Atelier NL

In an interview with freelance curator and writer Tiiu Meiner, the duo discusses their distinctive research methodology, emphasising responsible production and craftsmanship while using design to redefine our connection to the environment through local raw materials.

Tiiu Meiner: Your research delves into the details of our natural world, investigating the materials that build our surroundings and design objects. Why is it important for designers to be considerate of the materials that they use?

Nadine Sterk: We like to rethink what ‘value’ is, in our work. We don’t view materials as only resources with monetary value, but as meaningful entities with inherent natural value. Many environmental issues arise from not valuing nature in its own right and seeing it only as a profitable resource to extract and manipulate. By showcasing the beauty and poetry of nature on a landscape as well as molecular level, we hope to encourage a greater sense of care for these resources.

Lonny van Ryswyck: We also like to share personal and social stories about materials, like when people send us sand from all over the world. This helps viewers understand how much our societies depend on natural resources, and the beauty of relying on the Earth. When we realise we rely on something as limited as sand, it shows how vulnerable we are and why we need to be thoughtful about using our planet’s resources.

TM: Why do you believe it’s crucial to link the material and social aspects of our lives?

LvR: We believe that a whole collective of informed individuals can eventually drive positive change. In whatever we do, we always integrate local knowledge about materials through a collaborative effort, making everyone personally invested. Our network is crucial, which is why, for example, we highlight this personal involvement of our network on the World of Sand website, showcasing contributors and their related stories.

NS: I believe our dual focus on materials and social contexts makes the impact of our design much more long-lasting and integrated. Lonny is great at connecting with people and crafting larger narratives, while I delve into the details of materials and their forms. It’s a synergy that works well because it depicts the subtleties of lived experiences with materials.

TM: You’ve collected information from various global locations about where valuable and scarce material resources exist. This information could be lucrative for a company looking to profit from raw resources. Why do you refrain from cashing in on this knowledge yourselves, and how do you prevent others from using the information to exploit those locations?

NS: Ethically, we refrain from using the information we gather to exploit resources. While we joke that conventional jobs and profit-driven approaches might make us richer, we prioritise our ethical stance. Although it’s challenging financially, our design studio functions while maintaining our principles.

LvR: Making money in our field is challenging, but it’s a conscious choice. We’re currently reconsidering our capacities as a design studio without compromising our ethics, especially as we navigate personal milestones, such as my recent parenthood.

TM: Community and collaborative thinking is clearly a core structure for your practice. It is even reflected in the fact that you are a duo— how did the idea of collaboration come about for you two? What led to the decision to build a practice together, and why did you decide to stick together instead of pursuing individual careers?

LvR: We met in 2004 during an internship in Brazil while pursuing our Bachelors at DAE. Collaborating with local craftsmen on a unique project involving creating vases from bottles gathered by the community marked the beginning of our partnership. We realized our skills complemented each other perfectly – Nadine with her craftsmanship and connection to nature, and me with my focus on connecting with people and crafting narratives.

NS: Our collaboration is about acknowledging and celebrating our individual strengths, not stepping into each other’s roles. This balance reflects in our projects and presentations, where our differences enhance overall creativity.

LvR: When we graduated and started our practice together it was the time of the ‘super-star designers’ who were graduating from Design Academy. I think as time has passed, this has become less and less important and others are also now realising the importance and value of communal efforts.

TM: Collaborations can also be very tricky between two people with strong visions and convictions. How do you manage the relationship between the two of you and the roles you play within your Atelier?

LvR: We have had our ups and downs and there is nobody there to show you the way so you have to learn from your mistakes. I think a significant step was us both gaining confidence in what we do best. When I saw how great Nadine was at making models and working with materials I at first felt a bit insecure that I was good, but not as good maybe. But over time I realised that I can rely on her strength and we can trust each other to then do what we do best so we can both gain things from each other’s strengths.

NS: Yes, and I am more of a solitary and quiet worker and not as social as Lonny. Atelier NL is what it is partly because of the really great community that we have built around us— it is almost like a family. And I am really grateful for Lonny who is so great at building this network and community because I love it a lot, but I am not the kind of person who goes out and is able to build it alone. Now we both have a place within that community and get to be who we are thanks to our collaboration.

TM: You have been working with nature for a long time now. What do you think about the current push towards environmental awareness and sustainability for designers today? Do you have any advice for designers interested in working within this topic?

NS: We have achieved many great things but it is hard to make a living off of this kind of practice. We are at a very decisive moment in the world right now and it can be hard to find a balance.

LvR: You have to feel personally close to what you do when you work with topics like this because it is hard, but we believe that informed individuals can initiate positive change. For example, we are now working on educational exhibitions and lectures for younger generations, such as the Earth Alchemy Factory, and will continue working with the community we have built over the years.

Our goal has not been to claim absolute sustainability, as I personally acknowledge that I’m not 100% sustainable myself due to factors like travel. We have also had audiences be very critical of our work and I believe it is important to be open to discuss your short-comings and to learn from the critique you receive— I believe this can only make us better and I have no shame in that.