A disused petrol station as a metaphor for changing energy use.
VANTOT,Sander Wassink andJob van den Berg presents energy installation ‘Thank you for the Sun’ on Grote Markt Eindhoven during Dutch Design Week.
Presenting a new use for an obsolete petrol station in a post-fossil fuel world, the installation is designed to encourage visitors to think about energy and how they use it.
‘Thank you for the Sun’ is the contribution by VANTOT (Esther Jongsma& Sam van Gurp),Sander Wassink andJob van den Berg. A spot where people come together to shop and relax, encouraging them to consider what will happen when everything related to energy consumption is redesigned.
A warm and lighted spot, sand, deckchairs and parasols turns Thank You For The Sun in a venue where the public can ‘refuel’ in the chilly autumn without having to head out to Spain. ‘Thank you for the Sun’ is a provocative way of getting people to think about energy consumption.
For Dutch duo VANTOT, it’s all in the name. Literally translated from Dutch to mean ‘from to’, VANTOT focuses on the entire process, starting with a technique and ending with the product. The pair strives to find new applications for innovations in everyday life, and it’s not only new-found technologies which have seized their interest. Serving as a guiding light in the duo’s work, antiquated techniques are put to good use in modern day outlets, mutually benefiting from today’s updated knowledge base. Take electricity. Although light bulbs have been around for centuries, innovations – such as the rise of the LEDs – have made continuous evolution possible. And today, electronic devices operate on much lower voltages than ever before, significantly decreasing its hazardous aspects. While direct contact with electricity – and light – used to be a no go, recent developments illuminate completely new realms for the old technology. By embedding electronic paths into a multitude of surfaces, VANTOT redesigns the relationship between humans and electricity, especially in home environments.
Sander Wassink is a Dutch artist and designer who encourages us to reconsider our ideas on beauty, aesthetic value and status. How can we reconsider what is important and what is desirable to include notions of history, memory and the preservation of a past which is slipping away. Amid new construction, new production, and constant proliferation of new forms and facades, Wassink turns his attention to the discarded, the abandoned, the left over and attempts to reimagine what can be done with the already partially formed. What new possibilities exist in the surfaces and materials that are half-built or half-destroyed. Whether his object is the partly demolished facade of an abandoned building, or the everyday detritus from our overproductive culture, Wassink asks what new forms and new visions of beauty already exist to be discovered and appreciated. His creative practice sees him heavily engaging in product deconstruction, harnessing the ‘raw material’ to develop objects with new meaning.
Wassink's practice evolves organically, opposing the rigid construction of modern architecture, city planning and design. His work tends more towards the shifting, the ephemeral and the momentary. His process tries to take into account how our interactions in space and with objects have specific needs in specific moments. His design projects attempt to reflect the mutating shape of use, value and inhabitation, as it is evidence of human activity. These shifting constructions, which Wassink refers to as “self-perpetuating spaces” take their inspiration from organically developed communities and forms, appearing more rhizomatic in nature than firmly designed and are often considered to be disorganized or chaotic. These more reactively developed forms are meant to reflect the blurred boundaries between architecture and object, inside and outside, public and private.
Job van den Berg (1990) graduated from the Design Academy Eindhoven in 2015 is a Dutch furniture/product designer with a desire to push the boundaries of different materials and techniques.
He is fascinated by materials and the industrial making proces. His work stems from the opportunities the industry has to offer. Its starting point is a material and / or technique. Followed by analyzes and experiments in collaboration with several manufacturers and specialists. This quest for innovation leads to unexpected discoveries which shifts boundaries within the industry.
As an industrial designer, the focus is not only on industrial products. Some findings are unable to produce on a bigger scale. These findings are translated into “statement products”. These are unique pieces, prototypes or small series. These “statement products” also serve as an example or as starting point for Jobs industrial products.