Jongerius was born in De Meern, a village to the west of Utrecht in the Netherlands in 1963. From 1988 to 1993, she studied design at the Design Academy Eindhoven. After graduating, she worked for a few projects at Droog Design.[1] She founded her own studio called Jongeriuslab in Rotterdam in 1993. She taught at the Design Academy Eindhoven as head of the department Living/Atelier (1988–1993).
Through Jongeriuslab, she produces various collections of textiles, crockery and furniture. Her design focuses on combining opposites; for example, new technology and handmade objects, industrial manufacturing and craftsmanship, and the traditional and the contemporary. Her works are often highly textural; for example, rough edged leather is rolled up to create wheels, paint is splashed on earthenware, ceramics are sewn onto cotton tablecloths, sinks are made of rubber.[2] Jongerius prefers working with textiles so that she can practice her creativity without making a new product from scratch.[3] According to New York Times design critic Alice Rawsthorn, Jongerius' "greatest achievement is bringing sensuality and sophistication to the sanitary industrial design".[1]
In 2012, Jongerius designed a new interior and seats for the business class cabin in KLM's Boeing 747. She is currently continuing on the business and economy class cabins for KLM's 777 and Dreamliner planes.[4] In 2013, together with architect Rem Koolhaas, she redesigned the North Delegates' Lounge at the United Nations HeadquartersinNew York City.[5] For Nymphenburg Porcelain Manufactory, Jongerius designed the Nymphenburg Sketches, Four Seasons and Animal Bowls.[6]
Jongerius's perspective on sustainability in design is that it should be built to last. She is a proponent of longtermism[7] and is an outspoken critic of ephemeral, low-quality objects — which in her view, should not exist. She has stated, "There's too much shit design"[8] and:
"It's not the design that is the real issue but the amount that is being produced, that is where the evil starts; it just doesn't really add anything to the world."
Jongerius sees longtermism as a solution for the wastefulness of design. She wishes modern designers would follow in the paths of 20th century industrial design greats such as Le Corbusier and Gerrit Rietveld.[citation needed] Jongerius believes that designers are either "merchants" or "pastors". These "merchants" are guilty, in her mind, of producing too much that doesn't last.[8]
"Merchants are the ones who keep the machine spinning for profit without any conscience and pastors are the ones who want to change something in the world and feel responsible."
Theorist Louise Schouwenberg and Jongerius published an opinion piece called Beyond the New: a search for ideals in design about the current state of design and sustainability.[9]
"We are in search for new ideals in design, a holistic approach on all levels."
2001, Develops the My Soft Office series of futuristic office furniture for the Workspheres exhibition at the Museum of Modern ArtatNew York City, United States
![Buttons for the Polder sofa[10]](http://en.wikipedia.org/wiki/File:Botones_Sof%C3%A1_Polder.jpg)
