An observing walk through a forest can leave us feeling free, serene and sheltered at the same time. Trees outlive our lives, symbolize strength and fortitude, and are the epitome of connection with their network of offshoots. Despite their peculiar beauty, offshoots are often discarded after other parts of the tree are manufactured into new forms. By doing so, the dignity of the offshoots is wasted. Stubbornly yet controlled, the branches reach out for sunlight and bring life into a tree.

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Our world is filled with admirable natural phenomena. From white marble boulders with subtle shades to the flowing lines of ancient tree trunk. When it comes to design and creation, nature doesn’t need us, that’s for sure. Captivated by this beauty, Jesse Sanderson designed the Altar – he starts with the potential of the aged European trees he finds, during an intensive quest and selection. After that he lets the tree dictate what type of shape the tabletop will have. When finding the right tree, Jesse is able to immortalize these natural masterpieces.

Five lines and a circle – the human body can be as simple as the drawing of a five year old. Inspired by the same simplicity Jesse Sanderson designed the Memento, a chair in its purest form as two leather rectangles with a steel lining.

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Exhale skillfully encases a single blow of glass within a rigid metal structure. The metal form restricts the glass by pinching, hooking and spiking into the volume during the blowing process, capturing a tense play between the constricting and billowing materials. The entire fixture catches one breath.

In a fast world in which excess rules supreme, Maarten Schröder gets a sense of peace from a pure and simple image. In his work, he searches for the ultimate form of simplicity. Maarten is able to capture the reality in an estranging way, yet nothing in his picture has been manipulated. For the photographer it proves that one doesn’t always need to meddle with an image, sometimes the reality itself is fascinating enough.

 

Like a submarine suddenly appearing on the surface of a calm ocean, the Sublight emerged from weathered steel plates Roland de Mul found. Through exploring the possibilities, the steel started to resemble the form of an underwater vessel. By keeping the source of light out of sight, mysteriousness is created similar to the abstruseness of a submarine’s light moving through dark waters.

 

The Floating Divan, by Chiel Kuijl emerged directly from his art installations that refer to the endless networks and systems that we encounter in nature and society. His architectural projects consist of mainly rope and space constructed over land, water and in the air. The same inspiration and technique is applied on the Floating Divan. Kuijl includes swings and floating divans in his installations to involve human interaction.

The seat is made of a cross section of a tree trunk, which is held up in the air by a well thought-out pattern of knotted ropes. The Floating Divan has become an intimate place where one can slowly rock and withdraw theirself from hasty everyday life. Lifted from the ground, you are surrendered to the waves that move seemingly unpredictable through space.

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The use of concrete as material for tableware is surprisingly unusual. Such a surprise reflects the contradictory characteristics of the Van Vels. Concrete, often defined as a heavy and cold material, actually feels warm and soft. The geometrical basis stands in stark contrast with the casually placed, organically round form of the inlays. Nature versus science also appears in the dimensions of the design. The chosen measurements refer to the Fibonacci sequence; a sequence of numbers that appear unexpectedly often. This mathematical principal has something mystical to it; it appears in biological settings. The branching in trees, arrangement of leaves on a stem, and an uncurling fern all follow the Fibonacci numbers.

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Akko Goldenbeld discovered a set of weathered airtanks during one of his regular visits to the local metal junkyard. As a musician, he was instantly mesmerized by the long serene sound the tanks created when clashing into each other. By turning on the light, the sound is re-created to capture a sense of calmness and awareness in a world that seems to travel faster than light.

Jesse Sanderson is captivated by the appearance of branches after years of weathering. When the sapwood decays under the influence of rain and insects, the heartwood leaves a characteristic structure that reminds him of human muscles. By bronzing a number of fragile branches and combining them with a second hand Jackal fur, the LOTW became a seating object that triggers the imagination.

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Amba Molly visualizes the dialogue between industry and craft world in the context of ‘corpus’, the Swedish word for silversmithing. The idea to merge bronze and glass in ‘Atlas’, her series of tableware, is inspired by her multicultural background. Amba advocates how merging crafts with the methods of mass production can result in a new vocabulary within the worlds of arts, crafts and design. But also how cross-pollination is able to broaden our disciplines and gives us the chance to discover new ideas, objects, solutions and processes with a more multicultural DNA.

Limited editions

The Love, the Pain, the Beauty arose in a phase in which I was triggered by the paradox between love and sorrow. During the design process I dealt with questions such as; What is true love? What kind of experience is it? What is the beauty of it? Do you find it when capturing the moment? Is it in the longing after you lose that love? Or do you only truly experience the beauty when you let go of a loved one? The first ‘The Love, the Pain, the Beauty’ edition in plastic is a visual answer to these questions. With ‘The LPB’ execution in noble metal I tried to reinforce my grip on time.

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Maurits Büsse transformed an object that normally is seen as taboo, by using high quality materials. Fascinated by the way this mass-produced product is approached with disgust by many, Maurits was able to capture a sense of refinement in his distinguished version. The metal was poured with a traditional wax method and the woodwork was modulated by hand, making every object unique in its own shape.

Jesse: “As a designer I am fascinated by imperfection. Materials with different shades of color, asymmetric proportions, organic shapes and uneven structures inspire me. Natural raw materials that are affected by weathering and aging tell a story about the origin and history that I aim to emphasize wherever possible. On the other hand I feel strained by the choices, images and incentives that confront me on a daily basis. The conspicuous consumption. The endless entertainment. It seems like everything constantly needs to be better, newer and more austere. A trend that makes me long for the Calvinistic times of frugality, thrift and perseverance. My work is a way to show this desire for simplicity.”