Sander Wassink is an artist and designer who encourages us to reconsider our ideas of beauty and aesthetic value. 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.
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
The glass lamps are a colourful experiment made by Sander Wassink and Ma’ayan Pesach, which bring old & unused glass together with resin and pigments. The starting point of their research was to collect large amounts of forgotten glass pieces, from varied quality, period and usage. The compositions then took place; creating unique objects build from different glass items. To attach all the pieces to one unit lamp Wassink & Pesach used colourful resin, which brings strong reflection when lighted. The lamp is hanging by thin copper wires and lighted by led light, which keep the temperature low (mainly for the sensitive combination of glass and resin). For their latest exhibition at Rossana Orlandi during the design week in Milan, they created an installation of green gradient, with 17 hanging pieces.
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
In Afterlife Inc. Sander Wassink puts his emphasis on the afterlife of products of contemporary culture by finding ways of deconstruction that provides a proper memorial for them. In his statement Wassink Says: Our modern consumption culture denies or ignores the notion of death, afterlife and destruction, but finally it is the inevitable byproduct of it’s functioning.
Many Thanks to Frank Broos.
[i]In the first days of March, there was a great flurry of activity at the Waag Society Fablab in Amsterdam, where a group of 12 designers based in The Netherlands were invited to participate in experimentation with a new resin. ... read more
For Bower & Bird we created the Housed frame. Easily adaptable to different funtionalities. More locations to follow.
What is the value of our possesions? Executed for the ABN Amro bank in Eindhoven.
They appear for just a moment and then brutally disappear behind the new and better. When passing these ghosts the imagination of what ones was is being evoked in us.
(Only a few pictures from the book)
The project Character of Human Activity took as it's inspiration the construction of collective spaces, areas created for communal activity and collaborative interaction. The fundamental design strategy is to adapt to the needs and ideologies of individuals as they interact in space, a progression shapes built by human activity, which could not be predetermined on a drawing board but must necessarily be adaptive to their inhabitants. In this way, these forms are a testament to the complexity of human interaction, both with one another and with spaces and objects, and in this way, reflect the intricacy daily relations with both the social and built environment.
Photography by : Ronald Smits
I Worked in Beijing together with students from different disciplines and countries to visualize the possible next city. The biggest Question I asked myself was: "How can a city be created from individuality" I made a small booklet about this future scenario.
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.