dirk vander kooij, catalogue 2016
DESCRIPTION
Dirk Vander Kooij is one of the most influential Dutch designers of the recent years. In 2009 he graduated from the Design Academy in Eindhoven with a robot arm, designed to extrude large objects like furniture from recycled material, a world wide first. Ever since the introduction of this new technique, Studio Dirk Vander Kooij has been creating products with a strong visual impact. In the design of chairs, tables, vases and light fixtures Dirk combines tradition and technology, craft and digital robot techniques. Every piece is an industrially produced ‘one-of-a-kind.’TRANSCRIPT
catalogue
2016
ChubbyCHAIR. page 4
ChubbyBARSTOOL. page 6
RvRCHAIR. page 8
NotOnlyHollowCHAIR. page 10
EndlessCHAIR. page 12
FlowRockingCHAIR. page 14
cHaIR
A chAir is A piece of furniture with A rAised surfAce, commonly used to seAt A single person. chAirs Are supported most often by four legs And hAve A bAck; however, A chAir cAn hAve three legs or cAn hAve A different shApe. chAirs Are mAde of A wide vAriety of mAteriAls, rAnging from wood to metAl to synthetic mAteriAl (e.g., plAstic), And they mAy be pAdded or up-holstered in vArious colors And fAbrics, either just on the seAt (As with some dining room chAirs) or on the entire chAir. chAirs Are used in A number of rooms in homes (e.g., in living rooms, dining rooms And dens), in schools And offices (with desks), And in vArious other workplAces. A chAir without A bAck or Arm rests is A stool,[4] or when rAised up, A bAr stool.[5] A chAir with Arms is An ArmchAir[6] And with upholstery, reclining Action, And A fold-out footrest, A recliner. A permA-nently fixed chAir in A trAin or theAter is A seAt or, in An AirplAne, Airline seAt; when riding, it is A sAddle And bicycle sAddle, And for An Automobile, A cAr seAt or infAnt cAr seAt. with wheels it is A wheelchAir And when hung from Above, A swing. An upholstered, pAd-ded chAir for more thAn one person is A couch, sofA, settee, or “loveseAt”; or if is not upholstered, A bench. A sepArAte footrest for A chAir, usuAlly upholstered, is known As An ottomAn, hAssock or pouffe. the chAir hAs been used since Antiquity, Although for mAny cen-turies it wAs A symbolic Article of stAte And dignity rAther thAn An Article for ordinAry use. “the chAir” is still used As the emblem of Authority in the house of commons in the united kingdom And cAnAdA, And in mAny other settings. in keeping with this histori-cAl connotAtion of the “chAir” As the symbol of Au-thority, committees, boArds of directors, And AcA-demic depArtments All hAve A ‘chAirmAn’ or ‘chAir’. endowed professorships Are referred to As chAirs. it wAs not until the 16th century thAt chAirs becAme common. until then, people sAt on chests, benches, And stools, which were the ordinAry seAts of every dAy life. the number of chAirs which hAve survived from An eArlier dAte is exceedingly limited; most ex-
cHaIR
ChubbyCHAIR. 2012
The 'Chubby’ may look soft and squeezable, however it is as tough as oak wood.
This moldable quality takes on a fun and play-ful feel, that brings to mind memories of nursery
play materials such as play-doh.
The chair is available in various shades of primary colours which exaggerates this associ-
ation.
AvailableCOLORS
yellow red natural green
blueblack ash grey
Dimensions
77
48
47
43 68
81
42
40
111
86
41
84
61
44
41
41 60 80
75
194 51
195
78
90
35
109
78
53
45
49 55 54
198
75
108 242
75
92
49
50
65
84 57
57
44
25 26
38
76
110
36
47
36
47
93
75
93 119
75
119
92
93
108
27
ChubbyCHAIR. 2012
ChubbyBARSTOOL. 2016ChubbyBARSTOOL. 2016
ChubbyBARSTOOL. 2016ChubbyBARSTOOL. 2016
Dimensions
750
1090
400
300
750
1090
400
300
A barstool with the playful looks of the Chubby Chair, and a comfortable footrest. The Chubby Barstool is available in all
colors of the Chubby Chair.
RvRCHAIR. 2014
AvailableCOLORS
natural black ash
aqua blue moss green
Dimensions
77
48
47
43 68
81
42
40
111
86
41
84
61
44
41
41 60 80
75
194 51
195
78
90
35
109
78
53
45
49 55 54
198
75
108 242
75
92
49
50
65
84 57
57
44
25 26
38
76
110
36
47
36
47
93
75
93 119
75
119
92
93
108
27
The first printed chair in three dimensions. The chair is stack-able, relatively light weighted and comfortable and is avail-able with or without armrests.
The shape is the most elemen-tary form one can imagine
for a chair, but still this chair stands out on its own thanks
to the used material and the smooth, elegant curves.
photo: loek blonk. courtesy: gallery chamber
Each line is hollow to minimize resources, and the source is 100% recycled synthetics. The minimalistic
shape and the extreme low resolution make the looks of the chair closely related to how it’s made.
It is not only recycled or minimizing resources, it’s not only a new developed 3d printing process, it is not
only a catchy design piece...
The true beauty lies in the combination of it all.
limited edition - 25 pcs + 2
NotOnlyHollowCHAIR. 2014
DimensionsOriginal Lower Version
(on request)
0031 (0) 85 87 69 62 [email protected]
343
547
793
725
302
510
443
423
EndlessCHAIR. 2010
AvailableCOLORS
gradient blue
gradientgreen
black
gradientblack
77
48
47
43 68
81
42
40
111
86
41
84
61
44
41
41 60 80
75
194 51
195
78
90
35
109
78
53
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49 55 54
198
75
108 242
75
92
49
50
65
84 57
57
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25 26
38
76
110
36
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36
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93 119
75
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27
Dimensions
The BeginningOne plastic string, made out of old refrigerators, craft-ed by a robot. By combining different techniques, we were able to design an automated but very flexible process. We taught a robot our new craft, drawing furniture out of one endlessly long plastic string. This opened the possibility for us to design in the good
old-fashioned way, making a chair, evaluating, refin-ing, making a chair, evaluating, refining and making a
chair. Endlessly.
Dirk Vander Kooij won the Dutch Design Award in 2011 with his Endless Chairs.
ash grey
“[Since becoming a curator in 1994, my view of de-sign has] definitely moved more towards the ‘five-di-
mensional.’
The common thread is always how people live and what design can do to make life better. If design
has more to say in the immaterial realm then I focus on that. I can’t deny that furniture excites me less and less. I still get excited by some pieces, like Dirk
Vander Kooij‘s ‘Flow Rocking Chair’of 2011.
There needs to be innovation in the process and in the material because otherwise how many more chairs do we need? You need to justify your use of physical resources and your occupation of space with real innovation, real talent, and even fantasy and delight. I’m not so much of a moralist to think
everything needs a purpose.]”
–Paola Antonelli, director of research and develop-ment and senior curator of architecture and design
at MoMA
FlowRockingCHAIR. 2011
Dimensions
830
380
700 410
830
380
700 410
FresnelLIGHT . page 18
SunFLOWER. page 20
SatelliteLAMP. page 22
lIgHtS
A light fixture (uS engliSh), light fitting (uK engliSh), or luminAire iS An electricAl device uSed to creAte ArtificiAl light by uSe of An electric lAmp. All light fixtureS hAve A fixture body And A light SocKet to hold the lAmp And Allow for itS replAcement. fix-tureS mAy AlSo hAve A Switch to control the light. fixtureS require An electricAl connection to A pow-er Source; permAnent lighting mAy be directly wired, And moveAble lAmpS hAve A plug. light fixtureS mAy AlSo hAve other feAtureS, Such AS reflectorS for di-recting the light, An Aperture (with or without A lenS), An outer Shell or houSing for lAmp Alignment And protection, And An electricAl bAllASt or pow-er Supply. A wide vAriety of SpeciAl light fixtureS Are creAted for uSe in the Automotive lighting induS-try, AeroSpAce, mArine And medicine. portAble light fixtureS Are often cAlled “lAmpS”, AS in tAble lAmp or deSK lAmp. in technicAl terminology, the lAmp iS the light Source, whAt iS typicAlly cAlled the light bulb. fixture mAnufActuring begAn Soon After pro-duction of the incAndeScent light bulb. when prAc-ticAl uSeS of fluoreScent lighting were reAlized Af-ter 1924. A pendAnt light, SometimeS cAlled A drop or SuSpender, iS A lone light fixture thAt hAngS from the ceiling uSuAlly SuSpended by A cord, chAin, or metAl rod. pendAnt lightS Are often uSed in multi-pleS, hung in A StrAight line over Kitchen counter-topS And dinette SetS or SometimeS in bAthroomS. pen-dAntS come in A huge vAriety of SizeS And vAry in mAteriAlS from metAl to glASS or concrete And plAS-tic. mAny modern pendAntS Are energy-SAving low voltAge modelS And Some uSe hAlogen or fluoreScent bulbS. dimmerS Are deviceS uSed to lower the bright-neSS of A light. by chAnging the voltAge wAveform Applied to the lAmp, it iS poSSible to lower the inten-Sity of the light output. Although vAriAble-volt-Age deviceS Are uSed for vAriouS purpoSeS, the term dimmer iS generAlly reServed for thoSe intended to control light output from reSiStive incAndeScent, hAlogen, And (more recently) compAct fluoreScent,
lIgHtS
FresnelLIGHT. 2015
36 52 68
7
500
MAX
16
6
Dimensions
The FresnelLIGHT is the perfect combination of avant-garde technology, sustainability and po-etic beauty. The Fresnel Light has been created
with a inhouse developed robot, resulting in an industrial looking pendant lamp. The use of
transparent plastic of old CD’s and the intricate line structure, makes its design one of a kind.
The FresnelLIGHT consists of two halves, enclos-ing LED-modules. The hundreds of dimmable LED-lights produce over 50.000 hours of light
and are easy to replace. Hanging on a steel wire, the Fresnel Light resembles a glowing ce-lestial body. Like the orbit of a planet, the Fres-
nel Light rotates around a center core, a metal ball, making the direction of the light easy to
adjust and to aim where needed. Besides this tilting function, the ball has a mechanism to
adjust the length and store the hanging wire.
The FresnelLIGHT is a functional and intimate lighting solution for your home, office and pub-
lic spaces.
517 539 738
1505
1666
1786
1681
Sunflower V
Sunflower Y Sunflower H
Sunflower Y M
492
Dimensions
A bouquet of sunflowers, placed in a yellow pot. This masterpiece, painted by Vincent van Gogh in 1888, is admired around the world for its eternal beautify, mak-ing it one of the most famous Dutch icons. The painting is a 19th century take on the amazing flower paintings
from the Dutch Golden Age. The Sunflowers by Van Gogh are a source of inspiration for artists and design-ers. Now, after more then 125 years a new Dutch icon
has been created, celebrating the rough beauty of the sunflower: the SunFLOWER by Studio Dirk Vander Kooij.
The SunFLOWER standing lamp is a new lighting con-cept by Dirk Vander Kooij. It derives from the Fresnel Light. Instead of a pendant lamp, the SunFLOWER is mounted on a metal frame with multiple branches.
Each of these branches ends in a Fresnel lamp module, like the buds on the stem of a flower.
A sunflower has a special relationship to the sun. The flower itself resembles quite clearly the shape of the
sun, but more special is the direct relationship with light. During its growth, sunflowers tilt throughout the day
to face the sun. The SunFLOWER lamp uses this heliot-ropism in a reverse way. Instead of tracking the light, this sunflower is the source of light. Each lamp rotates around a center core, a metal ball, making the direc-tion of the light easy to adjust and to aim where need-
ed.
The SunFLOWER lamp is developed in close collabora-tion with architectural firm Baranowitz & Kronenberg for the W Hotel in Amsterdam, one the most trendy hotels
in Amsterdam.
The SunFLOWER standing lamp is part of a family of lamps with different numbers and different sizes of
lights, a whole bouquet of flowers.
SunFLOWER. 2016
SatelliteLAMP. 2012
The SatelliteLAMP looks like solid glass but it’s actually made of crystal clear syn-thetic material.
The robot constructs a line structure layer by layer that refracts and scatters the light. The lamp works like a machine, accurately sup-plying the desired light.
Four printed transparent units fuse together providing a space for the electron-ics without hiding them. There are three circular light sources that can be varied in warmth and intensity. There’s a knob for cold and warm light, just like a mixing tap.
Cold light for an active work environment, warm light for relaxing.
77
48
47
43 68
81
42
40
111
86
41
84
61
44
41
41 60 80
75
194 51
195
78
90
35
109
78
53
45
49 55 54
198
75
108 242
75
92
49
50
65
84 57
57
44
25 26
38
76
110
36
47
36
47
93
75
93 119
75
119
92
93
108
27
Dimensions
MeltingPotTABLE. doble based page 26
MeltingPotTABLE. single based page 28
MeltingPotSideTABLE. page 30
taBleS
taBleSA tAble is A form of furniture with A flAt horizon-tAl upper surfAce used to support objects, for stor-Age, show, And/or mAnipulAtion. some common types of tAble Are the dining room tAble, which is used for seAted persons to eAt meAls; the coffee tAble, which is A low tAble used in living rooms to displAy items or serve refreshments; And the bedside tAble, which is used to plAce An AlArm clock And A lAmp. An-other common type of tAble is A desk, which is typ-icAlly used to hold items thAt one would need to do work, such As pApers, textbook, or computers. the surfAce must be held stAble. for reAsons of sim-plicity, this is usuAlly done by support from below by either A column, A “bAse”, or At leAst three co-lumnAr “stAnds”. in speciAl situAtions, tAble surfAc-es mAy be supported from A neArby wAll, or suspend-ed from Above. common design elements include: top surfAces of vArious shApes, including rectAngulAr, squAre, rounded or semi-circulArlegs ArrAnged in two or more similAr pAirs. it usuAlly hAs four legs.severAl geometries of folding tAble thAt cAn be collApsed into A smAller volume (e.g., A tv trAy, which is A portAble, folding tAble on A stAnd)heights rAnging up And down from the most common 46–76 cm rAnge, often reflecting the height of chAirs or bAr stools used As seAting for people mAking use of A tAble, As for eAting or performing vArious mAnipulA-tions of objects resting on A tAblepresence or Absence of drAwers, shelves or other AreAs for storing itemsexpAnsion of the tAble surfAce by insertion of leAves or locking hinged drop leAf sections into A horizontAl position (this is pArticulArly common for dining tA-bles). desks Are tAbles specificAlly intended for infor-mAtion-mAnipulAtion tAsks, including writing And use of interActive electronics such As desktop com-puters. desks Are used in offices, schools And in privAte homes, either in A home-office, A den, or in A children’s room. A tAble is A form of furniture with A flAt hori-zontAl upper surfAce used to support objects, for storAge, show, And/or mAnipulAtion. some common
MeltingPotTABLE. 2015double based
MeltingPotTABLE. 2015double based
Splashes of colour, intricate patterns combined with a simple geometric shape. The MeltingPotTABLE by Dirk Vander Kooij is a
statement like no-other. A highlight in the collection: for its esthet-ics but also because of what is represents: a magnificent mon-ument for recycling. What once was a fridge, became a chair
and is now a solid, timeless table.
Recycling is the core of all Dirk’s designs. The use of disposed plastic to create new objects is at the core of the his design pro-cesses. The MeltingPotTABLE takes this idea to a whole new level.
The table is made of old test pieces, failed production pieces and prototypes from the normal production and research pro-
cesses. As Dirk puts it: “The remains of recycled synthetic material is unique and actually too appealing to be called waste”.
2400
1200
755
2400
1200
755
Dimensions
As Dirk uses disposed plastic from fridges to create his other designs, using the misfits to create new pieces is
a logical next step. The table can be easily customized by using the waste provided by the client.
The result is a truly one-of-a-kind piece of furniture with a very personal touch. An example of this unique pos-sibility is the set of two MeltingPotTABLES made for the Scryption collection by using plastic from computers
and typewriters from this collection.
MeltingPotTABLE. 2015single based
MeltingPotTABLE. 2015single based
120
120
76
120
120
76
Dimensions
MeltingPotSideTABLE. 2016
As Dirk uses disposed plastic from fridges to create his other designs, using the misfits to create new pieces is
a logical next step. The table can be easily customized by using the waste provided by the client.
The result is a truly one-of-a-kind piece of furniture with a very personal touch. An example of this unique possi-bility is the set of two MeltingPotSideTABLES made from
old black and white computer parts.
Dimensions
Ø120, h 45cmØ100, h 45cm
Ø80, h 45cmØ80, h 30cmØ60, h 45cmØ60, h 30cmØ45, h 45cmØ45, h 30cm
SnowMEN. speaker set page 34
ChangingVASE. page 36
ChubbyCOATHANGER.ChubbyCOATRACK. page 38
otHeR
In relatIon to the Self, the ConStItutIve other IS the relatIon between the eSSentIal nature (perSon) and the outward manIfeStatIon (perSonalIty) of a human beIng. In a bInary perSpeCtIve of the eSSentIal and of the SuperfICIal CharaCterIStICS of perSonal IdentI-ty, eaCh perSonal CharaCterIStIC IS the InverSe of an oppoSIte CharaCterIStIC. the dIfferenCe IS Inner-dIf-ferenCe, wIthIn the Self. In the dISCourSe of phIloSo-phy, the term “otherneSS” referS to and IdentIfIeS the CharaCterIStICS of the who and what of the other. theSe CharaCterIStICS are dIStInCt and Separate from the SymbolIC order of thIngS, from the real (the au-thentIC and unChangeable), from the æSthetIC (art, beauty, taSte), from polItICal phIloSophy, from SoCIal normS and SoCIal IdentIty, and from the Self. there-fore, the CondItIon of “otherneSS” IS a perSon’S non ConformIty to and wIth the SoCIal normS of SoCIety and to the CondItIon of dISenfranChISement (polIt-ICal exCluSIon), eIther by the aCtIvItIeS of the State or by the aCtIvItIeS of the SoCIal InStItutIonS (e.g. the profeSSIonS), whICh are reSpeCtIvely InveSted wIth po-lItICal and SoCIal power. therefore, In the CondItIon of “otherneSS”, the perSon IS alIenated from the Cen-ter of SoCIety and IS plaCed at the SoCIetal margIn for beIng the other. the other Can alSo be uSed the verb otherIng. It IS a uSage that dIStInguISheS and IdentIfIeS (labelS) Someone aS belongIng to a Catego-ry, defIned aS “other”. In praCtICe, otherIng exCludeS thoSe perSonS who do not fIt the norm of the SoCIal group, whICh IS a verSIon of the Self. SImIlarly, In the fIeld of human geography, the verbal aCtIon term to other referS to and IdentIfIeS the aCtIon of plaC-Ing Someone outSIde the Center of the SoCIal group, at the margInS, where the SoCIal normS do not ap-ply to the other perSon. In phenomenology, the termS the other and the ConStItutIve other eaCh IdentIfy a CumulatIve, ConStItutIng faCtor In the Self-Image of a perSon—the aCknowledgement of beIng real. aS SuCh, the other IS dISSImIlar to and the oppoSIte of the Self, of uS, and of the Same.[1] otherneSS, the Char-
otHeR
SnowMEN. 2016speaker set
The SnowMEN are designed according to the overall idea that form follows function. The ball or egg shaped case is not only very contemporary look-ing, it also allows the sound waves to radiate in an optimal way. The sound spreads in all directions, giving a mind-blow-ing sound experience. The inside of the speaker is ideal for eliminating standing waves due to its rough surface. This ribbon-like texture, an inev-itable consequence of the production process, is perfect to mute the sound internally by scattering the soundwaves.
This highly intelligent loud-speaker provides you with impressive clarity, range, and sound staging in contempo-rary piece of design.
Snowmen W12 Left Right speaker is mirrored.
500 mm
1020 mm
346
171
100
530 mm
Dimensions
Studio Dirk Vander Kooij has devel-oped, without exaggeration, the
perfect set of speakers to block-out all that white noise and to bring out the
best of the music you want to hear. Together with the high-end speaker
engineer Henkjan Netjes, they created a revolutionary new loudspeaker, mix-ing contemporary esthetics with high
technical performances. A revolution-ary and rewarding combination of
production process and product.
The new SnowMEN speaker set is made with the celebrated process of using an self-developed industrial ro-
bot, pushing out one continues dense line of reinforced reclaimed plastics.
After five hours this robot has created a 45kg giant of a loudspeaker, 40 mm
thick all around. This rock solid struc-ture makes the speaker completely
oblivious to all the resonating energy the 12” woofer is producing. The result
is a crisp and clear sound, even with the highest level of volume.
ChangingVASE. 2013
An extraordinarily designed sculptural vase in four different heights looks different depending on the
angle from which it’s looked at.
The first series were made out of collected leftovers. That’s why singular and striking color combinations
occur. So each and every produced Changing Vase has its own unforeseen emergence.
27
10
49
19
12
23
65
30
84
39
25 3320 24 51 64
Dimensions
ChubbyCOATHANGER. 2012
ChubbyCOATRACK. 2013
Every time a color we change color, little bits of recycled plastic must be used to flush the robot. A lucky strike: with each color change, the left over material is used to make four coat hangers.
So each coat hanger either gets one unique color or an un-usual gradual color mix.
ChubbyCOATHANGER. 2012
ChubbyCOATRACK. 2013
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194 51
195
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49 55 54
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108 242
75
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57
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25 26
38
76
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36
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93 119
75
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44
25 26
38
Dimensions
