非常感谢设计方 Pieter & Thijs Bedaux 将项目介绍和项目图片授权gooood发行。更多请至：Pieter & Thijs Bedaux on gooood
Appreciation towards Pieter & Thijs Bedaux for providing the following description:

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这个椅子由来自荷兰的两兄弟设计，采用胶合板制造。力求做到美观，舒适，具备整体雕塑几何形。胶合板是理想的材料，设计师将复合胶合板切割和制作成一个自维持承重的木质外壳。椅子的形体在多角度看时呈现出不一样的实体感，这种模糊状态表现出空与实之间戏剧对立。设计师的草图记录下了这个快乐的创作过程。

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Two dutch cousins Pieter and Thijs Bedaux have released their latest chair Void(wood). Pieter works as an architect and Thijs runs a furniture workshop. Both cousins are united in www.bedauxfurniture.nl.

Void(wood) is first and foremost an experiment in tectonics. Its architectural composition of planes communicates both a concern for comfort as well as strength, and of course ultimately beauty.

The chair tries to reconcile these tectonic gestures within its overall sculptural geometry. Plywood is the material of choice. Wood is already a material with a certain play or slack; it moves. It is pliable to meet demands of both comfort and ideality. The material has an evolution; a progression from linear element to plane to finally object by the hand of the designer. These different states are shuffled and multiplied within the design. Alternating between 2D and 3D design techniques the bodywork of the chair is simultaneously molded as a mass and wrapped in cut-out planes to become a self-sustaining load-bearing wooden shell. Shifting your viewpoint of the chair, its actual nature is alternately revealed and obscured. Sometimes demarcated with finite lines, sometimes curving and bending, it suggests a tension between void and mass, between emptiness and presence.

Where the instantly recognizable shape activates collective memory, the different strokes of character also allow for divergence from this notion of unity or singularity. The pliability of the material meets that of the designer. The chair in the end expresses the happy process of trying to find that playful mix. It is a multiplicity in plywood.

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Credits
Design: Pieter Bedaux
Assemblage: Thijs Bedaux
Photographs: Rogier Fokke, Huub van der Loo
Text: Jeroen Mak

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