Priscilla

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Evenementen, Events

Lensvelt Summer Masterclass 4-7-2018

Nieuws

Van Eijk & Van der Lubbe

ENTER
Studio Van Eijk & Van der Lubbe created a dynamic environment for the fast-growing high-tech service provider ENTER. A cool place that employees are proud of and that invites high tech professionals to commit themselves to the recruitment agency.

The centrally placed ‘patch cupboard’ that the forty technicians use is connected to light lines and workstations. Because the job requires concentrated work, the non-distracting, neutral gray, high quality and comfortable furniture from the Boring Collection of Lensvelt is a perfect match. As a contrast, the meeting places are enlivened with color and wood.

It is not the first time that Van Eijk & Van der Lubbe collaborate with Lensvelt. “It is a pleasant company to work with and the collection consists of distinctive and well-designed products that are a welcome alternative to meaningless, dime a dozen furniture without character”, explains Miriam van der Lubbe.

About Van Eijk & Van der Lubbe
Designers Niels van Eijk and Miriam van der Lubbe started as designers of autonomous objects whose design is often a statement. Nowadays the designers are experts in idea
development and product and spatial design. They like to use their creativity for distinguishing organizations that want something innovative. Recent projects close to their
hearts include the interior of the 4-star care hotel Domstate in Utrecht, the refurbishment of the National Archives in The Hague, and languages institute STE Languages in
Eindhoven, where foreign languages and interiors connect people.
www.vevdl.com

Order now and receive a free Space Encounters
Boring Collection Clock

Boring Collection Set

 € 1525,- incl. VAT
+
FREE Boring Clock
ENTER
Studio Van Eijk & Van der Lubbe creëerde een dynamische omgeving voor de snelgroeiende high tech dienstverlener ENTER. Het moest een coole plek worden waar de veertig medewerkers trots op zijn en die bovendien high tech professionals uitnodigt zich aan de detacheerder te binden.

De centraal geplaatste voor techneuten belangrijke ‘patchkast’ is verbonden met lichtlijnen en werkplekken. Omdat daar uiterst geconcentreerd moet worden gewerkt, is gekozen voor de niet afleidende, neutraal grijze, kwalitatieve en comfortabele meubels uit de Boring Collection van Lensvelt. Als contrast zijn de ontmoetingsplekken verlevendigd met veel kleur en hout.

Het is niet de eerste keer dat Van Eijk & Van der Lubbe kiest voor Lensvelt. ‘Het is een prettige club om mee samen te werken en de collectie bestaat uit karaktervolle, uitgesproken en goed ontworpen producten die een welkom alternatief zijn voor nietszeggende, duizend-in-een-dozijn meubels zonder smoel’, verklaart Miriam van der Lubbe de keuze.

Over ontwerpbureau Van Eijk & Van der Lubbe 
Designers Niels van Eijk en Miriam van der Lubbe begonnen als auteursontwerpers van autonome objecten waarvan de vormgeving vaak een statement is. Tegenwoordig zetten de experts in ideeontwikkeling en product- en ruimtelijk ontwerp hun creativiteit en gedachtengoed graag in voor onderscheidende organisaties die iets vernieuwends willen. Recente opdrachten naar hun hart zijn onder andere het interieur van het 4-sterren zorghotel Domstate in Utrecht, de herinrichting van het Nationaal Archief in Den Haag en taleninstituut STE Languages in Eindhoven, waar vreemde talen en het interieur mensen met elkaar verbinden.
www.vevdl.com

Bestel nu en ontvang een Space Encounters Boring Collection ClockGratis bij je bestelling.

Boring Collection Set

€ 1525,- incl. BTW
+
GRATIS Boring Clock

Text: Viveka van de Vliet

Mission Lensvelt Contract

Since its founding in 1962, Lensvelt has been a leading project facilitator and a dedicated furniture label located at the Herengracht in Amsterdam. As a project facilitator, Lensvelt is a supplier of more than 150 quality labels.
 The Lensvelt own collection is:
solid,
Innovative,
authentic,
ergonomic,
often have a “twist”
affordable, comfortable,
functional,
sustainable
 and designed by the most notable designers such as: Marcel Wanders, Bertjan Pot, Gerrit Rietveld, Atelier Van Lieshout, Nina Graziosi, Maarten van Severen, Paolo Rizzatto, Richard Hutten, Ineke Hans, Piet Hein Eek, Maarten Baas, Gerrit Rietveld, Studio Job, WH Gispen, Caroline Prisse, Space Encounters, Wiel Arets, OMA, Prast Hooft, Simo Heikkila and others.

Horeca, Projecten

De Restauratie Eindhoven

Comfortabel wachten op de trein, een krant lezen of stijlvol dineren in een Gispenstoel van Lensvelt. Dat kan sinds kort in de centrale hal van station Eindhoven waar Studio Linse de restauratie heeft verbouwd tot een uitnodigende Café & Brasserie De Restauratie. Passend bij de Kembo WH Gispenstoelen uit de jaren vijftig koos Paul Linse voor de hedendaags Lensvelt WH Gispen 101 en 202 stoelen.

De lichtstad heeft in handen van architect Luc Vergeer weer een nieuw, strak en licht station gekregen. Het rijksmonument uit 1956 – in de volksmond ook wel de “Transistorradio” genoemd – behield karakteristieke oude elementen als gebogen delen in de plafonds, vloermozaïeken en de tekst van Mondriaan “Doorgang, afscheid en ontmoeting”. Dat laatste kan nu in het eigentijdse café-restaurant van 240 vierkante meter dat verbouwd is met respect voor de oude glorie. Interieurontwerper Paul Linse kent de plek al heel lang; hij kwam er toen hij eind jaren tachtig studeerde aan de Design Academy Eindhoven, en later toen hij daar les gaf. ‘Het was een ouderwetse restauratie met Perzische tapijten op tafel en een versleten laminaatvloer’, zegt hij. Omdat hij nooit teveel wil doen om zodoende het gebouw in volle glorie te laten uitkomen, zijn authentieke elementen en stijliconen als de glazen kroonluchters en meubilair gerestaureerd. Deze zijn gecombineerd met nieuw ontworpen lampen, tafels, banken en een counter. Op de nieuwe terrazzovloer komen de tientallen door Lensvelt geleverde Gispenstoelen met ruggen en zittingen van gebogen beukenmultiplex en gestoffeerd met Kvadrat stoffen, stijlvol tot hun recht. ‘De WH Gispen 101 zonder armleggers en de WH Gispen 202 met armleggers zijn fantastische modellen die comfortabel zitten, verklaart Linse zijn keuze, ‘en ze sluiten aan bij de reeds aanwezige Gispenstoelen uit de jaren vijftig.’ Hij plaatste de lagere exemplaren aan het raam, de hogere in het middengedeelte van de brasserie (en barkrukken aan de bar). Het geheel vormt een bijna logische, heldere, comfortabele, en smaakvolle balans tussen verleden en toekomst.

Architect: Studio Linse, www.studiolinse.com

PRODUCTEN GEBRUIKT IN DIT PROJECT

Barkrukken, Maarten Baas, Product categorie

Maarten Baas 101 Barstool A-H

Evenals de in 2017 uitgebrachte Maarten Baas 101 Chair A-H is de collectie Maarten Baas 101 Barstool A-H uniek. Deze vrolijke ogende en zeer comfortabele barkrukken zijn in 8 verschillende rugvormen verkrijgbaar, A tot en met H.
As we speak de Maarten Baas 101 Barstool collectie werd in 2018 gepresenteerd op de Salone del Mobile in Milaan.

Het frame is zwart van kleur (RAL9005).
Afmetingen:
45 x 47 cm (bxd).
Zithoogte: 75 cm.
A Hoogte stoel: 84/89 cm, afmetingen rug: 34 x 27 cm. (bxh)
B Hoogte stoel: 82/83 cm, afmetingen rug: 41 x 26 cm. (bxh)
C Hoogte stoel: 89/90 cm, afmetingen rug: 38 x 36 cm. (bxh)
D Hoogte stoel: 79/83 cm, afmetingen rug: 37 x 28 cm. (bxh)
E Hoogte stoel: 78/81 cm, afmetingen rug: 38 x 23 cm. (bxh)
F Hoogte stoel: 83/87 cm, afmetingen rug: 47 x 33 cm. (bxh)
G Hoogte stoel: 78/82 cm, afmetingen rug: 36 x 23 cm. (bxh)
H Hoogte stoel: 83/85 cm, afmetingen rug: 34 x 27 cm. (bxh)
Ontwerp: Maarten Baas (2018).

Evenementen, Events

Milaan VIP-Reprise “Nothing New” 10-5-2018

Evenementen, Events

Private tour TED 5-3-2018

Evenementen, Events

May I have your Attention Please #4 22-3-2018

Nieuws

Lensvelts highlights van de Milan Design Week 2018 29-05-2018

Lensvelts highlights van de Milan Design Week 2018

Een terugblik op de opmerkelijke nooit eerder vertoonde presentatie van Lensvelt tijdens de Salone del Mobile 2018. Nothing New was de titel van het spectaculaire anti-statement dat het onderscheidende, betrokken en eigenzinnige non-design meubellabel en projectinrichter in Museo Diocesano in Milaan aan het publiek liet zien.

Dit anti-statement tegen het eindeloos kopen van nieuwe spullen die we niet nodig hebben terwijl bestaande meubels nog in perfecte staat zijn, is een concept van curator, ondernemer en publicist Anne van der Zwaag.

En dus presenteerde Lensvelt geen enkel nieuw product in Milaan. Want Lensvelt ontwerpt geen mode-collectie, het label ontwikkelt duurzame, tijdloze ontwerpen en alleen als er werkelijk behoefte aan is. Daarom hergebruikte Lensvelt bestaande iconische meubels door ze tijdelijk terug te kopen via Marktplaats, Ebay en 1st Dibs, door ze te lenen of door eigen showroom items te tonen.

De vooraanstaande stylist en tentoonstellingsontwerper Maarten Spruyt ontwierp de intrigerende presentatie. Hierin bracht hij Lensvelt’s iconische meubelstukken van bekende ontwerpers samen met autonome kunstwerken en installaties van beroemde kunstenaars in één groot bewegend spektakel.

Nothing New betekent voor Spruyt een terugblik op de jaren zestig en zeventig  van de vorige eeuw. Een periode waarin niet alleen Lensvelt is opgericht (1962), maar die ook parallellen vertoont met de huidige politieke situatie en de snel veranderende wereld van vandaag.

Maarten Spruyt refereert in Nothing New aan sociale onderwerpen die een blijvende rol spelen: oorlog en geweld. Shell Shock Syndrome van Felix Burger past bij de robuuste Military Serie die bestaat uit een tafel, stoel en kruk van de beroemde ontwerper en architect Gerrit  Rietveld.

Foto: Jan Willem Kaldenbach

De Military Serie van Rietveld en het werk van Alet Pilon uit de serie ‘Talk To Me’ verwijzen zowel naar de massaliteit van fabrieken als naar anonieme, eenzame kantooromgevingen.

Foto: Jan Willem Kaldenbach

Museo Diocesano, het museum in hartje Milaan met een permanente collectie heilige kunstwerken, transformeerde tijdelijk in een levendige en spannende plek die Fondazione Lensvelt is gedoopt. Een knipoog naar Fondazione Prada. Hier exposeerde Lensvelt Nothing New tijdens de Salone del Mobile 2018.

Foto: Jan Willem Kaldenbach

In 2017, het jaar dat De Stijl zijn honderdjarige jubileum vierde, startten Rietveld Originals en Lensvelt een bijzondere samenwerking: Lensvelt werd de exclusieve distributeur van de Military meubelserie van Gerrit Rietveld gericht op de zakelijke markt.

Kunstenaars Theo van Doesburg, Piet Mondriaan en Bart van der Leck richtten in 1917 de beroemde kunstbeweging op. Meubelontwerper en architect Gerrit Rietveld sloot zich hier al gauw bij aan en maakte de idealen van De Stijl ruimtelijk zichtbaar. In 1923 verfde hij zijn leunstoel in de kleuren rood en blauw. Niet veel later ontwierp hij de Military meubelserie voor het katholieke Militair Hospitaal in Utrecht. Hiervoor experimenteerde hij als allereerste ontwerper met bouten en moeren die hij gebruikte in plaats van houten deuvels.

De Military Table is stevig, robuust en wordt gekenmerkt door het gebruik van dwarsliggers en contrastkleuren.

Foto: Jan Willem Kaldenbach

Gerrit Rietveld Military Series Table
Frame: grijs
Tafelblad: beukenhout

 240x80x75

€ 1.940,00 incl. BTW
€ 1.603,00 excl. BTW

Foto:  Jan Willem Kaldenbach

Gerrit Rietveld Military Series Chair
Frame: grijs
zitting en leuning: beukenhout

 Stoel hoogte: 90 cm.
Stoel breedte  39 cm.
Zitting hoogte: 45 cm.
Rugleuning  hoogte: 44 cm.

€ 500,00 incl. BTW
€ 413,00 excl. BTW

Foto:  Jan Willem Kaldenbach

Gerrit Rietveld Military Series Stool
Frame: grijs
zitting: beukenhout

Stoel breedte: 39 cm.
Stoel hoogte: 45 cm.

Stoel diepte: 44 cm.

€ 415,00 incl. BTW
€ 342,00 excl. BTW

Foto:  Jan Willem Kaldenbach

Gerrit Rietveld Military Set nr. 1
consisting of:

1 Gerrit Rietveld Military Series Stool

1 Gerrit Rietveld Military Series Chair
1 Gerrit Rietveld Military Series Table

Bij aanschaf van de Gerrit Rietveld set nummer 1ontvang je de Gerrit Rietveld Military Stool gratis!

€ 2.440,00 incl. BTW
€ 2.016,00 excl. BTW

Kleurrijk Rietveldsymposium op 24-05-2017 bij de Lensvelt Gallery, Herengracht 178, Amsterdam

Foto: Chantalle Laurent

Rietveldsymposium op 24-05-2017 in de Lensvelt Gallery, Herengracht 178, Amsterdam

Photo: Chantalle Laurent

Rietveldsymposium op 24-05-2017 in de Lensvelt Gallery, Herengracht 178, Amsterdam

Photo: Chantalle Laurent

Mission Lensvelt Contract

Since its founding in 1962, Lensvelt has been a leading project facilitator and a dedicated furniture label located at the Herengracht in Amsterdam. As a project facilitator, Lensvelt is a supplier of more than 150 quality labels.
 The Lensvelt own collection is:
solid,
Innovative,
authentic,
ergonomic,
often have a “twist”
affordable, comfortable,
functional,
sustainable
 and designed by the most notable designers such as: Marcel Wanders, Bertjan Pot, Gerrit Rietveld, Atelier Van Lieshout, Nina Graziosi, Maarten van Severen, Paolo Rizzatto, Richard Hutten, Ineke Hans, Piet Hein Eek, Maarten Baas, Gerrit Rietveld, Studio Job, WH Gispen, Caroline Prisse, Space Encounters, Wiel Arets, OMA, Prast Hooft, Simo Heikkila and others.

Nieuws

Lensvelt gallery location of anniversary edition of shop for a week by the Wunderkammer 24-05-2018

‘Shop for a Week – A Rose is a Rose is a Rose’

Herengracht 178, Amsterdam

May 25-June 3, 2018

Flower artist and stylist team The Wunderkammer opens a new exhibition and shop on Friday, May 25th with the theme ‘A Rose is a Rose is a Rose’ in our gallery.

This twentieth edition of the popular Shop for a Week concept is under the artistic direction of master florists Ueli Signer and Florian Seyd and was created in collaboration with Aleia Roses, Spanish grower of the famous Red Naomi! ® roses.

For the anniversary edition The Wunderkammer creates a sensory experience.
The Shop for a Week – Rose is a Rose is a Rose is an artistic creation where the visitor can wander and marvel, in an imposing setting of more than 10,000 beautiful roses.
The Wunderkammer invites you to get lost between these roses, breathing them in, experiencing them and enjoying them to the maximum.
Life is about love and what symbolizes love better than a red rose?

The Shop for a Week is spread out over different areas.
In the gallery, the feeling is tight and modern.
Here you will be standing next to large metal baskets, a design by Ueli Signer, filled with thousands of roses.
The rose and round shapes are leading here

In the “stijlkamer”, a rich and warm decor is set up that matches the 17th-century ceiling.
Here The Wunderkammer takes you to the origin of their name, a space full of wonders, sculptures, ornaments and self-created objects.
A large aviary designed by Ueli Signer stand at the center of this room.
This space breathes what The Wunderkammer is known for, beautiful decorations in a warm atmosphere.

The garden room is decorated like a courtyard garden, special plants, beautiful handmade pots and botanical rarities are shown here.

What is new?
Ueli Signer has created new objects and furniture from steel especially for this shop.
New artworks of Klaus Dupont will be present at this 20th edition, since his works are a permanent component of The Wunderkammer collection.
And Hilde Trip has created art works from dandelions.

The Shop for a Week is open from Friday, May 25th to Sunday, June 3rd from 11 am to 6 pm. Access is free.

Address: Herengracht 178, 1016 BR, Amsterdam

ABOUT THE WUNDERKAMMER

We are Ueli Signer and Florian Seyd and together we are The Wunderkammer. Our work as florists and decorators is driven by our passion for nature. We see ourselves more as gallery owners and nature as our artist. We try to present her products; flora, minerals and fauna in a way that surprises all. We want to show the best of nature in everything we do.” – The Wunderkammer

The Wunderkammer has created styling and floral decorations for private yachts, high-end hotels, five-star restaurants, global fairs and events, as well as a number of international A-list weddings.
A favourite amongst the fashion crowd, The Wunderkammer works with in-house departments on the curation of natural objects and decorations for the global showrooms of Tommy Hilfiger, Scotch & Soda, Calvin Klein and Karl Lagerfeld.
the duo is frequently called upon to design and recreate spaces for both commercial and private exhibitions.
Along with their commissioned work The Wunderkammer produces a bi-annual Shop for a Week and offer a unique collection of objects and artefacts through their showroom and webshop.

Mission Lensvelt Contract

Since its founding in 1962, Lensvelt has been a leading project facilitator and a dedicated furniture label located at the Herengracht in Amsterdam. As a project facilitator, Lensvelt is a supplier of more than 150 quality labels.
 The Lensvelt own collection is:
solid,
Innovative,
authentic,
ergonomic,
often have a “twist”
affordable, comfortable,
functional,
sustainable
 and designed by the most notable designers such as: Marcel Wanders, Bertjan Pot, Gerrit Rietveld, Atelier Van Lieshout, Nina Graziosi, Maarten van Severen, Paolo Rizzatto, Richard Hutten, Ineke Hans, Piet Hein Eek, Maarten Baas, Gerrit Rietveld, Studio Job, WH Gispen, Caroline Prisse, Space Encounters, Wiel Arets, OMA, Prast Hooft, Simo Heikkila and others.

Speciale Projecten

De Rotterdam

De Rotterdam verrees op de Wilhelminapier, waar vandaan tussen 1873 en 1973 tienduizenden Europeanen met de Holland Amerika-Lijn (HAL) naar Amerika zijn geëmigreerd. De naam van het project verwijst dan ook naar het vlaggenschip van de HAL: de Rotterdam. Het gebouw ‘De Rotterdam’ is gerealiseerd op een bijzondere locatie, direct aan de Rivier de Maas op de Wilheminapier te Rotterdam. Het gebouw is ontworpen door OMA Architecten en door MAB Development samen met OVG Projectontwikkeling ontwikkeld. Het gebouw bestaat uit hoogwaardige kantoren, luxe appartementen, viersterren designhotel, winkels, horeca, fitness en culturele functies. In totaal omvat het gebouw circa 160.000 m² b.v.o. verdeeld over 3 torens. Dagelijks zijn er ongeveer 4.500 mensen in het gebouw. Naar ontwerp van OMA Architects is voor het entree en het restaurant voor het Nhow hotel banken en zitjes uit het programma Blocks tot stand gekomen. Lensvelt Blocks is voor De Rotterdam naar ontwerp van OMA Architects tot stand gekomen.

Realisatie medio 2014.
Architecten: OMA, www.oma.eu

PRODUCTEN GEBRUIKT IN DIT PROJECT

Beurzen, Projecten

Lensvelt presents Nothing New at Salone del Mobile 2018

There is a new rebel on the block. It’s name is Lensvelt, the distinctive Dutch furniture label.
Between the Royal Palace of Milan and Fondazione Prada there was this burstling, exciting and vibrant spot: Fondazione Lensvelt, a nod to Fondazione Prada. Located in Museo Diocesano, Lensvelt exhibited Nothing New during the Salone del Mobile 2018.
Lensvelt presents an anti-statement against the endless buying of new items that we do not need, while the existing furniture is still in perfect condition.
There were no new product to be seen. After all Lensvelt doesn’t create fashion items, it creates sustainable, timeless designs. Lensvelt only develops new products when there is a genuine need for it.

Curator, entrepreneur and publicist Anne van der Zwaag conceived the ingenious concept for Nothing New in which Lensvelt reuses existing furniture by temporarily buying it back through Marktplaats, Ebay and 1st Dibs, by borrowing the furniture and exhibiting it’s own showroom items.
The repurchased design icons from Lensvelt are from topdesigners: Studio Job, Richard Hutten, Marcel Wanders, Maarten Baas, Ronald Hooft, Piet Hein Eek, Maarten van Severen, Bertjan Pot, Atelier van Lieshout, Rick Minkes, Ineke Hans, Gerrit Rietveld, and Simo Heikkilä.

Maarten Spruyt, a premier stylist and exhibition designer, designed the exciting and somewhat uncomfortable installation. In a never-before-seen moving spectacle, Spruyt brought together Lensvelt’s iconic designs with autonomous art works and installations of famous artists that are not commonly seen at a design fair such as Milan: Joep van Lieshout, Felix Burger, Christiaan Zwanikken, Sander Breure and Witte van Hulzen, Michel Voet, Marleen Sleeuwits, Isabelle Wenzel, Kevin Power, Alet Pilon and Freudenthal Verhagen. This led to an exciting interaction between disciplines. For Maarten Spruyt Nothing New means a retrospective of the sixties and seventies, a period that shows parallels with the political situation and the rapid changes in the world today. It is also the period in which Lensvelt was founded (1962). Spruyt transformed the gallery under the seven arches of the Museo Diocesano into a furniture production and assembly line.

Next to the exhibition was the rebellious bar: Bar Anne. Architectural firm Space Encounters and Anne van der Zwaag created a functional exposition, a low-threshold relaxation hangout, experience, meeting and networking space, creative hub and food hall on the same location.

PRODUCTEN GEBRUIKT IN DIT PROJECT

Evenementen, Events

An evening with Studio Graziosi Progetti 8-3-2018

Evenementen, Events

Masterclass A lookout on Milano 2018 – 8-3-2018

Evenementen, Events

Lancering D-Chair by ,…staat and new collection Graypants 22-2-2018

Nieuws

Salone del Mobile 2018 Nothing New at Fondazione Lensvelt – 16-4-2018

PH1 Barstools by &Prast&Hooft and the 101 Barstools by Maarten Baas, installation by Kevin Power & Christiaan Zwanikken

There is a new rebel on the block. It’s name is Lensvelt, the distinctive Dutch furniture label.
Between the Royal Palace of Milan and Fondazione Prada there is this burstling, exciting and vibrant spot: Fondazione Lensvelt, a nod to Fondazione Prada. Located in Museo Diocesano, Lensvelt exhibits Nothing New during the Salone del Mobile 2018.

No Sign of Design Table and Chairs by Richard Hutten and Stealth Cabinet by Wiel Arets accompanied by factory workers

NO IDEA Couch by Rick Minkes with work from Christiaan Zwanikken.

.

Come and visit Lensvelt’s anti-statement against the endless buying of new items that we do not need, while the existing furniture is still in perfect condition.
So you will not see any new products. After all Lensvelt doesn’t create fashion items, it creates sustainable, timeless designs. Lensvelt only develops new products when there is a genuine need for it.

Curator/Initiator Anne van der Zwaag with designer Maarten Baas and Hans Lensvelt checking the new 101 barstool with the works of Kevin Power

Curator, entrepreneur and publicist Anne van der Zwaag conceived the ingenious concept for Nothing New in which  Lensvelt reuses existing furniture by temporarily buying it back through Marktplaats, Ebay and 1st Dibs, by borrowing the furniture and exhibiting it’s own showroom items.

Stealth cabinet by Wiel Arets in a kinetic set-up accompanied by styling of Maarten Spruyt

Hans Lensvelt and designer Rick Minkes in his NO IDEA sofa

The Lazy Modernists of Atelier Van Lieshout in a kinetic set-up

Boring Tower styled by Maarten Spruyt in Fondazione Lensvelt

The repurchased design icons from Lensvelt are from topdesigners: Studio Job, Richard Hutten, Marcel Wanders, Maarten Baas, Ronald Hooft, Piet Hein Eek, Maarten van Severen, Bertjan Pot, Atelier van Lieshout, Rick Minkes, Ineke Hans, Gerrit Rietveld, and Simo Heikkilä.

Stylist Maarten Spruyt & Hans Lensvelt; Nothing New

Maarten Spruyt, a premier stylist and exhibition designer, designed the exciting and somewhat uncomfotable installation. In a never-before-seen moving spectacle, Spruyt brings together Lensvelt’s iconic designs with autonomous art works and installations of famous artists that are not commonly seen at a design fair such as Milan: Joep van Lieshout, Felix Burger, Christiaan Zwanikken, Sander Breure and Witte van Hulzen, Michel Voet, Marleen Sleeuwits, Isabelle Wenzel, Kevin Power, Alet Pilon and Freudenthal Verhagen. This leads to an exciting interaction between disciplines. For Maarten Spruyt Nothing New means a retrospective of the sixties and seventies, a period that shows parallels with the political situation and the rapid changes in the world today. It is also the period in which Lensvelt was founded (1962). Spruyt transformed the gallery under the seven arches of the Museo Diocesano into a furniture production and assembly line.

Nothing New is equally completely new.

Visit also the rebellious bar: Bar Anne. Architectural firm Space Encounters and Anne van der Zwaag created a functional exposition, a low-threshold relaxation hangout, experience, meeting and networking space, creative hub and food hall on the same location.

Job Office Desk by Studio job decorated with a spray painted bouquet of flowers and PHE Made in the workshop office chair

NO IDEA Couch with work from Sander Breure & Witte van Hulzen

.

AVL Torture Chair accompanied by the work of Marleen Sleeuwits and evaporator installation by Christiaan Zwanikken

Nothing New by Fondazione Lensvelt, Bar Anne and Frame Magazine, Museo Diocesano, Corso di Porta Ticinese, 95, Milan, 17-22 April 2018.

Open Tuesday 17 to Sunday 22 April from 10 AM -19 PM. Bar Anne is open from 11 to 01 AM.

Text: Viveka van de Vliet
Photographer: Jan Willem Kaldenbach

MISSION LENSVELT
Lensvelt is an engaged and idiosyncratic non-design furniture label and project designer.
Since its founding in 1962, Lensvelt has been offering architects and interior architects the means to make ever better interiors. With innovative, authentic, ergonomic, affordable, comfortable, functional and durable furniture with a ‘twist’, Lensvelt wants to contribute to a new world that is greener, better and more social. That is why it is also a convinced proponent of locally produced goods and believes strongly in the power of loyal neighborship. The furniture label bridges the gap between the commercial world and the most innovative designers and
remarkable artists.

SALONE DEL MOBILE MILAN 2016:
SPACE ENCOUNTERS

Good designs often come from annoyance – because something is designed only for function, or just plain ugly. That is the story of how the Boring Collection came into being – born of frustration from the ambitious architectural firm Space Encounters.
During the recession, young architects in particular delivered presentations to real estate owners based on a no cure no pay formula. These designs were used for office space rental. The new tenant would get new floors, walls, ceiling and a reception as an incentive to rent the space. The tenant would then themselves
go in search of furniture for their offices. Office furniture in this lower segment must meet one requirement above all – it needs to be cheap. This results in a mess of unimaginative furniture in a cacophony of colors, shapes and materials. To offer an alternative to all the screaming ugliness Space Encounters designed the modest Boring Collection: gray, aesthetic, qualitative and also affordable. With the innovative and idiosyncratic office concept of the Boring Collection, Lensvelt and Space
Encounters won a prestigious Milano Design Award, Best Concept 2016, during the Salone del Mobile. The presentation of a Memphis-like office city of archetypal stacked desks, cabinets, office chairs, clocks
and waste bins showed a gray collection that is far from boring.

SALONE DEL MOBILE 2017:
MAARTEN BAAS

At trade fairs such as the Salone, everyone shouts for attention. Large companies do that with spectacular presentations and young designers with new ideas. “See me, hear me, look at my work!”, everyone shouts. This inspired Maarten Baas to use the title ‘May I have your attention, please?’ to draw attention to the eight different Maarten Baas 101 Chairs he designed for Lensvelt. This installation, in which the unique chairs were accompanied by dozens of whispering horns, earned Maarten Baas and Lensvelt the Milano Design Award for Best Concept in 2017. Never before has a company won this prestigious award twice. Never before has a designer won the prize twice. Both managed to do this last year.

SALONE DEL MOBILE 2018:
NOTHING NEW

Lensvelt only develops new products when necessary: when current furniture no longer satisfies and improvements are desired, or when different needs have arisen due to changing activities on the work floor. Lensvelt does not develop new products just because there is a new Salone del Mobile in Milan. Lensvelt creates sustainable, timeless designs, and not fashion items. And so no new product will be launched
in 2018.
But not going to Milan is not an option. In this context, curator, entrepreneur and publicist Anne van der Zwaag conceived the ingenious concept for Nothing New: Lensvelt reuses its own furniture by temporarily buying it back through Marktplaats, Ebay and 1st Dibs. Or by borrowing the furniture from the owners, to whom the items are returned after the Salone. The exhibited pieces will be complemented by showroom items. Nothing New, which will be presented in Museo Diocesano, is Lensvelt’s anti-statement against the endless buying of new items that we do not need, while the existing furniture is still in perfect condition. This museum will be renamed Fondazione Lensvelt during the Salone del Mobile 2018, a nod to Fondazione Prada. The repurchased design icons from Lensvelt are from top designers Studio Job, Richard Hutten, Marcel Wanders, Maarten Baas, Ronald Hooft, Piet Hein Eek,
Maarten van Severen, Bertjan Pot, Atelier van Lieshout,
Rick Minkes, Ineke Hans, Gerrit Rietveld, Simo Heikkilä.

1. AVL CLOUD TABLE
The AVL Cloud Table is everything that a traditional table is not. It looks nothing like a normal table either: the AVL Cloud Table is not square, not flat and does not have four legs either. This table resembles a collection of clouds, balls or sky that brings people and ideas together. Atelier van Lieshout designed the Cloud Table in 2012 as a bar
table. The polyester-based cloud offers a place where people come together. It symbolizes the freedom and
volatility of clouds, as well as the liberation of the office worker.

2. AVL SPIDER CHAIR
There were no wooden stackable chairs on the market. So Atelier van Lieshout designed the AVL Spider Chair for Lensvelt in 2012. For four years Joep van Lieshout and Hans Lensvelt further developed the chair until a robust design emerged in 2016 that carries the DNA of both.

3. AVL WORKBENCH
In 1995 Atelier van Lieshout designed the AVL Workbench. A sober, robust table made of 100% polyester. The roughly finished legs in combination with a contrasting mirror-smooth table top is suitable for any office or reception room where colour and functionality play a major role. The table is timeless and even more beautiful with the years because the
scratches create a beautiful patina.

4. AVL LAZY MODERNIST
Joep van Lieshout finds an old Chinese Lazy Boy on the street near the Rotterdam garbage. He removes the upholstery and provides the frame with new foam. The chair looks as if it has escaped from the cockpit of a spaceship. Hans Lensvelt happens to be in the vicinity of the studio, sits on the foam, sinks through it, but is immediately sold. A new chair in the Lensvelt collection was born. On 20 July 2017 journalist Jeroen Junte interviewed Joep van Lieshout in the series ‘May I Have Your Attention, Please?’ at Lensvelt in Amsterdam. The remarkable Lazy Modernist is introduced. Upholstered, equipped with mobile elements and a poker to enter the relax position. According to Hans Lensvelt, this is the workplace of the future.

5. AVL TORTURE CHAIR
is an interpretation of the AVL Office Chair originally developed in 2002 for insurer Interpolis. It was custom-made for an eccentric, art-loving doctor in Maastricht. During the Nuclear Security Summit in The Hague in 2014, all world leaders sat on the AVL Office Chair: Barack Obama, the world’s most powerful man, Angela Merkel, Francois Hollande and Vladimir Putin.

6. PHE MADE IN THE WORKSHOP
OFFICE CHAIR

A chair by Piet Hein Eek from 2011. The material and technique used for the construction are exactly the same as those of the Made in the Workshop Stackable Chair. Here too the tubes of the square section are welded together and the corners are visible. The back is striking because of a subtle decorative element: a screw with a round, flat back with
which the seat is attached. The upholstered chair, equipped with a mechanism under the seat to adjust the height, is a perfect work chair and conference chair.

7. PH1 BARSTOOL
by Ronald Hooft was designed in 2007 especially for restaurants and hotels. The swivel bar stool with high seating comfort was immediately a popular bar stool in top restaurants. The seat and back are covered with robust Tribe leather (from a Western European bull). The chassis consists of a cross base and a column of transparent lacquered steel.

8. NO IDEA
is a design by Rick Minkes from 2017 and consists of separate elements and remarkable 135 cm high back and side walls. A recognizable piece with a pure and understated design. This series of seating furniture consists of three benches and a club chair that can
be placed in all kinds of configurations.

9. BORING TOWER
from Space Encounters is the complete Boring Collection stacked into a Memphis-like office city of archetypal desks, cupboards, office chairs, clocks and waste bins. This “office building” arose just like the Memphis movement in Italy, but then 25 years later.

10. THIS BUCKET CHAIR
There was a need for a new, distinctive chair with armrests. A chair with the same design language as the elegant, stackable and lightweight bestseller: This Chair, which Hutten developed in 2004 together
with Lensvelt. It became This Bucket Chair in 2017. This instant classic has a familiar typology: the tub. But then with a new appearance and production process. Lensvelt and Hutten have done extensive research on ergonomics and comfort. This Bucket Chair is better than any other chair. A special plastic has been used: the same material that car manufacturers use for the bumpers of cars. The combination of this material and the positioning of the mounting points ensures that the scale moves with respect to the frame. This makes the chair ingenious, aesthetic,flexible, elegant, functional, affordable, circular and extremely comfortable.

11. MILITARY TABLE
In the year that De Stijl celebrates its centenary (2017), Rietveld Originals and Lensvelt start a special collaboration: Lensvelt becomes exclusive distributor of Gerrit Rietveld’s Military Furniture series for the business market.
The famous art movement De Stijl was founded in 1917 by Theo van Doesburg, Piet Mondrian and Bart van der
Leck. Furniture maker and architect Gerrit Rietveld soon joined. Rietveld made the ideals of De Stijl spatially visible. In 1923 he coloured his armchair red and blue. Not much later he built the famous Rietveld Schröder House and designed a series of Military furniture for the Catholic Military Home in Utrecht. For this he made the first use of bolts and nuts for
wooden joints instead of wooden dowels. The Military
Table is sturdy, robust and is characterized by the
use of sleepers and contrast colours.

12. JOB CABINET
Job Cabinet by Studio Job from 2011 has the archetype of the classic steel storage cabinet. But this cabinet has a remarkable twist. In the ingenious lock, which is completely visible on the inside of the door, a gigantic fairy-tale-like key forms a
striking contrast with the sleek appearance of the
cabinet. Job Cabinet has six shelves, four of which
cover only half the depth of the cupboard.

13. FOREST FOR THE TREES
A decorative coat rack by Ineke Hans, designed in 2005, made from sheet steel. The parts are cut from a plate with the aid of a laser. The branches are folded over, the two tree parts are pushed together
and then the coat rack is lacquered. Forest For The
Trees can serve as a single tree or as a ‘forest’.

14. STUDIO 2 DUO TABLE
Marcel Wanders designed this generous workspace for two people in 2002. The table has angular and round shapes that harmoniously coexist. The workplace is flexible: adjustable, with extras such as various
cable channels, partition walls and linked arrangements
for several people. This way the perfect workplace
can be created for every situation.

15. TRIBUS TABLE
A folding three-legged round table by Rick Minkes from 2017. The table top can be made in HPL, veneered in melamine or wood, with a frame in white, black or the Studio Job colours. Handy tables that
require little storage space thanks to the tilting
mechanism and the three-legged frame.

16. CANE DIVAN
The renowned Finnish interior designer and Professor Simo Heikkilä, together with his friend designer Maarten Van Severen, gave workshops at the University of Industrial Arts in Helsinki. At the workshop
of Maarten Van Severen, Hans Lensvelt saw the Cane Divan for the first time in 1990. It was love at first sight.
Not so much because of the innovation of this chaise longue but because of the combination of materials:
the warm rattan with the industrial stainless steel frame and the unique, elegant composition. Lensvelt:
‘Cane Divan is the most beautiful and most comfortable
chaise longue I know.’ The classic that remains
relevant has been reissued by Lensvelt and was presented
in 2015 during the Salone del Mobile.

17. NO SIGN OF DESIGN CHAIR
AND TABLE

Richard Hutten, one of the Netherlands’ most internationally successful designers, launched No Sign Of Design in 1989 as part of his graduation project at the Design Academy Eindhoven. The furniture
series is an anti-design statement against Bořek Šípek’s neo-baroque style and other postmodernists who dominated Dutch furniture in the early nineties. With No Sign of Design Hutten radically returned to the essence of form, as Rietveld had done before. The production of these icons had been a wish of
Hans Lensvelt’s for years because of the sober
no-nonsense style. Since 2014, the No Sign Of Design
series has been included in the collection.

NOTHING NEW: MAARTEN SPRUYT
Lensvelt invited Maarten Spruyt, a premier art director, stylist, exhibition designer and curator, to design the Nothing New installation. He started off as a stylist but transmit his clear vision and sensitivity to several design domains. He is fascinated by the mix and the contrast of all different subjects and intensely treats everything as layered as it could be. Spruyt works for renowned institutions such as the Van Gogh Museum in Amsterdam and
Gemeentemuseum Den Haag, and with world famous photographers as Petrovsky & Ramone and Mario Testino.

In a never-before-seen moving spectacle, Spruyt brings together Lensvelts iconic designs with autonomous art and photo works and installations he has selected himself. He seeks the limits of what is possible. This leads to an exciting interaction between disciplines, a collaboration that fits the spirit of the times. The interesting balance between where one stops and the other starts is characteristic
of the stylist.

For Maarten Spruyt Nothing New means a retrospective of the sixties and seventies, a period that
shows parallels with the political situation and the rapid changes in the world today. It is also the period in which Lensvelt was founded (1962). Spruyt will transform the gallery under the seven arches of the Museo Diocesano into a furniture production and assembly line. Referring visually and emotionally to the scale of factories but also to
anonymous, lonely office environments.

In these arches humorous photos by Isabelle Wenzel are buried under binders or half visible in a filin abinet. Also on display are works by Marleen Sleeuwits, that turn our perception of space upside down, featuring anonymous work and living environments
and empty places without identity, such as offices, hotels, and airports. Spruyt draws parallels with the British artist and inventor Jim Whiting who became famous in 1984 when he had kinetic robotic figures dance in Herbie Hancock’s music video Rockit (and won the very first MTV Video Music Award for Best Art Direction). That work has similarities with the contemporary work of the
artist Christiaan Zwanikken. His kinetic and mechanical sculptures are controlled by means of electric mtors and computer technology, and presented next to furniture from the Lensvelt collection that
moves, opens and closes, as a nod to a furniture quality test.

Spruyt addresses social issues such as displaced
persons – homeless people, refugees – and illegality. This is illustrated in The Invisible Man Project by Michiel Voet, in which he tells the story about his friendship with the refugee Karim Ramtani. Or war and violence, the theme of the disturbing Shell Shock Syndrome from Felix Burger that stands next to the Military Table of Gerrit Rietveld. These are themes that play a role in society over time, unchanged, and with which Spruyt wants to touch a sensitive string. In the courtyard you can comfortably lounge in the Cane Divan and talk to The Oracle of Atelier Van Lieshout. The mechanically moving head that reinforces poetic, philosophical, or politically incorrect text messages from the audience, serves as a mirror of our society.

Maarten Spruyt creates an alienating, oppressive and confrontational environment that evokes emotions n the sometimes uncomfortable visitors. He puts existing works in a different light and shows a
new image that makes people think. Nothing new and everything new.

Well-known artists whom you rarely see at a design fair like in Milan, made self-reliant work available: Joep van Lieshout, Felix Burger, Christaan
Zwanikken, Michel Voet, Marleen Sleeuwits, Isabelle
Wenzel, Kevin Power, Sander Breure and Witte van
Hulzen, Freudenthal Verhagen and Alet Pilon.

A. MARLEEN SLEEUWITS
Artist Marleen Sleeuwits (1980) is mainly interested in the illusory character of depicted spaces. Or to put it more precisely: in and with her work she creates situations in which the spectator is confused by a realistic-looking representation of a space that is completely artificial. She gets her inspiration from anonymous work and residential environments and places without identity, such as offices, hotels, and airports. In recent work Sleeuwits builds new spaces or sculptures with materials from such spaces, such as laminate, suspended ceilings, parquet strips and fluorescent tubes, which she then photographs. The antitheses between real and artificial,
current and imitative, concrete and virtual, two- and three-dimensional, create a visual experience that temporarily alienates the spectator from the feeling of time and place. What do I actually see? What is the scale? Where am I? How do I physically relate to the space that I see before me? The
last question arises because Sleeuwits plays a game with another space-related aspect of photography, namely the way in which it creates an alternative for the depicted space and the space in which the viewer finds himself. She leaves us with a disoriented feeling. It plays with our perception of time,
place and event, which no longer seems to exist as a unit.

B. THE ORACLE
of AVL is a two and a half meter high totem cup made at the invitation of the Amsterdam 4 and 5 May committee in 2014. It was on the Dam in Amsterdam and touches on the themes of 5 May, such as freedom
of speech and the fact that people do not always formulate their own thoughts, but blindly take over those of another. The Oracle reiterates text messages from the audience, with the head moving mechanically.
The texts can be poetic and noble, but also unadulterated and politically incorrect.
Text your message to: +31617042022.

C. SANDER BREURE AND
WITTE VAN HULZEN

One of the main concerns of the work of Sander Breure (1985) and Witte van Hulzen (1984) is an expanded
research into the history of portraiture and its relationship with theatre. The work encompasses the vast range of human [facial] expressions and how over time certain gestures become associated with
and also disassociated from not only emotions but also social positions and activities. or their long-term performance at Utrecht train station, they worked with a group of actors that performed highly choreographed quotidian activities that almost go unnoticed in the location. However once the commuters noticed the movements and actions
of the actors they became witness to a theatre of the everyday that has suddenly unwoven itself from the fabric of daily life. Taking place for half a year, this work raised the question when performance

becomes labor and vice versa. Currently, the duo continues the research into the
archive of human gestures, but this time creating repository of head busts that can match sculpted torsos in different positions. Here the sculptures become the performers and are activated in staged scenarios in the space and in relation to the audience. While actors almost become living sculptures, the sculptures almost become persons, but neither manages to completely cross over to the other. The
thin membrane between life and death keeps them apart. (text: Sohrab Mohebbi)

D. FREUDENTHAL / VERHAGEN
The well-known Dutch photography duo Freudenthal / Verhagen (Carmen Freudenthal, 1965 and Elle Verhagen, 1962) is based in Amsterdam. Both studied at the Gerrit Rietveld Academy, Carmen studying Photography and Elle Fashion Design. They met after graduatingIn 1988 and started working together on an assignment for a design label. There was an immediate mutual recognition and taste in what (fashion) images should look like. Their collaboration began with a publication in I-D magazine in 1989. From that moment on they have searched for ways to

stretch the traditional definition of photography, to make cross-overs between fashion and art and to
visualize cultural relevance. The images have been diverse in discipline and form over the years, but
often tell a layered and sometimes disturbing story, using and mixing different media to create a unique visuallanguage. In their infinite love for photography and addiction
to the unexpected and unusual, Freudenthal / Verhagen stretches the boundaries of photography. The
duo brings together photos in 3 D installations and translates projected videos into photos. By printing
on silk and adding epoxy or rubber, the photographers change the usually flat surface of a picture and surprise the viewer with a manipulated reality.

E. CHRISTIAAN ZWANIKKEN
The Dutch artist Christiaan Zwanikken (1967) received international recognition for his kinetic and mechanical sculptures, sound works and installations. His complex moving sculptures look like humans, animals or plants and are controlled using electric motors and computer technology. He often combines different media, robotics, biology, microcontrollers and sound. His works are both an artistic and a technological experiment in which innovation and finds play an important role. In his research into the relationship between man, nature,

science and technology, Zwanikken combines the living with the lifeless. Each sculpture is therefore both mechanical and autonomous and has its own ‘identity’ that is controlled by software, electronic, sensory and artificial speech. Although he uses ‘hard’ technologies such as machines and operating systems, he always tries to appeal to people and ‘soft’ technologies. His art has departed from the domain of plastic work in order to enter that of
plasmic work. At first his pieces are clearly identifiable but as the interaction of the work with the viewer unfolds, they are given other potentialities and they take on new forms. In the hybrid animal installations, they attach themselves to any and all forms of animal life. By additionally hyper-synchronizing the movements of his work to electronic or acoustic sound compositions, Zwanikken creates what he calls ‘techno-plasmic entities’. These are new creations that jump along the evolutionary ladder and are not limited by their real-world anatomy.

F. ISABELLE WENZEL
Isabelle Wenzel (1982) is a photographer, artist and also acrobat. In her work she asks herself: Who am I? What is the relationship we have with each other? She uses her body as a ‘responsive form’ to capture
movements and almost impossible poses in surreal scenes. With these moving studies of the human body she confronts the viewer with questions and emotions. Wenzel enters the theatre stage as a photographer, model, sculpture and finally also as a spectator, merged into one medium. Sometimes she is still recognizable, sometimes her body parts seem to sing from the space by the colour and structure of the clothes and the props and sometimes her body even functions as a side table or plinth for still-life’s with stacked crockery and vases. The distorted bodies give access to a sculptural world in which there is no question of the person or personality. Wenzel’s world offers new perspectives. Within ten seconds, Wenzel gives us a fleeting glimpse of memories, of something that has been, giving your own imagined reality and associations the greatest possible space.

G. FELIX BURGER
Felix Burger (1983) develops expansive and spacious room installations; accessible stages with objects, films, drawings and sound. Starting point of his work are often images of collective memory that he sends through his personal matrix and transforms them into an often absurd and disturbing composition. His work ‘Shell Shock Syndrome’ (2014) is a contemporary version of the horror cabinet of dr. Caligari (1920). The theatrical choreography consisting of a
fifty-piece chorus of ramshackle, ceramic and mechanical dolls and cyborgs that are connected to each other with electronic wires. These alter egos by Felix Burger perform fragments from the Matthäus-Passion by Johann Sebastian Bach. Suffering, death and resurrection become a biographical lament, balancing between slapstick and drama, between intellectual world theatre and a children’s room worked out in detail. Failure is the visible central theme in
his installation.

H. MICHIEL VOET
The multidisciplinary artist, photographer and theatre maker Michiel Voet (1964) works at home and abroad and in different contexts. As an autonomous artist and scenographer, he often collaborates with theatre directors, composers and writers. Voet received a lot of attention for the photo series and the theatre project The Invisible Man Project. It tells the remarkable story of his friendship with the elusive, illegal refugee Karim Ramtani. Voet met Algerian Karim Ramtani in his studio in Amsterdam-Noord. They talked about Ramtani’s dreams of a better life, but they also talked a lot about art. A collaboration arose that resulted in a remarkable series of photographs followed by the theatre production The Invisible Man. A performance that is still being played, both in the Netherlands and abroad. In the project Voet talks about the encounter and the fascination he developed for the life of this stranger. Then Ramtani tells the same story, but from his perspective. About how he once arrived in
Amsterdam from Algiers. And about his hidden and unpolished life in Europe. In March of this year, the artist and theatre maker travelled to Algeria where he held performances and made a new series of photographs. Voet followed the routes that immigrants and refugees take to the Mediterranean. As a solitary protester, he took action
against the terrible tragedy that has taken place in
the last ten years around the Mediterranean.

I. JOEP VAN LIESHOUT /
ATELIER VAN LIESHOUT

After graduating at the Rotterdam Art Academy, enfant terrible and sculptor Joep van Lieshout quickly rose to fame with projects that travelled between the world of easy-clean design and the nonfunctional
area of art: sculpture and installations, buildings and furniture, utopias and dystopias. In 1995, Van Lieshout founded his studio and has been working solely under the studio’s name ever since. The studio moniker exists in Van Lieshouts practice as a methodology toward undermining the myth of the artistic genius. Van Lieshout has established a multidisciplinary practice that produces works on the borders between art, design, and
architecture. By investigating the thin line between manufacturing art and mass-producing functional objects, he seeks to find the boundaries between fantasy and function, between fertility and destruction. Van Lieshout dissects systems, be it society as a whole or the human body; he experiments, looks for alternatives, takes exhibitions as experiments for
recycling, and has even declared an independent state: AVL-Ville (2001). A free state in the Rotterdam harbour, with a minimum of rules, a maximum of liberties, and the highest degree of autarky. All of these activities are conducted within VanLieshouts signature style of provocation – be it political or material. Van Lieshout combines an imaginative aesthetic and ethic with a spirit of entrepreneurship; his work has motivated movements in the fields of architecture and ecology, and has been internationally celebrated, exhibited, and published. His works share a number of recurring themes, motives, and obsessions: systems, power, autarky, life, sex, and death – each of these trace the human individual in the face of a greater whole.

J. KEVIN POWER
Kevin Power makes art, performance and costume to witness and heal what is happening inside of him and around him. Kevin is deeply moved by the beauty of the earth and realizes that she is the true mother of us all. Observing how we as human kind behave ruthlessly and destructively towards ourselves, the planet and other species, he strongly feels the urge to recover our sensibility and restore our soul. He processes this in his artwork for which he lets himself be inspired by stories, mythologies and shamanism. By recycling and re-purposing materials, he creates on the edge of having something to offer in its investigation. The art work becomes the witness and serves to heal. Power: ‘We are our own myth, our own creation, evolving in mutation with a vibrancy
in the hope of finding shelter in our vulnerability.’ Kevin Power started an art-spiritual-fashion project in 2015 calling it the “Dali Lamas Pajamas”. Challenging the fashion system, these one of a kind garments are intended for cocooning into the great infinity that is inward. Self-healing garments that invite the wearer to Wear the Prayer and come home to oneself, to who the wearer is in all one’s stupendous splendour. Power: ‘We are here for one another, we heal one another. Go gently on the earth.’

K. ALET PILON
The works are about power, powerlessness, the fear of death and loneliness. Intense memories from her life form the basis for the works. Growing up in a Christian environment as the daughter of a general practitioner, Alet Pilon feared death and felt an enormous feeling of oppression on her life. By following a fashion education (Academy of Fine Arts
Utrecht, 1971) she thought she could escape these inner fears by choosing the stylized exterior and
aesthetics. It only gave her temporary respite. A need arose to portray feelings of loneliness and vulnerability in a series of works that had nothing to do with fashion and applied art, but stemmed from their own visual language. Like ‘The Boy’ from the series ‘Talk to me’ (2011). He is both animal and human. A fragile-looking figure in jeans, sneakers and a sweater, without a face, with a protective skin of plaster cast and goat horns.

REBELLIOUS BAR
The museum offers more anti-statements. In addition to Frame Magazine, which provides an interview program with Dutch and international designers, Space Encounters has designed a rebellious bar. ‘Bar Anne is a manifesto, a radical statement against the craziness of all the money-wasting, all but sustainable design fairs, of which one can question the use,’ says Remi Versteeg, together with Gijs Baks, Joost Baks and Stijn de Weerd founder of the acclaimed architectural firm Space Encounters. ‘There is always an abundance of presentations and products and visitors have to run back and forth to see as much as possible. The whole phenomenon of ‘fairs’ should be viewed more critically,’ they believe. Where can you share that critical note better than in Milan’s design mecca itself? Between Zona Tortona and the city centre, in the historic Museo Diocesano, Space Encounters offers a welcome alternative: a bar with an integrated spectacular light installation by Children of the Light. A usable exposition, a low-key relaxation hang-out, experience, meeting  and networking space, creative hub and food hall for everyone who needs something else. Curator, entrepreneur and publicist Anne van der Zwaag selected
talented (emerging) designers who made something that would benefit the interior of the bar: Rick Tegelaar, VANTOT, Mae Engelgeer, Klaas Kuiken, Dirk Vander Kooij, Jólan van der Wiel, Handmade Industrials, Jelle Mastenbroek, NIGHTSHOP, Sabine Marcelis, Brit van Nerven, Kranen / Gille, Fransje Gimbrère, Aart van Asseldonk, and from Belgium – Muller Van Severen. Also generous partners who feel at home with this
concept: Acosorb, Qbiq, Gira, Tarkett, InventDesign, Weltevree, Heineken, Finsa, Baars & Bloemhoff,
Hartweil and Carpet Sign participate in this unruly Gesamtkunstwerk.
Fondazione Lensvelt & Nothing New, Frame magazine
and Bar Anne, Museo Diocesano, Corso di Porta Ticinese,
95, Milan, 17-22 April 2018.

Mission Lensvelt Contract

Since its founding in 1962, Lensvelt has been a leading project facilitator and a dedicated furniture label located at the Herengracht in Amsterdam. As a project facilitator, Lensvelt is a supplier of more than 150 quality labels.
 The Lensvelt own collection is:
solid,
Innovative,
authentic,
ergonomic,
often have a “twist”
affordable, comfortable,
functional,
sustainable
 and designed by the most notable designers such as: Marcel Wanders, Bertjan Pot, Gerrit Rietveld, Atelier Van Lieshout, Nina Graziosi, Maarten van Severen, Paolo Rizzatto, Richard Hutten, Ineke Hans, Piet Hein Eek, Maarten Baas, Gerrit Rietveld, Studio Job, WH Gispen, Caroline Prisse, Space Encounters, Wiel Arets, OMA, Prast Hooft, Simo Heikkila and others.

Nieuws

Hans Lensvelt cordially invites you to the opening cocktail of Nothing New at Fondazione Lensvelt – 29-3-2018

Mission Lensvelt Contract

Since its founding in 1962, Lensvelt has been a leading project facilitator and a dedicated furniture label located at the Herengracht in Amsterdam. As a project facilitator, Lensvelt is a supplier of more than 150 quality labels.
 The Lensvelt own collection is:
solid,
Innovative,
authentic,
ergonomic,
often have a “twist”
affordable, comfortable,
functional,
sustainable
 and designed by the most notable designers such as: Marcel Wanders, Bertjan Pot, Gerrit Rietveld, Atelier Van Lieshout, Nina Graziosi, Maarten van Severen, Paolo Rizzatto, Richard Hutten, Ineke Hans, Piet Hein Eek, Maarten Baas, Gerrit Rietveld, Studio Job, WH Gispen, Caroline Prisse, Space Encounters, Wiel Arets, OMA, Prast Hooft, Simo Heikkila and others.

Nieuws

May I have your attention please? 4 # 12 28-3-2018

Lensvelt gallery, Herengracht 178, Amsterdam.

Men in wool hats and swimming shorts are sitting in a wood-fired Dutchtub designed by Floris Schoonderbeek in the courtyard of the Lensvelt gallery on the Herengracht. A temporary swing hanging from a branch on the tree opposite the building is from ‘public space hacker’ Thor ter Kulve. Both designers exhibit at Lensvelt in the series: May I have your attention, please?

It is the fourth edition of -May I have your attention, please?- in which Jeroen Junte interviewed Floris Schoonderbeek of label Weltevree on Thursday 22 March at the Architekten Cie. In line with the set-up of this series, Schoonderbeek invited a promising talent: Thor ter Kulve.

Interview with Jeroen Junte, Floris Schoonderbeek and Thor ter Kuile at Architecten Cie.
Pictures: Jan Willem Kaldenbach.

A few thousand Dutchtubs have been sold, says Schoonderbeek. The challenge is to continue to develop the product. Whilst the sober luxury associated with the tub has become commonplace, the way to heat it is being reviewed to achieve as little emission as possible, as is the material it’s made of: polyester. Polyester is terrible – bad for the environment, according to Junte, but also very suitable for this application, challenges Schoonderbeek.

What characterizes Schoonderbeek is that he formulates what we are missing. Whether he designs the Tablebench, Patio High Back or Guidelight for Weltevree, the dancing electricity mast as an art commission, the Rijnhuisje – a legal mobile home, or the start-up – the Lolo charging station for electric driving. ‘I help people understand how to live sustainably, because even if they want to, they don’t always know how,’ says the designer. ‘Weltevree products stimulate an adventurous and active lifestyle, radiate freedom and independence. They bring you comfortably close to nature and help you to see and use your surroundings again. In addition, there is always a clear functionality that gives extra value’, he says.

The recently introduced Tablebench, designed by Jair Straschnow, is actually a physical expression of research by the designer into how people live. Tablebench is a workplace, but also terrace, garden, balcony table or bench that you can sit on in different ways. The Groundfridge is an innovative interpretation of the traditional cool cellar, for the new urban citizen that wants to live a modern self-sufficient existence, complete with their own vegetable garden. Hans Lensvelt was the first person to see the prototype of this sustainable “refrigerator” buried in the garden before the product went to the Salone in Milan. ‘Four years later, five have been produced, the product is in full swing. We are looking for a way to develop the first 75 copies industrially and we are surprised by the huge number of requests’, says the designer. Schoonderbeek is in tune with the spirit of the times: he offers an answer to the modern houses that are built without a basement, although the need has returned: people are more concerned with food, with their own cultivation. Groundfridge can also serve as a mini-bar on a campsite, or as a modern beach tent. ‘Or as a hurricane shelter?’ Junte suggests. Schoonderbeek: ‘That too; you can store so much food that two people can eat for a year.’

he exhibition can be seen at the Lensvelt gallery until the end of April 2018, Herengracht 178, Amsterdam.

Exhibition at the Lensvelt gallery, Herengracht 178, Amsterdam.

Jan Willem van Elten, Elwin Jonkers of Senso, Floris Schoonderbeek and Joep van Lieshout

Reinier Bende, Floris Schoonderbeek, Hans Lensvelt, Bülent Yokus and Rick Minkes enjoying the Dutchtub.
.

Hans Vermeulen of DUS architects, journalist Jeroen Junte and Corien Pompe of Philips Design.

Design critic Adri Vlasblom, Swan Lian Kwee Art Director of Vogue and Hans Lensvelt

Marleen Kurvers of orphaned art gallery Oode, designer Geke Lensink and journalist Viveka van Vliet enjoying the gadering.

Colleague designer Geke Lensink makes use of Thor ter Kulve’s Swing.

Tekst: Viveka van de Vliet
Photography: Jan Willem Kaldenbach

May I have your attention please? 4 # 12

Lensvelt gallery, Herengracht 178, Amsterdam.

Mannen in zwembroek of badjas met wintermuts zitten in een houtgestookte Dutchtub van Floris Schoonderbeek op de binnenplaats van Lensvelt gallery aan de Herengracht. En een tijdelijke schommel aan de boom tegenover het pand is van de ‘openbare ruimte hacker’ Thor ter Kulve. Beide ontwerpers exposeren bij Lensvelt in de serie: May I have your attention, please?

Het is de vierde editie van -May I have your attention, please?- waarin Jeroen Junte Floris Schoonderbeek van label Weltevree interviewde op donderdag 22 maart in een zaal van de Architekten Cie. Volgens de opzet van deze serie, nodigde Schoonderbeek een veelbelovend talent uit: Thor ter Kulve.

Interview with Jeroen Junte, Floris Schoonderbeek and Thor ter Kuile at Architecten Cie.
Pictures: Jan Willem Kaldenbach.

Van de Dutchtub zijn er inmiddels een paar duizend verkocht, vertelt Schoonderbeek. De uitdaging is om het product steeds verder te ontwikkelen. Intussen is de sobere luxe die hoort bij de tub gemeengoed geworden, wordt er nagedacht over de manier van stoken: met goed hout en zo min mogelijk uitstoot, en over het materiaal polyester. Dat materiaal is troep, volgens Junte, maar ook supergoed voor deze toepassing, volgens Schoonderbeek.

Kenmerkend voor de ontwerper is, dat hij formuleert wat wij missen. Of hij nu de Tablebench, Patio High Back of Guidelight voor Weltevree ontwerpt, of de dancing elektriciteitsmast als kunstopdracht, het Rijnhuisje, een legaal mobiel vakantiehuisje, of de start-up: de Lolo laadpaal voor elektrisch rijden. ‘Ik neem mensen mee in hoe ze duurzaam zouden kunnen leven, want ze willen wel maar weten niet altijd hoe’, vertelt de ontwerper. ‘De producten van Weltevree stimuleren een avontuurlijke en actieve levensstijl, stralen vrijheid en onafhankelijkheid uit. Ze brengen je op een comfortabele manier dicht bij de natuur en helpen je opnieuw je omgeving te zien en te gebruiken. Daarnaast zit er altijd een heldere functionaliteit in die het gebruik extra waarde geeft’, zegt hij.

De onlangs geïntroduceerde Tablebench, ontworpen door Jain Straschnow, is eigenlijk een samenvatting van een onderzoek van de ontwerper naar in welke settings mensen zitten. Tablebench is werkplek, maar evengoed terras-, tuin-, balkontafel of bank waar je op verschillende manieren aan kunt zitten. De Groundfridge is een innovatieve variant van de traditionele koelkelder, voor de nieuwe wereldburger met eigen moestuin en een modern zelfvoorzienend bestaan. Hans Lensvelt was de eerste persoon die het prototype van deze duurzame in de tuin ingegraven ‘koelkast’ zag, voordat het product naar de Salone in Milaan ging. ‘Vier jaar later zijn er vijf geproduceerd, is het product volop in beweging, zoeken we een manier om de eerste 75 exemplaren industrieel te ontwikkelen en zijn we verrast door de enorme aantallen aanvragen’, vertelt de ontwerper. Schoonderbeek voelt de tijdsgeest goed aan: hij biedt een antwoord op de moderne huizen die vaak zonder kelder worden gebouwd, terwijl mensen daar juist weer behoefte aan hebben: ze zijn meer met voedsel bezig, met het zelf verbouwen. Groundfrigde kan ook dienst doen als mini-bar op een camping, als moderne strandtent. ‘Of als huricane shelter?’, oppert Junte. ‘Dat ook; je kunt er zoveel voedsel in opslaan dat  twee personen er een jaar lang van kunnen eten.’

En dan zijn er nog de projecten als de tijdelijke autarkische strandbar tijdens het  culturele festival Into The Great Wide Open op Vlieland. In plaats van op een beurs te gaan staan, laat Weltevree een groep mensen die dezelfde waardes delen als eten en muziek dienen als ‘proefkonijnen’. De ontwerper kijkt hoe ze op de autarkische strandtuin reageren en afhankelijk durven zijn van windenergie en water dat ze opslaan in een watertoren. De Dutchtub wordt gevuld met zeewater en verwarmd met juthout van het eiland. Eten wordt bereid op de Outdooroven van ontwerper Dick van Hoff.

Schoonderbeek is ook ondernemer. Hij kocht een voormalig gymnasium in Arnhem om er wonen en werken te combineren en de rest te verhuren aan andere ondernemers. Zo hebben ze veel gemeen, Floris Schoonderbeek en Thor ter Kuile. Beiden zijn als productontwerper afgestudeerd aan ArtEZ in Arnhem (Floris in 2002, Thor in 2012). Ter Kulve woont eveneens bijzonder: op een autarkische boot met zonnepanelen en een composttoilet in hartje Londen. Anders dan in Nederland met vaste ligplekken, legt hij zijn zelfgebouwde boot elke twee weken op een andere plek. Zo hoeft de stadsnomade geen huur of liggeld te betalen.

Waarom Schoonderbeek zijn voormalige stagiair vroeg, vraagt Junte. ‘Omdat ik zijn manier van met de openbare ruimte omgaan bewonder’, zegt hij. Ter Kulve rekt graag de regels op en hackt de ruimte. Dat begon met een mobiel boom-wenteltrapje, de Canopystair, ontwikkeld tijdens zijn master aan de Royal College of Art in Londen, waarmee je elke boom kunt verkennen. De Swing die je aan iedere paal of boom kunt bevestigen (opgenomen in de Weltevree-collectie), de prullenbak als tijdelijke barbecue, de Water Fountain aan een brandweerkraan en een Park Bench Bubble om even in je eigen bubble te zitten, het zijn producten die een idee van vrijheid, van spelen uitstralen, vertelt hij. Ook al is Ter Kulve productontwerper, hij voelt zich kunstenaar, maar onderscheid zich ook weer van de kunstenaar doordat hij vindt dat zijn werken functioneel moeten zijn.

De Swing wordt in elk geval volop functioneel gebruikt voor de deur van Lensvelt. En binnen hangen Guidelights, er staan twee houtgestookte Dutchtubs en de nieuwe Tablebenches. Met de collectie van Thor ter Kulve en van Weltevree ga je op avontuur in je eigen achtertuin, creëer je comfort in de middle of nowhere, maar evengoed in en voor de galerie van Lensvelt.

De expositie is nog t/m eind april 2018 bij Lensvelt gallery, Herengracht 178, Amsterdam.

Exhibition at the Lensvelt gallery, Herengracht 178, Amsterdam.

Jan Willem van Elten, Elwin Jonkers of Senso, Floris Schoonderbeek and Joep van Lieshout

Reinier Bende, Floris Schoonderbeek, Hans Lensvelt, Bülent Yokus and Rick Minkes enjoying the Dutchtub.

Hans Vermeulen of DUS architects, journalist Jeroen Junte and Corien Pompe of Philips Design.

Design critic Adri Vlasblom, Swan Lian Kwee Art Director of Vogue and Hans Lensvelt

Marleen Kurvers of orphaned art gallery Oode, designer Geke Lensink and journalist Viveka van Vliet enjoying the gadering.

Colleague designer Geke Lensink makes use of Thor ter Kulve’s Swing.

Tekst: Viveka van de Vliet
Fotografie: Jan Willem Kaldenbach

Mission Lensvelt Contract

Since its founding in 1962, Lensvelt has been a leading project facilitator and a dedicated furniture label located at the Herengracht in Amsterdam. As a project facilitator, Lensvelt is a supplier of more than 150 quality labels.  The Lensvelt own collection is: solid, Innovative, authentic, ergonomic, often have a “twist” affordable, comfortable, functional, sustainable  and designed by the most notable designers such as: Marcel Wanders, Bertjan Pot, Gerrit Rietveld, Atelier Van Lieshout, Nina Graziosi, Maarten van Severen, Paolo Rizzatto, Richard Hutten, Ineke Hans, Piet Hein Eek, Maarten Baas, Gerrit Rietveld, Studio Job, WH Gispen, Caroline Prisse, Space Encounters, Wiel Arets, OMA, Prast Hooft, Simo Heikkila and others.

Nieuws

ZUS sits – 20-3-2018

ZUS Zones Urbaines Sensibles
Photgrapher: Inga Powilleit

The architects, urban planners and landscape architects from ZUS sit on chairs from the Lensvelt collection. Boring Office Chairs from Space Encounters are at the conference table. At the lunch table the different Maarten Baas 101 chairs.

The conviction of the founders of ZUS – landscape architects Elma van Boxel and Kristian Koreman – is that every place has the potential to be unique and exciting. This also applies to their own workplace in the Schieblock in Rotterdam. In this building they started an anti-squat project in 2001 that became one of the most important cultural breeding grounds in the city. Here you will find lectures, debates, a bar, a ‘Roof-field’ with bees and vegetables, a restaurant, numerous companies and on the third floor ZUS (short for Zones Urbaines Sensibles).

From a two-man business, ZUS grew to a company with thirty employees. Time for more serious furniture. ‘Because there are scale models everywhere and cabinets full of books, we wanted as little interior as possible with that messiness’, says Elma van Boxtel. ‘That’s why we chose good, modest, and well-designed gray Boring Office Chairs (and waste bins) that provide peace of mind at workplaces and at the conference table.’

A freer, happier image fits the lunch table, according to ZUS. The architects, urban planners and landscape architects now have 101 seats by Maarten Baas. A choice was made to combine various colors and back shapes. As a family, they form a funny and playful image together.

‘When I re-did the office, I immediately knew that I wanted these chairs from Lensvelt’, says Van Boxtel. ‘The quality is high, the price is right, and the picture is unique and special. Sustainability is also absolutely important. We were looking for timeless furniture that you do not tire of.’

About ZUS
Elma van Boxel (1975) and Kristian Koreman (1978) both trained as landscape architects. Van Boxel then studied architecture and urban design, Koreman philosophy. In 2001 they founded ZUS. In the early years they were seen as alternatives in architecture. While others made the largest, wildest buildings, Koreman and Van Boxel were fascinated by spatial developments in the Parisian banlieues, which are called Zones Urbaines Sensibles by the French government – hence the name ZUS. Instead of designing icons, they made plans for vacant office buildings. The Schieblock, divided by the 400 meter long walkway, the Luchtsingel, is an example of this.

In 2007, ZUS won the prestigious Jonge Maaskant Prize as a promising agency. Currently, Almere Duin is being realized, a neighborhood with three thousand homes around an artificial dune landscape with which Almere gets its own Bloemendaal aan Zee, with beaches, valleys with fens and fruit trees. ZUS is working on a book entitled “Incomplete & Unfinished”, in 2017 ZUS won, together with ‘District E and Powerhouse Company, the competition for the entrance area of the station square Eindhoven and you can find an overview exhibition  of their most provocative work in the Museo de Arte Moderno in the Colombian city of Medellin.

ZUS Zones Urbaines Sensibles
Photgrapher: Inga Powilleit

Prizewinning

With Maarten Baas, Space Encounters and Lensvelt, ZUS has brought winners within their office walls. Lensvelt and Space Encounters won the Milano Design Award, Best Concept 2016 with the Boring Collection. A Memphis-like office city of archetypal stacked desks, cupboards, office chairs, clocks and waste bins.

In 2017, Lensvelt again won the Milano Design Award, Best Concept. Now together with Maarten Baas. May I have your attention, please? consisted of unique 101 Chairs with eight different backs, from A up to H, and fourteen upholstery and a series of horns from which whispering voices sounded. A statement against the cry for attention that is the Salone del Mobile.  Never before have both a company and a designer won the award twice. Label and contract manufacturer Lensvelt and designer Maarten Baas have succeeded in doing that.

ZUS Zones Urbaines Sensibles
Photgrapher: Inga Powilleit

Nothing New in Fondazione Lensvelt
Lensvelt presents a spectacular anti-statement during the Salone del Mobile 2018 in Museo Diocesane: Nothing New. An installation with icons of star designers and artists. In collaboration with top stylist Maarten Spruyt and a concept by Anne van der Zwaag. Nothing New captures the spirit of the age, come and see Fondazione Lensvelt.

Salone del Mobile, Nothing New, Museo Diocesan, Corso di Porta Ticinese, 95, from April 17-22, 2018.

Order now and receive a free Space Encounters
Boring Collection Clock

Maarten Baas 101 chair
Salone del Mobile 2017

ZUS Zit – 20-3-2018

ZUS Zones Urbaines Sensibles
Photgrapher: Inga Powilleit

Zitten doen de architecten, stedenbouwkundigen en landschapsarchitecten van ZUS op stoelen uit de collectie van Lensvelt. Aan de vergadertafel staan Boring Office Chairs van Space Encounters. Aan de lunchtafel de verschillende Maarten Baas 101 stoelen.

De overtuiging van de oprichters van ZUS – landschapsarchitecten Elma van Boxel en Kristian Koreman – is dat elke plek de potentie heeft uniek en spannend te worden. Dat geldt eveneens voor de eigen werkplek in het Schieblock in Rotterdam. In dit pand begonnen ze in 2001 een antikraakproject dat uitgroeide tot een van de belangrijkste culturele broedplaatsen van de stad. Hier vind je lezingen, debatten, een bar, een ‘DakAkker’ met bijen en groenten, een restaurant, talloze bedrijven en op de derde verdieping ZUS (afkorting van Zones Urbaines Sensibles).

Van een tweemanszaak groeide ZUS naar een bureau met dertig medewerkers. Tijd voor serieuzer meubilair. ‘Omdat overal maquettes staan en kasten vol boeken, wilden we bij die rommeligheid een zo minimaal mogelijk interieur’, zegt Elma van Boxtel. ‘Daarom kozen we voor goede, niet schreeuwende en goed vormgegeven grijze Boring Office Chairs (èn de prullenbakken) die voor rust zorgen op de werkplekken en aan de vergadertafel.’

Aan de lunchtafel past een vrijer, vrolijker beeld, vindt ZUS. De architecten, stedenbouwkundigen en landschapsarchitecten lunchen nu op de Maarten Baas 101 stoelen. Gekozen is voor diverse varianten uit het aanbod van acht kleuren en rugvormen. Als een familie van seriële unica vormen ze samen een grappig en speels beeld.

‘Bij het verbeteren van het kantoor wist ik meteen dat ik deze stoelen van Lensvelt wilde’, vertelt Van Boxtel. ‘De kwaliteit is hoog, de prijs is mooi, ze zitten goed en het beeld is uniek en bijzonder. Duurzaamheid is ook absoluut belangrijk. We zochten naar tijdloos meubilair waar je niet gauw op uitgekeken raakt.’

Over ZUS
Elma van Boxel (1975) en Kristian Koreman (1978) zijn beiden opgeleid als landschapsarchitect. Van Boxel studeerde vervolgens architectuur en stedenbouw, Koreman filosofie. In 2001 richtten ze bureau ZUS op. In de beginjaren werden ze gezien als alternatievelingen in de architectuur. Terwijl anderen de grootste, wildste gebouwen neerzetten, waren Koreman en Van Boxel gefascineerd door ruimtelijke ontwikkelingen in de Parijse banlieues, die door de Franse overheid Zones Urbaines Sensibles worden genoemd – vandaar de naam ZUS. In plaats van het ontwerpen van iconen, maakten ze plannen voor leegstaande kantoorgebouwen. Het Schieblock, doorkliefd door de 400 meter lange loopbrug, de Luchtsingel, is daar een voorbeeld van.

In 2007 won ZUS de prestigieuze Jonge Maaskantprijs als veelbelovend bureau. Momenteel wordt Almere Duin gerealiseerd, een wijk met drieduizend woningen rond een kunstmatig duinlandschap waarmee Almere een eigen Bloemendaal aan Zee krijgt, met strand, valleien met vennen en fruitbomen. Er wordt gewerkt aan een boek getiteld: “Incomplete & Unfinished”, met ‘District E won ZUS in 2017 samen met Powerhouse Company de prijsvraag voor het entreegebied van het stationsplein Eindhoven en in het Museo de Arte Moderno in de Colombiaanse stad Medellin komt een overzichtsexpositie van hun meest provocatieve werk.

ZUS Zones Urbaines Sensibles
Photgrapher: Inga Powilleit

Prijswaardig
Met Maarten Baas, Space Encounters en Lensvelt, haalt ZUS prijswinnaars binnen de kantoormuren.
Lensvelt en Space Encounters wonnen de Milano Design Award, Best Concept 2016 met de Boring Collection. Een Memphis-achtige kantoorstad van archetypische gestapelde bureaus, kasten, bureaustoelen, klokken en prullenbakken.

In 2017 won Lensvelt weer de Milano Design Award, Best Concept. Nu samen met Maarten Baas. May I have your attention, please? bestond uit unieke 101 Chairs met acht verschillende rugvormen, van A tot en met H, en veertien stofferingen en een serie roeptoetsers waaruit fluisterende stemmen klonken. Een statement tegen het geschreeuw om aandacht tijdens de Salone del Mobile.
Het is nooit eerder voorgekomen dat zowel een bedrijf als een ontwerper twee keer achtereen de award won. Designmerk en projectinrichter Lensvelt en ontwerper Maarten Baas is dat wel gelukt.

ZUS Zones Urbaines Sensibles
Photgrapher: Inga Powilleit

Nothing New in Fondazione Lensvelt
Lensvelt presenteert tijdens de Salone del Mobile 2018 in Museo Diocesane een spectaculair anti-statement: Nothing New. Een installatie met iconen van sterontwerpers en -kunstenaars. In samenwerking met topstylist Maarten Spruyt en naar een concept van Anne van der Zwaag. Nothing New vangt de tijdsgeest, kom maar kijken in Fondazione Lensvelt.

Salone del Mobile, Nothing New, Museo Diocesane, Corso di Porta Ticinese, 95, van 17-22 april 2018.

Bestel nu en ontvang een Space Encounters Boring Collection Clock Gratis bij je bestelling.

Maarten Baas 101 chair

Salone del Mobile 2017

Mission Lensvelt Contract

Since its founding in 1962, Lensvelt has been a leading project facilitator and a dedicated furniture label located at the Herengracht in Amsterdam. As a project facilitator, Lensvelt is a supplier of more than 150 quality labels.
 The Lensvelt own collection is:
solid,
Innovative,
authentic,
ergonomic,
often have a “twist”
affordable, comfortable,
functional,
sustainable
 and designed by the most notable designers such as: Marcel Wanders, Bertjan Pot, Gerrit Rietveld, Atelier Van Lieshout, Nina Graziosi, Maarten van Severen, Paolo Rizzatto, Richard Hutten, Ineke Hans, Piet Hein Eek, Maarten Baas, Gerrit Rietveld, Studio Job, WH Gispen, Caroline Prisse, Space Encounters, Wiel Arets, OMA, Prast Hooft, Simo Heikkila and others.

Kantoren

Sociale Dienst Zeist

Helgasnelarchitecten uit Rotterdam werd door de Sociale Dienst in Zeist gevraagd om samen met de medewerkers een eerste start te maken om de gesloten kantooromgeving te veranderen en organiseerden voor de medewerkers workshops waar de gebruikers uitgedaagd en verleid werden. Helgasnelarchitecten luisterden, observeerden en maakte daarna veel schetsen om door te dringen tot de kern.

De ruimtes zijn ontworpen met aandacht voor het detail en de emotie van de klanten. De ronde hoeken verzachten de wanden en de spreekkamers, ze geven de ruimte een humane sfeer. Genoest eiken is gecombineerd met HPL waardoor het meubel opbreekt in losse vlakken, vlakken die meedoen in de kleuren op de wanden.

De speciaal ontworpen spreektafels zijn afwisselend met het rustige grijze Boring en 7001 meubilair van Lensvelt frontaal naast elkaar toegepast.

De kleuren op de wanden en vloertegels vormen met de meubels van Lensvelt als AVL Office Chairs, AVL Kokers en AVL Glyders een totaalcompositie. Doordat de ruimte een humane sfeer uitstraalt, hebben gesprekken met de klant veel eerder een persoonlijke sfeer gekregen.

Architecten: www.helgasnelarchitecten.nl
Fotografie: Daria Scagliola & Stijn Brakkee

PRODUCTEN GEBRUIKT IN DIT PROJECT

Speciale Projecten

Bangma Verpakkingen Dronten

Een reactie op een krantenknipsel ‘dozen te koop’ groeide uit tot een familiebedrijf dat nu al meer dan 40 jaar bestaat. Met vertrouwen in de toekomst werd er een nieuw pand gebouwd in Dronten. Pubblik & Vos wilden door middel van het interieurontwerp een plek creëren waar het verleden werd gekoesterd en het handelsproduct van Bangma Verpakking onderdeel werd van het ontwerp. Maar bovenal wilden zij een plek creëren waar door alle mensen van het bedrijf voor de komende 40 jaar weer met energie, en trots op wat er al gepresteerd is, kan worden gewerkt.

Jan Bangma over Pubblik & Vos:

“Het bedrijf van je dochter vragen om een ontwerp te maken voor je kantoor klinkt logisch, maar is ook spannend. Gelukkig pakte het positief uit en werd het een proces waar ik met trots op terug kijk. Hun slogan zou eigenlijk moeten zijn: “designing perfection” want dat is van toepassing op de wijze waarop zij een groot project aanpakken. Tot in de kleinste details drukken ze een stempel op het geheel. Zelfs de Burgermeester van Dronten was diep onder de indruk van het resultaat. Van harte aanbevolen”.

De samenwerking en totstandkoming met Pubblik & Vos was erg plezierig, Lensvelt leverde o.a. uit de standaard verkrijgbare collectie, Studio 2 duo werkplekken van Marcel Wanders en Studio Lensvelt HG178 Office Chair. Aanvullend met meubelproducten van andere labels o.a. Arper Catifa en Vitra Wiggle Side Chair van Frank Gehry.

Interieur Architecten: Pubblik & Vos , www.pubblikvos.nl
Fotografie: Phenster Mark Kuipers