the lumberjack
issue.01 by lmbrjk summer 2013
2
editors:
photographers:
lmbrjk Studio
oskar
A special thanks to oskar for their beautiful
ˇ ˇ ˇ masa loncaric
lmbrjk studio
photography and professionalism throughout this
jon kleinhample
contributing artists
process.
writers:
printer:
danaja vegelj
tiskarna kocman,
We would also like to thank susan, lidija, rich, vojko,
ˇ ˇ ˇ masa loncaric
ljubljana, slovenia
dorothy, rok, barbara, and... kanye.
jon kleinhample
2013
It all began with a run. A run along the industrial canal of Brussels. My breathing muffled by the headphones wedged in my ears. The lyrical tangling of a Kanye West track, marred by moments of horns and diesel engines revving up. I see the reflection of a car passing in a storefront window. Moments captured in parallel with the music playing through the phone clutched in my hand. Somehow a city once randomly composed, is for a series of fleeting moments, ordered.
The idea for The Lumberjack journal came during a run through the city, through the forest, from a hotel room in Rome. From all of these places and from none. Micro narratives are formed, driven by the music and images, motions and people we interact with constantly. We may only notice these relationships building when lost in our own “in between�. The space where the car horns combine with a track streaming through our earbuds, selectively editing the environment around us to reveal the most fantastic freeze frames. These moments seem fleeting at first, but eventually they come back to you. In the studio, when the same track that played on your morning run comes up again, these freeze frames resurface. They embed themselves in our work.
Just as the music video packages the narrative of a particular song into a condensed film, The Lumberjack strings together a series of relationships and powerful moments frozen from the daily routine of the craftsman and digital designer that is behind LMBRJK.
The journal attempts to capture these fleeting moments, and present them in a format that may be understood by others. The Lumberjack is itself a study of quickness, a presentation of a larger agenda through a medium based in temporality. The intention is to reveal what occurs when attempting to make sense of the constant jumbling of images and frozen moments swirling around us. As a designer, I often tap into this constantly vibrating visual field to pull from it inspiration for object design. Somehow, a track is always playing, coating the vast openness that is the process behind creating anything. This coating, like a bath of warm honey imbues our daily ramblings with a selective narrative thread. If we listen hard enough, it just might be possible to tap into this stream to make sense of this chaotic world.
The Lumberjack is a journal produced by LMBRJK STUDIO as a means to release the internal combustion built up while working in a modern world. The journal combines imagery from the studio and from others around us. and designers.
textures found in our own work in parallel with those of other artists
It is meant to portray the inner ramblings of a complex studio interested in the
production of objects and ideas that can contribute to a contemporary zeitgeist.
Welcome into our world.
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Jon Kleinhample founded LMBRJK in the spirit of the lumberjack tradition, transforming rough and finished lumber into designed objects and furniture through a process of digital and analogue tooling.
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It was all a dream I used to read Word Up magazine Salt ‘n’ Pepa and Heavy D up in the limousine Hangin pictures on my wall Every Saturday Rap Attack, Mr. Magic, Marley Marl I let my tape rock til my tape popped Smokin weed and Bambu, sippin on Private Stock Way back, when I had the red and black lumberjack With the hat to match
notorius b.i.g.
juicy in ready to die 1994
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It is a way to get a little bit dirty.
to
feel it, not just stare at it.
interview with kurt snoekx for agenda magazine, march 2013
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The SADL stool is a product of the mutual partnership between machinic precision and human sensibility. Laser-cut. Hand-assembled. 40 centimeters of what the LMBRJK studio has dubbed digital wood.
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Organic and tooled. homogenous.
layered and
Boundless and controlled.
wood becomes digital, a new grain formed through decomposition and then reassembly.
it is still wood, very much a
grain, but it’s a digital version.
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Most assassinations involve the firing of a single well-placed bullet.
the trick to selling an assissination attempt is to use a lot
more fire power...and an explosion or two doesn’t hurt.
michael weston (jeffrey donovan), from burn notice 2007
cut tree stump, wellin, belgium.
june 2013
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15
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lombard st, san francisco
left the bay area 11 years ago and still missing the steep streets and rolling fog.
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In its design and fabrication process, LMBRJK uses a CAD-based, 80-watt laser cutter with which hundreds of veneer layers are tooled.
LMBRJK then hand assembles layers into precisely designed shapes. Every item goes through a rigorous process to achieve a hand-worked surface finish.
special edition trilip vases were displayed in the winter pop up, wired store, broadway, soho, nyc 2012
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conversations
What beauty does an LA-trained architect find in Slovenian woods?
In other words, why wood in
particular? danaja vegelj, freelance journalist
Los Angeles shaped me as a young designer. This city thrives on its disparate cultures and ecologies
x
smashing rough
jon kleinhample, founder of lmbrjk
all
and
together.
bleached,
mostly
calming
ocean,
the
concrete
in
its
mountains,
becomes
too
Its
urban
alienating proximity the
character at
to
times,
but
nature;
the
When
the
desert.
much,
one
is
is
allowed
to
escape with ease. When first coming to Slovenia, it reminded me a lot of Los Angeles - the quick drive from the mountains to the sea and in between, the forests. Beautiful forests with rich layers of greens. Slovenia immediately struck me as a place where one could find solitude in its nature, in its woods. Since then I have continued to return to Slovenia to get my fix of nature and wood for Jon Kleinhample and I first met on a Monday. It was high summer, a day stuffed with unbearable July heat and one felt an instant need to escape the city concrete and go back to where it all
the studio. I feel that as much as we must credit our cities with creative connection and ad hoc encounters, it is still the solitude of nature that I find to be the most intense.
began – to the nature. We sat down in comforting shade of what seems to be Ljubljana’s best kept secret, its oldest open air jazz bar. Three things made it exactly right: rich trees, vibrant music
LMBRJK launched its TRILIP VASE series in New York, it is opening up pop-up stores with the SADL STOOL series
and constructive debate.
through
Amsterdam.
out
Which
Europe
other
-
Brussels,
markets
do
Berlin,
you
think
currently value quality design? Where are you
It was a good day.
driven to? When I first set my eyes on that Trilip vase, I
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remember being instantly fascinated by its solid beauty:
the
apparent
attention
to
detail,
the
subtle marriage between art and craft, the way the old met the new. I remember being instantly fascinated
by
its
quiet
perfection,
the
kind
that made me want to touch it, take it home, put some wild peonies inside, place it on the coffee table and never stop looking at it. A fascination, brought about by – as Jon would put it – “the something in between”, the synergy of technology and classic fabrication methods, combination of precise
production
and
thoughtful
ideas
that
LMBRJK launched its Trilip Vases the end of October at the JSX55 Gallery/Concept Store in the Lower East Side of Manhattan. This space provided an interesting point of departure from the Brussels studio
into
a
space
where
the
products
could
stand amongst other curated pieces. The TRILIP vases also launched at the Wired Holiday Pop Up Store in Manhattan. They sat amidst an array of different
products
curated
by
Wired
for
their
mixture of technology and human sensibility. And with the new product, the SADL stool, I wanted to mix things up a bit. Offer the product in an exclusive, intimate, and fleeting moment through
resulted in a certain brilliant simplicity.
a series of pop-up concept stores where customers After
its
official
launch
in
New
York’s
JSX55
Gallery last October, Jon Kleinhemple, the man behind LMBRJK, worked his way up in scale from vases
and
bowls,
to
chairs,
tables,
lamps
and
other products that reflect his idea of bringing products to the people. His work is a quiet homage
can talk to the designer directly, get offered an espresso, and watch a film about the
production
of the stool. Bring the product to the people. Let them sit on it, touch it, feel the material and craftsmanship, and ultimately take it home with them.
to the beauty that comes from “appreciation for materials and their inherent tactility”, a relief from mass production, a step back and forward at the same time. Inspired by both, American legacy and best
European of
both
experience, worlds,
the
LMBRJK highly
projects
the
technological
and warmly nostalgic; it is something you touch with your own hands, look at in admiration and in the end, pass down through generations. Tangible poetry.
Identity has been a tricky question for the studio since its inception. I have been living in Europe now for 4 years. Berlin and now Brussels have definitely influenced my design trajectory and composition, but I still feel very American, close to my roots in Los Angeles and New York. Though the
studio
is
currently
based
in
Belgium,
the
spirit is not so much connected to its location. It’s
oriented
within
the
contemporary
surge
towards a return to the hand made. I want to
return to a more basic conception and delivery
satisfaction of building them wore me out. Don’t
of design that can allow me to engage not only
get me wrong, I still enjoy working in the digital
with current technologies, but also with classic
environment, its just good to get dirty somtimes.
fabrication methods. It is through an appreciation
I wanted to build something that I could control
for materials and their inherent tactility that I
the details, work the materials with my own hands,
feel provides the best market for the products.
make mistakes and get frustrated by outcomes,
Whether this be in the States, in Europe, or Asia,
but at least have my hands on them.
LMBRJK searches for a market rich in these ideals. Technology still plays a large role in the studio. Without it, I would not be able to conceive and Do your future plans also include expansion in
ultimately fabricate the intricate designs modeled
terms of production? What other ranges do you
in the computer. The technology is merely a method
plan to launch?
of translation of my ideas through materials into products. The computer and the laser allow me to
Scale is an interesting question for the studio.
maintain a degree of precision in my designs that
It was meant to start with very small objects, and
would not be possible with traditional methods.
work itself up in scale from vases and bowls, to
They
lamps, to stools, chairs, tables, and beyond. The
unconstrained by physical limitations and human
method of fabrication used lends itself to smaller
imperfection. This has spread like an epidemic in
objects, which is where it was logical to begin. As
contemporary architecture design. It is important
techniques are experimented with in the workshop
for me that the models leave their vacuum of
and familiarity with the tools are established, it
computer space and undergo the contamination
becomes feasible to tackle larger projects.
that
allow
human
a
sort
of
material-less
imprecision
imbues. The
perfection,
product
is
no longer mass produced, no longer perfect; its Whether even is
at
the
larger
critical. It
scale
objects, takes
of
a
an
vase
or
a
attention
many
hours
stool
to
to
or
subtle imperfections are what make it interesting.
detail
Aligned more with the complex beauty of a real
manipulate
woman as opposed to some synthetic ideal manifest
a form in the digital environment before it is
through plastic.
ready to be transferred to the laser for cutting and fabrication. Their details are mulled over continuously to determine what will produce a
To
continue
along
this
line:
quiet
desired outcome. A continuous dialogue between
country, or big city life, and why?
life
in
the
the computer modeling and physical prototypes is
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crucial for the success of any design. LMBRJK is
I constantly battle with the question of country
set up in a way that allows me to keep my hands
or
over all the objects that go through this process.
contradiction. The city provides connections to
This is very important for me in terms of quality
inspiration from people and sudden accidents that
and control of details.
occur
city.
I
am
when
always
people
caught
are
in
bunched
some
perverse
together. But
nature has always been a refuge for me. Driving So the same attention to detail found in a vase
out into the desert surrounding Los Angeles gave
will also be found in larger objects. This is why
me perspective from an otherwise unruly everyday
I made the switch from architecture to product
life of congestion. I want to have both! I want to
design. In order to maintain control of the tiniest
live in the countryside in a barn, have large, wide
intricacies of a form that make the largest shifts
open spaces, but also have a studio in the city. A
in
space to feel the warmth and energy as well as
impression. The
creates
enough
subtle
tension
warping in
form
of to
a
surface a
the frustration and congestion of people. Craving
wide range of reactions by an audience, and it
produce
one while being in the other is what allows ideas
is the hunt for beauty in this manipulation that
to sprout from uncommon places. The release felt
interests me, regardless of scale.
as you pass from one to the other is an interesting trajectory in my work certainly.
You said that LMBRJK represents “a relief from the digital malaise”, yet you still seem to focus mainly on
the
technological
manufacture
procedures.
What is more important, nature (in terms of the materials used) or technology (in terms of the procedures you apply)?
When I said LMBRJK was a relief from the digital malaise,
I
was
referring
to
a
specific
practice
of architecture that remains on paper. Spending repetitive digital
hours
honing
environments
small
without
ever
details
in
getting
the
I remember little moments of passing from one
perfection and imbue it with more complex rules
place
to
another
Somehow
of mutation and selection. Exuberance informed
cinematic
by logic. Not pure form over function, but also
packages to remember environments. Almost like
not pure function over form, but some transient
quick movie trailers to store away for later use.
space in between.
capturing
The
same
these
way
while
small
a
film
growing
but
up.
intense
trailer
can
suspend
your
reality, transporting you into a space of intense
The TRILIP vase series reflects this notion. The
visual symbols and linkages, I like to carry these
initial
packages with me, continuously escaping into them
height, width, functional cavities, perforations,
for
inspiration.
Some
sort
of
in-between
vase
was
based
on
constraints
such
as
space
historical vase forms, etc. This base model has
is where I look to absorb the most inspiration
then been put through a series of contaminations,
from. It’s not the city, it’s not the country, it’s
or
somewhere in between.
different variations. Each vase that is made is
physical
deformations
to
produce
slightly
slightly different from the one before and from any after. People will find beauty in different Your designs are a transformation of “high quality
forms, and will therefore be attracted to some
natural
more than others.
materials
into
objects,
meant
to
be
shared through generations, unbound by era”. A practical question: what maintenance procedures
For
does one (the owner) have to apply to these wooden
purposeful, and not accidental. This is why I chose
pieces, in order to use them practically over a
to use the computer and laser technologies over
certain period of time?
the more uncontrollable method of hand-carving.
me
this
process
is
one
that
is
ultimately
The products must be cared for by the owner as any other piece of furniture meant to be passed
Which word would you say applies to your work
down through generations. They are from nature,
better: art or craft?
and
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by
nature,
frail
and
subject
to
the
same
deterioration that all organic objects undergo.
I would say there is always an element of craft
Each product will age differently depending on
within art. Art describes something that is made
environment
appreciate
through creative impulses, born from frustrations
the frailty of such an organic product, as opposed
and
owner.
One
should
or pure whims. Without craft, art could not be
to false notion of permanence that is often sold
translated
to us.
Craft to me is the process of translation. It takes
from
the
initial
idea
into
object.
thousands of repetitive hours to, what some might say, perfect a craft. Without mistakes and trial A cliché question: have you ever considered old-
and
school wood carving procedures instead of the
never attain the skills needed to become more
error
in
this
mechanical
process,
one
can
high-tech laser cutter?
efficient at translating the ideas in your mind into physical objects.
While
in
architecture
school
I
was
affected
greatly by a manifesto published by Hernan Diaz
It is a beautiful marriage of the two that produces
Alonso, an architecture professor at Sci-Arc and
the most dramatic results.
practitioner in Los Angeles. He said:
“We
are
becoming
by
non-perfect
methodologies
monsters images
/…/
We
are
– a
species
coming
from
subverting
aroused
Does good design require functionality? Where is
perfect
the line between aesthetics and functionality?
the
logic
of perfection: what used to be about mastering
Function
the result of a non-perfect process is now about
the necessary resistance to design well. Design
the production of monstrosity and the grotesque
becomes
through
function. When you look at the forms generated
the
mathematical
evolutive mechanism.”
perfection
of
an
is
a
essential. Function
study
of
often
weightlessness
provides
without
by Frank Gehry, it becomes immediately apparent
1
that function does not have a lot to do with it. What
is
most
interesting
about
Alonso’s
However, when you look at the work of someone
provocations is the recognition that we have become
like Konstantin Grcic, it is the exact opposite.
bored
more
Take one of my favorite chairs for example, the
that just perfection. We have evolved a desire for
with
precision. We
Myto chair. This was a study in performance and
controlled contamination. We can design systems
materials. Using several criteria of performance,
that replicate forces of destruction, forces of
weight, strength, etc., the form was fine tuned
wind, water, systems with complex behavior. I am
over time. Without this process, they never would
interested
have
in
this
crave
trajectory
something
as
it
allows
for
been
able
to
achieve
the
final
form.
If
endless controlled variation in design. We can
one never integrates a sensibility for materials
upend traditional questions of beauty based on
and their performance capabilities, one is left
with sets of calligraphies that he has memorized,
designing Gehry-esque cartoons.
but ultimately his pieces are the result of this My
designs
inherent
are
in
always
the
facing
materials
issues
used.
that
When
I
are work
preparation manifesting in a particular moment. His
compositions
of
calligraphic
text
written
with wood, I am also testing the limitations of
over each other, layered and layered are pure
that
exercises of moments of temporary clarity.
particular
material.
With
the
TRILIP
Vase
I wanted to push the limitations of traditional vase
making
beyond
the
lathe,
a
tool
used
to
I believe in these moments. I believe that through
rotate a piece of wood on axis to shape its form. I
practice
and
wanted to use wood in a way that is not typically
information, one can achieve moments of lucidity
seen. By modeling a form in the computer, I can
when
then slice it to produce thin layers that when
problems takes a lot of preparation, but then I
stacked together form the original shape. In this
believe a moment of instability ultimately takes
process I have to consider the materials inherent
over that allows one to distill the elements into
strength and weaknesses. How thin can I make the
the simplest of solutions. When this happens, you
walls of the vase? How deep can I make the seams
know it, because it feels damn good.
facing
the
systematic
difficult
compilation
tasks.
Solving
of
design
in its form? How intricate can I form the interior walls of the vase, a procedure quite difficult to achieve using traditional methods alone. These
An
avenues
lighter
are
explored
while
always
keeping
in
awfully
abstract
tone:
what
is
question your
to
wrap-up
strategic
in
plan
a
for
mind the functional use of the object, in this
LMBRJK in say, five or ten years?
case, a vessel for holding flowers. The SADL stool
consider a great achievement?
pushed the boundary even further. Functionality
was crucial. I really wanted to keep the layering
For
technique and give the wood new strength through
visitor in a foreign city. But I wanted to go beyond
this process while at the same time manipulate
a
the aesthetics of the form to its limits.
been
the
single
first
year
studio
striving
LMBRJK
concept
to
set
up
has
and a
What do you
merely
have
for
platform
been
a
for
a
while design
and information passage. A studio that is merged procedural
with a social element, a place where people can
tolerances in order to create new forms, is a base
come and see the process of how LMBRJK works as
curiosity of the LMBRJK studio.
well as be introduced to other local artists and
To
push
at
these
material
and
fabricators. To be more pragmatic, a concept shop / studio location. Starting September, I am moving I recently came across something Charles Mingus
the studio to Antwerp where an opportunity arose
once said, namely: “Making the simple complicated
offering LMBRJK a new space that will enable me
is
to bring this social element into reality. I am
commonplace;
that’s
making
creativity”.
How
the do
complicated you
as
a
simple,
designer
stoked about the upcoming months!
understand simplicity? But in all that, I would like to stay small scale in John Coltrane blew large sheets of sound over
order to control the forms being made. At the same
complex chord changes, changing the perception
time it is important for me to continue meeting a
of
He
range of different artisans and craftsmen that
translated the complexity of the changes into
what
was
beautiful,
what
was
expected.
I can learn from and collaborate with to expand
large plains that he stood on. This was brilliance.
the material possibilities of the studio.
It
complexities
At the heart of LMBRJK, there is a desire to distill
of your problem before you are able to distill
is
important
beauty from materials. To push the physical limits
simplicity.
Jazz
to
understand
musicians
the
years
and common perception of how certain materials
memorizing chord progressions and the seamless
spend
hours,
usually perform. I hope this vision can continue
riffs that go over them, in order to provide a
to grow.
catalogue to choose from during moments of solo. When they enter into such moments, their mind is not thinking concretely back to each phrase they played over and over, choosing each one as they go, rather the musicians are suspended in some sort of transitory moment. Their unconscious takes over; a kind of acute muscle memory allows 1
the great ones to put together streams of melodic lines in pure harmony with the chord progression below them.
Another favorite example of this is the graphic artist Jose Parla. He prepares himself with texts,
www.iconeye.com
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the SADL STOOL is a synthetic wood assembly. Its strength is found in its multi layered structure. Its beauty in its slender curves. Its narrative is a contemporary solution to an age old question of elegance and ergonomics.
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courtyard, los angeles
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I'm in a skip divided malfunction I flap around and dive bomb Frantically around your light Enveloped in a sad distraction I got your voice repeating endlessly Could you guide me in? Could you smother me?
thom yorke, skip divided in the erasure 2006
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Taking inspiration from the beautiful curves and unrestrained lines of a tulip, the hundreds of layers are laid in place and sanded by hand by Kleinhample to create a curiously attractive topography. Given the painstaking assembly process, each vase is entirely unique.
coolhunting, october 2012
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The stool is first designed in the computer as a surface model in a 3d CAD software. The model is then sliced vertically to produce nearly 80 separate layers, each of which combines together to form the entire stool. These sections are cut on a laser, organized, spread with glue, hand-assembled, and finally clamped together. This process, from initial conception to final production takes place completely in the LMBRJK studio.
The SADL STOOL reorganizes sheet plywood through a process of cutting profiles on a laser, to assemble into a functional form for sitting.
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...dynamic in their roughness and sheer power. His wood sculptures look like tensed muscles captured in movement.
kurt snoekx for agenda magazine, march 2013
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A painter, illustrator and street artist, Oli-B has his own way of developing and playing with forms. His flow of gentle curves and strong colors weaves seamlessly on and within the bulbous forms of LMBRJK.
a COLLABORATION. Â an EXHIBITION. Â a LIVE PERFORMANCE.
fresh paint was a joint project between LMBRJK x Oli-B x LastYardz. Three Brussels based artists worked together to produce a collaborative collection of 4 painted LMBRJK vases, two of them made over the course of two weeks and the other two live rendered in front of an audience at the concluding event. The two live painted vases were made available to everyone and sold through a raffle.
49 porcelain and wood. Beautiful work by seattlebased artist aleksandra pollner.
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in his Bleecker Street Documents, Peter Jellitsch attempts to make the invisible, visible.
By recording
the radio waves in an apartment in manhattan, Jellitsch transforms them from the floating data around us, into a physcial installation.
His final
faceted models describe with a sober clarity the data that coats us everyday.
Phil Cuttance individually casts water-based resin into a simple handmade mould. Then he manually manipulates the mould to create each object’s form before casting, making every piece utterly unique.
Using white card stock, scissors and some glue, Horst Kiechle, an Australian artist, creates anatomically correct models of the human torso with removable organs. More than that, he then puts exact instructions of how to compose every individual organ on his website. So you can go and make your own paper heart…or a liver.
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First, we got to turn you around Second, you put your feet on the ground Third, now take a hold of your soul Four, whooooooooa, I’m turning it
kenny loggins, footloose 1984
Loose, Footloose Kick off your Sunday shoes Please, Louise Pull me off my knees Jack, get back C’mon before we crack Lose your blues Everybody cut Footloose
kenny loggins, footloose 1984
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It was 1965. Peter Alexander was in his mid twenties and still surfing. The idea to use resin came from glossing surfboards. As a graduate student at UCLA, he took this idea and started casting resin into various molds. The early ones were containers, containers of what he calls silence.
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Eucalyptus deglupta.
The intense, neon color is
natural to its remarkable bark. This tree sheds long strips throughout the year, exposing its inner colorful layers.
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unknown pleasures, 2012
lmbrjk x stoemp for mad brussels
unknown pleasures, 1979
The duochrome Peter Saville cover of this first Joy Division album speaks volumes. Its white on black lines reflect a pulse of power, a surge of bass, and raw angst.
Unknown Pleasures borders on nihilism, but is pregnant with expectation. And like Bowie’s Low, once heard it’s never forgotten. It’s like going to the doctor and having your ears syringed. This is a sound that’s ready to explode.
review by susie goldring 2007
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co-dead language saul williams, 2006
Whereas, break beats have been the missing link Connecting the Diasporic community to its drum woven past.
Whereas, the quantized drum has allowed the whirling Mathematicians to calculate the ever-changing distance Between rock and stardom.
Whereas, the velocity of spinning vinyl, Cross-faded, spun backwards, and re-released At the same given moment of recorded history, Yet, at a different moment in time's continuum Has allowed history to catch up with the present.
We do hereby declare reality unkempt by the changing Standards of dialog.
statements such as, 'Keep it real', Especially when punctuating or articulating modes Of ultra-violence inflicted psychologically or physically or depicting An unchanging rule of events, will hence forth be seen as retroactive And not representative of the individually determined is.
Furthermore, as determined by the collective consciousness Of this state of being and the
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lessened distance Between thought patterns and their secular manifestations, The role of men as listening receptacles is to be increased by a number No less than 70 percent of the current enlisted as vocal aggressors.
Mthrfckrs better realize, now is the time to self-actualize.
We have found evidence that
Hip-Hop's standard 85 RPM When increased by a number at least half the rate of the standard Or decreased by 3/4's of its speed May be a determining factor in heightening consciousness. Studies show that when a given norm is changed in the face Of the unchanging the remaining contradictions will parallel the truth.
Equate rhyme with reason. sun with season. our cyclical relationship To phenomenon has encouraged scholars To erase the centers of periods thus symbolizing the non-linear Character of cause and effect.
reject mediocrity.
Your current frequencies
of understanding outweigh that Which has been given for you to understand.
The current
standard is the equivalent Of an adolescent restricted to the diet of an infant.
The rapidly
changing body would acquire dysfunctional And deformative symptoms and could not properly mature On a diet of applesauce and crushed pears.
Light years are interchangeable with years of living in darkness. The role of darkness is not to be seen as or equated with ignorance But with the unknown and the mysteries of the unseen.
Thus, in the name of: Robeson, God's Son, Hurston, Ahkenaton, Hathsheput, Blackfoot, Helen, Lennon, Khalo, Kali, The Three Marias, Tara, Lilithe, Lourde, Whitman, Baldwin, Ginsberg, Kaufman, Lumumba, Ghandi, Gibran, Shabazz, Shabazz, Siddhartha, Medusa, Guevara, Gurdsieff, Rand, Wright, Banneker Tubman, Hamer, Holiday, Davis, Coltrane, Morrison, Joplin, Du bois, Clarke, Shakespeare, Rachmninov, Ellington, Carter, Gaye, Hathaway, Hendrix, Kuti, Dickerson, Ripperton, Mary, Isis, Theresa, Plath, Rumi, Fellini, Michaux, Nostradamus, Neferttiti, La Rock, Shiva, Ganesha, Yemaja, Oshun, Obatala, Ogun, Kennedy, King, Four Little Girls, Hiroshima, Nagasaki, Keller, Biko, Perone, Marley, shakur, Those who burnt. those still aflamed. and the countless un-named.
We claim the present as the pre-sent as the hereafter. We are unraveling our navels so that we may ingest the sun. We are not afraid of the darkness, we trust that the moon shall guide us. We are determining the future at this very moment. We now know that the heart is the philosopher's stone.
Our music is our alchemy, we stand as the manifested Equivalent of three buckets of water and a hand full of minerals, Thus, realizing that those very buckets turned upside down Supply the percussion factor of forever, if you must count To keep the beat then count. Find your mantra and awaken your subconscious. Carve your circles counter-clockwise, use your cipher to decipher Coded Language, man-made laws, climb waterfalls and trees. Commune with nature snakes and bees.
let your children Name themselves and claim themselves as the new day for today We are determined to be the channelers of these changing Frequencies into songs, paintings, writings, dance, drama, Photography, carpentry, crafts, love, and love,
we enlist every instrument: Acoustic, electronic, every so-called race, gender, and sexual preference Every per-son as beings of sound to acknowledge their responsibility To uplift the consciousness of the entire fucking world!
Any utterance un-aimed will be disclaimed, Will be maimed. Two Rappers Slain!
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craftsmanship, axe in hand, but in the current zeitgeist.
interview with kurt snoekx for agenda magazine, march 2013
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With its smooth lines and elegant presentation, the LMBRJK TRILIP vase series by Jon Kleinhample is no chopped up wood. Working with layer upon layer of laser-cut wood to create the textured design detailing that mimics tree rings, the artist’s background in architecture becomes evident in the way he builds up the gravity-defying curves of these sculptures.
trendhunter, october 2012
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COMPANION COFFEE
Chris and Shawn are Berlin based coffee professionals with in depth experience in preparation and service of
specialty
coffee
and
cafe
management.
After
spending a number of years exploring various roles in
the
coffee
industry,
they
launched
their
own
venture at the end of 2012. In collaboration with Berlin’s Voo Store, the Companion Coffee showroom became a destination for the best of espresso and tea as well as a platform for the guys to further explore their passion for warm, deliciously smelling goods.
Their
speciality
brewed
teas
helped
make
LMBRJK’s concept store in Berlin a big success.
Companion Coffee is more than just a delicious cup of coffee. Chris and Shawn are focused also on premium teas. After month s of sourcing, sampling and reviewing, they have curated their own exclusive range, which, as they would say, ties in strongly with their idea of no bullshit. It’s pretty simple - they will serve you only the highest quality teas they can stand by and feel that represent the foundations of their brand: strong relationships, sound ethics and simplicity.
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Shawn, from Canada, is the other half of the Companion Coffee. Loving all things of quality, Shawn has been traveling and working in coffee for the last 8 years. He finally settled down in Berlin in fall 2012.
From the very beginning, Chris and Shawn’s goal has been to build a business focused on quality in terms of product, service and presentation. A High standard of quality is something you will be guaranteed when Companion Coffee guys are around. Regardless of the setting, they know how to deliver the best cup. Always ready to network with other experts in the field, the guys are the ever curious types. For them, further education and continuous improvements, are the only way to establish a position at the cutting edge of the industry and ensure the quality of the brand as they continue to grow and develop their range of products.
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Chris is an Australian and one half of the Companion Coffee. He began working in coffee early 2009 with the idea of one day opening a cafe or bar but was then so taken with the process of just making coffee that he became completely obsessed with working in coffee bars learning as much as he could about brewing and serving it.
Thi-Thi and Arnaud first worked together in 2009 as a creative team for a fashion shoot, several months before their common departure to Vietnam. But only after coming back to Belgium, end of 2012, did they officially found Oskar. Starting fresh in Belgium has allowed them to really focus on what they love, passing from one project to the other, with a constant evolution and a never ending passion for their work.
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This is Thi-Thi. She is one half of Oskar. She conquered the world of advertising in Belgium and vietnam, working for everyone from Coca-Cola to Google. But only after joining Oskar has she managed to unleash all her creative energy and focus on the things she loves most. Thi-Thi has an awesome collection of clean Nike shoes and she is a master of Chinese horoscope.
This is Arnaud. He is the other half of Oskar. Graduating from ENSAV La Cambre, he has been close to his camera ever since. Spending several years in vietnam was all part of his desire to get a different work and life experience.
Arnaud loves oskar
almost as much as he loves waffles.
Oskar does everything from photography to creative direction, styling and production. Constantly evolving, Thi-Thi and Arnaud’s work brings together all their various experiences from fashion, advertising, celebrity portraits and artistic projects.
OSKAR
is
a
creative
photographIC
duo
without whom The Lumberjack would be just Jack. behind
Thi-Thi Oskar,
and
Arnaud,
pushed
the
the
creatives
limits,
ignored
all the neon pigment on their bodies and their equipment, marched through the rainy forests with us and devoted mountains of energy was
and
infront
enthusiasm of
their
every
lens.
time
They
rockstars.
our sincerest Thank you Oskar.
LMBRJK
are
our
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In its current exploration of materials, LMBRJK is driven by a desire to distill radical new species from natural and synthetic ecologies, delivering objects born in the concept of digital wood.
it is through a desire to extract design from the visual splendor of the computer, that lmbrjk finds satisfaction in the handmade.
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pittsburgh forever!
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Formally trained as an architect in Los Angeles, a city defined by the film industry’s inertia towards visualizing dreams and radical forms, Jon started LMBRJK after designing in New York for Asymptote Architects and in Berlin for Barkow Leibinger Architects. His pedigree, an intertwined mixture of geometric acrobatics and rich appreciation of raw material, is what forms the principles behind LMBRJK.
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Lumberjack - a burly man who lives and dies by the axe; lives deep within the deciduous forest where he earns his livelihood by falling large trees, the size of titans; eats a steady diet of pancakes with maple syrup, beaver, and forest ruffage; wears a uniform of a plaid flannel shirt; may or may not be accompanied by a blue ox.
urban dictionary
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First known use of the word “lumberjack” – 1831
Webster dictionary
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Andrew Kudless’ p_wall, Made of one hundred fifty cast plaster tiles — individually formed by pouring plaster over nylon stretched atop wooden dowels — the new wall possesses an unmistakable corporeal quality. Bulges and crevices; love handles and cleavage; folds, pockmarks, and creases: these are among the characteristics of human skin that come to the fore.
henry urbach, design curator sfmoma 2009
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i presented my feminine side with flowers
she cut the stems and placed them gently down my throat
and these tu lips might soon eclipse your brightest hopes
saul williams, she 1999
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The TRILIP series is an investigation and catalogue of organic beauty. Each vessel is distilled from the formal logic of a tulip and an index of functional constraints, such as height, width, performative cavities, perforations, historical vase typologies and alike.  The TRILIP series pushes the limitations of traditional wooden vase making beyond the lathe and finds new techniques robust in their abilities to produce controlled variation.
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Hundreds of veneer layers form a vase, cut from hardwood and softwood species harvested from Slovenian forests. The layers are tooled using a CAD-based, 80watt laser cutter, and then assembled by hand in the studio.
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The KACTUS series explores ideas of exterior and interior. The interiors of the bowls are complex topographies while the exteriors are smooth and simple. An inversion of the desert dwelling plant the series draws its name from, the bowls are modest by nature. It is only when one peers inside the bowl that one discovers the intricate beauty of its woven, 3-dimensional patterns.
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5 hours to lasercut. 11.5 hours to glue.
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layer no. 118
layer no. 167Â
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layer no. 128
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I'm up in the woods, I'm down on my mind I'm building a still to slow down the time I'm up in the woods, I'm down on my mind I'm building a still to slow down the time
justin vernon, Lost in The World in Kanye West's My Beautiful Dark Twisted Fantasy 2010
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You're my devil, you're my angel You're my heaven, you're my hell You're my now, you're my forever You're my freedom, you're my jail You're my lies, you're my truth You're my war, you're my truce You're my questions, you're my proof You're my stress and you're my masseuse Mama-say mama-say ma-ma-coo-sah Lost in this plastic life, Let's break out of this fake ass party Turn this into a classic night If we die in each other's arms we still get laid in the afterlife If we die in each other's arms we still get laid
Kanye West, Lost In The World in My Beautiful Dark Twisted Fantasy 2010
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The storm, the shifter of shapes, drives on across the woods and across time, and the world looks as if it had no age: the landscape like a line in the psalm book, is seriousness and weight and eternity.
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what we choose to fight is so tiny! what fights with us is so great! if only we would let ourselves be dominated as things do by some immense storm, we would become strong too, and not need names.
Rainer Maria Rilke, from The man watching 1907
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LastYardz and his world: Bxhell - Pain turc pitta sauce blanche sans salade - DNA - Los San Gillis - Ricard - Ta Gueule - Stoëmp - La Fine équipe - UP Krew - 4ème frère - Bagarre - Peinture - Gravure - Cutter - Café Mauvais Œil - Air Max - Où je vis - La Fine Prod GG Allin - Rien à foutre - Ernest Pignon Ernest - Supra - Mighty Progerians - Harvest - Pollué - Double colle - On n’est pas tes potes - Danzig Baldaev - 1983 - Massackre - UNGVBL - Jack & William & Johnny - Pétasse - Pas de chance Affiche - Go home - Who Shoot Biggie Small ? Céline - Necro - I Need Money - Jonhatans - Crazy Dogs - Le Voyageur de la nuit - Forever Changes - Rex - Raymond Pettibon - 23
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Cataloguing the evolution of form. Korb, a digital filmmaking and design company, chose the ubiquitous coca-cola bottle as the base model to apply a series of physical manipulations within this short film.
You watch
as an array of bottles flexes, twists, and bulges under its own weight. An evolution of form is captured one frame at a time, uncovering the endless variation possible within a single object.
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Pile up together a number of moments, and
you
get
a
chapter
of
the
story.
Dissect an individual moment and you get three more references. The possibilities are
endless,
waiting
to
continue
to
be
stories told.
freeze
ever
We
our
evolving,
are
going
moments.
to
Pile
them up and then disentangle them into new
realities.
It
helps
us
understand
ourselves And the world around us. We hope to soon offer you the next insight, inspired by another city with different running
paths.
forward,
into
Our
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next
LMBRJK an
STUDIO
amazing
unwritten
story
is
moving
new
space.
starts
here.
index
p 2 / Running / Oskar / www.weareoskar.com
p 54 / Tension / Nir Arieli / www.nirarieli.com
p 5 / Jon / Oskar / www.weareoskar.com
p 55 / Shoe Salon Breuninger / John Breed / www.johnbreed.nl
p 6 / SADL Stool / Oskar / www.weareoskar.com
p 56 / Asos Number One / Mark Niemeijer / www.youmaan.com
p 7 / Studio in the woods / Oskar / www.weareoskar.com
p 56 / Spence 2009 Polyester Resin / Alexander Peter / www.peteralexander.com
p 8 / SADL Stool in the making / Oskar / www.weareoskar.com
p 56 / Color in the woods / Oskar / www.weareoskar.com
p 9 / Untitled / Maurizio Di Iorio / mauriziodiiorio.tumblr.com
p 57 / Cutting wood / Oskar / www.weareoskar.com
p 9 / SADL Stool after explosion / Oskar / www.weareoskar.com
p 58 / Rainbow eucalyptus / Amelia Leubscher / www.flickr.com/photos/amelia525
p 10 / SADL Stool in the making / Oskar / www.weareoskar.com
p 59 / Color Pad / Klas Ernflo / www.klasherbert.com
p 12 / SADL Stool natural explosion / Oskar / www.weareoskar.com
p 63 / Girl no1 / Gregory Blake / www.gregory-blake.com
p 13 / Chopped trunk / Oskar / www.weareoskar.com
p 63 / Medici / Design by Konstantin Grcic / Photo by Gerhardt
p 14 / Exploding trunk / Oskar / www.weareoskar.com
Kellermann / www.gerhardtkellermann.com
p 15 / SADL Stool neon explosion / Oskar / www.weareoskar.com
p 64 / After the cut / Oskar / www.weareoskar.com
p 16 / Green disk break / Felinatural / felinatral.tumblr.com
p 66 / Green / Michael Muller / www.inthechoirs.com
p 16 / Axe in the woods / Oskar / www.weareoskar.com
p 67 / P_Wall 2009 / Andrew Kudless / www.matsysdesign.com
p 17 / Army jacket, Casio watch / SSTF / www.sstfshop.com
p 72 / Cloud Chaos Cropped / Matt Molloy / www.500px.com/MattMolloy
p 17 / Running through the greens / Oskar / www.weareoskar.com
p 72 / Logs / Oskar / www.weareoskar.com
p 18 / Lombard St, sf / Daniel Parada Muñoz / www.flickr.com/photos/danilo-fermata
p 73 / Cactus terrace / Anagrama / www.anagrama.com
p 18 / In the clearing / Oskar / www.weareoskar.com
p 74 / Planted forest / FFSC / www.ffsc.jp
p 18 / In the woods / Oskar / www.weareoskar.com
p 75 / Shoe Salon Breuninger / John Breed / www.johnbreed.nl
p 19 / A real mess of peas / Laura Wright / www.thefirstmess.com
p 77 / Pink Oyster Mushroom / Laura Berman / www.greenfusephotos.com
p 19 / Untitled / Winnie / www.flickr.com/photos/62798467@N00
p 82 / Done / Oskar / www.weareoskar.com
p 19 / Avocado Egg Toast / Chantelle Grady / www.chantellegrady.com
p 83 / Working / Oskar / www.weareoskar.com
p 19 / Emer Nose Spine / Jonathan Felipe Formento / www.jformento.carbonmade.com
p 84 / Quickie, the Italian Greyhound / Scott Cannon / homemadecanoe.com
p 20 / Running no2 / Oskar / weareoskar.com
p 84 / SADL Stool after the explosion / Oskar / www.weareoskar.com
p 22 / Red axe / Oskar / www.weareoskar.com
p 86 / SADL Stool natural explosion / Oskar / www.weareoskar.com
p 22 / SADL Stool after natural explosion / Oskar / www.weareoskar.com
p 87 / Lincoln / Jordan Rogers / jordanrogers26.tumblr.com
p 30 / Selfridges / Lernert & Sander / www.lernertandsander.com
p 88 / My wife, Nelli / Zoltan Tombor / www.tombor.com
p 30 / Vintage Thonet Plywood Chair / CoMod / www.etsy.com/people/CoMod
p 89 / SADL Stool natural explosion / Oskar / www.weareoskar.com
p 30 / Chainsaw / Hyphen Design for ikra GmbH / www.hyphendesign.com
p 90 / P_Wall 2009 / Andrew Kudless / www.matsysdesign.com
p 31 / Pixxxel / Jean-Yves Lemoign / www.jeanyveslemoigne.com
p 90 / Memory Foam Pullover / Nadine Goepfert / Photo by Sanna
p 31 / SADL Stool / Oskar / www.weareoskar.com
Helena Berger / www.nadinegeopfert.com
p 32 / L.A. Courtyard / eric de Broche des Combes / www.visiturnoir.com
p 95 / $10 Dead Tree / Zach McCaffree / www.zachmccaffree.com
p 32 / Running no3 / Oskar / www.weareoskar.com
p 98 / TRILIP vase in the woods / Oskar / www.weareoskar.com
p 36 / Schnitte / Deskriptiv / www.deskriptiv.de
p 100 / Deer / Theo Gosselin / www.theo-gosselin.blogspot.com
p 36 / Smoke Lamp / Mathieu Lehanneur / www.mathieulehanneur.fr
p 102 / Bent / Christopher Grey / www.christophergrey.com
p 38 / Bison on the Prairie / Todd Mann / www.toddsphotos.com
p 102 / Green / Oskar / www.weareoskar.com
p 38 / Vert de Gris / emilie Zanon / www.capouche.com
p 103 / Light and the forest / Markus Nurmi / www.nurmi.ca
p 39 / Polish Frizzle Blue Hen / Rustic Chic / www.rusticchic.wordpress.com
p 104 / Artisan Bread / Nicole / www.etsy.com/people/Accessoire
p 39 / Hero head / Giuseppe Randazzo / www.novastructura.net
p 104 / Cut logs / Oskar / www.weareoskar.com
p 40 / SADL Stool neon explosion / Oskar / www.weareoskar.com
p 104 / Neon yellow / Oskar / www.weareoskar.com
p 41 / SADL Stool / Oskar / www.weareoskar.com
p 105 / Coffee & Milk / Andrea Duskovà / www.flickr.com/photos/andrea_dusk
p 41 / yellow Nike shoe / The varsity life blog / thevarsitylife.tumblr.com
p 107 / Weathered Foxtail Pine / Bob Kaune / www.antique-used-tools.com
p 41 / Jay Chou Coffee Stain Portrait / Hong Yi / www.redhongyi.com
p 107 / Antelope Canyon / Luca Galuzzi / www.galuzzi.it
p 41 / Lamborghini chair / Wogg / www.wogg.ch
p 112 / Black and white woods / Oskar / www.weareoskar.com
p 41 / SADL Stool neon / Oskar / www.weareoskar.com
p 112 / Untitled / Zach McCaffree / www.zachmccaffree.com
p 42 / Milled log / Daniel Harrison / danielharrisonfurniture.tumblr.com
p 112 / Wood chips / Oskar / www.weareoskar.com
p 44 / SADL Stool coming together / Oskar / www.weareoskar.com
p 112 / Nike shoes / Foot Patrol / www.footpatrol.co.uk
p 45 / SADL Stool in parts / Oskar / www.weareoskar.com
p 113 / Green gras / Aurum / aurum-design.tumblr.com
p 46 / Triathlon International de Geneve / Gregoire Saunier / www.ekunn.com
p 113 / untitled / maurizio di iorio / mauriziodiiorio.tumblr.com
p 47 / Rebecca / Massimo Faccini / massimofaccini.tumblr.com
p 114 / Trident / Rizon Parein / www.rizonparein.com
p 48 / Sweater / Acne Studios / www.acnestudios.com
p 114 / Nike shoes / Foot Patrol / www.footpatrol.co.uk
p 48 / SADL Stool orange / Oskar / www.weareoskar.com
p 114 / Woods no1 / Oskar / www.weareoskar.com
p 48 / White hair / Fashion is my happiness blog / deborahsayag.tumblr.com
p 115 / Woods no2 / Oskar / www.weareoskar.com
p 49 / The veggie burger of my dreams / Laura Wright / www.thefirstmess.com
p 116 / SADL Stool natural explosion / Oskar / www.weareoskar.com
p 49 / Avalon / Zach McCaffree / www.zachmccaffree.com
p 117 / Nike shoes / Thisshicray blog / www.thisshicray.wordpress.com
p 50 / Coaster set / Chen Williams / www.chen-williams.com
p 118 / Girl / Aleksandr Mavrin / mavrin.tumblr.com
p 51 / Chair / Folklore, London / www.shopfolklore.com
p 120 / Tattoo work / Roxx of 2SpiritTattoo in San Francisco / www.2spirittattoo.com
p 51 / White Axe + Wood / Aleksandra Pollner / www.aleksandrapollner.com
p 120 / Concealed layers of life / Renee Verhoeven / www.reneeverhoeven.nl
p 52 / Bleecker Street Documents / Peter Jellitsch / www.peterjellitsch.com
p 122 / Coca Cola / KORB / www.korb.lt
p 52 / Paper Torso / Horst Kiechle / www.torso.amorphous-constructions.com
p 124 / SADL Stool neon explosion / Oskar / www.weareoskar.com
p 52 / The pink gradient Moth / Studio Snowpuppe / www.studiosnowpuppe.nl
p 125 / Girl no2 / Gregory Blake / www.gregory-blake.com
p 53 / Faceture vase / Phil Cuttance / Photo by Petr Krejci / www.philcuttance.com
p 126 / Explosion in the woods / oskar / www.weareoskar.com
p 53 / Bleecker Street Documents no2 / Peter Jellitsch / www.peterjellitsch.com
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