In a special commission for COS, Olivier has created a series of five vases using his custom-designed 3D printer, currently on display at a selection of our stores around the world.
Join us on Instagram for the chance to win one of the unique pieces…
@cosstores #COSxOliviervanHerpt
Talk us through your process…
For me, design is about
creating new shapes and exploring new possibilities through the
development of tools. By studying the limitations of what can be made
and improving processes step by step, I’m essentially designing the
manufacturing technology itself.
Tell us about the custom
made vases that you created for COS
I studied COS’ Spring
Summer collection and was particularly intrigued by the
sportswear-inspired garments: the shapes, colours and tactile nature
of the fabrics. With the combination of textures and outlines, it’s
almost as if the clothing and wearer merge together to create new
forms. I used this idea as the starting point to develop three pairs
of vases.
How do you think technology is transforming the
relationship between the artist and their work?
More
people can now make things in digital form and share their work
globally in an instant. The digitisation and democratisation of
manufacturing builds upon those trends, allowing people to manufacture
quickly and directly. Technology in this sense is a great enabler.
When did you start working with digital fabrication methods?
From a very young age I can remember being fascinated by
machines. Strange boxes that hummed and made rattling noises. Metal
contraptions with buttons, dials, levers and lights. Things that made
other things. Throughout my life I’ve been captivated by those parts
of the making process and this is my goal as a designer: I want to
make machines that enable others to create.
I started out
with printing plastic, but eventually switched to clay and began to
experiment with different types. I designed and made my own ceramic 3D
printer but faced major issues, mostly the objects collapsing. A
breakthrough came when I decided to move away from mixing clay with
water and by redesigning my extruder – I started to use hard clay that
allowed me to make larger items with intricate detail.
You work with a wide variety of materials such as paraffin and clay;
do you have a preferred material?
I want to use natural
materials that come from a particular place and whose origin and
manufacturing I understand. Ideally materials that have been used by
humankind for thousands of years, such as clay. Clay is a noble
material: soft and malleable when extracted from the ground, hard and
resistant after firing. It can be modeled with extreme detail and
during its usage is extremely strong but also light. I would like to
inspire others to use more sustainable materials than plastic.
Is there room for experimental practise when working with 3D
printing?
3D printing itself is pure experimentation.
Creating the device, tweaking code, the 3D files; the mechanics of it
are all experimental. The machine is designed as an open frame so it’s
possible to interact with the printed object and add a human touch to
automated actions. I’m also trying to introduce randomness and
serendipity into the automated process to develop more poetic,
conceptual and non-technical methods.
What do you think
3D printing will look in the future? Are there any technological
developments that you’re excited about?
Multi-material 3D
printing using gradient materials is an exciting development and so
are nanoscale 3D printing technologies. Generally 3D printing is being
used more in aerospace, the automotive industry and in many other
areas such as bioprinting and making scaffolds for organs. Generally
the technology will continue to grow in areas where it has unique
value, like 3D printed textiles.
What does the next year
hold for you?
I’ve just moved into a larger studio space
where I have more room to work on new projects. My final prototype of
the ceramics 3D printer is almost ready and production starts soon.
I’m very curious about what other people will make with my machines.