After graduating from the Technische Universiteit Delft (Delft University of Technology), he designed a number of innovative office buildings with Peter Gerssen. In the late 1980s, he founded a joint office with Ilona Lénárd called ONL, which progressively combines digital-based art and architecture.
One of the most important early stages of Oosterhuis’s career was the Saltwater Pavilion, completed in 1997. The building is a real milestone, which, with its sculpturesque contour and digital-based construction method, had a huge impact on the development of contemporary architecture. The essence of Non-Standard Architecture, i.e. freeform architecture based on computer design, is that no two pieces of the building are the same. Each piece is unique, made with CNC, a computer-controlled tooling machine. The implementation is based on a process called file-to-factory, which directly connects parametric 3D models to machines. Among others, the Web of North Holland pavilion, the A2 Cockpit showroom in Utrecht and the Bálna (Whale) building in Budapest were created using this innovative method.
From 2000 to 2016, Oosterhuis was a professor at Delft University of Technology, where he set up a research laboratory called Hyperbody to study the relationship between complex geometric shapes and interactive architecture; and protoSPACE to delve into the interactive virtual space / environment, now known as the metaverse. From 2017, he worked as a professor and researcher at Qatar University in Doha for two years. He is also the author of a number of thought-provoking books that examine the practice and theory of architecture and its possible future directions.

ONL – BODY CHAIR
The method of Non-Standard Architecture developed over the last 25 years can also be perfectly adapted to furniture production. Debuting in 2016 as part of the Dutch Design Week, the Body Chair is a designer furniture piece based on high-end manufacturing that can be customized in every detail. This seat consists of 28 individual elements, a total of 56 triangles, each a different size and shape, but part of the same network of connections forming a single parametric system. The essence of the system is that by changing a single parameter, the entire furniture piece changes along with all its components, so it can be easily molded into a unique shape without having to modify the design as a whole. The open system allows the user to change the individual parameters, creating a final piece of furniture that best suits their body size and personal needs, as a kind of co-creator. The design process can be done on a mobile phone or tablet with the help of an app, and by transferring the final configuration data it is also possible to produce the individual components quickly, which can be done anywhere under the appropriate technical conditions. LINK

She studied acting at university in Budapest, hence the importance of intuition and gestures in her creative work. She later studied sculpture at the Willem de Kooning Academy and won the prestigious Startstipendium scholarship after graduating. She has been working with architect Kas Oosterhuis since 1983. She became interested in interdisciplinary creative processes during her one-year creative sabbatical with him. Since then, she has created works that encompass a variety of fields: intuitive computer sketches, paintings, sculptures. She collaborates with architects to create interactive spaces, paints abstract calligraphic paintings, designs carpets, and more recently creates paintings using robots. In 2018 she worked for a year in Doha, Qatar, where she was a mentor of the Doha Fire Station arts centre’s residency programme. In 2021 she presented herself at the Art Market in Budapest at the Bálna; in 2022 the K.A.S. Gallery organized an exhibition of her works.
The Jacquard-woven Omniverse tapestries are based on digitized versions of her earlier abstract acrylic paintings, and were made in the TextielMuseum in Tilburg. These extremely exciting works have already been exhibited at design festivals such as the Dubai Design Week, the Beirut Design Week, the Salone del Mobile in Milan and the Dutch Design Week.  LINK

He has won numerous awards, including the Public Award of the prestigious Czech Grand Design in 2012. He creates his ground, faceted, blown, polished and often multi-layered glass works – vases, serving bowls, awards, small sculptures, candle jars – with precision, meticulousness and refinement. In addition to traditional materials – uranium glass (glass coloured with uranium oxide) and rosaline glass – he uses colours boldly and likes to combine various grinding techniques.

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The practical approach of Denizay Apusoglu and Jonas Kissling aims to develop new ways of creating with nature and life in mind. In their work they place great emphasis on learning and experimenting with handicraft methods.
Ocean Articulated is a research project that focuses on locally available raw materials and how they can be used in a novel way while reducing the use of harmful substances. The project began with a geomorphological study of the material cycle of salt and sand in the Upper Rhine region, which also includes the remains of a prehistoric ocean and sediment from erosion during the ice age. By adding natural binders to these materials, the designers developed a new, easily and perfectly degrading, yet extremely strong material which they used to create furniture using a process known as sand casting. The method is simple and doesn’t require much equipment, and the finished pieces – although raw and robust – tell a poetic story about the concept of time and durability, the origin and life cycle of the material, but also show the possibility of a new approach to our environment.  LINK

The Swiss duo, Thibault Dussex and Yann Mathys, deal with industrial design, interior design project assignments and the creation of exhibition installations. They primarily design furniture and objects of use, but are also keen to work with artists, galleries, and brands that are open to design but operate in other fields. A responsible way of thinking and an interest in new technologies and raw materials are both present in their work. They use almost exclusively simple geometric shapes. Their objects are thought through down to the smallest detail, and their workmanship is of extremely high-quality. They were awarded the Swiss Design Award in 2014, the IKEA Foundation Award in 2015 and 2016, and the Innovation + Architecture + Technology Award in 2016, as well as numerous additional professional recognitions in recent years.
One of their latest collections was developed for Embru in Switzerland, specialists in the production of public furniture. Easy Aluminum was unveiled to the general public at the Salone del Mobile in Milan in June. As its name suggests, this outdoor series includes a bench and table and is made entirely out of aluminium. The lightweight, yet extremely durable pieces are light despite their relatively large size. Due to their streamlined design, rounded corners and smooth surface, they may look like a single piece at first glance, but thanks to their precise structural solutions they can be completely disassembled and even shipped flat-packed.  LINK

At the centre of her interest are new-generation technologies, special structures and textures; her works are innovative in both their appearance and content. She takes commissions from several international fashion brands and sportswear companies, but also likes to participate in various collaborations in which she addresses environmental and social issues in a subjective and sensitive way.
She obtained her master’s degree in fashion and textile design from Aalto University’s School of Art, Design and Architecture. During her studies she participated as a research assistant in the project called Sun-powered Textiles, which garnered international attention. The project saw the development of a collection of woven and printed textiles that can utilise solar energy. The outfits made from these are suitable for charging various sensory devices without affecting the appearance of the individual garments.
She created the design of the Amenage printed textiles together with Roma children from Slovakia. The aim of the project was to present the Roma culture in a positive way, free of typical stereotypes, thus helping the integration of the members of the community. Part of the process was a workshop where the children made drawings that served as the basis of the later prints. The project was supported by several organisations representing the interests of minorities. In 2021 Zmateková won the Slovak National Product Design Award in the society and environment category.   LINK

His work method is characterised by the use of traditional, often forgotten techniques and high-tech design methods. He is one of the most important Scandinavian designers in his chosen field, having graduated as a cabinetmaker in 1996 and as a furniture designer in 2013 from the design department of the renowned Royal Danish Academy. His objects have been featured in many exhibitions, primarily in Europe and the United States, and can also be found in prestigious design collections such as the collection of the Danish Designmuseum. He won the Hetsch Silver Medal in 2004, the Finn Juhl Prize in 2016, and the Wegner Award in 2020.
In 2003 he established his own workshop where he creates highly functional, yet sculpturally beautiful, unique pieces. In recent decades he has visited Japan several times, studying traditional local woodworking methods. He still draws inspiration from what he experienced during these visits and his works are permeated by aesthetics and a design language that are typical Asian. A good example of this creative attitude is the Tea Time upright chair, weighing only two kilograms, which was made by recycling the old teak bed of a Danish family. The thin wood pieces were joined using a special carpentry technique in order to fulfil their chosen new function. The chair features several structural solutions that already appeared on his first chair, designed in 1999.  LINK