed tools, know-how and instructions to start local, small scale production of ointment

The kit comes fully equipped and provides the entrepreneurs with a rocket stove, oil press, pots and pans and a packaging set. 

Besides the equipment, the kit comes with a production manual, instruction video, business plan and marketing tools. The starter box provides the new entrepreneurs with an overview of everything they should be aware of during year one, and assists them in every aspect of their nascent entrepreneurial endeavour.


We focused our business box sales efforts on NGOs and companies on a relatively large scale. This is because NGOs can purchase, for example, 40 starter boxes at the same time, and provide on-the-ground training to entrepreneurs in their area.

The production of the ointment proved to be too complex for the target group in Uganda to start businesses. However, Single Spark promised to be a good concept to apply to other products and business plans with a simpler production process, and NGO’s were interested in investing in the project. The concept has grown into a successful business and is active in different parts of Africa. The business, called Single Spark, is now being conducted by Peter Meijer and Sam van Veluw. Over the past years they have helped setting up businesses in beekeeping, soap making and poultry.”

Luc van Hoeckel and Pim van Baarsen

Text and images via
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Dutch Design Blog


Fixum by Floris Hovers with Vij5

“Fixum is a remarkable candle holder, adaptable to different thicknesses of candles. Designed by Floris Hovers, the candle holder is a product that explains itself well in visual language and structure. The simple but sublimely balanced construction ensures that any random candle stands firm and completes the composition.



Anyone who recognises Floris Hovers’ handwriting will notice that the design of the candle holder indirectly derives from his free work, focusing on making unique assemblies and compositions. With the candle holder this is expressed in the combination of different materials: coloured steel parts are combined with a small pear wood cube and a brass butterfly screw. Floris’ distinctive use of colours is reflected in a series of three colours in which the Fixum is available. The name ‘Fixum’ is Latin for ‘fixed’.”

Pictures and text via Vij5

Dutch Design Blog


New in the collection of Spectrum Design the Metz&Co armchair by Rietveld. For the first time in production since it has been designed back in 1942.

“Armchair for Metz&Co (1942) The Armchair for Metz&Co was named after the Amsterdam based department store Metz&Co for which Rietveld designed the chair in 1942. As early as in 1932 Metz&Co asked Rietveld to design a showroom for his furniture on top of their building in Amsterdam. It was in this showroom where Le Corbusier, Mies van der Rohe and later Pol Kjaerholm presented their contemporary designs in the Netherlands for the first time.


During the Second World War Rietveld refused to adhere to the German ‘Kulturkammer’, a Nazi controlled cultural board. As a result of this he wasn’t allowed to produce the Armchair for Metz&Co. Luckily the drawings and prototypes were preserved and could be used to reconstruct the chair 75 years after its first design.

The beautifully crafted frame of the chair was designed with thin slats of oak. The seat consists of an upholstered polyurethane foamed frame with an upholstered comfortable pad. This pad is finished with a blanket stich that gives this historic design both comfort and a distinguished look.”



Text and images via Spectrum Design

Dutch Design Blog


Bent dining chair by Tristan Frencken.

“BENT dining chair has a slender character with a wink to fifties design. Created by subtly bending aluminium, components attached visibly with screw connections: BENT is powerful by its simplicity. The collection includes two types of chairs, a slightly higher dining chair and a lounge chair with a wider and lower seatpad, and a small table as well, all available in colours black, white, mint and blush.

The chairs can be completed with a removable BENT SKIN, a 100% wool felt non-slip back and seatpad for added comfort.”

Pictures and text via Tristan Frencken

Dutch Design Blog


Yer fan by Studio Friso

“Yer is a sculptural functional piece, reminiscent of an Opium flower that has been industrialized into a seemingly solid block with cooling ribs.

It was designed as a contemporary addition to an old ambient style of ancient Constantinople. Where social activity took place low-to-the-ground with pillow beds and tapestries.
We’re talking 18th century, a time where elements of (middle-) Eastern mystery in illustrative paintings, rich fabrics and beautiful brass- and copperware made their way to western Europe, introducing a rich ‘Boudoir-style’ that even evolved to certain aspects in the ‘hippy-style’.”

Pictures and text via Studio Friso

Dutch Design Blog


Skynfeel Apparel by Pauline van Dongen for SKYN®

“In collaboration with SKYN® Condoms, studio Pauline van Dongen created SKYNFEEL™ APPAREL. It is a one-of-a-kind conceptual long jumpsuit for elite athletes made out of SKYNFEEL™. With a cutting-edge design drawing inspiration from biomimicry, SKYNFEEL™ APPAREL sets out to minimise body limitations and bring extra air time to the long jump athlete.

The garment features dragonfly wing-inspired flaps located on the edge of the body, constructed out of a thin layer of SKYNFEEL™ and reinforced by a geometric laser cut grid. Designed with the long jumper’s technical capabilities in mind, the flaps stay flat during the run, opening up during a jump – just as the athlete twists his arms and straightens his legs. The aerodynamic design creates an upward lift that enable long jumpers stay in the air longer.

Working with the SKYNFEEL™ material has been a way for both our studio and SKYN® to explore the possibilities in future performance athletic apparel. The material easily moulds in any shape and contains properties of being extremely lightweight and strong at the same time. This paves the way for innovating sportswear and creating an ultra-lightweight garment that could help long jumpers perform better.”

Pictures and text via Pauline van Dongen

Dutch Design Blog


Plastic Nature by Alexander Pelikaan, Pelidesign.

“The Plastic Nature is a furniture concept which exemplifies the connection of the “plastic-world” and the world of wooden furniture.

The first pieces of the PlasticNature were stools for my graduation from the Design Academy in Eindhoven in June 2006.

When wood is machined material is always taken away – contrary to plastic .In plastic manufacturing there is hardly any waste because plastic is cast in shapes and leftovers molten again for further casting.
These facts bring with it several possibilities and constraints for each used material.

With the PlasticNature I wanted to fuse hand made furniture and injection-moulded plastic furniture.
These worlds belong together – they are both utilitarian, in a way even quite “low” (think about farmers chairs from the Alps and the white “Monoblock” chair ‘the worlds most’ chair).
I designed the plastic connection with – the wooden legs actually ‘flow’ into the seat plank…Then I drew the moulds on the computer and let the moulds rapid-prototype. These moulds I used for hand casting the plastic resin into the wood.

The wooden parts have cavities (in that version, milled holes) which are working in a way known from a dovetail connection does – the plastic flows “behind” and into them, hardens, and is not solvable anymore.
The complicated shapes of the cavities are not specially designed (in fact, not designed at all, they just emerge out of necessity, they look grown) – they fulfil the only purpose that they provide sufficient surface that the connection can cling to the wood…
That’s also a part of what I wanted to show: plastic is liquid at first it flows where it wants to flow; where there is space…

So the whole PlasticNature uses connections and is a connection and that on different levels, I name two: physical (wood connected by plastic) and stylistically (plastic furniture, wooden furniture)


Images by Bas Berends
Text via Pelidesign

Dutch Design Blog


Plasma rock, tiles and glass by Inge Sluijs 

“Plasma Rock is a mixture of waste that was broken down to its atomics elements and then fused together. ”

The waste will be transported on a conveyer belt to the gasifier where the waste will be transformed from solid matter into gas at a temperature of 800 degrees. From here it goes into the pacifier, where it will be heated to 1500 degrees and blasted with Plasma. Plasma is an ionized gas that generates a magnetic field.  This process can be compared with processes in nature, such as the sun, lightning and the northern lights. The plasma torch that’s inside the machine can reach a higher temperature than the surface of the sun.  The intense heat causes gases inside the machine to be broken down in to atomic elements.  Advanced Plasma Power tested the plant with different kinds of waste streams.Regardless of the waste put though the machine it will always output syngas, heat and plasma rock. 

Plasma Rock is closely related to ‘a new geological period’ called Anthropocene that is characterized by the human influence and power on environment, climate and ecology 

The slag left over by the plasma gasification process is called Plasma Rock. Plasma Rock is the waste of waste.
While the coastal historic landfill waste was toxic the Plasma Rock is virtually un-bleachable that means that any hazardous materials are inert and will not dissolve out of the material. The quality of this nearly undiscovered material is that it is mechanically strong, very dense and environmentally stable. During the cooling down process of the slag it becomes fully vitrified which gives the rock sharp edges. Some rocks look rough and contains little elements of undissolved metals caused by the cooling down process. Besides the aesthetic differences, the rocks have differences in the number of elements, this depends on the type of waste. The main elements in the rock are Silica, Lime and Alumina, other elements are Iron Oxide, Titania, Magnesia, Sodium Oxide, Potash and Phosphate. 100 kg of landfill waste will result in 20 kg of the Plasma Rock.

The low carbon ‘Tilbury Tiles’ that contribute to a circular economy are made from 100% Tilbury waste and are created in tilbury by a local tile company.For the manufacturing of the Tilbury Tiles the rocks should be broken down into little pieces and powder. Each tile consists out of +/- 200 gram Plasma Rock material so it needs 1 kg of landfill waste. The mixture of Plasma Rock that is needed to create the tiles dry’s within +/- 8 hours by air. They are extremely dense so don’t get damaged easily. The black gray tiles enable the material to show different textures and patterns. The flat and basic shape of the tile doesn’t distract the viewer from the materiality. Some are decorated with illustrations that tell the story of the landfill in an abstract way and contains ornaments created out of waste elements. These patterns are engraved in the Rock using a special stone craft technique. The tiles can be bought so every tile sold pays for the cleaning of the landfill soil. The tiles are branded with a logo that shows that it is made from 100% Tilbury landfill waste.

The power of the Plasma Rock has changed the way the local people view a coastal historic landfill. Previously nobody wanted to have the toxic waste in their back yard. Now this area is famous for its craft and materials. That’s why the local Tilbury community is celebrating this Anthropocene mine of raw materials.

The tiles are a souvenir that they use to express themselves to the outside world and tell their story about the rebirth of waste, based on a myth that I created around the Plasma Rock:
“One night there was a highly intense lightning storm going on above a landfill. The lightning went inside the ground. The next day an old man who lived close by, went to the landfill and to his surprise he found a black glassy rock. He gave this rock the name Mysterious Diamond. He believed that the first Plasma Rock is made by nature as a sign for humans to change the way we deal with waste and that their traces must be removed from the earth. This black mysterious unknown rock became a symbol of the transformation and rebirth of waste. People carried this magic material around and believed that it cleaned up the dirt of the past and it stimulates personal development. But above all it warns humans to stop polluting the Earth.”

Working together with the glassblower proved that the Plasma Rock isn’t toxic otherwise the glass would have changed colour. Mixing glass with crunched Plasma Rock required a different glass blowing technique. The material restricts the glass so it’s harder to blow and it shapes differently than normal, besides that we discovered different ways of mixing the Plasma Rock with glass what resulted in different textures. Normally with glass blowing you don’t mix it with another material.


Text and images via Inge Sluijs

Dutch Design Blog


Bunker 599 by RAAAF

“In a radical way this intervention sheds new light on the Dutch and UNESCO policy on cultural heritage. At the same, it makes people look at their surroundings in a new way. The project lays bare two secrets of the New Dutch Waterline (NDW), a military line of defence in use from 1815 until 1940 protecting the cities of Muiden, Utrecht, Vreeswijk and Gorinchem by means of intentional flooding. 

A seemingly indestructible bunker with monumental status is sliced open. The design thereby opens up the minuscule interior of one of NDW’s 700 bunkers, the insides of which are normally cut off from view completely. In addition, a long wooden boardwalk cuts through the extremely heavy construction. It leads visitors to a flooded area and to the footpaths of the adjacent natural reserve. The pier and the piles supporting it remind them that the water surrounding them is not caused by e.g. the removal of sand but rather is a shallow water plain characteristic of the inundations in times of war.

The sliced up bunker forms a publicly accessible attraction for visitors of the NDW. It is moreover visible from the A2 highway and can thus also be seen by tens of thousands of passers-by each day. The project is part of the overall strategy of RAAAF | Atelier de Lyon to make this unique part of Dutch history accessible and tangible for a wide variety of visitors. Paradoxically, after the intervention Bunker 599 became a Dutch national monument.”


Text from RAAAF
Pictures by Allard Bovenberg

Dutch Design Blog


“TINGE is a mix and match table series that invites you to combine your favorite shapes and colours to a unique table. The prototypes are produced of left-overs from the plastics industries. This furniture series leads Ulrike Jurklies; owner and designer of Dutch label mo man tai back to her roots.

Prior to her Industrial Design studies in Munich, she was trained as a carpenter. Inspired by the visual appeal of left-over material that is generated when the plastic colouring process machine is set up for a new dye, she decided to design a furniture series with this attractive material.

These first prototypes are in a lavender shade but, depending on what goes in production, in the future a range of different colors are possible. The layers of shapes reinforce the design of TINGE. They showcase the play of light, the reflections and the shadows of the colourful transparent PC waste panels. By using simple joining techniques – no tools or unnecessary effort is needed to put the tables together. Endless combinations are possible; mixing and matching the shapes and colours into a unique, personal piece of furniture.

These pieces are the first prototypes of a whole furniture collection that is developed and produced in collaboration with the Belgian plastics processing company Zweko Optics. The complete series will be on display in October during Dutch Design Week 2017 in the installation ‘See Through’.”

text and images via Mo Man Tai

Dutch Design Blog


Growing Plants Indoors by Rem Atelier

“Growing Plants Indoors is an on-going project. The works not only decorate a living space, they simultaneously question the way we decorate our living space. And more precisely; how we take the outside world in, containing a piece of nature between the walls of our own habitat.

A three-dimensional, layered depiction of the plant is placed into a light box. When the light shines through the thin green leaves, the representation becomes hyper realistic. The plant leaves the suggestion of being alive, trapped behind milky Plexiglas, in its wooden casing.

But when one looks closer, the illusion starts showing cracks. The measurements of the casing reveal the flat character of the banana plant, which turns out to be a photographic representation that is sculptured inside the box. An illusion of the exotic houseplant that doesn’t need any water and can’t die, frozen in its temporary state. The work references the perception of an object; a familiar, functional object in it’s personal space.

Every plant is based on different photographs of singular, real life plants.

Just as in nature, all of them unique. Every new light box that is created marks the birth of a new addition to the banana plant family.”

Rem Atelier Growing Plants Indoors Dutch Design Blog

Rem Atelier Growing Plants Indoors Dutch Design Blog

text and images via Rem Atelier

Dutch Design Blog



BLOCKSEAT by Jim Van Lent

“The BLOCK SEAT came to me from a simple shape: a beam. With a beam as the basic shape, I produced a complicated design, and used an attractive shade of red. Due to its high, broad arms, its depth, and the warm colour, it feels like a safe environment. The large seat provides ample room to move around in, so you can perform many activities whilst actually sitting in the BLOCKSEAT. 

If I had to describe myself, I think I’d say I am a craftsman and a creative thinker. The craftsman can be seen from the fact that I have an eye for beautiful materials, and that I understand and have mastered the technical aspects. When I start working on a project, the actual process is important because within this, I learn a lot about specific aspects like how the shapes, colours and materials used can be changed and improved. Primary colours and basic shapes are essential for me. I also have a strong preference for working with natural materials, like wool and wood.”


Blockseat Jim Van Lent Dutch Design Blog


pictures Marjon Hoogervorst
text via Jim van Lent

Dutch Design Blog



Voie Lights Edition #2 by Sabine Marcelis

“The ‘voie’ light series is the result of an investigation into the manipulation of light-paths. Having chosen neon as the primary light source, the designed objects create an interception on the path the light follows through the addition of a singular extra material.

The addition of cast polyester resin diffuses the light path and in turn uses the light source to enhance the colour properties within the resin. A new moment is created when this mutually beneficial relationship is formed between materials, defining the unique properties of each where the two meet.”

Voie Light Sabine Marcelis Dutch Design Blog

Voie Light Sabine Marcelis Dutch Design Blog

Voie Light Sabine Marcelis Dutch Design Blog


text and pictures via

Dutch Design Blog


Acoustic Landscapes by Robin Pleun Maas

“A flat surface is changed into a three-dimensional landscape. Colors shift or blend in by changing your perspective. I was intrigued by the appearance and disappearance of colors within a single surface. These acoustic landscapes perform visual interaction with the moving body. Strong sporty ropes are combined with soft wool felt. Contrasting materials create depth and structure; the bright colors enhance this effect even more.

This collection of rugs can be applied on walls or floors of architectural environments to improve the acoustics.

graduation project 2016″

pictures and text via Robin Pleun Maas


Milkyway pendant by Dennis Parren

“With a fascination for our planet, the planets, starts and light, Dennis felt that being able to give everybody their own galaxy would be the ultimate dream. Something that would put life on earth into perspective, make your think, and bring us closer to that immense, vast, every growing, mysterious, unexplored and fascinating galaxy that we live in.

The Milkyway is Dennis Parren’s light that projects a colored galaxy or the walls and ceiling of your rooms. It seems to revolve around itself while standing still. Give it a gentle spin and the galaxy starts to orbit around the light. The Milkyway comes to live and the stars seems to be 3Dimensional!

It gives you the feeling of being part of something that is bigger than me and you.

To infinity and beyond…”

text via Dennis Parren
picture and video by Ronald Smits

Dutch Design Blog