Stack – Berry Dijkstra

As a child, Berry was fascinated by architecture. He drew sketchbooks full of cityscapes, and dinosaurs. His dream; to become an architect. 45 years later, he stacks and arranges furniture compositions with design objects. He approaches the still lifes like a painting; composed of surfaces, and colours in search of symmetry and balance, but never without a sprinkle of friction. His keen eye for composition, color, detail, and materiality has led to numerous cross-disciplinary collaborations with galleries, brands, and design stores.

Designers: Amina Zemouli, Atelier Fig, Frank Penders, FRACTAL – Arne de Smet, Inderjeet Sandhu, Jord Lindelauf, Maya Eline Elroy, Kasper Boelens, Nadje Schlenker, Nicky Vollebregt, Nienke Sikkema, Pierre Salaun, Rugter de Regt, Sandra Keja Planken, Structural Aspect, Studio Kloumi, Sven Jansse, Teun Zwets, and Thijmen van der Steen

AMINA ZEMOULI

Design Academy Eindhoven – A collection of sculptural objects that explore the forms of mathematical equations. Using a combination of Sine and Cosine, the pieces show the visual poetry of the different rhythmic repetitions in mathematical equations. Amina Zemouli (b. 2001) is a designer based in the Netherlands.

Coming from a small town in the mountains of Algeria, she has been left with a strong connection to the raw and unpolished aspects of life. Amina finds resonance in what’s simple, earthy and unrefined.

Having spent her childhood in a Mediterranean scenery, she always contemplated with awe the casted shadows of the strong sunlight on the red rocks by the sea. Amina Zemouli is mesmerized by the works of Escher and Fibonacci. They allowed her to see mathematics through nature and art. Visiting Alhambra inspired the connection of mathematics and architecture.

ATELIER FIG

Ruben Hoogvliet and Gijs Wouters found each other in their fascination for materials, crafts and love for nature during their studies at the art academy ArtEZ in Arnhem. After graduation, they joined forces and experiences in Atelier Fig.

Through experimental processes and innovative designs they create a world of extraordinary objects. The aesthetic experience creates awareness of the tactility and transformation within the creative process and shows what often remains unexposed. With their work they provide a playful answer to the demand for new and personalized products within the current industry.

Their in-house capabilities enable them to realize ceramic projects from initial form design to finishing. With an extensive glaze library and a profound understanding of various ceramic techniques, they can transform concepts into tangible creations. Atelier Fig has partnered with a range of esteemed organizations, including Vitra, Voertaal, and Cor Unum, providing innovative designs in ceramics, leather, and textiles. These experiences not only showcase their adaptability and creativity but also highlight how their expertise can be relevant to potential new collaborations.

FRACTALL – ARNE DE SMET

Fractall is the Belgium based design practice founded by Arne Desmet. Inspired by patterns and textures found in nature and fascinated by man-made materials and production processes, the objects in the Fractall collection appear both natural and industrial. The studio’s aim is to embrace technological production processes, while adding a sense of humanity to it. Despite their sculptural appearance, each object is highly functional. Often, remnants of the production processes are exposed, aiming to celebrate the materials in their pure form and the production processes that led to the creation of each object.

Spire lamp

Both the shape and materialization of the Spire lamp are inspired by the iconic New York Chrysler building. The design of the building’s spire, defined by stepped arches, was reduced to its essence and translated into a distinct, minimal volume. The texture of the material is accentuated by the soft glow of indirect lighting. The panels are interconnected via hinges and can be positioned at an angle to each other, influencing the illumination of the slats. The resulting lighting effect creates a playful interaction with its surroundings.

Arc table

The Arc table’s seemingly randomly placed curved table legs create a play of light, shadow and depth. The alternating convex and concave surfaces imbue the piece with a sense of fluid dynamism, transforming its appearance with every shift in light or change in perspective. This ever-evolving presence invites the observer to engage with it anew, discovering different nuances from each angle. Crafted from aluminum, the table’s surface is meticulously finished by hand-sanding, a process that leaves subtle traces of its creation. These imperfections, borne of human touch, add texture and character, celebrating the material’s raw beauty while enhancing the table’s sculptural allure.

Overlap stool

The Overlap Stool emerges as an interplay of form and function, defined by two identically curved plates positioned in opposition to create overlapping surfaces. This configuration invites a dynamic interaction between light and shadow, as the outer plane casts its silhouette onto the surface below, evoking a sense of depth and movement. Each piece bears the marks of its meticulous creation, with a finish that is either hand-sanded or polished. These subtle imperfections—traces of human intervention—lend a tangible authenticity, celebrating the artistry of the handmade. Designed with intentional dimensions, the Overlap Stool seamlessly transitions between roles, offering itself as both a seat and a side table. It is an object of quiet versatility, balancing practicality with sculptural elegance, and creating an atmosphere where craft and purpose converge.

Arcarve chair

The Arcarve chair harmonizes a minimalist industrial design with the organic allure of natural texture. The exterior surface, meticulously hand-carved into the aluminum, is vaguely reminiscent of tree bark, blending the precision of craftsmanship with the irregular beauty of nature. Adding to this dialogue of contrasts, the soft upholstered seat introduces a tactile and visual counterpoint. Its gentle texture and distinct color stand in deliberate opposition to the aluminum’s raw structure, creating a balanced composition where materiality and form come together in quiet sophistication.

FRANK PENDERS

As a teenager, the architecture around him was his playground. He roamed all corners of the city with his skateboard looking for nice places. After all, architecture is inextricably linked to this sport. He wanted to become an architect and therefore spend his day studying and eventually working as an engineer at an architectural firm. However, the days behind the computer were too long, it was within the metal workshop of this firm were he learned to use his hands after always working from within his head. Later, Frank went to art school to learn about design within a context; shapes, compositions, and telling stories – everything fell into place.

When Frank designs he creates steel compositions, slender lines and solid surfaces of steel that become stories. A timeless force since these stories can last for generations.

JORD LINDELAUF

Jord is a Belgian architect and designer. He reimagines everyday objects, crafting designs that quietly stand out through their subtlety. With his unique design language, Jord creates pieces that don’t scream for attention but instead harmonize effortlessly with their surroundings. It’s this simplicity and honesty that define his work and set it apart.

During my master’s studies in Hong Kong, an inspiring eight-month journey sparked a deeper curiosity for design. After graduating as an architect from Hasselt University, I felt a persistent drive to explore beyond architecture. This led me to pursue a course in furniture design, opening the door to a new creative path. In just a few years, I’ve had the privilege of showcasing my work at diverse international exhibitions, gaining invaluable experiences and connections in the design world.

And yet, that drive to create and innovate remains stronger than ever…

808 Shelves

The 808 collection embodies a seamless harmony between three key elements: the raw aluminum frame, the high-gloss lacquered wood, and minimalist design.

The rawness of the aluminum boldly contrasts with the soft, rounded, and glossy wood surfaces. Rooted in a pursuit of both functionality and aesthetics, the collection draws inspiration from the simplicity of life as its guiding principle.

The collection includes a table, chair and shelving unit. Together, these pieces form a cohesive ensemble, while each stands strong on its own.

INDERJEER SANDHU

HaHa

Slabs of marble are inlaid with the words HaHa, creating fragmented reflections similar to the distortions in funhouse mirrors. The literal laughing mirror extends beyond personal perception, delving into the laughability of our current societal structures, government, and politics.

In an era dominated by social media, where our political landscape has turned into a playground for laughable memes, distorting serious issues into shareable content, the mirror reflects not only individual self-perception but also acts as a lens to scrutinize the absurdities and intricacies of the political landscape, merging together the personal and the political in the context of distorted online and offline appearances.

That’s Bananas

This series of glass vases uses the cavendish banana – a fruit re-engineered, grown as a monoculture, and mass-produced for export – to mirror the selective exoticism in our daily lives. While the banan is welcomed into homes and routines, it is stripped of its cultural and historical significance – its backstory of exploitation, environmental degradation, and colonial trade discarded. The colorful vases represent the exoticized ‘tropical other’, while the vases stripped of color symbolizes what has been erased and made palatable in the process. This echoes broader trade systems where goods, like bananas, cross borders freely, while the cultural roots and the people behind their production face restriction and marginalization.

KASPER BOELENS

Kasper Boelens (b. 2000, The Netherlands) is an designer/artist/elusive-creature/maker/carver/secretary/photographer/ based in Rotterdam.

My body of work navigates the intersections of art and design with a sense of playfulness. I create with a hands-on manner and work process orientated.

The themes in my work range from organic traces to the growing presence of technology. I explore these fascinations and create romanticized narratives. Transforming these inspirations into tools, and methods.

This approach has a performative quality; not performing for an audience; but as a means of engaging with the process I commit to a character or idea that holds a specific intention and develop intuitive tools from which the audience can only discover traces.

MAYA ELINE LEROY

Handcrafted ceramic objects as vases and lamps for everyday use.

NADJA SCHLENKER

Schlenker’s works range from small objects to large-scale, spatial installations. A great source of inspiration for her work is travel, from which she always returns with photographs that enrich her image archive, which she uses as reference points for new ideas. Empty streets, buildings and landscapes dominate the photographs; they show building blocks, architectural details, façade textures and always leave it to the viewer to imagine the people who have stayed there.

She’s lived in Bangkok, Beirut, Amsterdam and Rome and is drawn to the many stories that unfold every day in the houses and streets. In her studio, she brings together the energy of different places, encounters and picks out elements to translate them into her own urban landscapes.

Her curiosity for different views and perspectives is reflected in her interest in material research as well as testing the possibilities and limits of materials and techniques from ceramics to paper sculpting and working with building materials. She works at the intersection of architecture, design and art and likes to play with the perception of objects. Whether the works are sculptures or functional pieces is often left up to the viewer.

NICKY VOLLEBREGT

Nicky Vollebregt is a designer and researcher focussing on textile craft and industrial textile techniques. She specialises in studying the technical, functional and aesthetic dimensions of woven structures, exploring form, colour, transformation and user interaction. This results in intricate materials that speculate on unconventional and innovative applications.

Through the lens of personal and collective material narratives from the past, present and future, Studio Nicky Vollebregt questions object attachment and investigates emotionally sustainable design, or design to cherish. The studio initiates design projects and multidisciplinary research, exploring how (transformative) material properties can foster a deep, lasting connection between objects and their owners, ultimately extending their lifespan.

NIENKE SIKKEMA

Nienke Sikkema graduated at the Royal Academy of Arts the Hague after studying history and journalism at the University of Amsterdam. After graduating she started working at the Oude Horn, the glassblowing studio of Bernard Heesen. There she learned the craft of glassblowing and started executing her own designs in glass.

She describes her way of working as ‘playing with glass’. She lets the glass drip, stacks it and rolls it into a candleholder or sculpts animals with it. As long as the glass allows it and the material doesn’t have to be forced. Shape, color, transparency and shimmer, all the qualities that glass possesses are used in her designs. “Hopefully this way people will recognize the fun of the making process in the objects that emerge from it”.

PIERRE SALAUN

Showcased at Dutch Design Week, HBMS is a flat-pack shelving unit created by Design Academy Eindhoven graduate Pierre Salaün that is folded into its 3D form from a single metal sheet. HBMS, which stands for Hand Bent Metal Shelf, can be assembled without the need for fasteners or adhesives. The shelving unit is laser-cut from one sheet of industrial-format 1.5 millimeter-thick stainless steel, measuring 2.5 by 1.25 meters. It is then hand-folded into its three-dimensional form, with elements nested inside one another for structural support. The furniture makes use of the entire sheet of metal, meaning there is no scrap metal left behind in its construction.

“When starting the HBMS project, I got inspired by the life cycle of stainless steel,” said Salaün. “I visited some laser cutting factories and was intrigued by the skeleton of the laser cut – the piece that is left once the ‘useful’ parts have been extracted.”

“From that point, I thought that instead of upcycling the leftovers, I could think of a design that would optimize the initial standard stainless steel sheet,” Salaün explained.

HBMS was presented at Dutch Design Week in Eindhoven’s central Heuvel shopping center as part of the DAE Graduation Show. Other graduate projects exhibited during the festival include marbled furniture made from second-hand books by Willem Zwiers and Henry K Wein’s design for a portable treehouse.

RUTGER DE REGT

The narrative of my work is abstracted by the observations and interest in social constructs, inter human relations and the contradictions inhabited in the conventions we subject ourselves to. As a child, I was drawn by the unknown and was always searching for new experiences.

Somehow I rejected the existing conventions and wanted to create the possibility to do it my own way. Rather build my own slide, swing or moped then use an existing one. This trade of character intertwines my work and personal life and is the driving force for my practice.

SANDRA KEJA PLANKEN

Sandra creates work on how the state of mind shifts constantly, akin the materials and forces of nature. While her entities invite you to engage rather than just look at them. They are an appeal for open-mindedness and sensory engagement.

Born in The Hague and now based in Amsterdam, Sandra Keja Planken’s creative journey was shaped early on by her childhood in Spain, where her family’s close ties with Salvador Dalí immersed her in a world of surrealist imagination. The vibrant coastal landscapes and Dali’s playful, dreamlike philosophy have deeply influenced her work, which embodies elements of expressionism, absurdism, and natural wonder.

Before establishing herself in the art and collectible world, Sandra ran a successful interior and spatial design company for 15 years, transforming forgotten spaces into immersive environments. However, a pivotal accident in 2019 redirected her focus toward her artistic foundation, leading her to create sculptural works in glass, textiles, and mixed media.

STRUCTURAL ASPECT

Structural-aspect is a Eindhoven based design practice. They design and manufacture interiors, furniture and spatial solutions. Working for private, public and commercial customers who want to translate their story visually.

They design with the belief that the basis is already there with a reason. Starting with a research of the already existing and translate those good aspects into a new concept that fits with the norms and values of the moment. Therefore, they design with as little impact as possible and bring back the essence of the question.

With the focus on researching existing techniques and manufacturing methods, designing based on embodied knowledge and producing with the standards and values ​​of the moment they create our own aesthetic identity and philosophy.

STUDIO KLOUMI

Studio Kloumi is an interdisciplinary design studio based in Eindhoven. Its founder, Clémentine Buffa, grew up in the south of France before graduating from Design Academy Eindhoven in 2022.
Inspired by the singular beauty of natural elements (phenomena, textures), the studio experiments with various processes to create unique pieces, mainly made of metal. Through an obsessive search for detail, Studio Kloumi has developed its identity, on the border between sculpture, art and design.

Each piece is unique, and handmade.

SVEN JANSSE

The practice of Sven Jansse (Rotterdam, 1987) operates along the edges of art, architecture, design and photography. By investigating themes such as textures, color, scale and architectural typologies through abstraction or precise recreation, the projects aim to function as a mediator between our everyday reality and a more dreamy, parallel universe.

TEUN ZWETS

Teun Zwets is een ontwerper met een hands-on aanpak. Hij werkt intuïtief, denkt praktisch na en maakt dingen niet moeilijker dan ze moeten zijn. Door te doen onderzoekt hij wat er wel en niet mogelijk is. Zwets gebruikt materiaal dat andere mensen weggooien, voornamelijk van prominente meubelmakers. Door deze ontwerpgedachte zijn alle werken van Teun Zwets unieke en handgemaakte stukken.

‘Design by doing, thinking by making.’

De creaties van Teun Zwets worden ter plekke gemaakt, met de materialen die aanwezig zijn. De snelheid van het proces is voor Zwets cruciaal om de focus te behouden. Zowel het idee als het ontwerp van de meeste van zijn werken worden in minder dan een dag gemaakt. In plaats van conceptueel design, omarmen en vieren de interieurstukken van Zwets het praktische. De functionele kunststukken bestaan uit een groot scala aan materialen, waaronder vaak restmateriaal.

THIJMEN VAN DER STEEN

A design studio based in Amsterdam.

Shortly after graduating from Design Academy Eindhoven in 2012, I moved to Amsterdam to open my own design studio.

In my work, I aim to make objects that are timeless and understandable in shape and in use. I like to strip down form and material, so that only the necessary elements remain. I find simple and minimalistic objects most beautiful and powerful.

A considerable part of the objects are made by hand.