Designed for Dutch Brand PROOFF, the chair can be spun ninety degrees so the arm can be used as a side table and partition while reading, or a surface for desk-based work.

The seat is raised above the chunky base so it can move independently from the rest of the piece.

A shelving unit propped on two feet sit at one end and extends out past the seat so legs can fit underneath. Surfaces can be mixed and matched with shades of beige and bright blue.

The product was first shown at last year's Super Brands London event during London Design Festival and has since gone into production.

Other designs by Studio Makkink & Bey on Dezeen include a shoe store full of seemingly infinite staircases and a house built from scaffolding.

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Studio Makkink & Bey created the installation, called Lost in Translation, to reflect a future in which we are constantly moving and travelling, spending less time in one place and more time passing through infrastructure like roads and airports.

As we increasingly work on trains, sleep on aeroplanes and keep our belongings in storage, being in motion has become more like being at home, the designers explained. "What happens if we say that being on the road does not exist anymore and lost in translation is our new existence?" Bey said to Dezeen. "If being on the road is our new interior, what will then be called exterior? What will be thought of as home and property?"

"Maybe the stairs will be the new living room, on which you can store and sit but also watch a movie or the internet with 50 shared friends," he added.

Positing that future living will be take place in moving landscapes, the designers chose to project a series of one-minute movies inside the structure. "One minute, because that is the best timespan for moving viewers," said Bey. The selected movies were first presented at The World One Minutes exhibition in Beijing in 2008.

Lost in Translation was one of several installations in the Future Primitives series at Interieur this year – we reported on a mechanical installation that ripples like water and an illusory arcade of gothic arches produced by beams of light.

We also reported on Ross Lovegrove's concept car designed to provoke an instinctive response and Greg Lynn's prototype vehicle for compact living, as well as Muller Van Severen's collection of furniture with leather deckchair seats.

Other projects by Studio Makkink & Bey we've featured on Dezeen include household appliances built into wooden packing crates and an installation of pieces made from sugar and silver.

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Here's some more information from the designers:

Future Primitives, Interieur Kortrijk, 2012
Lost in Translation, Studio Makkink & Bey

The exhibition design Lost In Translation shows industrial materials that become the frame of a house, and self-build becomes the norm. Domesticity is detached from brick and mortar or the value of a mortgage, but now deals with the social relations between members of temporary groups and nomadic aspects of mobility.

What if in transit no longer exists and on the way is a place itself? We would reside in our well developed infrastructures that perform as our living. We might get lost in translation, while living privately in public. In this future primitive, how would we dwell, what would we store? We work while blurred landscapes pass by, we sleep at 12,000 metres in flight and the attic moved into big yellow self-storage boxes along the highway. Home is where the heart is.

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by Studio Makkink & Bey appeared first on Dezeen.

Dutch designers Studio Makkink & Bey have completed a store for shoe brand Camper in Lyon with staircases that seem to go on forever.

The stairs form display stands for shoes and are outlined in bright red to merge with graphics printed onto the walls as though the steps continue.

More shoes are displayed on recessed shelving and the highest shelves can be reached using mobile blocks of yet more steps.

Camper often commission well-known designers to create the interiors for their stores, such as Nendo, Jaime Hayon, and Doshi Levien. See all our stories about Camper here.

Photography is by Sanchez y Montoro.

Here's some more information from Studio Makkink & Bey:

Camper Shoe Store

Studio Makkink & Bey were inspired by basic walking movements for the design of a new concept store for Camper in Lyon.

Movements forward, upward and downward are shaped in staircase pedestals, stools or stepladders and outlined in bright red lines on the stairs, walls and floors.

The stairs represent the conjunction of separate places.

While performing as a place to meet, sit on or pass through, they expand places and establish rhythm, depth and infinity of spaces.

This is the studio's first cooperation with Camper as part of the Together Project.

Camper Shoe Store

Rue de la Republique 58

69002 Lyon, France

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Studio Makkink & Bey appeared first on Dezeen.

Dutch designers Studio Makkink & Bey present furniture and household appliances combined with packing crates at Spring Projects in London.

Called the Crate Series, the designs were inspired by mobile shops and workspaces made from crates in India.

Every model has a specific function combined with objects like a vacuum cleaner, cabinets and sink, bath or bed.

The show will run from 5 November until 16 December.

Here's more information from Spring Projects:

Spring Projects presents The Crate Series by Studio Makkink & Bey

5 November to 16 December 2010.

The Crate Series re-defines functional, ordinary objects by infusing them with new narratives.

Shipping crates usually used for temporary storage and freight are transformed into containers for living, domestic cabinets rich in detail.

The result plays with our ideas of value; the container becomes the content, a by-product is metamorphosed into the product.

Re-interpreting the container, Studio Makkink & Bey engage our perceptions of what a product’s purpose is. These shipping crates, normally used to temporarily house goods, take on a more solitary role as sized down household units.

The Crate Series was inspired by a trip to India, where Rianne Makkink noticed how people used crates to make mobile shops and workspaces.

At that time Studio Makkink & Bey were housed in an enormous industrial warehouse, the seemingly endless space in the high-ceilinged hall was the incentive to create workspaces on a more human scale.

The first crate dwelling was conceived. A crate cupboard placed on an old desk, its doors shielding the user from sights and sounds, allowing greater concentration, in a space solely providing room for the absolute essentials.

In its original guise as freight packaging, the crate protects its contents, but as furniture it also becomes a means of personal autonomy. These wooden retreats can be used to seclude oneself from the outside world, but when unfolded they can become furnishings inside an already furnished room.

Whilst travelling, they form familiar spaces within unknown spaces. The various models encompass a specific function, concentrated inside the crate and in the material finish.

The leather wrapping of the Bed Crate can be folded up as a wall panel or a headboard making it possible to adjust the furniture to varying personal needs for privacy.

The Bath Crate transforms into a sauna or dry cleaning room when closed off.

The Sink Crate is a wash unit for personal hygiene for enormous spaces, when bathing facilities are not close at hand.

The crates change in status from commercial to domestic is further emphasized by the striking decorative motifs on their exteriors.

The Vacuum Cleaner Crate wears its dusty content seemingly on the outside.

This crate is covered with a layer of grey fibres flocked onto the surface of the crate.

See also:

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WashHouse by Studio Makkink & Bey	House of Furniture Parts by Studio Makkink & Bey	Silver Sugar Spoon by Studio Makkink & Bey

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Vienna Design Week 2010: Dutch designers Studio Makkink & Bey present an installation combining sugar and silver at the Liechtenstein museum in Vienna.

Called Silver Sugar Spoon, the project involved delving into the history of sugar in Vienna, where its value was equal to that of silver during the Habsburg family's reign.

The studio's research is piped in icing on and around 42 square meters of fabric, laid out on the floor representing the 42 kilograms of sugar consumed by each Austrian in a year, while felt models of sugar beet plants help to tell the story of sugar's manufacture.

Distorted drawings of cakes placed on a central tablecloth appear correctly when reflected in the surface of a silver vase filled with sugar flowers, which is surrounded by plates and cutlery modelled in icing and cast in silver.

Studio Makkink & Bey collaborated with Viennese bakery K.U.K. Demel and silversmiths Jarosinski & Vaugoin throughout the project.

The installation remains in place until 15 November.

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The following information is from Studio Makkink & Bey:

30th of september - 15th of november, Grand Opening of the Vienna design week, Thursday, 30th september 2010.

Studio Makkink & Bey are proposing to design tableware and products in answer to the Habsburg valuables found in the Imperial Silver Collection. To start the project our designers delved into the history of sugar and silver, Imperial conduct and pastry cooking. Sugar used to be equally valuable to silver and many affluent citizens were eager to display their wealth by presenting centerpieces entirely made of sugar and treat their guests to extravagant desserts. Studio Makkink and Bey will partner with two highly specialised companies, with roots dating back to the Habsburg era; Sugar Bakery K.U.K. Demel and silversmith company Jarosinski & Vaugoin. Both of which used to serve the Habsburg family during their reign, they will join us to build on the rich history of the Austrian legacy.

The studio has been a temporary sugar laboratory to test and sketch out objects before casting them in silver. A collection of six sugar spoons are transformed into silverware. A tablecloth serves as a chronicle of the sugar history, stories being embroidered or drawn on the textile cloth. A carpet of forty-two square meters lays around the tablecloth and represents the production process of sugar in correlation to the forty-two kilos of sugar consumed per person in Austria every year. Each kilo of sugar cubes requiring one square meter in order to be produced. The centerpiece is a big vase, containing a flower arrangement made of sugar.

The vase is a beautifull demonstration of the Silver making by its size, fifty centimeters high. Its shape has been drawn by the silhouette of a dessert spoon. Both vase and imagery, work together to create an optical illusion. The image on the tablecloth is deformed in such a way that the bulged reflection on the vase restores it back into original, coherent version (an optical illusion known as anamorphy). The Silver Sugar Spoon is a frozen scenery of a dessert ceremony in a sugar beet field.

See also:

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WashHouse by Studio Makkink & Bey	Repacked by Studio Makkink & Bey	More icing at Vienna Design Week

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