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Having established his own studio in Beijing in 2009, Henny van Nistelrooy has variously worked with Chinese craftsmen and local producers from the creation of textile-based works like handwoven tapestries and fabric wrapped furniture like chairs and sofa, to the ceramic tableware. 同题参见

Henny shared the fascinating backstage story of his interactions during the development of a specific collection of ceramic vessels edited by his own brand Noord. 

“The Landian collection is inspired by the use of the color blue in Chinese culture. 

It refers to both Indigo that gave color to fabrics for centuries as well cobalt, known from the iconic blue and white pottery.

The graphic design makes a visual reference to the drying process of traditional blue indigo cloth that is made in southern China, where the Dong minority of Guizhou hang the dyed cloth outside their houses to dry.

Walking the narrow streets in their villages these long cloths, carefully suspended with wooden sticks, create a playful pattern of ribbons that dress up the houses. 

The patterns take a play on the symmetry known from its traditional counterpart.

Henny van Nistelrooy积极与中国工匠和当地生产商合作。与此同时Henny van Nistelrooy在北京创建了自己的工作室，从纺织品（如手工编织挂毯）和织物包装家具（如椅子和沙发）到陶瓷餐具创作，2009年，

在这里，Henny与大家分享了在其自有品牌Noord陶瓷器皿特定系列开发过程中，背后的精彩故事。

“蓝点系列”深受中国文化当中对于蓝色应用的灵感启发。

既指几个世纪以来为织物染色用的靛蓝，又指深蓝色——通过标志性的蓝白色陶器得名。

图形设计灵感源自中国南方制造传统靛蓝布的晒干过程，即贵州侗族人将染色布挂在房屋外面晾干的过程。

穿行在村庄狭窄的街道上，村民用木棍小心地这些长长的布料悬挂起来，透着一种唯美感，如绸缎、如丝带，仿佛不经意地点缀着房屋。

这些图案讲究对称，在对称性领域发挥关键作用。

The relationship between designer and maker is one where aspects of unpredictability dictated by the very nature of the material and the coloring effects varying in degrees from the original designs due to the heating process, open up a creative dialogical space giving life to new possibilities and inspirations.

This new ‘’language’’ crafted at the intersection of concept and practice, is of mutual formation - constrains become opportunities, apparent failures give life to novel ideas. 

These revealing pictures bring testimony to the constitutive process which “is” the design deed itself – a constant repurposing of knowledge and invention, these temporary objects becoming units of meaning in a materialized language of beauty in imperfection.

赋予生命以新的可能性和灵感。打开了一个极具创造性的对话空间，设计师和制造商之间存在这样一种关系：由材料的本质决定的不可预测性和由于加热过程导致原创设计具有不同程度的着色效果，

失败促生新的理念。这种在概念和实践的交叉点上产生的新“语言”的形成过程是双向的——约束限制变成机会，

这些揭示性的图片证明了“存在”设计行为本身的构成过程——知识和发明不断得到再利用，这些暂时的物体成为不完美当中美的物化语言的意义载体。