Tjep.

Tjep. ❤️ AI — 13

Clockwork Love Wings (2010). The mechanical heart takes flight — a winged heart of interlocking cogs, etched in gold-plated stainless steel and kept, like any precious mechanism, with its own miniature key. Some hearts you wind up; this one you set free. Now in the Susan Grant Lewin Collection at the Cooper Hewitt, Smithsonian Design Museum.

Not a single feather redrawn — the AI only built the world around it.

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famillyTjep. ❤️ AI — 11

Oogst 1 (2009). A self-sufficient farm for one — a living pod raised on three legs inside its own greenhouse, with chickens, a windmill, solar panels and a mini recycling plant closing the loop on food, energy, heat, oxygen and waste. Oogst is Dutch for "harvest"; in principle, you could live here without ever leaving the house. Shown at the Designhuis Eindhoven in Li Edelkoort's "Boer zoekt stijl".

Not a single pane redrawn — the AI only built the world around it.

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Tjep. ❤️ AI — 11

Chrysalide Chair (2019). A Louis XIV chair remembered from childhood, caught in the act of becoming something else — soft Alcantara held by bronze limbs that slip out of the frame and keep growing. As we said at the time: "I tried to visualize the aesthetic of metamorphosis in an elegant contemporary furniture piece." A unique piece, unveiled at Masterly The Hague.

Not a single tendril redrawn — the AI only built the world around it.

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Tjep. ❤️ AI — 10

Clockwork Love Arrow (2010). Desire, built as a mechanism — the Arrow from our Clockwork Love series, where cut and layered elements stack up into what looks like a machine frozen at the moment of impact. First shown at Gallery Ra in Amsterdam, from the same family as the mechanical heart that opened this series. Love here doesn't simply arrive: it is aimed, wound and released.

Not a single cog redrawn — the AI only built the world around it.

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Tjep. ❤️ AI — 07
Bronze Age Lounge Chair (2014). A deliberate counter-move against digital, technology-driven design — cast in bronze for its endurance, sustainability and recyclability. Sculptural strength drawn from ancient craftsmanship, a classic form retold for an age of climate concern. An edition of 8, now in the collections of the Centre Pompidou and Van Abbemuseum, and held by Philippe Starck and Li Edelkoort.
Not a single line redrawn — the AI only built the world around it.
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Tjep. ❤️ AI — 07

Graph (2007). An aristocratic collar for the quantified age — laser-cut from shape-memory stainless steel, its silhouette rising and falling as the same curve that reads our heartbeats, our markets, our performance. No clasp, no chain: the steel remembers its form and holds itself in place. A portrait of a life measured, worn where a ruff once was — do we command the curves, or only wear their imprint?

Not a single peak redrawn — the AI only built the world around it.

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Tjep. ❤️ AI — 06
Il Treno Fuori (2014). An outdoor dining booth inspired by vintage train travel — anodized aluminium frames, slatted red cedar seats, handlebars and an overhead canopy. Born from our indoor Il Treno at Milan Design Week and rolled outside: personal journeys shared over meals, turning any public space into an intimate compartment for two.
Not a single slat redrawn — the AI only built the world around it.
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Tjep. ❤️ AI — 05
Tak (2004). A nest to rest in — fifty pliable rubber limbs twined into an expandable, branch-like seat that grows as your needs do. Tak means "branch" in Dutch. As we put it back then: "Thanks to airplanes, we fly like birds; thanks to Tak, we rest like them too." Shown at the Stedelijk's 2004 Nest exhibition and the Milan Furniture Fair.
Not a single branch redrawn — the AI only built the world around it.
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Tjep. ❤️ AI — 04
Oranjevaas (2018). Mouth-blown crystal honouring Dutch royal history — its form drawn from the number 8, unfurling at the top into a regal collar patterned with lace motifs lifted from 17th-century Dutch painting. Made with Royal Leerdam Crystal for Princess Beatrix's 80th birthday, hand-blown by master Marco Lopulalan. A limited sold out edition, now in the Nationaal Glasmuseum and Paleis Het Loo.
Not a single curve redrawn — the AI only built the world around it.
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Tjep. ❤️ AI — 03
Bling-Bling (2003). The most branded object in the world — 100 global logos perforated in gold-plated steel, arranged as a cross. From afar, an ornate relic; up close, a satire of brand devotion. Winner of the 2004 Dutch Design Award, now held in the Stedelijk, Rijksmuseum, SFMOMA and MoMA-adjacent collections worldwide. The seed our Clockwork Love grew from.
Not a single logo redrawn — the AI only built the world around it.
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