Corrugated: Hanneke Lourens’ Debut Furniture Collection

INTERVIEWED BY Gina Dionisio PHOTOS Hubbard M. Jones

South African-born, California-based designer Hanneke Lourens’ debut furniture collection is a tribute to South Africa’s urban landscape.

For her debut furniture collection, Corrugated, Hanneke Lourens transformed corrugated metal motifs into stunning wooden piece. Consisting of five pieces, the collection reimagines the purpose of this globally used building material by mimicking its flowing curves in white oak and juxtaposing those same smooth shapes with a contradiction of hard geometric lines. We had a chat with her to find out more about Corrugated.

Your collection draws inspiration from the urban landscapes of South Africa – Can you elaborate on how these elements influenced your design process and what personal experiences you drew from? 

When I was doing research for my first collection – both in person and by looking at photos of South Africa’s urban sprawls–the shape of corrugated metal just kept catching my eye. Once the idea got stuck in my brain, there was no getting away from it. I almost immediately started figuring out how to recreate the curves with wood and the whole collection evolved from there.

In the back of my head, and I wonder if other South Africans also find this, corrugations make me think of sinkplaat grondpad. Although it can be a pain to drive your bakkie or ride your bicycle on these dusty, rutted roads, I can’t help but feel a little nostalgic about them.

You mention a desire to capture the sense of duality that defines South Africa. How did you balance the contrasting themes of beauty and chaos in your designs, and what message do you hope to convey through this juxtaposition? 

For the Corrugated Collection, I paired the smooth wavy shapes with hard geometric lines to create a juxtaposition between hard and soft. My reasoning for using these elemental shapes was twofold: to eliminate distraction so the viewer’s eye would be drawn to the corrugations straight away, and also to create a sense of spontaneity or chaos, if you will. I wanted the pieces to feel like they’ve been slapped together at the last minute – almost as if they became furniture by accident.

The use of white oak to mimic the flowing curves of corrugated iron is unique. Can you describe the challenges and rewards of working with this material and how it contributes to the overall aesthetic and functionality of the collection? 

Working with white oak can be quite challenging, it’s a tough material and a master at dulling your tools. But this also comes with the upside of being very strong and durable. When I make furniture, I can’t help but keep longevity in mind. So, I utilise the material in such a way to ensure that the piece will last. It’s no surprise that many of the antiques still standing the test of time are made from oak. Every piece I make is coated in a clear, natural oil and wax blend to preserve those medium tones. I find oak’s neutrality aesthetically pleasing – neither too light nor dark, it seems to fit nicely into most environments.

A percentage of the sales from the Corrugated collection will be donated to Learn to Earn, a skills development and job creation organisation in Khayelitsha. Can you share more about this partnership and why supporting such initiatives is important to you? 

I had the privilege of visiting Learn to Earn in Khayelitsha towards the end of last year. I received a tour of their facility and chatted with some of the ‘Bake for Profit’ students. Not only do they teach valuable skills and assist in finding jobs, but they also focus on building self-esteem and provide mental health services where needed. I was just really impressed with the work they do and decided that I would be donating a percentage of the sales from the Corrugated collection to their efforts. I also know how incredibly rewarding it can be to learn a new skill, so if I can help make that a reality for someone else, I’d be very happy.

Looking ahead, how do you envision the evolution of your work? Are there other cultural or environmental elements you want to explore in future collections? 

I do have another South African theme in mind for my next collection – I can’t say much about it yet, but it will be quite playful. I’m very lucky to be able to spend a good chunk of time at home each year and inspiration seems to find its way to me on every trip. I’m sure my work will evolve in many ways, but South Africa is such a big part of who I am that I think it will be impossible to disconnect the furniture I make from my home country.

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