ARCHIVE

The first prototype for what would become the Endless chair.  With robot development falling behind, this chair was made by hand with an extruder gun. 

Extruded from a simple, "soft-serve" line, the Mummy planter is a practical application of Dirk's self-developed 3D printing robot. 

A long-standing obsession with ornament as function fruited the Diffuser totem, a cabinet which serves to improve the sound experience of a space. 

The Sunflower lends playful structure to the Fresnel family.

Positioned atop asymmetrical steel stems, combined blooms

exhale a warm, twinkling light.

The shell of the Soap cabinet is extruded from a single piece, pushing the studio's technique forward. 

A natural coalescence of handcraft and robotic manufacturing—here, a printed chair has been manually adapted to form a smooth, ergonomic sitting surface. 

The Boulder technique involves hand-kneading warm plastic like dough—imparting intricate knots and undulations.

An early iteration of the Endless, the Flow rocking chair sits happily in the MoMA and Design Museum, London. 

The soapy, gently curved slabs of the menhir serve to unite different patterns and materials in a single composition. 

Composed of a series of fat, broken lines, the Stopstool gains structure as molten plastic ribbons overlap in 3 key points. 

By experimenting with heat,

time, and hand-craft, Dirk encourages spontaneous textural expression. The resultant

Elephant Skin series begged he question: had plastic finally found an identity of its own?

Heavy, richly textured, and baffle-less, the stacked Snowman speakers render a natural, clean sound experience.

Requiring delicate collaboration between man and machine, the Bloown chandelier sees ribbons of recycled plastic inflated and coiled into transparent hives.   

Extruded from one continuous line, the Flow coffee table is a meticulous expression of the limits of 3D printing.