What can Droog do for a home or work space?
We like to share our expertise in interior products and projects in our brand new look book for 2014. The lifelike interiors display our products in inspirational settings for a house, hotel, bar, garden, office or shop.
Modern, economic, extravagant or classical, Droog products fit almost every style and add a timeless value to a home or office. Different exciting and colourful interior settings reveal how small additions and adjustments can turn a tiny space into an environment with deluxe feel. That is the intrinsic value of our well-designed objects.
Who better than the designers that developed your favorite products, can design a space that will wow you even more?
Go ahead and take a look.
Droog releases Here, There, Everywhere, a visual and textual anthology of realistic and imaginative design projects by Droog Lab in collaboration with Winy Maas, Metahaven, Jurgen Bey, Richard Hutten, TD, Mieke Gerritzen, Erik Kessels, Bas Princen, Diller Scofidio + Renfro and others.
Edited by co-founder of Droog Renny Ramakers and Droog Lab curator Agata Jaworska, and designed by Thonik, the 224-page book is a compilation of 16 projects in nine chapters, with essays, conversations and talks by David Allin, Jurgen Bey, Koert Debeuf, Theo Deutinger, Greg Lindsay, Winy Maas, Justin McGuirk, Heleen Mees, Charles Renfro, Wouter Vanstiphout and Daniel van der Velden.
Here, There, Everywhere is a journey through diverse places of the world, from the Canadian Arctic to the deserts of Dubai, with outcomes ranging from a luxury brand inspired by Russian consumption patterns with Metahaven to an imaginary society with space for a million identities inspired by Belgium’s apparent lack of a singular national identity with Erik Kessels.
The projects are a culmination of four years of self-initiated work by Droog Lab in collaboration with partners, designers and clients. Initiated by Renny Ramakers in 2009, Droog Lab scans the world for emerging developments, exploring the broader relevance of local findings.
Here, There, Everywhere will be available on droog.com and at the Droog store in Amsterdam for 39.00 EUR (ISBN 9789090281735).
Here, There, Everywhere is supported by the Mondriaan Fund.
How to win
5. Win the Swing with the plants
Entries can be made until December 31, 2013. The winner will be announced on Facebook during the second week of January, 2014.
Check-in or check-out with your own Hôtel Droog suitcase by Studio Droog. Perfect for a day trip to the beach, picnics in the park or even stylish storage. http://www.droog.com/webshop/products/hotel-droog-suitcase/
Image by Simone van Rees
Centraal Museum Utrecht acquired the Speaking Coffee machine by Eibert Draisma, Paraffin table by Timo Breumelhof and the Godogan table by Niels van Eijk & Miriam van de Lubbe from the Droog collection, to be included as part of their contemporary design collection. The Centraal Museum is known for its extremely varied and widely known collection of design.
Since the founding of Droog in 1993, the museum has collected design objects from the Droog collection almost every year. The Droog pieces are of great value to the museum collection. As the curator of applied arts and design Ida van Zijl explains: “In the first 10 years of the 21st century we experienced a typical trend in design, in which designers manufactured products that sat on the border between art and design. Droog is a very good example of a design company who created products that blurred the line between art and design”. The museum boasts an extensive collection of works by Droog, ranging from design classics such as the Chest of Drawers by Tejo Remy (1991), the Tree-trunk Bench by Jurgen Bey (1999), and the Bone Chair by Joris Laarman (2006), in addition they have also acquired the complete 14 piece Saved by Droog collection from the 2009 Droog Milan presentation. In 2010 they edited the artist’s proof #1 edition of the Red blue Lego chair to their collection. This piece was exhibited at Rietveld’s Universe, as part of the Rietveld Year organized from October 2010 until January 2011.
The recently collected pieces will be on display at the ‘Nieuwe Aanwinstenzaal’ at The Centraal Museum Utrecht (date to be confirmed).
Speaking coffee maker by designer Eibert Draisma (1990)
This coffeemaker is assembled from rejected material. It includes the base of an old transformer. The coffee maker is programmed to repeat a series of pre-recorded messages, designed to alert the owner when the coffee is ready.
Godogan table by Niels van Eijk & Miriam van de Lubbe (2006)
The Godogan table has been (hand)made in Indonesia because of the region’s high quality craftsmanship. The woodworkers were challenged to the utmost with this extremely complicated design depicting an Indonesian fairy tale. This table could not have been carved in the West, where comparable craftsmanship no longer exists.
Photographer: Gerard van Hees
Paraffin table by designer Timo Breumelhof (2000)
Many products are designed for extreme ease of use or for safety. Extremely “responsible” products leave little space to the imagination or creative (mis)use, they lose their poetry. From this point of view the designer created an ‘unsafe’ table, this table’s lack of safety considerations increases its poetical aspect; ‘using’ the table will destroy it.
Photographer: Marsel Loermans
Originally intended to be a downloadable design. Taking the principles of Gerrit Rietveld, this inside out – night stand by Minale-Maeda makes construction easy and attractive. The cabinet has been turned inside-out, now with the construction brackets and details on the outside and the coating on the inside.
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In the current economic climate, aesthetics have become side-lined by the pursuit of austerity. Droog’s new collection is a campaign for beauty; a range of products that embrace both luxury and practicality. Not so much less is more, as less + more.
The latest in this line is Flames, designed by Chris Kabel. Flames is a refillable gas fuelled table candle with a very recognisable shape. This design is an evolution of the classic gas cartridge holder. It is a pragmatic design, originating from a number of rational decisions and using the same simple and cheap materials as the utilitarian camping stove. Always dependable, sturdy and practical, Flames still creates an unexpected feeling of luxury. Chris Kabel states: “I look at things as if they have never been seen before, then I dissect them and, after that, I reassemble them according to my own rules.” Flames is no exception to this process. This product is the perfect synthesis of innate functional qualities with a more decorative outer shell. The raw industrial gas pipes and gas tank are coated white, and their slender shape conjures a romantic chandelier casting a flickering light.
Drinking coffee is often used as a moment for reflection or communication. By rotating the cup on the saucer, the different word combinations provide “food for thought”. A true conversation piece. As designer Annelys de Vet stated: “They playfully question our changing perceptions of subjects like freedom and truth, inviting the consumer to make up their own mind.”
My cup of thoughts is now available in a limited edition for € 9,50.
Please visit Droog Amsterdam or www.droog.com
My cup of thoughts is a product from UP by Droog. Read more.
Q&A with Annelys de Vet, designer of My cup of thoughts
What is the idea behind your design for the coffee cups?
Drinking coffee is often used as a moment for reflection and communication. The English author Sydney Smith mentioned that “If you want to improve your understanding,” you should “drink coffee”. And Sheik Abd-al-Kadir, (10th century), confessed that “no one can understand the truth until he drinks of coffee’s frothy goodness.” Coffee is seen as a symbol for improving our erudition, and futures can be predicted in the leftovers. It’s within this realm that the texts on the cups and saucers provide food for thought. They playfully question our changing perceptions of subjects like freedom and truth, inviting the consumer to make up their own mind.
How did you experience working with ‘deadstock’ instead of designing a product from scratch?
It was my reason for accepting the invitation for this project. We – in the west – are massive consumers of goods, resources and food. If we want a qualitative future we seriously have to change our consumerism and our mentality. A project like ‘UP’ contributes to this urgent need for change.
Due to an increase in environmental consciousness in today’s society, a lot of waste is recycled or ‘upcycled’. What do you think of this?
This is of the utmost importance, and designers can play a very meaningful role here. They are specifically trained to see doors where other people see walls.
We’ve often heard ‘design can save the world’. Tell me your thoughts?
Of course it’s utterly naïve to believe that design can save the world, and it would be self-congratulatory to think that designers have this ability. Global problems are becoming too complex, layered and with too many irreversible realities. At first it needs a global mentality-change, alternative economies and utopian power structures. But what arts and culture – and thus design – can do, is provide “food for thought” for this changing perception. They can help to shift our perspectives and develop tools to understand our reality and deal with it in a more sustainable way.