Sander Wassink is an artist and designer who encourages us to reconsider our ideas of beauty and aesthetic value. 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 over productive culture, Wassink asks what new forms and new visions of beauty already exist to be discovered and appreciated.
The Dashilar Flagship store is a fictive, temporary shoeshop in the Hutong Dashilar in Beijing. It uses cheap, counterfeit shoes as raw material to create a brand with a new local identity and pride. The Cutting and re-editing of the shoes is being done in the shop by designers and the assembling is executed by the local Dashilar shoemakers. Wassink is making an attempt to create new collaborations in which designers, makers and the industry can interact more flexible in fulfilling local and global needs. He tries to deconstruct the idea of status by brands and give them a new meaning in a more local context.
Often Wassink uses products and leftovers of modern culture as a raw material for creating new meanings. Wassink believes one of the ways young people (designer) should create their own environment is by deconstructing the existing and reshaping it into something meaningful for them. Because this is one of the only ways to compete within our existing systems. Not strangely it’s clearly visible his interest is leaning towards processes and aesthetics of deconstructing and repurposing.
This project is initiated by Salon/1 Amsterdam.
During BJDW 2013, SALON/ will re-locate and domiciliate designers from Amsterdam and Beijing for 10 days in Dashilar where they will “break down the walls” between the disciplines, the creator and the spectator, the neighbourhood and the city. They will break down the differences between cultures by producing “in situ” installations and workshops and creating the possibility to participate among the designers and artists.
In Afterlife Inc. Sander Wassink puts his emphasis on the afterlife of products of contemporary culture by finding ways of deconstruction that provides a proper memorial for them. In his statement Wassink Says : our modern consumption culture denies or ignores the notion of death, afterlife and destruction, but finally it is the inevitable byproduct of it’s functioning .
Many Thanks to Frank Broos.
10. – 29. June 2013
DEPOT BASEL invited 13 designers to show a set of works alongside an self initiated artistic drawing. A blank sheet of paper becomes the designer’s playground, the designer becomes a draftsman.
Drawings express their own quality and unique aesthetic. While products usually have to be meticulously planned and developed over long periods, and thus transport the rich imaginary world of the author only in a smoothened and filtered way, in a drawing the thoughts, inspirations, poetry and imagination can be spontaneously and directly expressed.
Drawing has been a popular and fundamental means of public expression throughout history. The wide availability of instruments makes drawing more common than most other media for the expression of thought and simple, and at times advanced means of communicating visual ideas.
The exhibition shows each designers attitude towards creating an object and a drawing – 13 individual exhibitions within a group show.
Designer & Draftsmen
Maria Jeglinska, PL | Bertille & Mathieu, CH | Liliana Ovalle, UK + Colectivo 1050º (MEX) | Fabien Cappello, UK | Lukas Wegwerth, D | Josh Bitelli, UK | Ya Wen Chou, TWN | Lola Lely, UK | Fredrik Paulsen, SWE | Sander Wassink, NL | Lio De bruin, NL | Klara Sumova, CZ | Giulio Parini, CH
Thanks to MATYLDA KRZYKOWSKI
In the first days of March, there was a great flurry of activity at the Waag Society Fablab in Amsterdam, where a group of 12 designers based in The Netherlands were invited to participate in experimentation with a new resin. Seeking to expand the prospects for design practice, eachset to work with the same quantity of material and an oven—the essential elements at the base of Ricette in resina naturale (or Natural Resin Recipes), a collection of design objects that will be presented in Milan during the Furniture Fair under the aegis of Alessandro Mendini’s Milano Makers association. The driving force behind the project is Carmine Deganello, who with Antonio Luchinelli has developed a new thermoplastic resin made with a range of natural ingredients. The innovative material is set to open up new production horizons within the design community, while stirring up important questions that may prompt design to interrogate the role of production itself.
the young Dutch designer Sander Wassink has proposed The Bricoleur of Modernity, processing the resin in combination with standard parts that are readily available from any hardware store. By reconsidering those parts as a resource rather than as finished products, the distinction between their materiality and their function becomes more blurred, allowing for a poetic expression to emerge out of the most ordinary bits and pieces of mass production. “I’m looking for an industrial aesthetic of smart, beautiful connections,” he says. In his use of the resin, Wassink playfully re-articulates industrial standards, moving towards an economy of unfinished objects, rather than one in which all objects are destined to become obsolete.
Read the whole article on Domus
More info on Milano Makers
For Bower & Bird we created the Housed frame. Easily adaptable to different funtionalities. More locations to follow.
They appear for just a moment and then brutally disappear behind the new and better. when passing these ghosts the imagination of what ones was is being evoked in us.
( only a few pictures from the book )
The on-going project, State of Transience, is a responsive design process, which is continuously shifting over time. Using the relatively simple design archetype of a chair, Wassink repurposes materials, making additions, subtractions and mutations, to suggest the impossibility of a final or fixed form. Each new version of this chair, documented in incremental stages, shows evidence of it's future potential. Every new state is a testament to ingenuity of human production and the fragility of supposedly rigid constructions. In this way the project maintains a lineage of its arrangements, preserving both it's past iterations and suggesting future possible developments simultaneously. The goal is not a finished product, but instead a material history of combinations and constructions.
Photography by : Ronald Smits
The project Character of Human Activity took as it's inspiration the construction of collective spaces, areas created for communal activity and collaborative interaction. The fundamental design strategy is to adapt to the needs and ideologies of individuals as they interact in space, a progression shapes built by human activity, which could not be predetermined on a drawing board but must necessarily be adaptive to their inhabitants. In this way, these forms are a testament to the complexity of human interaction, both with one another and with spaces and objects, and in this way, reflect the intricacy daily relations with both the social and built environment.
Photography by : Ronald Smits
Photography by : Cassander Eeftinck Schattenkerk
Tijdens de Dutch Design Week in Eindhoven, van zaterdag 20 oktober tot en met zondag 28 oktober, presenteert Items de nieuwe generatie ontwerpers.
Al dertig jaar geeft Items een jaarlijks Eindexamennummer uit: het overzicht van de beste projecten van afstuderende jonge ontwerpers in Nederland en Vlaanderen. Dit jaar kun je een deel van de selectie ook in het echt zien tijdens de Dutch Design Week in Eindhoven. Itemsvormgevers Almanak werken samen met het architecten collectief De Nieuwe Generatie aan de inrichting van de tentoonstelling.
Pas afgestudeerde ontwerpers uit alle disciplines, van product en grafisch ontwerp tot games en textiel design, geven een voorproefje van hun talent. Zo presenteert Noortje van Eekelen een visuele database rondom de Eurocrisis waarbij beelden die afzonderlijk niet echt om te lachen zijn, in veelvoud ineens verschrikkelijk grappig worden. David Laport toont stukken uit zijn Discomforting modecollectie, die is afgeleid van de vraag waarom vrouwen soms kiezen voor ongemakkelijke kleding en Wies Preijde laat fris en poetisch werk zien op het raakvlak van vormgeving en kunst: een huisje van alleen draden en linten.
De opening van Dutch Design Graduates 2012 vindt plaats op zaterdag 20 oktober om 17.00 uur. Dan is ook de presentatie van het ItemsEindexamennummer. Deze is verkrijgbaar tijdens de tentoonstelling, zowel als digitale uitgave online - in een Nederlandse en Engelse versie - en als iPad-app.Beeld: Discomforting. David Laport, Mode, Koninklijke Academie van Beeldende Kunsten, Den Haag
LocatieMachinekamer, Radio Royaal
Ketelhuisplein 10, Eindhoven
De toegang is gratis.
What is the value of our possesions? Executed for the ABN Amro bank in Eindhoven.
I Worked in Beijing together with students from different disciplines and countries to visualize the possible next city. The biggest Question I asked myself was: "How can a city be created from individuality" I made a small booklet about this future scenario.
The Laws of Expandability, was developed for a cultural exchange between Wassink\'s home in Holland and Beijing. Using urban planning and public housing projects as a point of departure, Wassink set out to imagine a more adaptive form of design which would take it\'s form as a bottom-up type of design, rather than a top-down model often found in Holland. Understanding the importance of individual expression, and the need for personal expression, Wassink developed a grid system, which tries to imagine individuality as the building blocks for a new city. This grid system mirrors the very organic way historic Chinese housing developments, and self-created neighborhoods grew. \"Nothing is thrown away,\" Wassink says. \"Each new idea or necessity is just added on to what already exists.\" Rather than impose a new form on top of an old structure, Wassink envisions an adaptive and additive process, which allows for the preservation of past constructions while allowing for the expression of individual needs and inspirations. This project is envisioned as an attempt to embrace a new mindset. \"For me it was not so much about changing anything in Beijing or Holland, but about thinking how things could be different and incorporating that mindset into our own personal spaces.\" Through this kind of flexible practice, the desire for individual expression can also achieve compatibility with the preservation of past forms and material histories.
Together with 7 other creative individuals we created a collaboration that now exists for 3 years.
Collaboration O is a creative collective that is emerged from the need for unconstrained and innovative collaboration between young creatives by sharing their knowledge , tools, excitement and experience. The collective offers space to 14 individual talents. We constructed the space in such a way that the collaboration is being stimulated. All the individual spaces are connected to the collective workshops , kitchen and garden.