click and drag image for 3-d viewRange Rover Evoque Studio Job Edition (.pdf)
HOTCH-POTCH ON WHEELS
Studio Job and Land Rover – sparks were bound to fly. Job Smeets and Nynke Tynagel were invited to come up with a special version of the car to celebrate its 65th birthday. The result is a masterpiece, a summary of their whole oeuvre in all its layered facets.
Land Rover Defender has turned 65. That means this robust cross-country vehicle long ago passed the minimum age to qualify as an old-timer. In order to enhance the vehicle’s history and aura, Studio Job was asked to take this 4x4 in hand. A great car requires a great vision, which in this case carried a certain risk after all, with Studio Job one never knows what to expect. In their own way, they have created an ode to the vehicle that makes many of us dream of adventures in distant Africa. Eventually, it has turned out to be more than simply a revised or pimped vehicle. The result is a sculpture that questions escapism, power relationships and above all Studio Job’s own work.
‘Designing a car is the same as when, as a designer, you’re sometimes given the chance to redefine a hotel: it’s a higher goal. You don’t get such important commissions every day,’ says Job Smeets, who, together with Nynke Tynagel, forms the duo behind Studio Job. ‘On top of that, Defender is an emotionally charged icon. On the one hand it’s the car that is used in Africa as an ambulance, taxi or agriculture machine; on the other hand it’s also the Chelsea Tractor that pampered ladies use to drop their children off at the hockey club. It’s used as a fire truck an it’s the queen of England’s favourite automobile. So, it’s a very diverse vehicle. We’ve approached that golden carriage in our own way, maybe not so much from the angle of this one car but rather from the phenomenon of the holy cow in general.’
It has become a pièce de résistance. The Land Rover has been submerged in a Studio Job ‘bath’, with all that this implies. Like a project that has got out of hand, the Land Rover has been dissected and interpreted, ridiculed and celebrated, laden with stories and adorned with a variety of materials. The motor has remained in place but driving the vehicle is anything but a comfortable experience. One of the four wheels has been replaced by a cartwheel; another wheel has been given a miniature version of the Capitol for its rim. A gigantic rhinoceros stands in all its glory like a golden phallus on the bonnet, and a headlight has been replaced by a candle that hardly gives any light in the dark. The seats have been upholstered in wax prints made by Vlisco, the brand that produces exclusive materials specifically for the African rich. The stained glass windows in turn display magic masks from remote tribes.
‘As you would expect from someone who knows nothing about making a car, our approach got completely out of hand,’ says Job Smeets. ‘The numerous elements kept accumulating. The car literally sticks its tongue out. It wants to be something that it actually isn’t. It’s become a great concoction, monumental and cynical. But isn’t that also true for power and class structures? Those are surely also inventions. A fictive status symbol that other people supposedly look up to. It’s also a nudge at designers who are asked to design a concept car and who then invent a stylish-looking apparatus that is launched with all the necessary bells and whistles. So we also take aim at the car industry: I can already imagine the chief sitting in this modern carriage, with the chauffeur in the front and his various wives and children in the back. A Popemobile for an African chief, personalised in a bizarre way.’
It is either an extremely layered or a completely failed project that can be interpreted in different ways: as a pamphlet against outward appearance, as an ode to a holy cow, as a painful joke or as a rather unsubtle protest. But besides this layered approach and the humour, the most captivating storyline is that of Studio Job itself. Even though they keep their cards close to their chest, this sculpture is at the same time a parody of their own work. Apart from the many details that clearly breathe the world of Studio Job, the sculpture has above all become a sampling of the many exclusive materials and monumental techniques that Job Smeets and Nynke Tynagel have used during recent years. It is a narrative hotch-potch on four wheels, from bronze, wood and crystal to textiles, ceramics and stained glass. Studio Job have again shown that they are masters in the use of all these materials, expressed in the most varied shapes. In their unique way, they know the power of the materials and how to combine them in a completely idiosyncratic manner in this single sculpture.
What a perfect way to celebrate Land Rover's 65 birthday!
Dieter van den Storm, Brussels, September 2013
design journalist/coordinator creative industries BOZAR
- Land Rover by Studio Job
- Defender 90
- 2012 - 2013
- unique piece
- 500 x 290 x 270 cm
- 2.2-liter diesel motor
- 90 kw / 3.500 tpm
- 360 nm / 2.000 tphm
- aluminum, bronze, brass, european oak, faience (ceramic), swarovski crystals, hand blown glass, hand paintings, harness leather, high gloss pu coating, rubber ps 160, satin lining, silver leaf, smurray, stained glass, vlisco wax printed fabric, 2k alkyd hand painting, 24k gold leaf
- lamp holders with polychrome glass
rugged terrain exhaust system
mechanical door handles & faience grips
crystal enlaid xl exterior mirror
high-beam headlamp with candle
high load imperial with smurray planks
sirens in hand blown glass
imperial mounted sound speaker
aluminum & polished brass shock-absorber
stained glass windows with peepholes
aluminum casted tailor-made mudguard
hand painted flags on pole (zimbabwe & congo)
curtain rails & rings in wax printed vlisco fabrics
mud flap holders with xl figurative rubber mud flaps
crystal inlaid globe with belt drive & pulley system
fuel system: hose, trumpet, grinder & barrel
stick out tongue grill
sex cake hub-cap
bronze bull bumper
high load tail gate
gilded rhino hood horn
rock mudguard & side
exterior fire pan mirror
porch roof fender
cable reel & bracket
- crate of duvel
barbed spare wheel & suspension
classic steering wheel and knob
low tech thermometer, leveler, timer & navigationfront seats upholstered in wax printed vlisco fabrics
rear benches upholstered in wax printed vlisco fabrics
rock handle & headrest
french oak floor
heavy duty shift
RANGE ROVER EVOQUE SOURCE OF INSPIRATION FOR WORK OF ART BY STUDIO JOB
CAR by Studio Job for Range Rover Evoque, 2011
polished and patinated bronze, coated aluminium
ca. 18 x 7 x 8 cm
edition 250 (signed and numbered)
The unique design of the Range Rover Evoque has already elevated car design to a new form of visual art. But now, a real ode to this pioneering design has been created. Inspired by the Range Rover Evoque, Studio Job (an internationally renowned partnership formed by the designers Job Smeets and Nynke Tynagel) has designed an exclusive ornament to be produced in a limited edition: CAR. CAR is a unique piece of figurative art, made from the sustainable and exclusive materials, bronze and aluminium.
The Range Rover Evoque constitutes a perfect translation of concept car design into reality, made possible by adapting technology to design. Function follows form, rather than the other way round. Original and timeless features that have now been recognized across the globe, and have resulted in countless awards for the Range Rover Evoque design.
Job Smeets explains: “Much of our work is inspired by everyday objects. A teapot, a chair, a floor lamp; any of these objects can trigger our creative ideas and prompt us to elevate an otherwise everyday utensil to an iconic level. With the Range Rover Evoque, the process worked the other way round; the car was already an icon. The first time I saw one, I felt an urgent need to reproduce its lines to create something new. To make the design even more iconic! CAR is the final result of this process.”
CAR is a signature design of Studio Job, and just as original, artistic and pioneering as the Range Rover Evoque itself. But like other designs created by Studio Job, CAR is totally unique and casts doubt on the established conventions about form and function. It fits seamlessly into a series of art works featuring what is often referred to as ‘a monumental sense of contemporary industrial design, with a hint of humour and romance’.
To give an impression of the design duo behind CAR, every copy of this work of art will be accompanied by ‘The Book of Job’; a monograph relating the details of the considerable body of Studio Job’s work with almost biblical reverence. This hand-bound album with matching slipcase is a design item in itself. CAR has been produced in an exclusive limited edition of 250 copies, and is only available for purchase via Dutch Land Rover dealers.
Over the last few years, Studio Job has gained an international reputation for producing non-conformist objects at the cutting edge of design and visual art. Clients that regularly commission the duo Job Smeets and Nynke Tynagel to design products include museums, architects and companies such as Bulgari, Swarovski, Bisazza, Venini, Land Rover, Moooi, L'Oréal, Royal Tichelaar Makkum, and Viktor & Rolf. Studio Job’s designs are on display in museums and galleries throughout the world eg. Groninger Museum has added over 100 Studio Job pieces to their collection. The Dutch design duo has also climbed to international fame. The magazine Wallpaper*, for example, proclaimed them best upcoming designers and designers of the year and awarded various products. Time Magazine rated them among the top most influential international designers. For more information, visit www.studiojob.nl.
Studio JobPrime movers in contemporary applied art
Soulmates Job Smeets and Nynke Tynagel founded Studio Job in 2000. This studio in the Renaissance spirit is where traditional and modern techniques are combined to produce once-in-a-lifetime objects. In Studio Job, craftsmanship is more important than quantity and extreme designs take precedence over middle-of-the road options. Job Smeets: “We want to build up an oeuvre, not score a few hits.” Nynke Tynagel: “Our work is becoming increasingly expressive and our approach increasingly experimental.”
They started the studio after graduating from the Dutch Design Academy in Eindhoven; in the fifteen years since then, they have developed into the contemporary pioneers of personal expression. Technique, science and ornamental designs come together in Studio Job’s examples of Gesamtkunstwerk.
Job Smeets likes to call their style ‘New Gothic’, with perfectionism and uniqueness as its key features. Nynke Tynagel talks of a symphony orchestra where a cohesive piece of music is created from an abundance of different sounds. For a good twenty-five guilds are represented in Studio Job’s lab, from traditional craftsmen such as sculptors, furniture makers, painters and specialists in casting bronze or making stained-glass windows to modern professionals who are adept with lasers and 3D printing.
Works by Studio Job can be found in more than forty museums around the world. The design duo have had dozens of solo exhibitions. They also regularly act as curators, as they did recently for the New York gallery Chamber. Their iconic, heraldic and cartoon-like sculptures are popular with collectors. Proclaimed one of the most influential design teams by the Financial Times, Studio Job is passionate about building up an oeuvre that is becoming increasingly extravagant in its details and increasingly personal.
The motto is Maximalism, the aim to put fiction in charge. The results range from the royal stamp featuring the Dutch king, Willem-Alexander, (40 million stamps produced) to the unique life-size bronze sculptures on Miami Beach, from the one-off Wunderkammer curiosity cabinet that Studio Job produced for Swarovski in Innsbruck to the global campaign for Tokyo chocolatier Godiva. All Studio Job projects are distinguished by a love of detail, freedom of expression and blend of 2D and 3D.
They are often asked which one does what. But they don’t think “who does what” is important. Job and Nynke are united in their desire to make objects that are ageless. This they do with the help of a fantastic team and with unflagging fervour.
- ms K. Kuypers, journalist Financial Times, April 2015
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