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The value of the material determines the value of the act of cleaning itself - an interview with Jurgen Bey of Studio Makkink & Bey

By Romy Petrick

Fusing the best of both creative worlds, architect Rianne Makkink and designer Jurgen Bey founded Studio Makkink & Bey in 2002 and have enjoyed the benefits of joint talents and joint minds ever since. When Pearl Lam invited them to conceive a project for the Contrasts Gallery, Shanghai, inspiring experiences from previous travels to India resurfaced and formed the basis for the “Cleanliness is next to Godliness” series, which is still a work in progress.

We had the pleasure of talking with Jurgen Bey of Studio Makkink & Bey.

Dining table and stools © photo Contrasts Gallery / Studio Makkink & Bey

What was your main motivation for joining forces with Rianne Makkink to form Studio Makkink & Bey?

The major reason behind joining forces was mainly the quality of a studio compared to working on your own. It is not only the fact that you can take on bigger and more elaborate projects and successfully finish them in a shorter time, it is more the concept of joining talents and joining minds that made it so attractive. I like the idea of being part of “an orchestra” and, by now, we have eight people playing in our “orchestra”.

What is Studio Makkink & Bey’s design philosophy?

That is rather difficult to pinpoint at one point in time. We do not have a set way of working. Just as everything else is changing over time, the way we work changes over time as well. New projects also have the ability to push you towards new directions. So there is not really one design philosophy.

Sideboard © photo Designboom.com

You are a designer, Rianne is an architect – when you look at the projects/products of Studio Makkink & Bey, do you see distinct differences between the results of the collaboration compared to the projects you worked on yourself?

It is rather the way we work that is different. As a designer you start pretty much at the core of things and you build your way up. Small scale turns eventually into big scale. Whereas architects see the big picture first and are better prepared to grasp the size, situation and structure of the project. Collaborating really brings together the best of both worlds.

Bowls © photo Designboom.com

The “Cleanliness is next to Godliness” project that Studio Makkink & Bey conceived for the Contrast Gallery Shanghai received a lot of attention. How did you come up with the concept?

Prior to the project, we traveled to India where we discovered a whole new world connected to cleaning and the use of household equipment. We saw brooms that were made from peacock feathers, which is unthinkable in the Western world where mostly cheap materials are used for cleaning. The value of the material also determines the value of the act of cleaning itself. With the use of what we consider luxury materials such as porcelain and silk, the value of cleaning is elevated to almost an art – like playing an instrument. So the idea that only the best was used to take care of things was at the core of the concept.

Did you prepare and research local traditions before going to China? Were you surprised to find that elaborate craftsmanship and attention to detail is still much alive?

We knew that the craftsmanship tradition was still very much alive in China, we just did not have an idea to what extent. It was only when Rianne actually went to visit different workshops that we had a better idea of what was feasible. Techniques and skills are passed from one generation on to the next without giving in to new technologies, so the curtain that “normally” would have been laser-cut has been arduously cut by hand.

Cabinet © photo left: Contrasts Gallery / Studio Makkink & Bey, photo right: Designboom.com

You worked with traditional Chinese luxury materials such as silk and porcelain. In general, does the project choose the material, or do you choose the medium/ material first?

The concept always comes first, even though the importance of the material can never be underrated.

Decorative art has a longstanding tradition in China. How would you categorize this project? Is it art or design?

It is definitely a design project. A rather functional one at that too.

Bed at booth and detail of the papercut curtain © photo right: Designboom.com, left: Contrasts Gallery / Studio Makkink & Bey

You worked on different European and international projects. Do you see a difference between local and global trends in design?

I do not think that there is one global trend. Design is always influenced by the cultural impact surrounding you and by the realities of daily life. These realities are just different anywhere you go. So if anything, there are local trends.

In general, how do you choose the visual surface effects and colors you use?

My work is usually not influenced by just one specific trend, no matter it being visual effects or color. It solely depends on for whom you are working and the nature of the project, but naturally you are always influenced by everything that surrounds you, so in a way the product will look timely in the end.

Bathtub overview © photo Designboom.com

Inside bathtub detail © photo Designboom.com

What are you working on right now? What is your/ Studio Makkink & Bey’s dream future project?

We are still working on pieces for the “Cleanliness is next to Godliness” series, projects for Vitra, Droog, and Prooff as well as part of the interior of the Rotterdam museum “Boymans van Beuningen”.

As for future projects, the design of a company’s campus or designing a hotel from start to finish is something we would be excited about. The realization of a project that is set in a very specific situation and is product based at the same time.

The team behind the project for the Contrast Gallery, Studio Makkink & Bey © photo Studio Makkink & Bey (Roel van Tour)