USER MANUAL - LA MANUFACTURE A LABOUR - Design is capital
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USER MANUAL LA MANUFACTURE A LABOUR OF LOVE ENGLISH
LILLE MÉTROPOLE 2020, THE DESIGN PROMISE
WORLD DESIGN CAPITAL In the current situation of rediscovering the
Thanks to its project to transform its territory importance of looking out for others, thinking up
through design, Lille Metropole has been awarded new ways to connect socially, mobilising collective
"World Design Capital 2020", succeeding Mexico intelligence, and restoring public interest and
City, Taipei, Cape Town, Helsinki, Seoul and Turin. public actors the World Design Capital has more
Lille Metropole is the first French metropole than ever the ambition to be the laboratory where
to obtain this title from the World Design the world is taking shape with a programming
Organization (WDO)™, for its innovative project in three main parts:
of mobilizing design around the challenges of m Major exhibitions hosted at the Gare Saint
economic, ecological and social transformation. Sauveur “Les Usages du Monde”, “La Manufacture: A
Labour of Love”, and at the Tripostal, “Designer(s) du
THE GREATEST Design”, “Sens Fiction”, will open new imagination
DESIGN EXPERIMENT fueled by design to think and rebuild the world.
m Maisons POC, focus on 6 key themes:
An unprecedented and innovative experimentation “Care”, “Collaborative City”, “Housing”, “Circular
project centred on the largest call for proposals Economy”, “Public Action” and “Mobility”.
ever launched. Project proposals entitled POC m Design Week, from 10 to 18 October, which
meaning “proof of concept”, are being developed by offers tribunes on the contribution of design to
local authorities, companies, cultural and research repairing the world, welcomes young talents from
players, associations and designers. design schools and integrated design.
Proposing new production and consumption
models that are environmentally friendly, improving By making the positive choice of innovation and
the wellbeing of residents, involving citizens in design, Lille Metropole mobilises the creativity,
the design and implementation of decisions, re- diversity and energy of those who build it and make
establishing links between the generations and it grow every day. This is the meaning of this World
with nature, are examples of some of the 600 Capital of Design.
ideas collected. Design is Capital !
02La Manufacture is a place of discovery where new
scenarios and ways of producing are explored.
LA This direction unveils the future of humanity and
the planet. A return to work where the designer is
MANUFACTURE
simultaneously strategic, aesthetic and autonomous.
Developing new ideas about sharing between designer
and the artisan, designer and the underprivileged,
A LABOUR designer and the amateur, designer and the designer.
Everything is about sharing.
OF LOVE
Man and machine work hand-in-hand. Thus
designers produce unique objects with innovative
materials that prepare us for a sustainable future.
Weaving looms, robotic programs, 3D printers and
biotechnology collectively pay witness to these new
ways of creating things and planning manufacturing.
It’s time to slow down.
Designers set up their own factories, form
collectives, share spaces and machines, work in open
source, collect organic materials and recycle our
endless waste. They offer customised products and
transform materials into an aesthetic form of activism.
Being a solo-entrepreneur becomes essential.
The designer is simultaneously an artist, craftsman
and administrator, enamoured with all facets of the
process: a labour of love. Staged in Lille – a vibrant
city with an industrial past – this factory-exhibition
proves that design is full of hope.
STUDIO JOB, The Netherlands, Job Cabinet, 2011 Lidewij Edelkoort & Philip Fimmano
exhibition curators
04FILMS ENTRANCE
Films throughout the exhibit illustrate EXIT
the making process
08 07 06 05 04 03 02 01 09
19
16 12
14 toilets
11 10
ACCUMULATING
COMMUNITY
EXCAVATING
FRAGMENTS
GATHERING
THROWING
CREATING
WORKING
GROWING
BLOWING
WEAVING
REMNATS
FORGING
CARVING
WONDER
PULPING
DESIGN
EARTH
MAGIC
STONE
WOOD
SHAPE
ALLOY
FIBRE
18 15
17 13
PROJECTORS Throwing Earth Working Wood PLASMA SCREENS 12 Pepe Heykoop, Blowing Magic
Creating Community 04 Olivier van Herpt & Sander 07 Paul Heijnen, Weaving Wonder The Netherlands 16 Atelier NL, The Netherlands
01 Bas Timmer, The Netherlands Wassink, The Netherlands The Netherlands 09 About A Worker, France The Handwriter, A World of Sand, 2020 (8’44'')
in collaboration with Michiel Kole Adaptive Manufacturing, 2015 (53’’) in collaboration with Niels Hoebers About A Worker x 2020 (4’31”)
Sheltersuit: What We Do, 2018 (1’51’’) Hyperion: Titan of Light, 2013 (1’31’’) A Labour of Love, 2020 17 Anthon Beeke,
Pulping Shape Forging Alloy The Netherlands
Accumulating Remnants 05 Marjan van Aubel, The Nether- Gathering Fibre 10 Sun Lee, Korea 13 Oskar Zieta, Poland Eiaculatum Making Process,
02 Jorien Wiltenburg, lands & James Shaw, United Kingdom 08 Abeer Seikaly, Jordan Making Process of The First Rolled Steel Profile 2009 (0’52’’)
The Netherlands in collaboration with Wai Ming Ng Matters of Time, 2019 (6’38’’) Hansan Mosi & Hanji (7’29'') Powered by FiDU, 2013 (0’50’’)
Micro Urban Mining, 2015 (4’28’’) Well Proven Chair, 2012 (1’02’’) Growing Design
Creating Community Throwing Earth 18 ThreeASFOUR,
Excavating Fragmets Blowing Magic 11 Arkadiusz Szwed 14 Floris Wubben, United States
03 Paul Cocksedge, United Kingdom 06 Philipp Weber, Germany & Ewa Klekot, Poland The Netherlands Human Plant, P/E 2020 (8’29’')
in collaboration with Toma Jablon in collaboration with Meeting People from the in collaboration with Lieve Eek
Excavation: Evicted, 2017 (4’11’’) Minsung Wang & Conor Trawinski Porcelain Factory, 2017 (4’42’’) & Andri Bastiaanssen 19 Company New Heroes,
A Strange Symphony, in collaboration with Michal Reich Pressed Ceramics, 2020 (2’22’’) The Netherlands
2013 (7’00’’) The Growing Pavilion:
Accumulating Remnants Carving Stone Making Of, 2019 (3’15’’)
12 Anton Alvarez, Chile / Sweden 15 Max Lamb,
The Thread Wrapping Machine, United Kingdom
6
06 2012 (2’10’’) Boulders, 2017 (8’00’’)Textile makers dedicate their lives to the crafting FEMKE VAN GEMERT
The Netherlands
DANIEL HARRIS
United Kingdom
A collective of designers
brings dynamism to blankets
of exceptional cloth. The results are intriguing for Dreaming, 2013
Beau Monde in Black, 2018
London Cloth Company,
established 2011
by collaborating with Terry Buck,
a weaver, and Buckwheat Bridge
the general public, making textiles totally relevant in Elizaville, an eco-farm in the
Hudson Valley. Clients become
again. Laser cutting, paper-making and coiling patrons by commissioning these
unique blankets one year ahead,
are just some of the techniques that inspire new reflecting a form of slow craft and
visions of fabrics. Most works use recycling as
sustainable luxury. In Striped Twin
by Thompson Street Studio, undyed
a key component, collecting leftover selvedge
wool outlines the beauty of several
shades of brown. In Textured Twin
from the manufacturing floor as well as donated
by Hiroko Takeda, bouclé adds
tactility and depth to striping.
fragments, discarded garments, and deadstock. textilemonth.nyc
The urge for textile weaving has become so strong SUN LEE
that young people create design studios, work While others collect vintage cars,
Harris collects discarded textile
Korea
Consumption of Heritage, 2019
together as collectives and even start-up new making machinery, restoring them
to weave new tweed textiles. This
textile mills. Cloth is no longer an endangered installation represents his micro
mill, the London Cloth Company,
species; its revival is here and happening now. the first mill to open in the city
in over 100 years. On Wednesdays
and weekends, the London Cloth
Company is bringing this pop-up
WEAVING
installation to life within the La
Manufacture exhibition; a working
mill that illustrates the various
stages of weaving.
WONDER
londoncloth.com
NEW YORK TEXTILE
BLANKET
Van Gemert received white lace United States Lee is interested in bringing back
leftovers from the Amsterdam Striped Twin, 2018 the culture of craft to society.
Museum. After washing, drying Textured Twin, 2018 These garments are made mainly
and selecting the pieces, the artist from traditional Hansan mosi fabric
created this three-dimensional and hanji paper. They are designed
cubic installation dipped in black for specific situations and purposes
dye. She sees black as the ultimate based on the relationship
spatial colour, evident in this this between the wearer and clothing
hanging textile where tennis nets and between consumption and
are woven over with unwanted black disposability. Derived from plants,
garments; an abstract void steeped both mosi and hanji represent
deep in connotations and textures. the ephemeral philosophy of
femkevangemert.nl life and death.
studioleesun.com
08LIUXU LUO SIMONE POST Selvedge strips are collected from
China The Netherlands various European carpet factories
Wandering Home, 2019–2020 Vlisco Recycled Carpet, 2015 and wool mills, and woven by
hand into highly-tactile rugs and
pillows. The design process begins
after receiving the yarns from the
industry, which are never the same;
a textural diversity that runs through
the tufts in each unique creation.
salemvanderswaagh.com
WASTE NO MORE
United States
Untitled, 2019
A perfect antidote to the costly
Textiles used as a physical form and time-consuming process
of narration, literally creating a of destroying defective textile
wandering home. Natural dyed yardage. Inspired by the side view
cotton, silk, ribbon and yarn are of Vlisco’s round print rolls, Post’s
laser cut, interwoven and knit. rug designs are circular in every
@liuxuluo sense. Challenged to never reveal
the printing flaws, the fabrics are
cut into strips, folded and coiled;
EREZ NEVI PANA creating floor rugs in myriad
Israel compositions that are each unique.
Unravelled, 2018 simonepost.nl
courtesy Friedman Benda Gallery
SALEM VAN DER SWAAGH
United States
Rug_07_Loom, 2020 WASTE NO MORE is a zero-waste
Rug_01_Golden Fade, 2018 initiative that brings together
Rug_03_Runner, 2018 creativity and innovation,
architects and designers, ethics
and business. Under the wing of
artist and creative director Sigi Ahl,
the project transforms damaged
clothes from the EILEEN FISHER
brand, elevating them into artworks,
wall coverings, acoustic panels,
upholstery, pillows, garments,
bags and other accessories.
Nevi Pana has an understanding wastenomore.com
of Ahimsa¯, the ancient principle of
nonviolence towards all living things.
The vegan designer meticulously
undid silk cocoons; combining the
fibres with straw fragments from
the baskets used in unethical silk
cultivation to weave this textile.
ereznevipana.com
10The complexity of our current times has ABOUT A WORKER
France
PEOPLE FROM THE
PORCELAIN FACTORY
ROLAND PIETER SMIT
The Netherlands
brought social design to the fore as a way to La Manufacture, 2020 Poland
(Arkadiusz Szwed & Ewa Klekot)
Wolwaeren, 2010–present
eradicate inequality and promote the inclusion The Human Trace, 2016–2017
of gender and race, to distribute work amongst
the vulnerable and needy, and to set new rules
for how to manage our dwindling resources and
get rid of the waste in the world. New initiatives
are designing systems to include workers in the
creative process, and allow artisans to become
artists in their own right. In a revival of the
arts & crafts movement, workers collectives
are again being built. De-colonializing and ´
Staff at Cmielów were asked to Designing for all of society means
restructuring centuries-old production methods As part of La Manufacture,
wear gloves dipped in a cobalt salt
solution so that fingerprints and
leaving no one behind. Wolwaeren
is a collection of seven pure wool
and hierarchies will yield new ideas for how ABOUT A WORKER is collaborating
with young workers from the
fine smudges would leave their
mark across the production pieces;
blankets that can be comfortably
made by artisans with mental
to nourish the design discipline with holistic Anti Fashion Project, which
since April 1st has integrated the
albeit invisibly until reaching the
kiln when they turned a deep blue.
or physical impairments. Smit
conceived a weaving loom that
knowledge, illuminating the intuitive strength Resilience atelier. Together, these
two entities have relaunched
The fluid hand movements and fast
gestures in the making process are
is easy to operate. He analysed
the textile production chain and
of the designer’s mind and hand. Instead of garment production in Roubaix
by collaborating with people from
thus forever recorded, reminding
us just how important craftsmanship
learned how different yarn gauges
are suitable depending on the
designing products, creatives will be designing priority areas. Through a series of
creative workshops, the participants
is to industrial production.
arkadiuszszwed.com
person’s level of ability.
ro-smit.com
making systems, giving design back its initial will be asked to embellish workers'
aprons to reflect the different
strength of relating to and synthesizing our times. facets of northern France, their
home. The workers will look into
their daily habits and the region’s
CREATING
traditions in order to express
their perspective and multiple
talents. The installation will be open
throughout the exhibition and the
workers will organise workshops
COMMUNITY
for the public on Wednesdays and
weekends. Visitors and staff at the
space will also be able to participate
in this introspective experience;
discovering the creative process
and creating their own apron.
aboutaworker.com
12DICK VAN HOFF SOCIAL LABEL BAS TIMMER
The Netherlands The Netherlands The Netherlands
VEEG, 2014 Kom, 2020 Sheltersuit, established 2014
It is estimated that there are
currently over 30 million refugees
and 150 million homeless people
around the world. Before being
given to the homeless, Sheltersuits
are sewn together by volunteers
and the unemployed, mainly
refugees that have fled conflict
zones with their tailoring skills
intact. The suits are constructed
from windproof and waterproof
fabrics donated by tent factories
and recycled from fashion sources.
Thus the project also absorbs textile
Social Label involves 15 workshops waste and gives fairly paid work to
with 150 special needs craftspeople communities that are starting over.
and seventeen designers. Possibly, During La Manufacture, visitors can
its most successful project is take action on October 10th which
this collection of tabletop; a is World Homeless Day, by raising
These oversized brooms are contemporary interpretation of money for the people that need it
made by social workshops in the Delft blue, challenging tradition. the most. Visit sheltersuit.org for
Netherlands, and are an important Young people living with down more information.
part of the Social Label collection. syndrome create pieces of craft sheltersuit.org
Constructed from discarded parts using stickers that are assembled
from a bike factory, this sustainable in personal ways.
broom is a powerful metaphor; wip- sociallabel.nl
ing the past clean for a fresh start.
sociallabelshop.nl
vanhoffontwerpen.nl
14Design is again soul searching in the past, ANTON ALVAREZ
Chile / Sweden
concerned by our recent overconsumption and TTWMC 080116, 2016
TTWMS-030717, 2017
overproduction which has ruined the process TTWMS-240717, 2017
TTWMS 050818, 2018
of making, eliminated the thrill of ownership
and forever damaged the culture of beholding.
Contemporary remnants today include massive
amounts of deadstock in the textile industry,
mountains of plastic bottles, kilometres of
computer wires and overwhelming numbers
of unsold garments and dumped objects. The
design community decided to start better PEPE HEYKOOP DIRK VANDER KOOIJ
exploiting our remnants, accumulating them The Netherlands
Drawing Machine, 2020
The Netherlands
Buitenhuis Chandelier, 2017
in a new creative vision of our times. Thus The recycling process suddenly
e-waste becomes something to mine or weave, becomes animated and enchanting,
with the agile aide of a de-
recycled CD covers turn into transparent commissioned robot that the
designer has hacked to 3D print his
lamps, and yarn is spun into new furniture zero waste furniture and objects.
These two lamps are recomposed
accumulations. Along the process of collecting from almost everything: plastic
bottles, chocolate moulds,
these discarded ingredients, beautiful pieces headlights, skylight parts and the
insides of refrigerators.
are collaged together in multiple styles; a dirkvanderkooij.com
creative patchwork of hybrid design.
ACCUMULATING
Cotton threads and glue replace Recycling is at the heart of many
nuts and bolts to hold objects of Heykoop’s designs; turning
together. In creative symbiosis, waste into wonder. He collected
Alvarez decides on colour and discarded appliances and furniture
REMNANTS
structure while the wrapping ma- parts – including chairs, printers
chine decides on the density and and a spinning wheel – to create
pattern; producing stools, benches a drawing-machine. Like a fervent
and towering totems. inventor bringing an inanimate ma-
antonalvarez.com chine to life, the conscious designer
unveiled an interactive device for
drawing blueprints onto paper.
pepeheykoop.nl
16KOSTAS LAMBRIDIS
Greece
Element cabinet, 2017
Element chandelier, 2019
Element daybed, 2019
courtesy Carpenters Workshop
Gallery
PETER SALERA JORIEN WILTENBURG
United States The Netherlands
Amalgamated Earth Progeny Micro Urban Mining, 2015
No. 49351, 2019
The Elemental cabinet is Lambridis'
interpretation of the 18th century
baroque Badminton Cabinet; the
most expensive piece of furniture
ever sold. From concrete and stone
to ceramics, wood and plastic,
the tower is made of juxtaposed
ingredients and includes a clock The majority of e-waste ends up
reconstructed from textiles and in landfill in developing countries,
e-waste. A 3D scan of the original poisoning the soil with its toxins
was made before composing the while also being toxic to the lives
eclectic version in his Athens This art object examines e-waste of the disadvantaged sorters
studio. In the Elemental chaise and as an unusual yet sustainable textile and scavengers. Through her
chandelier, brass, steel, stained material. The piece was crafted project and an accompanying film,
glass, neon tubes, plastics and using hand knitting and hand-sew- Wiltenburg wishes to alter our
leather all combine to continue this ing techniques, incorporating thick perceptions and consciousness.
expressive collection. cords as yarn. Salera makes textiles This example of micro extraction
kostaslambridis.com and furniture that help imagine what could become a worldwide
domestic life might be like for people manufacturing system.
in a future reality, proposing new studiojorienwiltenburg.com
methodologies for producing textiles.
petersalera.com
18Some kinds of forged alloys have become the NACHO CARBONELL
Spain
RUTGER DE REGT
The Netherlands
OSKAR ZIETA
Poland
materials of our times. Bronze is an amazing Metal Rug: Brass, 2016
Metal Rug: Steel, 2016
Make & Mold Pewter, 2012 Plopp, 2020
Tafla, 2020
alloy of cupper and arsenic that has given its
name to a prehistoric period; when bronze
tools, weapons and armour were harder and
more durable than stone. Today bronze and
other sturdy metals are making a remarkable
revival in the hands of an artistic generation
of autonomous designers, keen on the way the
matter can be polished to obtain patina, texture These one-of-a-kind hand-knit
De Regt recycled existing pewter
items by casting a stool that
and tint. Turning simple objects into valuable rugs are produced by Nodus in
Nepal, their woven loops each
combines a strict slender mould with
a swirling pouring technique; alluding
investments, this current mode for solid form weave the alloys of aluminium,
steel, brass and copper into circular
to the metal’s liquid properties when
heated and featuring thin legs. The
and metallic shine adds an extra value to design moons of alchemistic power.
nachocarbonell.com
molten material is applied in three
stages, with the second and third
In order to create lightness, a
new technology is innovated.
objects. But the handling of these materials is layers chemically reacting to the
previous one.
Two thin layers of metal are
welded together at the edges to
irreverent and explorative, rethinking the need TOMÁŠ LIBERTÍNY
Slovakia
handmadeindustrials.com make a chamber that is able to
be expanded by pumping up its
for metal in our contemporary culture. Metal Weldgrown, 2017
HONGJIE YANG
cavity. Produced on demand, the
collection includes stools and
is therefore made lightweight, is recycled from China
Radical Fossil II, 2016
reflective oval mirrors.
zieta.pl
computer waste, is forged into abstraction and Radical Fossils III, 2016
Synthesis Monolith VI, 2018
soldered into simple shapes. The mood has
shifted towards modern modesty and honesty.
FORGING
ALLOY
Yang experiments with casting
techniques, machine polishing
Crafted using stainless steel, and finishing. In Radical Fossils,
beeswax and a welding machine he combines alloys such as
that slowly grows circular aluminium, bronze and brass with
formations over a period of ceramics. The extreme texture
two weeks, this large recipient of the oxidised forms and molten
embodies Libertíny’s continued matter is contrasted by surfaces
use of slow growing processes so highly polished that they can
in his interventions. act as mirrors.
20 tomaslibertiny.com hongjieyang.nlAt the beginning of our current century, an PAUL COCKSEDGE
United Kingdom
MARTIN LAFORÊT
France
Globular forms shaped by hand
that inflate like bubbles; some of
alternative genre of archaeology has been EXCAVATED: Exploded Core Table,
2017
MCV2, 2019
Mould Table, 2016
them have openings, others grow
legs, hands or horns. A lively and
born; a generation of designers that imagines courtesy Friedman Benda Gallery Mould Chair, 2016
Rubber Lamp, 2016
unexpected vocabulary akin to the
notion of organic surrealism. Cut-
the remains of unknown periods, narrating courtesy Carpenters Workshop
Gallery
out circles and balls introduce a
narrative accent.
the epic adventures of hunters and gatherers, yukonishikawa.com
recreating ancient abodes, tools, garments and
ZOE JOE RAE
textiles. Objects look primitive and are carved United Kingdom
and crafted by hand. They have an ancient patina
Hunter Gatherer in Anthropocene,
2017
that makes them look authentic. Furniture Cocksedge drilled into the
basement floor of his design studio
is constructed like boulders and made from and extracted several tonnes of
material; a form of urban mining.
industrial moulds, creating post-fossil interior The extracted cylinders contained
modern concrete and historical
settings for the future. Some design is even bricks from the site’s former
existence as a stable; these were
constructed from very recent excavations, to sanded and polished into multiple
elements to build a new collection
illustrate the short and devastating history of of furniture.
paulcocksedgestudio.com
Laforet investigates the transition
of materials such as concrete and
urban expansion; contemporary remnants that bronze. Oak moulds and casts are
strapped and stacked together; a
warn about our own possible extinction. ELISSA LACOSTE
France
make-do aesthetic that is balanced
and sophisticated despite its
I Dream of Megalithic Times, 2020 rudimentary essence.
martinlaforet.com Rae hunts for materials such as
EXCAVATING
plastic milk bottles to create the
layered shell of her kayak and
YUKO NISHIKAWA the material for her paddles. She
Japan also gathers multiple stacks of
FRAGMENTS
Time Vessels, 2017 coffee packaging and egg boxes
Nap Animals, 2019 to transform them into protective
forms of clothing and travel bags.
Nothing is discarded as a matter
of principle.
@zoe.jo.design
Lacoste’s archaeological furniture
is soft and round, pigmented in
strange tones and possessing a
smooth silicone surface. These
rugged speleothems that double as
chairs, tables, stools and desks are
made from natural-based putty and
paste, sculpted directly onto wire
frames and structures before being
sanded for practicality.
elissalacoste.fr
22Clay has become a magic material for autonomous OLIVIER VAN HERPT
& SANDER WASSINK
Lorenzetti creates archetypal clay
vessels and oversized tools that
FLORIS WUBBEN
The Netherlands
designers, as earthenware and porcelain return to The Netherlands
Adaptive Manufacturing,
hark back to essential function
and primitive form. A milk-glazed
Floor Lamp, 2020
Twist Table, 2020
the circles of art and design. No longer affected 2014–present water carafe invites us to intuitively
pour it; another can be used as a
by market prices and some perceived nobility, a warm resting place for hands; his
Censer burns incense to pervade
new generation shakes off old shackles and takes any modern ritual; and Flywheel
clay apart to bring it into other realms, rethinking
is a mechanical device with a USB
port that generates energy by
production processes and designing machines to
the spinning of a large clay wheel.
carlolorenzetti.com
make this happen. Moving away from the wheel,
they invent itineraries for the mouldable material JEROEN WAND
The Netherlands
to be extruded through pre-designed moulds or Phases, 2020
pushed through a machine as if it was soft ice
cream. Rough clay is even layered by hacked
3D printers into grand volumes, liberating the Vibrations are measured by
sensors to translate currents into Wubben designs low-tech machines
printing process from its initial material restrictions. the organic forms of clay vases and
totems. The objects are printed
that become part of the making
process, using extrusion techniques
Dippings and finishes are scrutinized to find over a series of days; mechanised
technology seen as an extension
to forge uniquely-shaped pieces.
By guiding the profiles of the forms,
the designer’s own handwriting, veiling several of craft.
oliviervanherpt.com
variations in grooves and furrows
are possible across the surface.
expressions all at the same time, within the same sanderwassink.nl Ceramics thus reinvented by
mechanical devices, manpower
design. These objects have a great presence and CARLO LORENZETTI
and imagination.
floriswubben.nl
act like arts & craft items; with intensely coloured United States
Carafe, 2015
Wand reinterprets unconventional
techniques such as manual rotation
furniture and hand-finished vases that are presented Censer, 2015
Hand Warmer, 2015
moulding. In Phases, vases are
concocted in two stages: first cast
to collectors by galleries and fairs. Flywheel USB Charger, 2015 and dried for two days, before
being dipped in freshly mixed liquid
plaster. During this process, the
THROWING
new plaster coats the bottle’s base,
slowly dripping and modifying form
while freely reacting against itself.
studiojeroenwand.nl
EARTH
24Pulp has been rekindled and given new MARJAN VAN AUBEL
& JAMES SHAW
Alarmed by the amounts of paper
wasted every year – a staggering
GIANMARIA DELLA RATTA
Italy
meaning to paper objects and furniture. The The Netherlands & United Kingdom
Well Proven Chair, 2012
80 kilograms on average per person
– Holthuis developed the world’s
Fusilli.obj, 2019
Maccherone.obj, 2019
paste is reinvented by a young generation of first 3D printer that is able to print
recycled paper pulp; embracing
Pennetta.obj, 2019
designers, conscious of the abundant availability the material’s slubby tactile qualities
in coiled designs for lamps, vessels
of discards and the problems trash culture has and vases.
caused. The influx of fast fashion, fast food and
beerholthuis.com
fast products is overwhelming, and rescuing TAEG NISHIMOTO
the planet has become a common call. Not
Japan
Llegado, 2018
only do they crush and mash and shred, they
also sculpt, felt and 3D print the macerated
matter onto preconceived frames to hold their
shape. The discipline is inventive and intuitively Troubled by how industrial wood
Fabricated on a 3D printer, della
Ratta’s furniture, bowls and
adds touches of tactility, defining raw finishes processing produces a staggering
50% to 80% of timber wastage,
sculptural elements are oversized
tubes inspired by the shapes
and resins. As a movement, pulp is only just van Aubel and Shaw incorporated
waste shavings into the production
of pasta. They challenge the
clichéd stereotypes and stagnant
beginning; and will grow with our need to have of a bio-resin. The reinforced
compound mixture was then hand-
traditionalism in Italian design.
gianmariadellaratta.it
inexpensive but durable ideas explored as the sculpted into the underside of a
chair mould and its four ash legs.
components of a sustainable future. wellprovenchair.com
Recycled paper is wet felted and
DEBBIE WIJSKAMP
The Netherlands
moulded into a stool; given colour Paperpulp Cabinet, 2009
BEER HOLTHUIS by the traces of ink that once Paperpulp Collectibles, 2014–2019
PULPING
The Netherlands covered this paper’s surface. As
Paper Pulp Printer, 2020 a second texture, surplus metal
shavings are added to the wet pulp
to rust and oxidise, mimicking the
SHAPE
glazing of Raku pottery.
cargocollective.com/
taegnishimoto
A circular philosophy is constant
in Wijskamp’s work. Her cabinets,
vases and table accessories are
made from compressing recycled
paper and water-based binders.
26 debbiewijskamp.comToday designers no longer want to pillage MAX LAMB
United Kingdom
LEX POTT
The Netherlands
BEN STORMS
Belgium
the earth of its riches and try to find new ways Delaware Bluestone Chair, 2008
DeLank Granite Chair, 2009
Stone and Industry Table, 2009 In Hale, 2017
In Hale, 2020
of dealing with stone as a material for function Danby Marble Stool, 2015 Ex Hale, 2020
and ornamentation. They listen to their conscience
when expressing primitive form and archaic
aesthetics, exploring the waste from the quarry
and mining industries as raw materials. They set
out to only use discarded boulders and smaller
pieces of rock and marble to transform their
instincts into animistic objects. Their carvings
have an innate character, deserving of veneration
as spiritual sources of design. Designers also When Pott goes to the quarry he
invent stone-like surfaces by mixing minerals is looking at the beauty of broken
fragments that can be transformed
and other matter with lighter components like Lamb’s chairs, tables, benches
and stools are made from
into long-lasting furniture. Often
these custom-made pieces are
paper or textiles, and even plastic. They recreate overburden stone and granite
boulders, respectfully sourced as
cut from a single slab. Belgian
bluestone is usually processed
stone and reconceive existing objects into new offcuts in different places. In these
works, piercing, boring and carving
into rectangular blocks or plates;
however the designer respected
shapes. This resetting of the earth’s materials will take on organic dimension.
maxlamb.org
the rock’s rugged formations while
also referencing its industrial use.
continue to thrive; a new stone age in the making? lexpott.nl
CARVING Storms puts leftover marble on
a pedestal, allowing its beauty
to be admired without excessive
STONE
detriment to the environment. The
three-dimensional pillow is made
by inflating two pieces of sheet
metal; a stainless, copper or gold
brass base that elevates the stone.
His works therefore play with the
soft and hard aspects of air, alloy
and stone.
benstorms.be
28The principle of heating and giving form Anthon Beeke
The Netherlands
Pieke Bergmans
The Netherlands
Arnout Visser
The Netherlands
has continued to inspire the contemporary Eiaculatum, 2009 Space Invaders, 2008
Phenomeneon, 2015
Clear Basket Stool, 2018
Gold Basket Side Table, 2018
development of glass making. The molten Silver Basket Stool, 2018
material is empowered with human breath,
blown into uncontrolled organic shapes, and
reinvented by further experiments with the
moulding of glass in containers, baskets or
found objects. Today a new generation of
designers takes the material a step further, This naughty alphabet is inspired
treating it with audacity, giving it freedom, by sperm, improvised by hand in a
glass workshop. With this typeface, Visser innovated a technique he calls
liberating it from its confinement. They insist Beeke inseminated the world of
graphic design with an attempt at
“lost basket”, in reference to lost
wax casting. Fired to 700 degrees,
on developing an alternative, more anarchistic transparency in design and society.
anthonbeeke.nl
glass is malleable enough to fill
the intertwining grooves of wicker.
aesthetic that brings the material closer to reality Gradually cooling down, the
roughened glass is sawed, cut
and everyday life. Once given this liberty of Atelier NL
The Netherlands
and polished. The result is a glass
stool strong enough to sit on.
expression, the heated molten mass starts to coil A World in a Grain of Sand,
2010–present
arnoutvisser.com
and coagulate, to oscillate and undulate, to swell, Philipp Weber
drip and drape, as if it were textile. The magic Germany
A Strange Symphony, 2013
material is cast in forgotten forms, heated for
the reshaping of existing objects and dripped by
hand to write another chapter in design history.
In Phenomeneon Bergmans bends
BLOWING
iridescent neon tubes, heating
them to become a malleable mate-
rial, introducing a new fluid vocab-
ulary to a fluorescent lamp, usually
known for its stiff rigidity, liberating
MAGIC
the lamp from its industrial origins.
The glass industry uses only white, Her Virus series critiques the excess
pure sand for manufacturing. To produced by the design world, since
challenge this convention, Atelier the industry sometimes behaves like
NL collected different grains from a proliferating virus; capturing the By hacking the glassblowing
around the world before heat- act of blowing, pulling and pummel- windpipe and adding keys, Weber
ing them to make glass in various ling molten glass; often combining permits the craftsperson to alter
natural hues; also bringing attention it with a piece of furniture, scarring the piece’s air chambers by press-
to the plight of sand as an overused the object in the process. ing on the valves and improvising
natural resource. piekebergmans.com form. Infusing the object with soul.
30 ateliernl.com philippweber.orgGrowth and harvest are in sync and in PAUL HEIJNEN
The Netherlands
equilibrium for environmental purposes. As Geodesic Light, 2011
Hyperion Lamp, 2012
an abundant and carbon-neutral resource, wood Curved Chair, 2019
Murqarnas Cabinet, 2019
has become a matter of choice and a source of
renewable energy. Visible in the annual rings of
the trunk and the patterns of knots that animate
it, lumber is grown according to seasonal patterns
and climatic conditions. These diverse properties
are of interest for contemporary designers that
rethink the uses of wood by including its flaws,
showing its structural fragility as a beautiful
accident in nature, to be cherished instead of Heijnen’s furniture is built from
intricate modular pieces of oak,
hidden from the public eye. Wood today is made cedar and beech. Rounded edges
emerge in his Curved Chair, an airy
transparent, used for organic growth, chosen framework derived from the same
aesthetics of his vaulted Muqarnas
for its patterns and revered for its finishes. All cabinet. The latter’s arm mechanisms
open up to reveal geometric inlay,
the aspects of wood are gathered as aesthetic as grand as the finest latticework,
turning the inside out.
principles, including the reinvention of bark, the paulheijnen.com PETER MARIGOLD
United Kingdom
SHO OTA
Japan
handwriting of twigs, a fascination with roots MAX LAMB
Bleed, 2014 According to the Grain, 2019
and the reintroduction of the log as an essential United Kingdom
My Grandfather’s Tree, 2009–2015
Mariogold’s cabinets use a
localised ebonising technique to
design reference. stain their cedar base. By employing
acid to strip steel hardware of
its protective zinc coating, he
WORKING
creates a chemical reaction with
the wood’s tannins. The resulting
bleeding effect draws attention to
the woodgrain’s character. Concerned by the distance created
petermarigold.com between people and industrial
WOOD
A 187-year ash tree from Lamb’s surfaces, Ota returns pine to its
grandfather’s farm was dissected natural state by chiselling it down.
horizontally into 131 logs which were Suddenly, grains are revealed,
then dried for several years until secret knots are exposed and
they could be used as wood for the positions of branches are
furniture. Cut in approximately the recalled, bringing the user back
same lengths, the diameter of the in touch with materiality of the
trunk spans 150 centimetres at its timber.
base and just over a dowel’s width shootadesign.com
at the tree’s top.
32 maxlamb.orgRecently, a revived interest in fibre manufacturing STEVEN BANKEN
The Netherlands
In her ongoing project, Esparon
wanted to reclaim flax’s local
ABEER SEIKALY
Jordan
has set the tone for versatile nomadic products Sheaves, 2009–2020 identity and its authentic aspects
– so often lost in the standardised
Meeting Points, 2019
that correspond to a contemporary preference for processing of industrial linen – while
also reviving connections to the
lightweight natural products. Macramé, matting, local craftspeople of Normandy.
There, she collaborated with several
basketry and open weave furniture in materials artisans and suppliers; providing
inspire designers to travel afar and work with
the scutched flax fibres, weaving,
upholstery, carpentry and the
local artisans and women’s collectives; drawing
confection of the rug.
paulinesparon.com
upon centuries of indigenous knowledge and
craft expertise. The call of this dry-handed and AURELIE HOEGY
France
organic aesthetic brings the product closer to Banken interpreted the gathering
of willow shoots and reeds in a
Wild Fibres Coffee Table, 2020
Wild Fibres Duchess, 2020
nature and its origin, drawing people towards rectangular bench comprised of
willow reeds. Held together by four
Wild Fibres Sofa, 2020
a wilder future. Notably flax is making a metal clamps, the minimalist block
literally embodies the harvest of The meeting points in this
great impact on design and is again farmed fibre in a functional piece of design.
stevenbanken.com
reconfigurable architecture system
– between fibre and structure,
and spun locally on a small scale; designed material and space – arise in
response to the design processes
with woven, tasselled, fringed and compact PAULINE ESPARON
France
of the Bedouin tent-making craft.
A self-structuring tapestry; from
systems of making. At times the raw materials L’écoucheur, 2016
L’écoucheur, 2019
its dynamic lattice to the pliable
hand-knitted geometric pattern.
are compressed into composite matter that Evolving through collaboration, it
seeks to sustain traditional design
is moulded into robust but flexible shapes. processes, passed down by women
from generation to generation.
Resilient fibres from palms and other plants are abeerseikaly.com
bent into moving structures and open baskets –
all new forms of nesting. Hoegy expresses rattan’s essence,
along with the idea of the symbiosis
between bodily movement and
GATHERING
the dynamic quality of the fibre.
Over a one-month stay in Bali,
she worked in close collaboration
with a traditional workshop, before
further developing the pieces in her
FIBRE
Paris studio. From the legs up, the
fibre moulds itself to the skeletal
structure, but as one progresses
upwards, the movement unfolds.
aureliehoegy.com
34Since the turn of the century, several designers VIOLAINE BUET
France
by Diana Scherer, the installation
in Lille shows a segment of the
EREZ NEVI PANA
Israel
have asked the forces of nature to help them Seaweed Textiles and Samples,
2016–2019
pavilion while expressing the unique
aesthetic of bio-based materials.
Bleached, 2020
Soilid, 2020
create objects, such as stools extruded through thegrowingpavilion.com
magnetism, vases tinted by oxidised metals FULL GROWN
or ceramics coloured by moulded milk. The United Kingdom
by-products from plants and animals are
Gatti Chair, 2012–2018
Lumsdale Square Pendent Lamp,
rediscovered to create new matter, including
2012–2018
textiles woven from seaweed of moths employed
to decompose fibres for recycling. Sea salt is used Given the wealth of discoveries
and possibilities of seaweed, Buet
to grow crystals on objects and limestone is started to tame macroalgae like a
true craftswoman of the material,
solicited to create new stone. The earth is turned using kelp harvested on the beaches
of Brittany. Her seaweed has allowed
inside out to find new natural sources, from her to weave, tuft, dye, braid, knot
and print these remarkable textiles.
harvesting vacated cocoons to create vegan silk violainebuet.com
to exploiting mushrooms for their mycelium. COMPANY NEW HEROES
Nature is requested to develop roots to grow The Netherlands
The Growing Pavilion, 2019–2020
products and harvest design. The promise of
future design farming seems to become a reality, Taking a radical stance on the way
objects are produced, Alice and By growing organic matter,
where bio-engineered production will no longer Gavin Munro are at the cutting edge
of an emerging art form, highlighting
Nevi Pana draws our attention
to environmentalism; from a soil
damage the earth. At last, nature and man can an interesting way to be closer
to nature. Their grown furniture
and fungi mixture that expands
overnight before being baked into
again live together in harmony. has an immediate tactile, visceral
and organic appeal. The trees are
moulded objects, to attaching loofa
gourds to wooden stools made
guided into shape over years before from carpentry discards, immersing
GROWING
being harvested and finished by the structures in the salty Dead Sea
hand. This groundbreaking chair to grow crystalline minerals.
The Growing Pavilion is a and lamp are the beginning of a ereznevipana.com
round temporary design space future when nature and design will
constructed from all kinds of bio- become one.
DESIGN
materials; completely ecological fullgrown.co.uk
in all its components, from the
bio-material structure to all
the bio-objects it contains. A
sustainable vision from designer
Pascal Leboucq where everything
is conceived: from the plants,
trees, and agricultural remnants
to the reed floor, mycelium walls
and timber structure. Together
36 with the root textiles and dressAGNE KURCERENKAITE This collection of objects starts EKATERINA SEMENOVA threeASFOUR
Lithuania with a thin nylon structure that Russia United States
Ignorance of Bliss, 2018 has been 3D printed before it is Care for Milk, 2016 Human Plant, spring / summer 2020
deposited for a period of weeks Greta Oto 3D printed dress
in thermo-mineral caves that have courtesy Stratasys
been specifically chosen because
of their high calcium content.
The resulting limestone rapidly
attaches itself to the vase and plate
skeletons, filling in the blanks like
a chubby calc lace.
lauralynnjansen.com
studiothomasvailly.com
DIANA SCHERER
Germany
Kucerenkaite transforms pollution Hyper Rhizome #2, 2020
into an alternative source of colour, Hyper Rhizome #3, 2020
growing beauty out of society’s Hyper Rhizome #5, 2020 This collection of pottery is dipped
mess. She has been studying how in milk before turning velvet
non-toxic metals and plant-based tones of auburn after further
refuse can be applied to ceramics, firing. The different colours vary 3D printing technology is used in CHIARA TOMMENCIONI JOLAN VAN DER WIEL
glass and textiles. Here, she has depending on fat content, and the a couture dress that explores the PISAPIA The Netherlands
created a rich natural palette of liquid is remarkably effective in microscopic venation of butterfly Italy Gravity Stool, 2011
orange, red, brown and black, by waterproofing and adding durability. wings, playing with light and colour Made by Moths, 2019 Gravity Tool, 2011
mixing factory metal waste into Conscious not to be wasteful, milk to produce a lenticular effect and Gravity Shoes, in collaboration
porcelain clay and glaze. was sourced as donated leftovers. replace the need for iridescent with Iris van Herpen, 2014
agne-k.com This method of growing natural sequins. The dress is part of a
colour as a sealant shows how food collection that articulates the life Van de Wiel’s machines use liquid
refuse can become a resource. force found both in people and the resins infused with iron powder
LAURA LYNN JANSEN ekaterinasemenova.com natural world. The sacred geometry to craft spikey materials. Powerful
& THOMAS VAILLY of leaves inspires veined motifs magnets are lowered above a
The Netherlands and neural shades. warmed two-compound paste,
CaCO3 Stoneware, 2014 threeasfour.com and when raised slowly, the
organic structures emerge before
hardening in the cool air. The effect
looks like a futuristic stalagmite and
despite its sharp appearance, the
The idea that we could farm material is actually supple.
patterns in soil once seemed to be jolanvanderwiel.com
a fantasy, yet as designers study
the links between bio-technology, By decomposing yarns with their
agriculture and design, a new domain enzymes, cloth moths are able to
of sustainable materials emerges. absorb the vast majority of blended
Scherer collaborated with biologists fabrics; their infamous taste for
and ecologists before designing keratin-rich wools and silk used
3D printed subterranean template instead as a positive force. After
structures on which to grow – and digesting the material, a dust-like
harvest – textile root systems. bio-residue is produced, able to
dianascherer.nl be transformed into biodegradable
objects.
@chiaratompi
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42FOLLOW THE RULES
LA MANUFACTURE exhibition curators & text An original production by
A LABOUR OF LOVE Lidewij Edelkoort & Philip Fimmano Lille Métropole 2020,
September 9 – November 8, 2020 World Design Capital,
Lille Métropole 2020, curatorial assistant Blanche Ligeon as part of Autumn at
World Design Capital Saint Sauveur with lille3000
podium design Joost van Bleiswijk
translations Juliette Flodrops
& Blanche Ligeon printed in France
© 2020 Edelkoort Exhibitions, Paris
president Damien Castelain graphic design
& exhibition signage
general director Denis Tersen Mariola López Mariño, assisted
by Anjana Nair, Anthon Beeke
programming director Collectief BV, Amsterdam
Caroline Naphegyi
cover image
co-ordination & production Well Proven Chair, 2012
Stéphane André, Juliette Flodrops Marjan van Aubel & Jamie Shaw
& Hélène Lepot Demade © Juliette Chrétien & Daniel CostaYou can also read
