by Bonnie Hvillum Denmark

$786 - $786 Incl.0% VAT
Insured Delivery: $79
Est delivery: Feb 11th, 2022
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Made to order

Estimated production time: 3 weeks

Slight variations in the foam seat texture and color can occur. Delivery time approximately 4 weeks.
Dimension LxWxH (cm): 35x35x44
Open Editions Material : biodegradable foam, Douglas fir
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  • 14 days return policy In the rare event, you receive a piece that you are not fully satisfied with, you can return it within 14 days of receipt for a full refund except return shipping costs. Made-to-order items are not eligible for return.

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“OFFSET” is a series of sustainable, sculptural stools designed by Natural Material Studio. The stools consist of biodegradable madress foam, B-Foam, and Dinesen Douglas fir offcuts. The series of stools is developed from the construction principle of offsets, where the same dimensions are replicated and moved, which creates a lively and ukurant expression of changing the look within the same frame. The offset changes in the construction is meant to compliment the varying and unique character of the foam texture.

The foam that is used as the seat of the stools consists of a foaming technology with a protein based bio-polymer, all developed by the studio. To create a washable and durable surface, the studio has incorporated beeswax into the foam that creates an outer barrier. This makes it possible to expose and use the foam both as a padding and lining at the same time.

The foam biodegrades within 3 months when exposed to soil, compost, or heat and water in combination. The latter makes it possible to reuse and recast the material, and thereby create a closed loop system.

The “OFFSET” stools comes in three variant constructions, #01, #02, #03, and in either white washed or ash pigmented Douglas fir offcuts. The stools are sold individually. All foam seats and wood constructions are handmade by order.

Additional information

Weight 10 kg
Dimensions 40 × 40 × 50 cm
Dimensions LxWxH (cm)

Weight (kg)

Production Year







Design Class


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White Washed, Ash Pigmented

About the designer

Bonnie Hvillum

We want to create a future that is fully centred around the circular design principles - reuse, recycle, renew & rethink. That is why we are called the Natural Material Studio, as materials are the building blocks in all designs in the world – from packaging to architecture. The Studio is founded and run by material & interaction designer Bonnie Hvillum: “I am educated to design interactive user experiences, but the playful game of using up what I have with sustainability in mind has always been a great part of me. Establishing my studio on these to pilars – immersive interactions based on residue, let me to Natural Material Studio. I see my working approach very childish, with a naive beginners mind, but also very visionary constantly exploring the potential in the overseen to create highly sensory experiences.”

Curated by

The body of work in this collection consists of pieces by Greek designers of the mainland and the diaspora, or international professionals who live and work in Greece. As a common theme we tackle the elusive notion of “Greekness” and how this transpires through the work of seemingly diverse and distinct individuals. In our attempt to define “Greekness”, we aim to raise questions about how this plays out in the work presented. How do Greek designers view their identity? Is it through their effort to decipher their heavy heritage? Is form important in order to achieve a predisposed classic elegance, or is a philosophical disposition towards shape more poignant? Could it be simply a resourcefulness and DIY ethic to make up for the absence of design infrastructure? How do Greek designers based abroad deal with their background? Could it be that they simply ignore it in order to finally free themselves? Is there a certain amount of innovation necessary in order to channel it into the new environment? Finally, how do foreign designers see their work influenced by their Greek surroundings? Is it the reference through the use of noble materials such as marble or the abundance of natural light that makes their work unquestionably Greek? Or could it be something else they were seeking when they decided to move here, something abstract like humour or drama? Could their arrival finally mean a departure from Greek heritage’s self-reference? The pieces that we present might seem ill-matched, but they share an important core element. They are confident in their narrative of a personal story of identity, that is either at peace or against the Greek archetype. Through this communication, they all describe a culturally mature and vibrant scene that is finally extroverted and coming of age.