Droog - Amsterdam
Piet Hein Eek - Eindhoven
Rossana Orlandi -Milan
Show Me - Braga
Antropology - USA
Viaduct - London
Mint Gallery - London
Le Bon Marché - Paris
X-Bank - Amsterdam
DAD - Berlin
Seen at/// ....../2015/2016/2017
In Stijl - The Hague - 19 - 27 mai 2017
Contrabande - DAD - Berlin - 27 mai - 27 June 2017
Rossana Orlandi - Salone - Milan - april 2017
Contrabande - Boijmans Museum - Rotterdam - 10 September 2016 - 26 Februari 2017
Design of The Year Award - Design museum - London - 24 November 2016 - 19 Februari 2017
Wild Things - Stedelijke Musea - Kortrijk - October 14 - December 04 2016
Northern Clay Center - Minneapolis - September 23 - November 6 2016
Contrabande - Boijmans Museum - Rotterdam - September 2016 - Februari 2016
NE AR - Beirut - May 20 - 29 2016
Mint Spring Show - London - May 2016
Rossana Orlandi - Milan - April 2016
Galleri F15 / Tendencies 2016 - Moss/Norway - March 19 - June 8 2016
Princessehof - Leeuwarden - Februari - September 2016
Next Up Kazerne - Eindhoven - Februari - September 2016
Maison&objet "Wild" - Paris Januari 2016
Sin límites - Madrid - Januari/februari 2016
Opera - Torino - 06/07/08 November 2015
In no particular order 2015 DDW - Eindhoven - October 2015
Van Abbe DDW Eindhoven - October 2015
Sectie C - DDW - Eindhoven - October 2015
Design Derby - Design Museum Gent - October 2015 - March 2016
Designblok - Praque - October 2015
Mint Gallery - London - September 2015
Northmodern - Copenhagen - Augustus 2015
Symposium - Gorinchem - Juli/Augustus 2015
Salon - Paris - May/June 2015
Vert Le Nord - Paris - May/June 2015
Krehky - Mikolov - May /June 2015
Design Kwartier - Den Haag - May 2015
Salone at Rossana Orlandi - Milan - April 2015
Demo Festival - Barcelona Febuari/March 2015
Northmodern - Copenhagen - Januari/Februari 2015
Depot Basel - Basel
Salon BJ - Beijing
Milano Makers - Milan
Droog - Cape Town
Viaduct LDF - London
DDA - Seoul
Dutch Design - Washington
Rossana Orlandi - Milan
Frozen Fountain - Amsterdam
Walls Gallery - Amsterdam
Droog - Amsterdam
WinterSalon/1 - Amsterdam
Salon in Lensvelt - Amsterdam
Dutch Design Awards - Eindhoven - October 2013
Dutch Design Awards - Eindhoven - October 2014
Camper workshop - Mallorca
10.09.2016 – 26.02.2017
You are cordially invited to the opening of the exhibition on Saturday 10 September 2016 at 3.00 p.m.
To mark the Gispen Specials presentation, designer Sander Wassink (Harlingen 1984) was asked to make a design based on one of the Gispen chairs. He selected the diagonal chair, which in 1927 was the first tubular steel chair the company made. Gispen has always prized the unique quality of production on a small scale, and Sander Wassink also incorporates these qualities as an essential element in his work. These days, industrial manufacturing is scattered all over the world and
everything looks the same, so there is less and less scope for maintaining the characteristics of local skills and working practices. Yet these qualities are precisely what Wassink is looking for. He integrates them into his designs as a tribute to local tradition and culture.
He took the Gispen chair with him to Sefrou in Morocco - at one time an important trading hub and now a centre producing handmade products. Wassink had the chair reproduced there using exclusively local methods. Attitudes towards property and authorship in Morocco are completely different. A design is never finished and it can be adapted as the user sees fit. so Wassink fine-tuned the design on a daily basis. using materials and expertise he found on the street. A photograph at the
status quo was taken every day.
After these nine days on the street he packed the chair in the cheap plastic used in almost everything on the street. And took the chair back to europe on a cheap ryanair flight.
NL-3015 CX Rotterdam
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The Dashilar Flagship store is a fictive, temporary shoeshop in the Hutong Dashilar in Beijing. It uses cheap, counterfeit shoes as raw material to create a brand with a new local identity and pride. The Cutting and re-editing of the shoes is being done in the shop by designers and the assembling is executed by the local Dashilar shoemakers. Wassink is making an attempt to create new collaborations in which designers, makers and the industry can interact more flexible in fulfilling local and global needs. He tries to deconstruct the idea of status by brands and give them a new meaning in a more local context. ... read more
State of Transience, is a responsive design process, which is continuously shifting over time. Using the relatively simple design archetype of a chair, Wassink repurposes materials, making additions, subtractions and mutations, to suggest the impossibility of a final or fixed form. Each new version of this chair, documented in incremental stages, shows evidence of it's future potential. Every new state is a testament to ingenuity of human production and the fragility of supposedly rigid constructions. In this way the project maintains a lineage of its arrangements, preserving both it's past iterations and suggesting future possible developments simultaneously. The goal is not a finished product, but instead a material history of combinations and constructions.
Photography by: Ronald Smits
Sander Wassink is an artist and designer who encourages us to reconsider our ideas of beauty, aesthetic value, status. How can we reconsider what is important and what is desirable to include notions of history, memory and the preservation of a past which is slipping away. Amid new construction, new production, and constant proliferation of new forms and facades, Wassink turns his attention to the discarded, the abandoned, the left over and attempts to reimagine what can be done with the already partially formed. What new possibilities exist in the surfaces and materials that are half-built or half-destroyed. Whether his object is the partly demolished facade of an abandoned building, or the everyday detritus from our over productive culture, Wassink asks what new forms and new visions of beauty already exist to be discovered and appreciated.
In the last year his work is more shifting towards mass production, status ,creative ownership, and the systems in which our daily objects are being created
Dutch design award nominee (Mini young designer) 2013
Dutch design award nominee (Product)
Volkskrant design talent 2016 .
In Afterlife Inc. Sander Wassink puts his emphasis on the afterlife of products of contemporary culture. He focuses on finding ways of deconstruction that provide a proper memorial for them. This project shows his fascination for the human urge of imitating and mimicking natural events, but thus ignoring the notion of death and destruction. Whereas it is the inevitable byproduct of its functioning. His life size technical prints show a complexity which is impossible to design upfront.No software is capable to take the unpredictable amount of parameters involved into account. A visualisation of our incapability of maintaining control. Once perfectly straightened dreams crumbled and destroyed, now represent the complex ingenuity of reality.
Many Thanks to Frank Broos.
Adaptive Manufacturing is a collaborative project by Sander Wassink (1984) and Olivier van Herpt (1989) started in 2014.
An essential part of their concept is to highlight the production process. Adaptive Manufacturing takes as its point of departure the question of how technological production has replaced the craftsman and thus removed all traces of human and local influence.
At the foundation of every product there is the production process. When we replaced the craftsmen by machines we lost the translation of local influences into our products. What if our machines could become more sensory? What if the machine could sense the local environment and incorporate it into the production process?
This research looks into ways we could regain that lost connection with the production of objects. To do so, they decided to design scripts which distil shapes and textures from external phenomena. External information is measured by sensors, eventually translated into specific behaviours of the printer through a software. You could call it a sensory machine that feels its environment, translating input into a document of a specific time, location or raw material. However the machine does not operate autonomously. Indeed the designers role is about selecting and distilling only certain features from the complexity which surrounds us.
Photography by: Ronald Smits
The Laws of Expandability, was developed for a cultural exchange between Wassink's home in Holland and Beijing. Using urban planning and public housing projects as a point of departure, Wassink set out to imagine a more adaptive form of design which would take it's form as a bottom-up type of design, rather than a top-down model often found in Holland. Understanding the importance of individual expression, and the need for personal expression, Wassink developed a grid system, which tries to imagine individuality as the building blocks for a new city. This grid system mirrors the very organic way historic Chinese housing developments, and self-created neighborhoods grew. "Nothing is thrown away," Wassink says. "Each new idea or necessity is just added on to what already exists." Rather than impose a new form on top of an old structure, Wassink envisions an adaptive and additive process, which allows for the preservation of past constructions while allowing for the expression of individual needs and inspirations. This project is envisioned as an attempt to embrace a new mindset. "For me it was not so much about changing anything in Beijing or Holland, but about thinking how things could be different and incorporating that mindset into our own personal spaces." Through this kind of flexible practice, the desire for individual expression can also achieve compatibility with the preservation of past forms and material histories.
You are welcome to apply for an internship at my studio. Are you interested in using mixed media to explore a wider field of design?