OS ∆ OOS transforms conceptual design into autonomous objects
Studio OS ∆ OOS tries to find the balance between form, material and their relation to the surroundings and the user.
For the duo, OS ∆ OOS founders Oskar Peet (NL/CAN) and Sophie Mensen (NL), it is the constant search to find the essence in the complex that drives them, taking an initial concept and working it into an object that conveys only what is meant to.
The majority of work borders the line of design (in the industrial/ functionality sense) and autonomous objects; best described as contemporary objects derived from concept, yet rationalized to give them purpose. The conclusion of these efforts results in neither a product nor pure artistic expression but a culmination of the both. A product where art=industry.
MA! founder Bernard McCoy visited Eindhoven (NL) for an exclusive interview with OS ∆ OOS founders Oskar Peet (NL/CAN) and Sophie Mensen (NL).
Bernard: OS ∆ OOS and other Dutch designers are based in Eindhoven —what is unique about Eindhoven and its design scene?
OS ∆ OOS: What Makes Eindhoven unique has always been the presence of the old Philips buildings that are rather central, as Philips moved to the outskirts of the city, designers and the like have occupied these monumental spaces, which are constantly being used for exhibitions / festivals / parties/ and of course studio’s or place of business. Eindhoven is also a place where people seem to work together more then against each other, we have numerous examples of platforms where designers can source / share information. And lastly a large percentage of Hollands industry is situated in the south in and around Eindhoven, making it rather easy to find and make what you need in a short period of time.
B: Monolights was nominated for Beazley Designs of the Year in 2017, Design Museum London —what does this international recognition mean to OS ∆ OOS?
OS ∆ OOS: The recognition of being nominated for such a prestigious award gave the Mono-Lights perhaps a more trusted image, as in the sense that they were perceived as being rather experimental in the beginning and I think the general public needed time to adjust to the idea. The international attention also helped promote the work outside Europe, where far more installations are being realised in the U.S and Canada.
B: What is the inspiration behind the Tunnel collection?
OS ∆ OOS: Tunnel began with the idea of taking an already industrially produced material like extruded aluminium profiles/tubes and using the rather new technique of 3D laser cutting to be able to create simple yet precise cuts to allow us to make simple connections that are strong that also require no screws or glue/ welding. The idea grew out of the traditional sawhorse a tool I used when I lived in Canada to aid in the sawing of tree trunks.
From this idea we were inspired to see how many different pieces could be developed out the concept. At the moment we are busy with 8 different pieces that makes up the collection.
B: What other projects/designs are in OS ∆ OOS's portfolio?
OS ∆ OOS: New projects range from expanding to create a range of lighting around the Syzygy concept for FontanaArte, to perhaps our second or even third interior project here in Holland, something we seem to be asked to do more often. After that we are also trying to focus more on the work that is doing well to finer hone those projects.