Jurgen Bey (1965) is driven by the ambition to understand the world. He is able to question it in a unique manner. According to him, wanting to think or create something new is bizarre, for every thing or solution we can possibly dream of does already exist in the world around us. It is just a question of recognizing it and then of being able to translate it into something people want to use. Therefore, Bey is continuously busy analyzing the real qualities and hidden values of phenomena and things around us. He even analyses phenomena like dust or waiting, that no-one else is interested in but which could be of huge value – as soon as we understand how to use it.
Being deeply interested in the emotional meaning of things, Bey creates new images and works that provoke thinking and discussions about the value of the contemporary production machine. Besides its plain functionality his conceptual work is part of the international discussion around the role of design and the designer.
In his work for Droog, a conceptual design company founded in Amsterdam in 1993, Jurgen Bey demonstrates that recycling of materials and forms doesn’t preclude our impulse to contrive and build, and newness needn’t be at the expense of the past. Bey’s “Tree Trunk Bench” comprises a sourced log embellished with antique chair backs cast in bronze, an affable tribute to nature, tradition, and decay. Aside from actual use, users have so little agency over designs they buy—not so the owner of “Tree Trunk Bench.” The consignor of the present bench cut this Northern Red Oak in his Connecticut woods, under which leaves the chair backs have been weathering for the past five years.
kokon table chair
kokon table chair
Here old furniture is combined and disguised to produce new forms, functions and identities. By using the so-called spider’s web technique, desolate furniture is wrapped with synthetic fibres creating a smooth, elastic skin. The Kokon furniture range was a result of Droog’s 1997 Dry Tech project.