Job Smeets and Nynke Tynagel  = Studio Job present their new “Job Office” furniture collection, designed for Lansvelt, surrounded by the splendid 18th-century Sala del Cenacolo frescoes and stucco-work of the old monastry refectory within the Museum of Science and Technology

The music of Pink Floyd provided the background music for this ironic and surreal installation.

.

job smeets

“Over time, Hans Lensvelt has proven to be an ingenious product developer who consistently transforms our unconventional designs into comprehensive functional products, yet intricately maintaining a sense of wit,” said designer Job Smeets.

“Our collaboration constitutes sustainable office furniture, valuing the importance of functionality and high-quality objects that represent their own identity and humour.”

.

.

This project is a continuation from Job Cabinet, the metal cabinet they presented two years ago.

At the time, the designers called it “an archetypal office cabinet with an enormous polished bronze key that fits into an ingenious giant lock: the perfect symbiosis between industrial mass production and the personal object.”

Without changing course, Studio Job has now put together a whole collection, production ready and ultra-white, featuring a low cabinet with two doors closed with a huge gilded key; a desk with drawers that open by pulling a gilded, aluminium, nose-shaped knob; a table; and a lamp with a jumbo switch.

.

Like huge angular warriors, the tables and cabinets mime a march to the accompaniment of Pink Floyd’s The Wall, so the rest of the room is filled with sound. The room, in turn, responds to the installation through colour and form:

The golden nose name came frpm one his teenage friends nichnmaed  “Stekkerdoos” (plug socket), because of its unusual shape.

Job even found a “lady”, among those painted on the ancient wall, who has a finger up her nose, and perhaps this is a reference to the title of the exhibition and to the exquisite detail that reinterprets the table.

The desk with a “golden nose for a drawer handle” is opened  by its nostrils – a strong metaphor for Lensvelt, which was recently hard struck by the effects of the GFC

Dense with a whole host of different references, this project by Studio Job seems to be a stage – a very powerful and successful one – in a sophisticated examination of kitsch, which over the years seems to be getting more mature, or perhaps just more human and thus stronger

Job Desk