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

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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.

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

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

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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.

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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.

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

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Hans Lensvelt and designer Rick Minkes in his NO IDEA sofa

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

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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.

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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.

bar anne

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.

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

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

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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.

tower 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.

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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.

News

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

nothing new

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.

News

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

lensvelt gallery

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.

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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.’

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

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Exhibition at the Lensvelt gallery, Herengracht 178, Amsterdam.

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

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Reinier Bende, Floris Schoonderbeek, Hans Lensvelt, Bülent Yokus and Rick Minkes enjoying the Dutchtub.
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Hans Vermeulen of DUS architects, journalist Jeroen Junte and Corien Pompe of Philips Design.

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

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

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

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Tekst: Viveka van de Vliet
Photography: Jan Willem Kaldenbach

May I have your attention please? 4 # 12

lensvelt gallery

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.

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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.’

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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.

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Exhibition at the Lensvelt gallery, Herengracht 178, Amsterdam.

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

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

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

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

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

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

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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.

News

ZUS Sits – 3-20-2018

ZUS Zones Urbaines + Lensvelt Maarten Baas 101 Chair Inga Powilleit Photography (2)

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.

Maarten Baas 101 Chair ZUS Zones Urbaines Inga Powilleit Photography (2)

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.

Boring task chair Space Encounters Lensvelt ZUS Zones Urbaines Sensibles

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

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Maarten Baas 101 chair
Maarten Baas 101 Chair_Salone del Mobile_Lensvelt_Milano Design Award Winner 2017 (2)
Salone del Mobile 2017
Maarten Baas 101 A-H 2
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ZUS Zit – 20-3-2018

ZUS Zones Urbaines + Lensvelt Maarten Baas 101 Chair Inga Powilleit Photography (2)

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.

Maarten Baas 101 Chair ZUS Zones Urbaines Inga Powilleit Photography (2)

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.

Boring task chair Space Encounters Lensvelt ZUS Zones Urbaines Sensibles

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.

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Maarten Baas 101 chair

Maarten Baas 101 Chair_Salone del Mobile_Lensvelt_Milano Design Award Winner 2017 (2)

Salone del Mobile 2017

Maarten Baas 101 A-H 2
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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.

Office

Sociale Duty Zeist

Helgasnelarchitecten from Rotterdam was asked by the Social Duty in Zeist to make a first start with the employees to change the closed office environment and organized workshops for the employees where the users were challenged and seduced. Helgasnelarchitecten listened, observed and then made many sketches to come to the core.
The spaces are designed with attention to the detail and emotion of the customers. The rounded corners soften the walls and the consultation rooms, they give the room a humane atmosphere. Oak is combined with HPL which breaks the furniture into loose surfaces, surfaces that participate in the colors on the walls.

The specially designed meeting tables are used side by side alternately with the quiet gray Boring and 7001 furniture from Lensvelt.

The colors on the walls and floor tiles form a total composition with the furniture of Lensvelt as AVL Office Chairs, AVL Sleeves and AVL Glyders. Because the space radiates a humane atmosphere, conversations with the client have been given a personal atmosphere.

Architects: www.helgasnelarchitecten.nl
Photography: Daria Scagliola & Stijn Brakkee

PRODUCTEN GEBRUIKT IN DIT PROJECT

Speciale Projecten

Bangma Packaging Dronten

A reaction to a newspaper ad that read ‘boxes for sale’ grew into a family business that has existed for more than 40 years. With confidence in the future, a new building was built in Dronten. Pubblik & Vos wanted to create a place where the past was cherished and the trade product of Bangma Verpakking became part of the design. But above all they wanted to create a place where all employees can work with energy for the next 40 years, and with pride in what has already been achieved.

Jan Bangma about Pubblik & Vos:

“Asking your daughter’s company to make a design for your office sounds logical, but it’s also exciting. Fortunately, it worked out positively and it became a process that I look back on with pride. Their slogan should be: “designing perfection” because that applies to the way in which they tackle a major project. They put a mark on the whole to the smallest details. Even the Mayor of Dronten was deeply impressed by the result. Warmly recommended,”

Lensvelt supplied products from their standard collection: Studio 2 duo workstations by Marcel Wanders and Studio Lensvelt HG178 Office Chairs. These were complemented with products from other labels, including Arper Catifa and Vitra Wiggle Side Chair by Frank Gehry.

Interior Architects: Pubblik & Vos www.pubblikvos.nl
Photography: Phenster Mark Kuipers

Projects, Speciale Projecten

ZUS Zones Urbaines Sensibles

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.

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.

Architects: www.zus.cc
Photography: www.ingapowilleit.nl

PRODUCTS USED IN THIS PROJECT

News

Invitation #4/12 – 03-06-2018

Afbeelding1

INVITATION

JEROEN JUNTE
WILL INTERVIEW
DESIGNER AND FOUNDER OF WELTEVREE FLORIS SCHOONDERBEEK
AND
THOR TER KULVE
“MAY I HAVE YOUR ATTENTION, PLEASE?”

Afbeelding2

PRODUCTS DESIGNED BY FLORIS SCHOONDERBEEK AND THOR TER KULVE WILL BE EXHIBITED.
ADDITIONALLY THE NEWEST PRODUCT OF WELTEVREE, THE TABLEBENCH WILL BE PRESENTED.

 22ND OF MARCH 1900 H
LENSVELT GALLERY
HERENGRACHT 178
1016 BR AMSTERDAM

RSVP: MAY_I_HAVE_YOUR_ATTENTION_PLEASE@LENSVELT.NL
INTERVIEW WILL BE IN DUTCH
LIMITED SEATS AVAILABLE

Afbeelding6

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.

News

Lensvelt and …,staat launch The Chair! – 02-23-2018

Scroll naar beneden voor Nederlands

D-Chair Upholstered Lensvelt & ...,staat Uni Black frame black front view

The communication and design agency …,staat already had a broad portfolio, from design for Nike and Bugaboo to the design of the jenever (Dutch gin) bottle for Bols. It can now add a chair to this: The Chair, produced by Lensvelt.

Yesterday, on February 22nd, The Chair was launched in the Lensvelt Gallery at Herengracht 178, Amsterdam. This happened in the great company of the designers as well as prominent guests from the Dutch design industry.

The Chair has a striking slim line with fragile insect-like legs. With a handy handle and coat hanger processed in the frame. The Chair is a timeless, contemporary chair with a quirky joke.

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Jochem Leegstra and Hans Lensvelt.
Picture: Jan Willem Kaldenbach.

Agency …,staat was working on a large-scale hospitality project, a hotel for which the chairs were meant. Even though there are thousands of chairs in this world, they decided to see if they could design something special themselves, says Jochem Leegstra, founder and creative director of ….,staat.

…, Staat designed a timeless chair to place it behind a desk in a hotel room.
The requirements: not so slick and “design” that the chair determines the whole interior, and not a classic or retro model but a version that touches the spirit of the times.

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Launch of The Chair (D-Chair),
Lensvelt Gallery, Herengracht 178, Amsterdam.

Producing the first model turned out to be too difficult and …,staat needed to make too many concessions. …,staat had already invested hundreds of hours in sketching and rendering when Leegstra talked to Hans Lensvelt. Lensvelt took The Chair (also called D-Chair) into production.

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Launch of The Chair (D-Chair),
Lensvelt Gallery, Herengracht 178, Amsterdam.

Hans Lensvelt: “The Chair fits perfectly in the existing portfolio of my furniture label. The Chair is affordable and comfortable, fitting right along with the 101 chairs of Maarten Baas and This chair of Richard Hutten, it’s a great addition to the collection.

The Chair has a frame of powder coated steel from Italy, a seat made of birch wood from Belgium, and is designed and assembled in the Netherlands, Besides being European, the chair is also very affordable.

The Chair is available in a number of colors and materials and will soon be supplemented with a barstool and a low armchair with the same lines and options.

D-Chair of wood Lensvelt & ...,staat black frame black Launch Light & Night 22-2-2018 Herengracht (7)

The Chair (or D-chair) in the Lensvelt Gallery,
Herengracht 178, Amsterdam.

Picture: Jan Willem Kaldenbach.

About …,Staat
Jochem Leegstra and Julia Kortekaas founded the communication and design agency in 2000. The studio has grown into a creative agency with a broad portfolio n communication and design. …,staat holds its own in the field of architecture, film, branding, identity, strategy and communication, as well as in the field of graphic, interior, interactive, motion and experience design and creative direction. The clients are also very diverse: from Bugaboo International, Groninger Museum, WGSN and Heineken to Nike, MTV, The Student Hotel and Cartier. Last year …,staat relocated to the former Werkheater and opened NewWerktheater, with a restaurant, cafe, workplaces, photo studio, exhibitions and the smallest shop: ShopShopShop.

Buy the Lensvelt …,Staat D-Chair of Wood

D-Chair of wood Lensvelt & ...,staat black frame black front view

€ 199,00 incl. VAT

Buy

Buy the Lensvelt …,Staat D-Chair Upholstered

D-Chair Upholstered Lensvelt & ...,staat Uni Black frame black front view

€ 345,00 incl. VAT

Buy

D-Chair of wood Lensvelt & ...,staat black frame black side view
D-Chair of wood Lensvelt & ...,staat black frame black Launch Light & Night 22-2-2018 Herengracht

The Chair (or D-chair) in the Lensvelt Gallery,
Herengracht 178, Amsterdam.

Picture: Jan Willem Kaldenbach.

Lensvelt en …,staat lanceren The Chair!

D-Chair Upholstered Lensvelt & ...,staat Uni Black frame black front view

Het communicatie en designbureau …,staat had al een breed portfolio, van design voor Nike en Bugaboo tot het ontwerp van de geneverfles voor Bols.
…,staat voegt daar nu ook nog een stoel aan toe: The Chair, geproduceerd door Lensvelt.
Gisteren, op 22 februari werd de zwart gecoate stoel gelanceerd in een overvolle Lensvelt Gallery aan de Herengracht in Amsterdam.
In Aanwezigheid van de eveneens zwart geklede ontwerper Jochem Leegstra.
The Chair heeft een opvallende slanke lijnvoering met poten die wat weg hebben van fragiele insectenpootjes. Samen met een handig handvat èn kleerhanger verwerkt  in het frame. The Chair is een tijdloze, hedendaage stoel met een eigenwijze kwinkslag.

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Jochem Leegstra and Hans Lensvelt.
Picture: Jan Willem Kaldenbach.

Bureau…,staat was bezig met een groot hospitality-project, een hotel waarvoor de stoelen ingekocht moesten worden. Ondanks dat er al duizenden stoelen op deze wereld zijn, besloten ze te kijken of ze zelf een stoel konden ontwerpen, zegt Jochem Leegstra, founder en creative director van …,staat.
Ze ontwierpen een tijdloze stoel, voor achter het bureau in een hotelkamer. Het moest geen gelikte designstoel worden die zo aanwezig is dat het stoeltje het hele interieur bepaalt, en ook geen klassiek of retro-model maar een exemplaar die de tijdgeest raakt.

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Launch of The Chair (D-Chair),
Lensvelt Gallery, Herengracht 178, Amsterdam.

Het produceren van het eerste model bleek echter te moeilijk en …,staat zou teveel concessies moeten doen. Het bureau had al honderden uren gestopt in schetsen en renderen toen Leegstra met Hans Lensvelt in gesprek raakte. Lensvelt nam The Chair (ook wel D-Chair genoemd) in productie.

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Launch of The Chair (D-Chair),
Lensvelt Gallery, Herengracht 178, Amsterdam.

Hans Lensvelt: “De stoel past perfect in het bestaande portfolio van meubellabel en projectinrichter Lensvelt.
En The Chair voelt zichzelf ook comfortabel, precies tussen de stoelen van Maarten Baas en die van Richard Hutten in. The Chair is dus een mooie aanvulling op het assortiment”.

The Chair heeft een frame van gepoedercoat staal uit Italië, een zitting van berkenhout uit België, en is ontworpen en wordt geassembleerd in Nederland. Naast Europees is de stoel ook nog eens zeer betaalbaar.

The Chair is in een aantal kleuren en materialen verkrijgbaar en wordt binnenkort aangevuld met een barstool en een lage fauteuil met dezelfde lijnvoering en ingrediënten.

The Chair-collectie vindt nu al zijn weg naar de NewWerktheater – ShopShopShop (ook van …, staat), maar zal ongetwijfeld binnenkort in hotelkamers, lobby’s en restaurants te vinden zijn.

D-Chair of wood Lensvelt & ...,staat black frame black Launch Light & Night 22-2-2018 Herengracht (7)

The Chair (or D-chair) in the Lensvelt Gallery,
Herengracht 178, Amsterdam.

Picture: Jan Willem Kaldenbach.

Over …,Staat
Jochem Leegstra en Julia Kortekaas richtten in 2000 het communicatie- en designbureau …,staat op. De studio is inmiddels uitgegroeid tot een creatief bureau met een ‘opgerekt’ portfolio binnen de disciplines communicatie en design. …,staat begeeft zich evengoed op het terrein van architectuur, film, branding, identiteit, strategie en communicatie, als op het vlak van grafisch, interieur, interactive, motion en experience design en creative direction.
Ook de opdrachtgevers zijn zeer divers: van Bugaboo International, Groninger Museum, WGSN en Heineken tot Nike, MTV, The Student Hotel en Cartier. Bureau …,staat opende vorig jaar de nieuwe studio in het voormalige Werktheater: NewWerktheater, met restaurant, café, werkplekken, fotostudio, exposities en het allerkleinste winkeltje: ShopShopShop.

Koop de Lensvelt …,Staat D-Chair in Wood

D-Chair of wood Lensvelt & ...,staat black frame black front view

€ 199,00 incl. BTW

Koop

Koop de Lensvelt …,Staat D-Chair Upholstered

D-Chair Upholstered Lensvelt & ...,staat Uni Black frame black front view

€ 345,00 incl. BTW

Koop

D-Chair of wood Lensvelt & ...,staat black frame black side view
D-Chair of wood Lensvelt & ...,staat black frame black Launch Light & Night 22-2-2018 Herengracht

The Chair (or D-chair) in the Lensvelt Gallery,
Herengracht 178, Amsterdam.

Picture: 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.

News

OBJECT Invititation 9-11 February – 02-09-2018

Scroll naar beneden voor Nederlands

INVITATION

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Richard Hutten This Bucket Chair steel frame at OBJECT Rotterdam 2018 Richard Hutten

Designer Richard Hutten rest in his This Bucket Chair in the HAKA building Rotterdam.
Photographer: Inga Powilleit

Lensvelt with Rotterdam designers at Object Rotterdam
Lensvelt will bring two top designers from Rotterdam – Joep van Lieshout and Richard Hutten –  together on one location in Rotterdam: the industrial HAKA building during Object Rotterdam 2018. The sturdy monument in the middle of the bustling Vierhaven area, where both designers also have their studio, lends itself perfectly to their furniture.

With, amongst others, the new Bucket Chair by Richard Hutten and a series of lounge armchairs by Atelier van Lieshout (AVL), furniture label and contract manufacturer Lensvelt shows that (interior) architects can realize the best interiors using their products.

New: This Bucket Chair
The This Bucket Chair, developed by Lensvelt together with Hutten, is an instant classic. The chair derives its name from the archetype, but with a new appearance. With the This Bucket Chair Hutten has extended the high-quality family of chairs in the Lensvelt collection with a new member that only possesses attractive features: it is elegant, functional, circular, affordable, aesthetic, ingenious, flexible, versatile, and … extremely comfortable.

Richard Hutten This Bucket Chair Upholstered Steel frames at OBJECT Rotterdam 2018

This Bucket Chair in the HAKA building Rotterdam.
Photographer: Inga Powilleit

Armchairs for world leaders
Lensvelt will also shine the spotlight on a series of remarkable chairs by Atelier van Lieshout (AVL). The AVL Office Chair upholstered in cowhide is not only bestseller in the collection, it is also the alternative to all existing ugly, over-designed and multi-colored office chairs. AVL designed the original in 2004 for the office building of insurance company Interpolis in Tilburg.
Since then, this chair has been sat on by Barack Obama at the 2014 Nuclear Security Summit in The Hague and by all the world leaders at the 2016 Eurotop in Amsterdam.
The stackable conference chair: the AVL Koker Chair, in soft Old Saddle leather and with or without armrests, fits perfectly with the AVL Office Chair developed for Interpolis. The AVL Cathedra Lounger is also a variant of the AVL Office Chair. The low and wide luxury armchair with armrests and a six-toed foot on round, metal discs, with matching Hocker, has been specifically developed for reception and lobby areas.

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The AVL Koker by Atelier van Lieshout in a setting of artworks in the HAKA building Rotterdam.
Photgrapher: Inga Powilleit

Red Lazy Modernist
There is another armchair that gives color to this gray concrete building: the red Lazy Modernist. Based on an old Chinese Lazy Boy found by Joep van Lieshout on the side of the street, left as garbage. He removed the upholstery and provided the frame with new foam. Last year Lensvelt launched the upholstered version, including mobile elements and a level to kick back into the relax position.

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The AVL Lazy Modernist designed by Atelier Van Lieshout in the Lensvelt Gallery, Herengracht 178, Amsterdam
Photographer: Jan Willem Kaldenbach

Working in a Skull
Finally, in order to be able to withdraw from the crowds and the large amount of design in the HAKA building, there is the Sensory Deprivation Skull. A unit that was once introduced as a response to the New Way of Working where people need spaces to work in a concentrated way. Whomever wants to give their own skull a respite in the coming days, can enter the eye-catching orange Skull, pull the doors closed and come to rest. Everyone is welcome to experience during Object Rotterdam what Lensvelt has in-house to make an office or workplace distinctive, pleasant and comfortable.

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The AVL Skull designed by Atelier Van Lieshout in the Kruller Muller Museum Otterloo
Photographer: Courtesy of Atelier van Lieshout

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The AVL Skull designed by Atelier Van Lieshout in the Kruller Muller Museum Otterloo
Photographer: Courtesy of Atelier van Lieshout

Lensvelt at Object Rotterdam, 9 to 11 February 2018, HAKA building, Vierhavensstraat 38-42 Rotterdam. Open from 11-19 hours.

UITNODIGING

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Richard Hutten This Bucket Chair steel frame at OBJECT Rotterdam 2018 Richard Hutten

Ontwerper Richard Hutten rust uit in zijn This Bucket Chair in het HAKA gebouw te Rotterdam.
Foto: Inga Powilleit

Lensvelt met Rotterdamse ontwerpers op Object Rotterdam
Met Joep van Lieshout en Richard Hutten brengt Lensvelt twee Rotterdamse topontwerpers toepasselijk samen op één Rotterdamse plek tijdens Object Rotterdam 2018: het industriële HAKA-gebouw. Het stoere Rijksmonument midden in het bruisende Vierhavengebied, waar beide ontwerpers ook hun studio hebben, leent zich uitstekend voor hun meubels.

Met onder andere de nieuwe Bucket Chair van Richard Hutten en een serie relax-fauteuils van Atelier van Lieshout (AVL) toont meubellabel en projectinrichter Lensvelt dat (interieur)architecten met zulke stoelen de beste interieurs kunnen realiseren.

Nieuw: This Bucket Chair
De This Bucket Chair, de nieuwe stoel die Lensvelt samen met Hutten ontwikkelde, is een instant klassieker. De stoel ontleent zijn naam aan de uitgekiende typologie die is gebaseerd op het archetype kuipje, maar dan met een nieuwe verschijningsvorm. Met de This Bucket Chair heeft Hutten de hoogwaardige stoelenfamilie in de collectie van Lensvelt uitgebreid met een gezinslid dat eigenlijk alleen maar aantrekkelijke eigenschappen bezit: het meubel is elegant, functioneel, circulair, betaalbaar, esthetisch, vernuftig, flexibel, breed toepasbaar, en…extreem comfortabel.

Richard Hutten This Bucket Chair Upholstered Steel frames at OBJECT Rotterdam 2018

This Bucket Chair in het HAKA gebouw te Rotterdam.
Foto: Inga Powilleit

Fauteuils voor wereldleiders
Ook zet Lensvelt in het voormalige groothandelskantoor uit 1931, een serie opmerkelijke stoelen van Atelier van Lieshout (AVL) in de schijnwerpers. De AVL Office Chair met koeienhuid is niet alleen een hit in de collectie, maar ook het alternatief voor alle bestaande lelijke, over-ontworpen en veelkleurige kantoorstoelen. En zo is de AVL Office Chair de ideale kantoorstoel. ALV ontwierp deze voor het eerst in 2004 voor het kantoorgebouw van verzekeringsmaatschappij Interpolis in Tilburg. Intussen zat Barak Obama er in 2014 op tijdens de Nuclear Security Summit in Den Haag en relaxten alle wereldleiders tijdens de Eurotop in Amsterdam in 2016 in de AVL Office Chair.

De stapelbare conferentiestoel: de AVL Koker Chair, bekeed met zacht Old Saddle leer en met of zonder armleggers, sluit perfect aan bij de voor Interpolis ontwikkelde AVL Office Chair.
Ook de AVL Cathedra Lounger is een variant van de AVL Office Chair. De lage en brede luxe fauteuil met armleggers en een zes-tenige voet op ronde, metalen glijders met bijpassende Hocker, is speciaal ontwikkeld voor ontvangst- en lobbyruimten.

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De AVL Koker van Atelier van Lieshout in een setting van kunstwerken in het HAKA gebouw te Rotterdam.
Foto: Inga Powilleit

Rode Lazy Modernist
Er is nog een relax-fauteuil die dit grijze betonnen gebouw kleur geeft: de rode Lazy Modernist. Gebaseerd op een oude Chinese Lazy Boy die Joep van Lieshout bij het Rotterdamse huisvuil vond. Hij verwijderde de stoffering en voorzag het frame van nieuw schuim. Lensvelt lanceerde vorig jaar de bijzondere gestoffeerde versie, inclusief mobiele elementen en een handel om achterover in de relaxstand te schieten.

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De AVL Lazy Modernist ontworpen door Atelier Van Lieshout in de Lensvelt Gallery, Herengracht 178, Amsterdam
Foto: Jan Willem Kaldenbach

Werken in een Skull
Om je tot slot even te kunnen onttrekken aan de drukte en de grote hoeveelheid design in het HAKA-gebouw, is er de Sensory Deprivation Skull. Een unit die ooit werd geïntroduceerd als antwoord op het Nieuwe Werken waarbij mensen behoefte hadden aan ruimtes om geconcentreerd in te werken. Wie de komende dagen zijn schedel een adempauze  wil geven, betreedt de in het oog springende oranje Skull, trekt de deuren dicht en komt tot rust.

Iedereen is welkom om tijdens Object Rotterdam zelf te ervaren welke ingrediënten Lensvelt zoal in huis heeft om een kantoor of werkplek onderscheidend, aangenaam en comfortabel te maken.

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De AVL Skull ontworpen door Atelier Van Lieshout in het Kruller Muller Museum Otterloo
Foto: Courtesy of Atelier van Lieshout

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De AVL Skull ontworpen door Atelier Van Lieshout in het Kruller Muller Museum Otterloo
Foto: Courtesy of Atelier van Lieshout

Lensvelt op Object Rotterdam, 9 t/m 11 februari 2018, HAKA gebouw, Vierhavensstraat 38-42 Rotterdam. Open van 11-19 uur.

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.

News

Light & Night 22 February 2018 – 02-14-2018

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LENSVELT GALLERY, HERENGRACHT 178, 1016 BR AMSTERDAM

GRAYPANTS CLUB, HERENGRACHT 180, 1016 BR AMSTERDAM

RSVP: D.PERNAK@LENSVELT.NL

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.

News

Space Encounters Boring Collection in stock 02-02-2018

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Boring bin Space Encounters Lensvelt
Boring upholstered low cabinet Space Encounters Lensvelt front view
Boring clock Space Encounters Lensvelt
Boring upholstered high cabinet Space Encounters Lensvelt front view
Boring electric adjustable desk Space Encounters Lensvelt 1
Boring visitor chair Space Encounters Lensvelt front view
Boring low cabinet Space Encounters Lensvelt front view
Boring desk Space Encounters Lensvelt 1
Boring task chair Space Encounters Lensvelt front view
Boring high cabinet Space Encounters Lensvelt front view

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 – borne 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 were used for (office) rental.

The new tenant often received new floors, walls, ceiling and reception as an incentive to rent the space. The tenant would then 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 colorful mess of unimaginative furniture in a cacophony of colors, shapes and materials. To offer an alternative for all the screaming ugliness Space Encounters designed the modest Boring Collection: gray, affordable, aesthetic and qualitative.

Thus, unsightly furniture is banned from offices and makes room for the Boring Collection which has since been placed in countless offices, and interior and architectural firms.

The collection is derived from archetypal products that Lensvelt has previously produced: desks, cupboards, office chairs, clocks and trash cans, but now all in one color gray: RAL 7044. The result is a modest collection that does not make a statement and fits every interior, like the chameleon of workplaces.

The Boring Collection forms a kind of anti-design statement that fits with Lensvelts mission: the company wants to be the peoples manufacturer by delivering qualitative and beautiful furniture which is accessible to a large audience.

The Boring Collection was presented in a spectacular way during the Salone del Mobile in Milan in 2016. Lensvelts presentation was awarded the prestigious Milano Design Award 2016 for best exhibition concept.

The Boring Collection was even exhibited in 2017 at the Stedelijk Museum ‘s Hertogenbosch in the exhibition ‘De Laatste Avant Garde’. A first: a trade fair presentation ending up in a museum.

The Boring Collection: in stock and delivered immediately!
And still just gray and not boring.

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The Boring collection presented in the Stedelijk Museum
‘s Hertogenbosch the Netherlands during the exhibition “De Laatste
Avant Garde”.
The world’s first fair presentation that was shown in a design museum.

De Boring Collection is ontstaan uit frustratie van het jonge architecten bureau Space Encounters.

Tijdens de recessie maakten vooral jonge architecten bureaus vaak op basis van no cure no pay presentaties voor vastgoed eigenaren.

Het ambitieuze Space Encounters was een van die jonge architectenbureaus.

Deze presentaties werden gebruikt om de panden, veelal kantoren, te verhuren.

Wanneer dan uiteindelijk zo’n pand verhuurd was ontving de huurder van de vastgoed eigenaar van het gebouw vaak een incentive in de vorm van een nieuwe vloer, nieuwe wanden, een nieuw plafond en een nieuwe receptie.

De huurder ging dan zelf op zoek naar een inrichting van de back offices.

De huurders waren bedrijven als car rentals en supermarkt ketens.

Organisaties die een inrichting vooral als kostenpost zien.

Deze organisaties kochten dan het meest vreselijke meubilair: een kakofonie van kleuren, van vormen en van materialen.

Het meubilair ruïneerde het complete concept.
Omdat het beslissingscriterium prijs was, en er geen enkel alternatief was wat er wel goed uit zag en betaalbaar was, bedachten Space Encounters de Boring Collection.

Ook heel goedkoop. Gemaakt uit archetype producten. Die Lensvelt eerder geproduceerd had, maar dan allemaal uitgevoerd in dezelfde kleur grijs: RAL 7044.

De Boring Collection is een collectie die niets is. Die geen statement maakt. En die verdwijnt in ieder interieur.
De Boring collection werd in 2016 gepresenteerd tijdens de Salone de Mobile in Milaan.
En ontving de uiterst prestigieuze Milano Design Award 2016 voor het beste concept.

Nu op voorraad en direct te leveren.

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De Boring collectie in het Stedelijk Museum
’s Hertogenbosch tijdens de expositie “De Laatste Avant Garde”.
Werelds eerste beurspresentatie die in een design museum terecht is gekomen.

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Stedelijk Museum ’s-Hertogenbosch
Museum voor hedendaagse kunst en design
Museum of contemporary art and design

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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.

News

OBJECT Rotterdam 9-11 February 2018 – 01-30-2018

Scroll naar beneden voor Nederlands

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Please visit us at OBJECT Rotterdam 9-11 February 2018

With the new elegant, circular, and comfortable Bucket Chair by Richard Hutten and a series of remarkable chairs by Atelier van Lieshout, project and design furniture label Lensvelt presents the work of two Rotterdam based top designers.

Richard Hutten Bucket Chair wooden frame Lensvelt_Herengracht 178

Richard Hutten’s Bucket Chair in the Lensvelt Gallery, Herengracht 178, 1016 BR Amsterdam.
Artwork: Marije Gertenbach. Photo credit: Inga Powilleit.

Richard Hutten Bucket Chair steel frame Lensvelt_Herengracht 178 (4)

Richard Hutten’s Bucket Chair in the Lensvelt Gallery, Herengracht 178, 1016 BR Amsterdam.
Artwork: Marije Gertenbach. Photo credit: Inga Powilleit.

Richard Hutten Bucket Chair Steel frame Febrik Lensvelt Herengracht 178

Richard Hutten’s Bucket Chair in the Lensvelt Gallery, Herengracht 178, 1016 BR Amsterdam.
Artwork: Marije Gertenbach. Photo credit: Inga Powilleit.

Chairs with which (interior) architects can realize the best interiors: the AVL Office Chair as an ideal office chair, two relax armchairs: the AVL SPR Cathedra with armrests and a six-toes foot and the Lazy Modernist with a poker to get in the relax position.

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The Atelier Van Lieshout/Lensvelt presentation during the Salone de Mobile 2012.

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The Atelier Van Lieshout/Lensvelt presentation during the Salone de Mobile 2012.

Completed with the AVL Koker Chair as a conference chair and a Skull-unit to work in a concentrated way.

Buy the Lensvelt AVL Koker Chair

AVL Koker Chair with armrests Joep van Lieshout Lensvelt Hulshof Old Saddle (1 van 5)

From
€450,00 incl. VAT

Buy

Buy the Lensvelt AVL Skull

avl-skull-atelier-van-lieshout-lensvelt-view-inside

€8.517,00 incl. VAT

Buy

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Bezoek ons op OBJECT Rotterdam 9-11 februari 2018.

Met de nieuwe elegante, circulaire, en comfortabele Bucket Chair van Richard Hutten en een serie opmerkelijke stoelen van Atelier van Lieshout toont meubellabel en projectinrichter Lensvelt het werk van twee Rotterdamse topontwerpers.

Richard Hutten Bucket Chair wooden frame Lensvelt_Herengracht 178

Richard Hutten’s Bucket Chair in de Lensvelt Gallery, Herengracht 178, 1016 BR Amsterdam.
Kunstwerk: Marije Gertenbach. Fotograaf: Inga Powilleit.

Richard Hutten Bucket Chair steel frame Lensvelt_Herengracht 178 (4)

Richard Hutten’s Bucket Chair in de Lensvelt Gallery, Herengracht 178, 1016 BR Amsterdam.
Kunstwerk: Marije Gertenbach. Fotograaf: Inga Powilleit.

Richard Hutten Bucket Chair Steel frame Febrik Lensvelt Herengracht 178

Richard Hutten’s Bucket Chair in de Lensvelt Gallery, Herengracht 178, 1016 BR Amsterdam.
Kunstwerk: Marije Gertenbach. Fotograaf: Inga Powilleit.

Stoelen waarmee (interieur)architecten de beste interieurs kunnen realiseren: de AVL Office Chair als ideale kantoorstoel, twee relax-fauteuils: de AVL SPR Cathedra met armleggers en een zes-tenige voet en de Lazy Modernist met een pook om in de relaxstand te raken.

furnication 1

De Atelier Van Lieshout/Lensvelt presentatie tijdens de Salone de Mobile 2012.

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De Atelier Van Lieshout/Lensvelt presentatie tijdens de Salone de Mobile 2012.

Gecompleteerd met de AVL Koker Chair als conferentiestoel en een Skull om geconcentreerd in te werken.

Koop de Lensvelt AVL Koker Chair

AVL Koker Chair with armrests Joep van Lieshout Lensvelt Hulshof Old Saddle (1 van 5)

Vanaf
€450,00 incl. BTW

Koop

Koop de Lensvelt AVL Skull

avl-skull-atelier-van-lieshout-lensvelt-view-inside

€8.517,00 incl. BTW

Koop

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.

News

Invitation Object + Richard Hutten’s Bucket Chair – 01-23-2018

Scroll naar beneden voor Nederlands

INVITATION

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LENSVELT WILL PRESENT RICHARD HUTTEN’S BUCKET CHAIR AT OBJECT 2018

Richard Hutten Bucket Chair wooden frame Lensvelt_Herengracht 178

Richard Hutten’s Bucket Chair in the Lensvelt Gallery, Herengracht 178, 1016 BR Amsterdam.
Photo credit: Inga Powilleit.

Richard Hutten Bucket Chair Steel frame Febrik Lensvelt Herengracht 178

Richard Hutten’s Bucket Chair in the Lensvelt Gallery, Herengracht 178, 1016 BR Amsterdam.
Photo credit: Inga Powilleit.

May I have your attention please for the Bucket Chair?

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 At Lensvelt on the Herengracht in Amsterdam Richard Hutten lauched his Bucket Chair, a new design. An instant classic with a familiar typology: the bucket seat, but with a new appearance and production process behind it. Richard Hutten has expanded the family of chairs in the Lensvelt collection with a new member, which is elegant, functional, circular, comfortable and affordable.

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 together with Lensvelt in 2004. The Bucket Chair is related to its predecessor: the cross section of the bucket is the same as for This Chair.

This task is well suited to Richard Hutten because of his clear style: he designs timeless furniture that you don’t tire of. What’s even more important is the complex set of demands that the chair must meet. ‘Not many designers can translate those requirements into an aesthetic and qualitative product that is also comfortable to sit on’, says Hans Lensvelt.
Hutten, for whom the method of production plays a major role in design, it is a complex puzzle to design an affordable chair that does what it has to do, but has more to offer. The Bucket Chair has a sophisticated typology based on the archetype of the seat shell. The seat and back are manufactured in one piece, like Hutten’s hero Rietveld used to make. The chair is elegant, universal, comfortable, and its life cycle has been prolonged extensively.

Comfort
Lensvelt and Hutten have performed extensive research into ergonomics in their search for comfort. They finally found a plastic that provides the comfort of an upholstered chair. The combination of the materials and the positioning of the mounting points allows the shell to move relative to the frame. That makes the chair ingenious, aesthetic, flexible and… extremely comfortable.

Circular
The Bucket Chair, along with a number of other circular products from the collection, will be made available not only for “purchase” but also for “use”. This is the first design label that offers this form of ‘rent’. The costs of usage are 2,5% of the price in the web shop per month.
Other elements of the product are also well thought through: the chair is produced in Gilze in the Netherlands which minimises packaging and transport, the biggest polluters in the furniture industry, knows Lensvelt.

Infinite
The Bucket Chair will not get boring any time soon. The chair can be fully disassembled and all parts can be replaced, guaranteeing long usage. The variations are almost infinite: the plastic shell and metal frame are available in eight standard colours – from Vermilion red to Golden Yellow. The other possibility is a wooden frame made from solid European oak.
The upholstered version is a sleeve with a zip on the seat shell. So there is no use of glue and the cover can be easily cleaned, repaired, recycled and replaced with one of the many fabrics that can be used to cover the seat shell. In this way, the Bucket Chair is not only easy to combine with Hutten’s This Chair, but also meets the demands of architects for any interior.

Accessible
The expansion of the collection with the Bucket Chair shows once again that Lensvelt is a “Peoples Manufacturer”. Lensvelt makes products that are accessible to the wide audience. The aim was to produce the Bucket Chair for under €150,  a goal which has been easily met.
Bravo Richard Hutten. Bravo Lensvelt. Good work!

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Richard Hutten interviewed by Jeroen Junte during #3/12 “May I Have Your Attention, Please?”
Photo credit: Jan Willem Kaltenbach.

Homo ludens Richard Hutten
Because of the launch of the Bucket Chair Jeroen Junte interviewed Richard Hutten on the 12th of October 2017, when the third edition of May I Have Your Attention, Please? took place. The established talent asked a promising talent: Sabine Marcelis. The word Please was unnecessary this evening: the room at the Architekten Cie was packed.

Hutten’s successful career began in 1990, with the design of the Table Chair for Droog Design, and continues to this day with the recent addition of the Bucket Chair. In between the two there have been many successes: the Domoor for Gispen, with sales over a million, the often copied Dandelion lamp for Moooi and This Chair, the best-selling chair in the Lensvelt collection.

At the beginning of his career Hutten deliberated becoming a professional cyclist. Ultimately the choice to become a designer was an easy one: ‘As a cyclist, you have to use drugs, as a designer you can use drugs. I made the right choice; otherwise my career would have already ended and now it is just beginning.’
Junte askes the designer to look back at the Table Chair: if it still feels close to him today. Hutten answers that it is both: the propeller that kick-started his career, as well as a hated design. ‘It is too conceptual, too much of an artwork, it’s uncomfortable, the backrest falls off. But it tells a story, and telling strong stories is still what I do.’
When he entered the academy, Dutch design did not exist, there was no industry yet. ‘These were the heydays of decorative design, typified by curled designs such as that of Bořek Šípek. If that’s what design is, I don’t want to be a designer’, says Hutten about that time. He began exploring and developing his own “no-nonsense” style. Under the motto that is still in use today, “no sign of design”, he was one of the first and most prominent designers of the Droog Design label. He produced his own mould and rotary casting machine in his studio – at the time the mould cost 25,000 guilders.

Given the choice between designing for a design label as Lensvelt or a museum, Hutten concludes: ‘I like them both. I appreciate collaborations with cultural institutions that are brave enough to give me a free hand. Currently I am designing the whole interior, including the new chair, of the National Opera and Ballet. Walking through storage depots of museums I find elements that I can use, enlarge and apply.’

Hutten is a “homo ludens” who makes non-design. These are not contradictory statements, he claims. After all, everything he does and makes is playing. From the thinking process through the crafting, gluing, experimenting and researching. He plays with archetypes such as the Skippy ball, which inspired him to make the hard plastic chair Zzzidt: a playful chair-table with a handle designed for the garden at the Central Museum in Utrecht.
Reproductions aren’t a concern for Hutten; they are a natural consequence of success. Sometimes it takes a while: it took a million in sales of the Domoor before the Chinese brought a copy of the cup to the market. The Dandelion is Hutten’s most successful and most copied lamp. ‘Ikea can’t afford to pay me so they copied the lamp. In China, I’m well-known by now, everybody knows that lamp and I’ve obviously inspired a lot of designers.’

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Sabine Marcelis talking about her work and ambitious during #3/12 “May I Have Your Attention, Please?”
Photo credit: Jan Willem Kaltenbach.

Homo esthetica Sabine Marcelis
With the invitation of Sabine Marcelis, Hutten has given the event a Rotterdam flavour. His fellow city resident is ‘a great talent, fantastic designer, who has far surpassed the status of upcoming; she deserves the podium’, says Hutten. She graduated in 2011 from the DAE, where she focused on showing the hidden qualities of products. In this vein she developed materials together with OMA for the Repossi flagship store in Paris, and was praised for her design of the Dutch Pavilion during the Cannes Film Festival which is a departure from the typical boring corporate meeting room. With the installation – similar to an extruded Mondriaan painting – she celebrates “Hundred Years of De Stijl”.
Just like Hutten, Marcelis plays, but with light, color, transparency and intensity. With a penchant for shiny and unfortunately expensive materials like marble, cast resin, as well as neon and glass, she makes products that play with light in order to bring out hidden characteristics of materials.

‘If Hutten is the homo ludens, is Marcelis the homo esthetica?’, asks Junte. ‘I want to attract people through visuals, but although the end result is very aesthetic, my starting point is the material itself. I experiment with unexpected combinations of materials during the production process, and work with professionals such as a neon glass blower.’ For a recent project for Wallpaper magazine, Marcelis challenged her Italian tile manufacturer to create “Altar” by using the maximum size of the oven. A three meter long and 500 kilograms weighing piece of glazed lava wax carried within thin glass plates. Junte wishes everyone the joy of owning a “Sabine Marcelis”, but unlike Hutten, her designs are costly. ‘It’s a crazy idea that I can’t even afford my own work’, she says, ‘but with this way of working, I get to work on a lot of unique projects’. Would she like to manufacture a mass-produced product? Marcelis views it as an interesting challenge, one she has not thought about yet.

About Richard Hutten
An internationally renowned Dutch designer who started his own studio in Rotterdam where he has lived for the past 25 years, since completing the Design Academy in Eindhoven. His style, guided by the no sign of design motto, made him one of the most important designers of Droog.
Hutten is an art director of Gispen and works for other well-known international brands such as Moroso, Skultuna, Kvadrat, Moooi and of course Lensvelt with whom he has worked for almost twenty years. Not without success. Hutten designed the This, That and Than Chair for the label. This Chair is still the bestseller with the Bucket Chair set to become the next best-selling classic.
Hutten’s work is widely represented in nearly fifty museum collections, amongst others: Museum Boijmans van Beuningen in Rotterdam, Gemeentemuseum Den Haag, MOMA in New York and Victoria & Albert Museum in London.

About Lensvelt
Lensvelt is an involved design furniture label. Since its founding in 1962 Lensvelt offers architects and interior designers the means to make better interiors with innovative, authentic, ergonomic, affordable, comfortable, functional and durable furniture, often with a little “twist”. Hans Lensvelt enjoys collaborating with Richard Hutten, due to his no-nonsense and almost minimalistic style, his focus on achieving perfect results and his professionalism.

Richard Hutten Bucket Chair Lensvelt red RAL5024 front
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Richard Hutten in his Rotterdam workshop inspecting the samples of the Bucket Chair.
Photo credit: Vincent Mentzel.

The Richard Hutten Bucket Chair is available with
a wooden or metal frame.
The bucket can be upholstered or plastic.
Both in 8 different colours.

Richard Hutten Bucket Chair steel frame Lensvelt light grey RAL7035 front view

Richard Hutten Bucket Chair
Frame: Steel
Bucket: Plastic

€ 132,00 incl. VAT
€ 109,00 excl. VAT

Buy

€ 3,30 incl. VAT
€ 2,75 excl. VAT

Use

UITNODIGING

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LENSVELT PRESENTEERT RICHARD HUTTEN’S BUCKET CHAIR BIJ OBJECT 2018

Richard Hutten Bucket Chair wooden frame Lensvelt_Herengracht 178

Richard Hutten’s Bucket Chair in de Lensvelt Gallerij, Herengracht 178, 1016 BR Amsterdam.
Foto: Inga Powilleit.

Richard Hutten Bucket Chair Steel frame Febrik Lensvelt Herengracht 178

Richard Hutten’s Bucket Chair in de Lensvelt Gallerij, Herengracht 178, 1016 BR Amsterdam.
Foto: Inga Powilleit.

May I have your attention please for the Bucket Chair?

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Bij Lensvelt aan de Herengracht presenteerde Richard Hutten de Bucket Chair, zijn nieuwste stoel. Een instant klassieker met de bekende typologie: het kuipje, maar met een nieuwe verschijningsvorm en productieproces. Hiermee heeft Hutten de stoelenfamilie in de collectie van Lensvelt uitgebreid met een gezinslid dat aantrekkelijke eigenschappen bezit: elegant, functioneel, circulair, comfortabel en betaalbaar.

Bucket Chair
Er was behoefte aan een nieuwe, onderscheidende stoel met armleuningen. Een stoel met dezelfde ontwerptaal als de elegante, stapelbare en lichtgewicht bestseller: This-Chair, die Hutten in 2004 samen met Lensvelt ontwikkelde. De Bucket Chair is verwant aan zijn voorganger: als je de nieuwe stoel doormidden zaagt levert het exact de doorsnede op van This Chair.
Dit is een uitgelezen opdracht voor Richard Hutten vanwege zijn heldere stijl: hij ontwerpt tijdloze designmeubels waar je nooit op uitgekeken raakt. Een nog belangrijkere reden is het complexe eisenpakket waaraan de stoel moet voldoen. ‘Niet veel ontwerpers zijn in staat om die eisen te vertalen in een esthetisch hoogwaardig product dat ook nog een ongekend zitcomfort bezit’, meent Hans Lensvelt.
Hutten, bij wie de manier van produceren vaak een grote rol speelt in het design, noemt het ook een zeer complexe puzzel om een betaalbare stoel te ontwerpen die doet wat ie moet doen, maar veel meer te bieden heeft. De Bucket Chair bezit een uitgekiende typologie die is gebaseerd op het archetype kuipje. Zitting en rug zijn uit een stuk vervaardigd, zoals Huttens grote held Rietveld ooit toepaste. De stoel is elegant, breed toepasbaar, comfortabel, en ze zijn erin geslaagd de levenscyclus extreem te verlengen.

Comfort
Lensvelt en Hutten hebben uitgebreid onderzoek gedaan naar ergonomie, naar comfort. Ze vonden uiteindelijk een kunststof met het comfort van een gestoffeerde stoel. De combinatie van dit materiaal en de positionering van de montagepunten, zorgt ervoor dat de schaal beweegt ten opzichte van het frame. Dat maakt de stoel vernuftig, esthetisch, flexibel en vooral…extreem comfortabel.

Circulair
De Bucket Chair behoort samen met een aantal andere circulaire producten uit de collectie tot de ontwerpen die Lensvelt onder de noemer “gebruik” aanbiedt in plaats van “bezit”. Het is daarmee het eerste designmeubellabel dat deze vorm van “huur” aanbiedt. Het gebruik kost ongeveer 2,5% van de prijs in de webshop per maand.
Ook over andere zaken is goed nagedacht. De stoel wordt in Nederland, in Gilze geproduceerd. Dat betekent een minimum aan transport en verpakking; dat zijn immers de grootste vervuilers in de meubelindustrie, weet Hans Lensvelt.

Oneindig
De Bucket Chair zal niet snel vervelen. De stoel is volledig te demonteren en alle onderdelen zijn te vervangen. Dat garandeert talloze gebruiksmogelijkheden. De variaties zijn zelfs bijna oneindig: de kunststof schaal en het metalen onderstel zijn in acht standaardkleuren leverbaar – van Vermilion Red tot Golden Yellow. Ook is er keuze uit een houten onderstel van massief Europees eiken.
Er is een gestoffeerde versie bedacht: over de kuip past een hoes met rits. Dus nergens komt lijm aan te pas en de hoes kan gereinigd, gerepareerd, gerecycled en vervangen worden door een van de vele stoffen waarmee de kuip gestoffeerd kan worden.
Op deze manier is de Bucket Chair niet alleen goed te combineren met de Richard Hutten’s This Chair, maar sluit de stoel ook perfecte aan op de wensen van architecten, en eigenlijk op ieder interieurontwerp.

Bereikbaar
Met de uitbreiding van de collectie met de Bucket Chair toont Lensvelt wederom aan een “Peoples Manufacturer” te zijn: Lensvelt maakt producten die bereikbaar zijn voor een breed publiek. Daarom was de wens de Bucket Chair onder de  €150 te kunnen produceren. Daarin zijn ze ruimschoots geslaagd.
Bravo Richard Hutten. Bravo Lensvelt. Goed werk!

richard hutten

Richard Hutten wordt geinterviewd door Jeroen Junte tijdens #3/12 “May I Have Your Attention, Please?”
Foto: Jan Willem Kaltenbach.

Homo ludens Richard Hutten
Ter ere van het verschijnen van de Bucket Chair interviewde Jeroen Junte het gevestigde talent Richard Hutten op 12 oktober 2017 tijdens de derde editie van “May I Have Your Attention, Please”. Volgens de opzet van deze serie, nodigde Hutten een veelbelovend talent uit: Sabine Marcelis. Het woord Please was deze avond overbodig: de zaal van de Architekten Cie was afgeladen.

Huttens glansrijke carrière begon in 1990, bij de Table Chair voor Droog Design, en eindigt vooralsnog bij de lancering van de Bucket Chair. Met daar tussenin onder andere ruim een miljoen verkochte exemplaren van de Domoor voor Gispen, de succesvolle en meest gekopieerde Dandelionlamp voor Moooi en This Chair als best verkochte stoel in de collectie van Lensvelt.

Ooit had Hutten nog de keuze om professioneel wielrenner te worden. Dat hij ontwerper werd, was een niet al te moeilijke keuze, vindt hij. ‘Als een wielrenner moet je drugs gebruiken, als ontwerper mag je drugs gebruiken. Ik heb de goede keuze gemaakt, want anders zou mijn carrière allang zijn afgelopen en nu moet die nog beginnen.’

Junte vroeg hoe de ontwerper terugkijkt op de Table Chair: als een ontwerp dat nog altijd dichtbij hem staat? Voor de ontwerper is de stoel-tafel zowel de propeller die zijn carrière aanzwengelde, als een gehaat ontwerp. ‘Het is te conceptueel, teveel een kunstwerk, het zit niet goed, de rugleuning dondert om. Maar het vertelt een verhaal en een sterke verhaal vertellen doe ik nog steeds’, zegt Hutten.
Toen hij van de academie kwam, bestond Dutch design niet, er was geen industrie. ‘Het waren de decoratieve hoogtijdagen met krullendraaier Bořek Šípek aan kop. Als dat design is, wil ik geen designer worden’, zegt Hutten over die tijd. Hij was onderzoekend en ontwikkelde een eigen no-nonsense-stijl; onder het nog altijd gebezigde motto “no sign of design” was hij destijds een van de eerste en prominente ontwerpers van het label Droog Design. Hij vervaardigde in zijn studio een eigen mallen- en rotatiegietmachine; een mal kostte toentertijd 25.000 gulden.

Vragen als waarom hij het leuker vindt om een stoel voor Lensvelt te ontwerpen dan voor een museum, vindt Hutten te concluderend. ‘Ik vind allebei leuk. Samenwerkingen met culturele instellingen die lef tonen, me de vrije hand geven, vind ik prettig. Zo maak ik voor het Nationale Opera en Ballet het hele interieur inclusief een nieuwe stoel. Ik loop door depots de schatkamers van de musea en daar vallen me elementen op die ik gebruik, uitvergroot en toepas.’

Hutten is een homo ludens die no sign of design maakt. Nee, dat zijn geen tegenstrijdige begrippen, antwoordt hij de interviewer. Immers, alles wat hij doet en maakt is spelen. Van het denkproces tot het knutselen, plakken, experimenteren en onderzoeken. Hij speelt met archetypen zoals met een skippybal, waar de hard plastic Zzzidt uit voortkomt. Een speelse stoel-tafel met handvat ontworpen voor de tuin van het Centraal Museum Utrecht.
Over kopiëren zit Hutten niet al teveel in, want zodra je succesvol bent word je nu eenmaal gekopieerd. Soms duurt dat een tijd: pas na een miljoen verkochte Domoors brachten de Chinezen een kopie van de beker op de markt. Ook de Dandelion is Huttens meest succesvolle en meest gekopieerde lamp. ‘Ikea kan mij niet betalen dus maken ze de lamp na. In China ben ik inmiddels heel erg beroemd, kent iedereen die lamp en heb ik kennelijk een hoop ontwerpers geïnspireerd.’

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Sabine Marcelis praat over haar werk en ambities tijdens #3/12 “May I Have Your Attention, Please?”
Foto: Jan Willem Kaltenbach.

Homo esthetica Sabine Marcelis
Hutten heeft van de avond een Rotterdams onderonsje gemaakt. Stadgenoot Sabine Marcelis is ‘een groot talent, een fantastische ontwerpster die het aanstormende heeft overstegen en het podium verdient’, aldus Richard Hutten. Afgestudeerd in 2011 aan de DAE waar ze de verborgen kwaliteiten in gebruiksproducten wilde laten zien. Zo bedacht ze in opdracht van architectenbureau OMA materialen voor de flagship store Repossi in Parijs, en werd gelauwerd voor haar ontwerp van het Nederlands Paviljoen tijdens het filmfestival in Cannes, dat nu eens geen saaie corporate meeting room is, maar een “Honderd Jaar De Stijl” vierende installatie als een soort geëxtrudeerd Mondriaanschilderij.

Net als Hutten speelt Marcelis, maar dan met licht, kleur, transparantie en intensiteit. Met een voorliefde voor glanzende en helaas dure materie als marmer, giethars, maar ook neon en glas, maakt ze producten waarbij de effecten van het licht op die materialen het verborgene in de schijnwerpers zet.

Als Hutten een homo ludens is, is Marcelis dan een homo esthetica?, vroeg Junte. ‘Ik wil mensen visueel beetpakken, maar hoewel het eindresultaat zeer esthetisch is, is mijn uitgangspunt juist het materiaal. Ik experimenteer met onverwachte combinaties tussen materialen tijdens het productieproces waarbij ik samenwerk met vakmensen zoals een neonblazer.’ Voor een recent project, een opdracht van Wallpaper magazine, heeft Marcelis het haar Italiaanse tegelfabrikant zo moeilijk mogelijk gemaakt door de maximale afmetingen van de oven te gebruiken om Altar te vervaardigen. Een drie meter lang en 500 kilo zwaar exemplaar van geglazuurd lavasteen die wordt gedragen door dunne glazen platen.
Junte gunt iedereen een Sabine Marcelis thuis, maar anders dan bij Hutten zijn haar ontwerpen duur. ‘Het is een gek idee dat ik mijn eigen werk niet eens kan kopen’, zegt ze, maar door deze manier van werken krijg ik wel de mogelijkheid om hele unieke projecten te vervaardigen.

Zou ze een in grote oplage vervaardigd product willen vervaardigen? Marcelis noemt het een interessante uitdaging waar ze nog niet over heeft nagedacht.

Over Richard Hutten
De opmerkelijke Nederlandse ontwerper die internationaal befaamd en gelauwerd is, startte na de Design Academy Eindhoven zijn eigen studio in Rotterdam waar de industrieel ontwerper inmiddels 25 jaar woont en werkt. Met zijn stijl, onder het motto no sign of design, was hij destijds een van de belangrijkste ontwerpers van Droog design.
Hutten is art director van Gispen en werkt voor andere bekende internationale merken als Moroso, Skultuna, Kvadrat, Moooi en natuurlijk Lensvelt met wie hij al bijna twintig jaar samenwerkt. Niet zonder succes. Hutten ontwierp This, That en Than Chair in verschillende uitvoeringen. This Chair is nog altijd de bestseller. Ook de Bucket Chair is voorbestemd een goedverkopende klassieker te worden.
Huttens werk is ruim vertegenwoordigd in bijna vijftig museumcollecties, zoals in Museum Boijmans van Beuningen in Rotterdam, het Gemeentemuseum Den Haag, MOMA in New York en Victoria & Albert Museum in Londen.

Over Lensvelt
Lensvelt is een geëngageerd designmeubellabel. Sinds haar oprichting in 1962 biedt Lensvelt architecten en interieurarchitecten de middelen om steeds betere interieurs te maken. Innovatieve, authentieke, ergonomische, betaalbare, comfortabele, functionele, duurzame meubels met vaak een kleine ‘twist’. Hans Lensvelt werkt graag met Richard Hutten, vanwege zijn no nonsense en bijna minimalistische stijl, zijn focus op het behalen van perfecte resultaten en professionaliteit.

Richard Hutten Bucket Chair Lensvelt red RAL5024 front
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Richard Hutten in zijn Rotterdam workshop inspecteer de samples van de Bucket Chair.
Foto: Vincent Mentzel.

The Richard Hutten Bucket Chair is verkrijgbaar met
een houten of metalen frame.
De zitting is in volledig kunststof of gestoffeerd.
Beide in 8 verschillende kleuren.

Richard Hutten Bucket Chair steel frame Lensvelt light grey RAL7035 front view

Richard Hutten Bucket Chair
Frame: Staal
Bucket: Plastic

€ 132,00 incl. BTW
€ 109,00 excl. BTW

Kopen

€ 3,30 incl. BTW
€ 2,75 excl. BTW

Gebruiken

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

Amstel Botel Hotel Amsterdam

The BOTEL is perhaps one of the most iconic hostels in Amsterdam. This floating piece of Amsterdam is an accessible and affordable accommodation for many Amsterdam tourists. Owner Sandra Chedi approached Lensvelt for the redesign of the public spaces of her boat. The dated appearance of the boat was replaced by a timeless interior designed by JanPaul Scholtmeijer of JPS Architects. JanPaul chose to apply a mix of 100% Dutch Design and design produced in the Netherlands by, among others, WH Gispen, Atelier van Lieshout, & Prast & Hooft executed in a very colorful scheme. In this way the space retained its accessible appearance, but they managed to surprise with sleek design and special objects such as the Cloud Table.

Realization 2017.
Architects: JPS. architecten, www.jps.amsterdam
Photographer: David Dillen

PRODUCTS USED IN THIS PROJECT

Events

Lensvelt Gallery – Presentation Enlightened Design

Events

Masterclass preview Milano 2018 – 1-25-2018

Speciale Projecten

Private Investment Company Amsterdam

The applied classical yet modern style fits seamlessly into the concept and the image / material story that Claire Ansems created with Lensvelt through soft shades of gray and natural materials for her project for a private investment company in Amsterdam. Applied are special furniture and lighting products from B & B Italia, Vitra, Bulo, Norma Beds, Artemide, Delta Light, Davide Groppi, Fontana Arte, Occhio, Cini & Nils and Delta Light. A very special place to work and to relax.

Realization spring 2017

Architect: Claire. Ansems defining spaces, www.claireansems.com
Photgrapher: Martijn Vonck, www.martijnvonck.nl

Designers

René Veenhuizen

René Veenhuizen Lensvelt Bamboo Chair

René Veenhuizen (1968) is a Dutch designer of products, interiors and public areas.

Since 2000 René Veenhuizen has been working with Tejo Remy. Remy and Veenhuizen both studied at the Hogeschool voor de Kunsten in Utrecht. Both graduated with a focus on 3D-Design.
Currently they work in and outside the Netherlands, and their work has been exhibited worldwide in New York, London, Helsinki and Amsterdam.

The Bamboo Chair designed by Tejo Remy and René Veenhuizen, has been a part of the Lensvelt collection since 2007.

Products of this designer

Home, Office, Projects, Speciale Projecten

BPD Burgerweeshuis Amsterdam

After a year and a half of transformation and restoration, approximately 225 employees of residential developer BPD moved to the former Burgerweeshuis on the IJsbaanpad in Amsterdam at the end of January 2018. The employees of the former head office, located in Hoevelaken since 1963 and those from the North-West regional office in Haarlem now working together in Amsterdam. The office is more than 5,000 m2. The national monument, a design by Aldo van Eyck, has recently been transformed into a new office located at IJsbaanpad 1-5 near the Olympic Stadium. The building is one of the earliest examples of structuralist construction and counts as one of the most important post-war national monuments.

Architect Aldo van Eijck had especially designed playgrounds – more than 700 in Amsterdam alone – when he received the assignment for the Burgerweeshuis. It became a kind of spatial manifesto, a mirror of his ideas. Van Eijck’s architecture focuses on people and their perception of space. The Burgerweeshuis is a concatenation of square units with many vistas and squares, the building is a safe shell around an intimate interior space. The one-and-a-half-year renovation that preceded BPD’s relocation can partly be seen as a reconstruction. In order to make the building meet the requirements of today’s requirements, renovation architect Wessel de Jong applied floor heating, an air-freshening system and a quantity of cables that would have been unthinkable in 1960. However, they are so cleverly hidden that nothing can be seen. In order to prevent the 328 concave domes in the roof of the building from functioning as a sound box, a thin layer of insulation material was applied and moody colored wall panels were placed.

All just as unobtrusive as the gray office furniture from Lensvelt, which is aptly named after the design of Space Encounters Boring, a design with a conscious RAL color gray which has received international awards and attention from 2016 onwards. So the original details are extra: kitchen corners with poffertjes stove, a concrete playground with diving racks and smile mirrors, and wooden storage cabinets.

Following AkzoNobel, which opened its Essential Art Space in 2016, and ABN Amro, which followed last year, BPD is the third company to have a publicly accessible exhibition space on the Zuidas. Two even. One is dedicated to the history of the building and has been renamed ‘treasure room’. The other is a relatively modest space, but the exhibitions that are made here – three per year – can fan out over other parts of the building. They also always have a link with architecture.

AFollowing the design of Ex Interiors and in terms of its approach through a fine collaboration with project management Maarten Bosch from BDGM, Lensvelt Contract Boring supplied standard furniture but also Specials inspired by Boring such as the monitor arms, pedestals, the AVL Presidential Chair, CHTH coat racks and AVL Office Chair. in Boring gray version. Matching Boring furniture with additional furniture products from various international and well-known brands including Norr11, Moduplus, Vitra, Artek, Arco, Carl Hansen, Nestor & Rocks with the special carpets of Danskina and Kinnasand. Subsequently, in this building all materials and colors are coordinated very accurately and surprisingly.

Realization 2017-2018.
Architecten: wessel de jonge architecten bna bv, www.wesseldejonge.nl
Ex Interiors, www.ex-interiors.nl
Project management: bosch duurzaam gebouw management, www.BDGM.nl
Photography: interior Roos Aldershoff, exterior Corné Bastiaansen

PRODUCTS USED IN THIS PROJECT