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LIVE FACTORY

Production Zone

MORPHOLOGY LAB
INTERIOR ARCHITECTURE AND FURNITURE DESIGN
CUTTING THROUGH > THE BODY

The Morphology LAB CUTTING THROUGH > THE BODY investigates cross sections of the human body. Anatomical drawings, cell structures and molecular patterns are the basis of a new language of forms, which will be magnified and materialized in plaster, clay and textile. This will lead to fascinating three-dimensional structures. Physical experiments with materials and techniques are put to use as an inventive and investigative method of design.

Tutors: Marie Ilse Bourlanges & Elena Khurtova.

Students: Frank Niessen, Danitjsa Vergeer, Lana Costa Soares, Phylicia Kok-Sey-Tjong, Kimberly van Doorn, Louise Rietvink, Roxan Reurslag, Michèle Groenewegen, Román Kienjet, Bert Bouwman, Brinea Costa, Rense Jansen, Marjolein de Groot, Tommy de Moor, Bert Spolders and Ina Louise Schonack.

 

MORPHOLOGY LAB
INTERIOR ARCHITECTURE AND FURNITURE DESIGN
BODY < > BUILDING

In the BODY < > BUILDING LAB the relationship between the human body and its spatial context is the main theme. Both the body and the space it resides in are characterized by their own formal language of forms. The object of study is an accessory that connects both forms and thus becomes a physical expression of the in-between-space. The notion of form and imprint are further deepened in the production process, where moulds are made with the help of plaster casts. These eventually give shape to an end result, which is cast in ceramic.

Tutors: Krijn Christiaansen & Cathelijne Montens.

Students: Catherine Reiser, Marlies van Putten, Gabriel Holysz, Kristel ter Steege, Milou Simons, Annemarie Beunen, Jamilla Sungkar, Rozanne Hagendoorn, Mark Flipse, Roel de Nijs and Mateusz Tkaczen.

 

Performance Zone

ARTSCIENCE
DICK RAAIJMAKERS, 1995, RE-DIRECTED BY MICHIEL PIJPE, 2013, PERFORMED BY STUDENTS AND ALUMNI OF ARTSCIENCE
VOLTA

In 1800 the Italian physicist Alessandro Volta developed the first electrical battery. This ‘Column of Volta’ consisted of copper and sink plates divided by a carton disc, which had been drenched in a saline solution. In 2013 students and alumni of the ArtScience department of the Royal Academy of Art will revive this experiment. In a performance that will last for several hours a 1,5 metre high column will be erected from copper and zinc plates and 2000 kilograms of rags drenched in diluted acid. After applying the last plate the circuit will be closed and this colossal battery will light up a small lamp. VOLTA provides an insight into the amount of work involved in producing electricity and the ease with which it is subsequently used.

www.interfaculty.nl

 

NYNKE KOSTER
INTERIOR ARCHITECTURE AND FURNITURE DESIGN
SELF-PORTRAIT, 2013

A series of self-portraits show different states of mind, translated into objects. Covering oneself with plaster may seem pretty gloomy, but is in fact a sensitive self-examination of the individual’s vulnerability. With this apparently self-destructive and aggressive act Nynke Koster tries to pin down her emotions and transform them into matter.

www.nynkekoster.com

 

MARTIJN RIGTERS
INTERIOR ARCHITECTURE AND FURNITURE DESIGN
TECHNOLOGY WITH A HUMAN FACE, 2013

With his performance TECHNOLOGY WITH A HUMAN FACE Martijn Rigters aims to restore the relationship between user and object, by making the production process understandable and using the human body as a design tool. By seeing the human hand as a design tool and equipping it with a special glove with for example a sandpaper coating, one is able to directly manipulate and determine the form of materials. The unique experience of being spectator, producer and user of the product at the same time is the thrilling end result of this performance.

www.martijnrigters.com

 

MAARTEN SCHENKEVELD
INTERIOR ARCHITECTURE AND FURNITURE DESIGN
WITHIN BOUNDARIES, 2013

Maarten Schenkeveld’s performance WITHIN BOUNDARIES offers the viewer a staged and process based version of his design collection ONE PIECE A DAY. For the LIVE FACTORY he designed a process with fixed restrictions: it is up to the maker which restrictions will be used. This differs from ONE PIECE A DAY, whereby he uses the technique to guide the material in different directions. WITHIN BOUNDARIES develops a language of images that puts the designer, the material and the fixed restrictions in an intriguing triangular relationship.

www.maartenschenkeveld.nl

 

NIKKIE WESTER
TEXTILE & FASHION
MAYPOLE, 2013

Nikkie Wester’s performance MAYPOLE is a free interpretation of the traditional Maypole Dance: a well-known North European folkloric dance. At the beginning of spring this courtship display is used to celebrate the fertility of the land. In MAYPOLE, a living loom, man becomes a machine. According to a fixed choreography the participants dance the May Dance with colourful ribbons. Traces of the dance are being captured in a plaster mould, which consists of a male inner mould and a female outer mould. In this way every dance makes for a new, unique result. Products will be developed daily in the LIVE FACTORY by using the same technique on a wool winder and a yarn winder.

www.nikkiewester.com

 

PERFORMANCE SCHEDULE

Coming soon...

 

 

 

Exhibition Zone

BRINEA COSTA
INTERIOR ARCHITECTURE AND FURNITURE DESIGN
MEMORY CARRIERS, 2013

The symbolism of scent is the starting point for Brinea Costa’s subtle work. Scents carry memories. Incorporating scent into a portable object keeps the memory alive. Sandalwood, natural resin and old books remind Costa of her homeland Brazil. Far from home she tries to capture these scents in a piece of jewellery to counteract her homesickness.

brineacosta.wix.com/portfolio

 

MARJOLEIN DE GROOT
INTERIOR ARCHITECTURE AND FURNITURE DESIGN
WEAR AND TEAR, 2013

The WEAR AND TEAR bracelet is a symbol for carrying a deceased person close to you. The slowly wearing material can be interpreted as the various stages of mourning for the bereaved. WEAR AND TEAR researches how a natural material’s process of wear influences a piece of jewellery’s wearability. Will the process of wear ever be concluded; will the bracelet break and the deceased be relinquished? The work WEAR AND TEAR is an ultimate ongoing process in which De Groot stretches this concept to life size proportions.

www.madebymarjolein.com

 

LORRAINE HAYE
INTERIOR ARCHITECTURE AND FURNITURE DESIGN
VISIBLE, 2010

Lorraine Haye’s departure point for VISIBLE was French philosopher Maurice Merleau-Ponty’s quote ‘the world is visible and invisible at the same time’. VISIBLE is characterized by a play of colours and light. Thanks to mirror and daylight the primary colours blue, red and yellow intermingle and show the whole colour spectrum. Simultaneously the viewer is confronted with a mirror image of himself and his surroundings. Is what we perceive reality or just a reflection of it?

www.lorrainehaye.com

 

NYNKE KOSTER
INTERIOR ARCHITECTURE AND FURNITURE DESIGN
TAPETTO DEL PARADISO, 2013

In 1921 the then director of the Royal Academy of Art bought a copy of the world famous ‘Porta del Paradiso’ doors by Lorenzo Ghiberti (1378-1455). These plaster doors are the basis of part of Nynke Koster’s graduation collection. Within this still developing collection Nynke Koster makes imprints of various spaces that she subsequently incorporates into objects. In LIVE FACTORY MAKE MY DAY part of a carpet can be seen. It is a negative of the eighth panel of the doors, The Fall of Jericho. The soft carpet is the result of a comprehensive reproduction process. After applying wax to the Ghiberti panels, Nynke Koster made a rubber mould, which she subsequently cast and lathered. In this work in progress Koster shows the current relevance of an art historical panel, while at the same time giving her own interpretation to the original object. This project is sponsored by Oscar Paanen.

www.nynkekoster.com www.paradijspoorten.nl

 

ANNE KRANENBORG
INTERIOR ARCHITECTURE AND FURNITURE DESIGN
FRAGMENTURES, 2013

In Kranenborg’s work the transitoriness of the material determines the product’s finiteness. One must break the necklace in several places before it becomes a unique and wearable object, fit for individual purposes. The carpet also requires human intervention: it breaks when a visitor steps on it. The sensation that arises from these interventions show the objects’ process of production: where normally these interactions would be deemed unwelcome, here it is the formative element that gives the collection its identity.

www.annekranenborg.com

 

CATHERINE REISER
INTERIOR ARCHITECTURE AND FURNITURE DESIGN
CELEBRATE THE DECEASED, 2013

Reiser’s research is a contemporary translation of an age-old South American cultural phenomenon: celebrating the dead during the ‘Day of the Dead’ Festival, whereby tradition and handicraft merge. Reiser makes contemporary urns with the help of a CNC laser cut machine, which gives precise and accurate results. During the production process Reiser’s manual interference is of great importance for the final design. Type of material, temperature and glazing all influence the eventual object. The imperfections that thus arise make the originally perfectly cast urns into fascinating and very personal objects. The exhibited objects show the various research stages that Reiser went through in her working process.

www.catherinereiser.com

 

LOUISE RIETVINK 
INTERIOR ARCHITECTURE AND FURNITURE DESIGN
LINES, 2013

Wrinkles and lifelines are unique for every individual, but no one is proud of them. Botox clinics have no trouble finding clients and become more and more accessible. In her work Rietvink wants to confront people with the beauty and singularity of wrinkles. The simple, but aesthetic gloves show us how these lines are formed by movement and thus cannot be controlled.

www.cargocollective.com/louiserietvink

 

SMART REPLICA’S
MAAIKE ROOZENBURG WITH ALYAR AYNETCHI, DONNA VAN WEST, RENI VAN DER GRAGT, SANNE KLOPPENBURG
GRAPHIC DESIGN

WOODEN SHIPS, 2012
…CUPS, 2012
THE SEVEN, 2012

SMART REPLICA’S are replicas of historical consumer goods made through a combination of 3D-scan and print techniques and craftsman-like, traditional methods. Museum pieces are turned into quotidian consumer goods. With the use of augmented reality techniques the SMART REPLICA’S are enriched with stories about the history of the original objects. SMART REPLICA’S is a project that moves on the intersection of national heritage, design and technique. Students of the Graphic Design department collaborate with Studio Maaike Roozenburg, Museum Boijmans van Beuningen Rotterdam and the Technical University of Delft. Guided by Gert Dumbar, Graphic Design and Yolande Kolstee, AR LAB.

Project sponsored by Mareco Prototyping.

www.maaikeroozenbrug.nl

www.arlab.nl

Wooden Ships

The Seven

MAARTEN SCHENKEVELD
INTERIOR ARCHITECTURE AND FURNITURE DESIGN
ONE PIECE A DAY, 2012

One day, one idea, one object. This is Maarten Schenkeveld’s point of departure for his intriguing collection ONE PIECE A DAY. For his graduation he developed a new object every 24 hours, varying from crockery to tables and chairs. Schenkeveld is fascinated by flexible design: a form of design whereby he uses the specific properties of his chosen materials. Through the use of a matrix he developed himself, he steers the material in a certain direction, while simultaneously keeping the freedom to carve his own path. The matrix systematically combines three processing techniques – blowing up, hanging and mounting – with three materials – concrete, plaster and polyester. Together the objects visualise an intensive, fascinating and instructive process, in which renewal and experiment occupy centre stage.

www.maartenschenkeveld.nl

 

NIKKIE WESTER
TEXTILE & FASHION
STOSSEN, 2012

Nikkie Wester’s textile collection STOSSEN is a modern take on Dutch traditional attire. It consists of 24 components that can be arranged into casques and bonnets with functions varying from mourning to celebrating. The collection originates from the designer’s research into the Dutch identity. Her search not only led her past various traditional attires, but also deeper into her own family history. The multifaceted production process started at the drawing table and the loom. Thereupon the fabrics were woven at the Textile Museum in Tilburg. Hereafter the fabrics were finished with various techniques like stitching, embroidering or knitting. During the exhibition LIVE FACTORY the outcome of Wester’s performance MAYPOLE will expand her collection.

www.nikkiewester.com


 
 
 
     
The presentation of the Royal Academy of Art, The Hague is kindly supported by the municipality of The Hague,
Creatieve Stad Den Haag and a contribution from the European Union.