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Ambiguous objects – Ning Zhang and Yue Gu – to explore other possibilities for everyday items, away from their intended functionality. The drive for perfection in product design destroys certain ‘wild’ life. Can we give a new narrative of our everyday objects?

At VEEM you ca see collaborations between designers and creative makers on an international level. It is the place where established names as well as young talent present their work sharing a common ground: material development and craft. VEEM focuses on projects with a conceptual and aesthetic approach.

Claything – to fuse traditional ceramic techniques with digital manufacturing methods.

Im-Perfect – Ching-Hui Yang – A jewellery collection based on the 5 stages of grief. The five stages of the Kübler-Ross stage model are the best-known description of the emotional and psychological responses that many people experience when faced with an illness or lifechanging situation.

(1) Domestic traces – Pien Post – To make domestic labour of cleaning visible.

(2) Esther Vane

(1) Marecreo – The self-proclaimed Craftswoman of the sea, Aurore Piette transgresses ceramic techniques by proposing an alternative making process co-working with the sea. Setting handcrafted roped moulds at low tides, allows nature to shape the artefacts in those containers.

(2-3) in / PERFECTION – The Portuguese designers intend value, detect and highlight the error, the imperfection of a given object, caused by the influence of manual production.

Offiskill – Home Office Furniture, João Bruno Design – RGB wool panel, Passa Ao Futuro – Opium Bed, Ligia Narciso – Pea pod.

(1-2) Curve – Sophia Taillet – Linked to a reflection on the predetermined functionality of industrial materials, this series is the result of research around the glass and its various transformation techniques. Inspired by the playfulness of reflection and texture caused by water and light. The stability of each object is based on the interdependence between surface and support, imbalance and weightlessness to create an aerial and luminous design.

(3) Yvon Smeets – Wear (glass, rubber).

(1) Form Editions – Hybrid Times – This exhibition shows work of young, diverse and international artistic designers and tries to get some answers. What makes design collectible? What makes collectible design different from art?

(2) Studiofoam – Skin tones – Leather, porcelain, brass.

(1) Michiel Poelmann,(2) Theophile Blandet (3) Studio Jule Cats (4) Fict Studio (5) Rive Roshan

TXTL exhibition show degree work of both bachelor and master candidates in textile design, at the Swedish school of textiles, University of Borås.

(1) Christine Snedker (2) Mikaela Svensson (3) Juliette Berthonneau

(1) Maria Wolff Metternich (2) Mimi Danielsson

(1) Colored by Flavo bacteria – What if artists, scientists and bacteria co-developed ‘high-performance colour’ as a sustainable alternative to petroleum-based pigments dyes? 

(2) Longpi by Tiipoi – Working in collaboration with Mathew Sasa who is making black pottery in India, Tiipoi has produced a collection of ceramics that feature cookware as well as serveware. What does Craft have to sacrifice to become a mass produced item, and does it then still remain a craft?

HOW&WOW – we saw them last year with a different collection. Crafts Council Nederland is the platform and expertise center that strengthens, innovates and broadens creative craft, both in the Netherlands and internationally.

(2) Marieke van de Ven A re-appropriation of the Ancient Greek vessel in combination with the costume construction of an 17th-century sleeve. Using embroidery, print, basketry and pattern construction the ornamental pieces you get a new framework of ideas.

(3) Basketry master Esmé Hofman was one of the prize winners of Hokuriku Kogei, a leading crafts award in Japan, in 2017. Sandra van Riet – her ceramic objects are made from black clay. For the coatings, she works with plant ash and mineral oxides.

(4) Ruben van der Scheer – ‘rejected work’ – This is a tower or totem pole. Entirely made from rejected work, old pieces that Maria van Kesteren kept in her shed for years. Not wanting to throw them away but also having no use for them anymore. Ruben was given a box full of them to make into new work.

(5) Almeerse Wolunie – Brigit Huijbens – research into the dyeing of Almere wool with natural dye of madder. This complicated dye has to grow for three years before it can be used.

(1) Simón Ballen – glass objects from minerals left behind after gold is processed.

(2) Seungbin Yang – applies the very costly and rare Ott-chil lacquer technique from Korea to a different base: paper. For centuries, this technique was only used for ceremonial objects and luxury furniture.

(1-2) Biophilica – A plant-based material that is truly local, biodegradable, and recyclable. It’s driven by a wish to reduce the harmful chemicals that surround us – in our homes, offices, in our bodies. Mira Nameth has worked with plant, mineral pigments, and pre-plastic varnishes made from plant oils and wood resins.

CHEMARTS

(1) Layers of blue – Cellulose dyed with natural dyes. Blue is the rarest colour in the nature, and in Finland a crop named dyer’s Woad yields non-toxic blue, which could potentially replace industrially used chemical colours and reduce the water pollution caused by the textile industry.

(2) In tension – From two dimensional patterns to three dimensional shapes This material experimentation project focuses on shrinkage as an intrinsic quality of drying micro-fibrillar cellulose

(3) Shimmering wood – Nature’s brightest colours – like those found in peacock feathers or butterfly wings – are created through nanostructures. When light hits these structures, our eyes perceive their intense and vivid colours. Unlike traditional pigments or dyes, this colour arises only from the physical structure of the material, without the need for chemical compounds. Usually, this structural colour is iridescent, turning the typical muted and humble shades of wood into shimmering colours. Shiny or glittery effects – very popular in fashion and design today – are usually created using toxic pigments, plastic-based materials, or metallic foils.

(4) To-matter – Currently biomass from green house cultivation is treated mostly as a waste. It contains a lot of cellulosic fibbers that can be used for example to manufacture sustainable and recyclable packaging. Farmers could produce their own packaging locally, and reduce their carbon footprint as well. The samples are made of 100% tomato stem waste or tomato stem-wood pulp mix.

(2) Wasteland to Living Room – Red Mud, a.k.a. bauxite residue, is a byproduct residue of the alumina industry. Over 150 million tonnes are produced each year, and left unused in giant pits. This project questions our notion of ‘waste’, and shows the value of secondary materials in a world of finite resources. The industrial residue can be transformed into ceramic bodies, glazes, and geopolymer concretes.

(3) Project Sea Stone – Every year 7 million tons of seashells are discarded by the seafood industry and aquaculture. The majority of them are being thrown into landfills, which cause severe environmental pollution. They consist of over 90% calcium carbonate which can be considered as Limestone and seen as a valuable biomaterial, that can be used for making objects.

(1-2) KAIKU Living Color – Nicole Stjernswärd – The sustainable plant waste alternative to synthetic colors. So It transforms waste from everyday foods, like avocados, into a high value resource – pigments you can paint with.

(3) Jolan van der Wiel – water vase free – a new way for fountains.

(4) Anne Martin

(1) Sensetainable – Coffee Composer – Coffee consumption on the go increasingly relies on self-service. Starbucks-style chain outlets make us stand in line to order. What if… to make it playful. Each token is an ingredient like cow milk, oat milk or coffee beans. Put your own combinations of tokens to a machine and get a drink!

(2) Julia Lutgerink – Vazig.

(3) Soft Developables – Michelle Shields and Heleen Sintobin– The project explores digital crafting within contemporary ceramics by use of the robotic arm and CNC technology.

(1) Heleen Sintobin – a collection of 48 terracotta tiles showing a topographical landscape of the terracotta pit ‘Smokejack’ in Cranleigh, England. Each tile is encoded with its unique GPS coordinates and milled by CNC.

(2) Studio Sinn Ästhetik – Underglaze Drawing Machine for Ceramics – allows vector graphics to be precisely drawing on porcelain and stoneware surface.

(3) Re:flex – programmable material that changes its shape in response to heat. You can heat it, deform it into a temporary shape, and cool it down to freeze it in place. When heated again, it remembers and returns to its original shape, allowing objects to be reshaped by users to suit their needs.

Annie Larkins – An Egg Without a Chicken – develops plant-based alternative to chicken eggs, using pea protein, salt and algae-derived acid. She altered their shape, by elongating them or moulding them into cubes. But she wanted her substitute to stay true to the original food’s form – with a white and a yolk – to have a shell that cracks, to have a similar nutritional value and taste, and to require no birds in the making.

(1) Lennart & Lauren Leerdam – The Paperthin series is entirely based on the old production methods from the tin can industry. A thin metal sheet was transformed into a functional product. The Beams series is a translation of our research into the iconic metal profile beams -the recognizable forms into new and independent objects.

(2-4) The works by 28 freshly graduated Polish designers.

(3) Dorota Balewicz – Chmurnik – The heritage of the designer’s home region has inspired her to restore the tradition of weaving in a contemporary and versatile chair design.

(4) Elżbieta Maruszczak – Accepting defects and increasing their value by taking control of their imperfection in form and intensity.

Dutch Design Awards 2019

The work of all winners and nominees 2019 was exhibit during Dutch Design Week on the 3d floor. Every year, Dutch Design Awards (DDA) honours the best Dutch designers and their projects. Various disciplines, viewpoints and solutions are judged in light of the impact they have on our society. Dutch Design Awards thereby gives a boost to the profession as a whole.

(1) LEX POTT X WELTEVREE – The clomps are made from poplar wood from Dutch forests using traditional methods. New silhouette – more ergonomic and for left or right feet, there was no distinction between shoes before.

(2-4) Marjan van Aubel Studio researches a solution for two of the largest problems of our time: the food and energy issues. POWER PLANT is an energy-neutral greenhouse, in which both electricity and food are produced from sunlight. New bio-technologies make food production more efficient, but usually, require large amounts of energy. Each hour, the Earth receives enough sunlight to provide the whole planet with sufficient energy for an entire year. Power Plant researches how sun cells can be integrated into our daily surroundings in such a way that this inexhaustible resource can be optimally utilized – firstly for food production – and made available to a much larger group of people.

All the projects you can find here.

Czech craft – Students of Prague’s Academy of Arts, Architecture and Design are deepening of knowledge about craft production of bead processing in the context of textile production.

Check about Veem 2018

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