For the past two years, the creative collective Envisions has been shaking up industry’s standards with their dazzling displays of experimental design research. Ascending from this desire to celebrate the design process, Envisions set out to collaborate with Spanish wood manufacturer Finsa and created the industry-inspiring collection wood in process.
Wood in progress, turns the page to the second chapter of this creative love story, presenting six of the previously created researches—now industrially tweaked and altered in the factories of Finsa in Spain. With the applied impression of the formerly handcrafted materials, the work of wood in progress shows us the unique potential of Finsa’s wood materials, while giving us distinct clues of Finsa’s captivating manufacturing process.
Scaling, zooming, repeating and rotating, the voluminous display aims at constantly shifting perspective to spark inspiration from multiple angles. This symbiotic setup formulates the mission and vision of the collaboration clearly—showing that designers can’t live without the industry and the industry can’t progress without visionary designers. That quality is not a destination, but a direction and—most importantly—a process.
To cover all your senses, we are hosting a string of dinner experiences, designed and prepared by chef and tastebud magician Naresh Ramdjas. Reservations can be made via [email protected] or on nareshramdjas.nl
Keep an eye on our website, facebook and instagram to make a reservation in time.
As a designer, Aukje Fleur Janssen focuses on the material appearance of the world around her, exploring the boundaries of a material and then manipulating it as she sees fit. ‘When different ingredients come together or two materials meet, their colours overlay and express a shape.’ The process phase of designing is her playground, creating palettes of opportunities within the field of intermediate products. With an outspoken use of materials and a colourful signature, her works have a strong sensory attraction. While starting with handmade samples, Janssen’s goal is to work on an industrial scale and contribute an unexpected use of materials with a colourful impact.
Operating under the pseudonym of Elvis Wesley, Wesley de Boer is a music lover intrigued by its potential to create an atmosphere. De Boer believes ‘design can have a similar effect. It is like music that you can see and touch.’ Following a stint as a graphic designer and illustrator, de Boer attended the Man & Identity programme and later moved to Berlin to be a designer at Jongeriuslab. Fascinated by self-made internet stars and bloggers, de Boer began a double life under the pretentious pseudonym of Elvis Wesley and has dedicated his studio to serving this alter ego by designing its personality and the habitat. ‘I chose to serve Elvis Wesley. I aim to materialise his fictional fantasy world and make this public, so other people can enjoy it too. All the work and products that are initiated by studio Elvis Wesley are artefacts from Elvis Wesley’s fictional world. I see myself, Wesley de Boer, more as his employee.’ A project often starts with a fascination for a material or technique and, after diving into it, is given a suitable application. The studio’s work is envisioned as one big process, with everything intertwined. Whether it is a video or an object, the outcome often has a highly ‘visual effect’.
Amsterdam-born Roos Gomperts spent her childhood immersed in her mother’s art world in her home studio, dabbling in the atmosphere of artworks and materials. The creativity was an early influence which literally drew her to the design field, culminating with studies in the Man & Leisure programme. Since graduating, the designer-slash-image maker creates playful fusions of contrasting materials from her base in Rotterdam. Guided by a material’s inherent colour, Gomperts combines varied textures – soft and spongy consistency of foam and the transparent and fragile nature of glass – to result in the visually intriguing combinations which are central to her work. ‘I have a fascination for standardised materials and images in our society. With my work, I turn around, reinterpret and give new meaning to these standards; new applications, contexts and values are proposed. With a playful and experimental approach towards often under-appreciated materials and images, inventions are often found in an unexpected way.’
Born in Sweden and raised in Arnhem, Sanne Schuurman studied both interior architecture and architecture before realising she wanted to downsize in project scale, and definitely not just remix designs made by others. To have a hand in the aesthetic and making of a space’s details – from the curtains to furniture, lighting and floors – is what makes her tick. With an entrepreneurial spirit, Schuurman simultaneously founded her own studio in Eindhoven as well as two group-focused initiatives, the process-oriented design collective Envisions and De Design Shop, a pop-up which brings designer’s work to the market. ‘I think a designer is a connector and collaborator. You need to be able to dive into different worlds and be able to gather useful knowledge to apply to your processes. As soon as you start to collaborate and open up your practice – like an open source – you can achieve things on a bigger scale, joining forces instead of wandering around in your own imagination.’ Schuurman’s playful and experimental way of working is immersed into a layered world of colour, material and texture. Not decoration applied as after-thoughts, ornate patterns result from the research-driven process behind material combinations and constructions.
Utrecht-born Simone Post started out by studying fashion design at ArtEZ University of the Arts in Arnhem. By witnessing the wasteful aspects of the industry, she felt incompatible with the fast-paced fashion world and parted ways. Post then ventured to Eindhoven for a career grounded in research which became an impetus for her interest in investigating common materials, discovering and demonstrating a different way to utilise the material or product. Both her internships with Hella Jongerius and Vlisco were also of big importance for the continuation of her career. ‘By working together with the industry, we can realise changes with a big impact I am especially motivated when I see large quantities of discarded or leftover materials which are being destroyed. This is such a waste and we should look for other ways to use them.’ For Post-Vlisco, the designer repurposed Vlisco’s waste scraps of African batik textiles into a rug, which are now being produced on a big scale. From her base in Rotterdam, she occupies herself with a desire to continuously improve the designed world, especially from an industrial and production perspective.
Reading and studying were never Thomas Trum’s strong suit, but thinking and building were. Based in the Dutch city of ’s-Hertogenbosch, Trum is an artist-slash-designer with paint as his muse. Trimmed and tailored to make geometric and linear compositions, a conventional paint roller is utilised to make small-scale research and large-scale explorations with paint and then perceiving the impact of the colourful expanses within public spaces. For Het Nieuwe Instituut’s exhibition Designing the Surface, Trum hand-painted a series of four bespoke wall paintings: Four Blue Lines, Multicolored Lines, Rotated Brush Strokes From Turquoise To Purple and Multiple Dotted Lines. The wall became a giant canvas, spanning 5-m wide by 6-m tall and required the aid of a scissor lift to reach its fringes. Represented by Galerie Vivid, the artist’s pigmented artworks have been exhibited across the walls and floors of Rotterdam art spaces Galerie Rianne Groen and Het Wilde Weten.