In a letter Michelangelo wrote that sculpture was just using the chisel in order to remove what superfluous was: The idea and the form of his sculpture was already inside its stone. So according to Renè Holten (1961), Design lies inside materials, too. Influenced by the beauties of nature and moved by music, he works on his sculptured products, by questioning about the role of Design objects in this world and how they can give pleasure, as long as possible. As a result surrounded by different shells in his workshop he gives a natural shape to his creations using his hands. And  by removing the excess of material that hides his objects, he let them come out  with the patience and passion of his best inspirator: The one among all the artists, who has always been the greatest, ever existed.

M.E.F.: I have read that you first graduated at the Academy of Arts in Maastricht and then, after 5 years at the Accademy of Design in Eindhoven. How much important was for you the artistic background in your Design?

R.H.: I think it was very important, because it meant for me to develop my creativity. And then I discovered beauty in art and the concept of beauty inside of me. But it was a process that of course took some time.

M.E.F. : What is in a object the borderline between considering it as an art masterpiece rather than an industrial product made just for using it and not only to contemplate it?

R.H.: There is really a big difference. However there are many links between the two features. Quality is an essential aspect of both. For instance, when I make a painting or a sculpture, it is something that is only expression of my feelings. When I have to design an industrial product instead,  there are so many factors and many people’s demands to consider. It is truly a challenge! You need to face with costs, materials, forms, partners and each of them plays a role in your design. But more importantly, all these elements cannot influence that much your project. You must keep your strong identity, your signature.

M.E.F.: Do you agree with many of your Dutch colleagues about the “Limited edition” of their creations and showing them inside Art Galleries? Or instead Design should respond to technical, functional and cultural needs?

R.H.: Both can exist in this world and above all they must exist in this world. When you deal with “Limited edition” you have a certain freedom. I mean the costs limit your fantasy and as a consequence, if you can realize your design with high costs, that means that it is not afordable. This can be art or a new way to look at the design objects.

M.E.F. : What is your future vision of Design?  

R.H.: In my opinion, everything can be Design, Ikea articles too. It is trying to find boundaries in my creativity in relationship with the demands of the market.

M.E.F. : How much do communication and emotion play a role in the concept of a new Design product?

R.H.: Emotion is an important aspect of Design. For example I am a very emotional person and that is sometimes not good. But emotionality is also a way to be creative. When I get a request from a company, I do not give an answer soon. I put this in the back of my mind and then my thinking process starts. A sort of incubation. Maybe after two weeks, when I am jogging, I get the idea. As the matter of facts, I do think that emotion is vitality.Communication is very important as well, because every of my objects has a story to tell.

M.E.F. : You seem to be very respectable towards environment, so for this reason your works are made with recyclable materials. What are your favourite materials used just for this purpose?

R.H.: Everything you make is put on the environment and if you take this on account, your job can be quite complicated. To give an example: First you have to look for the right client that gives you the opportunity to let you design objects that can last for long time.For instance 15 years. But this is not that simple, because normally for a question of market, you are asked to design objects that can last only 2 years, because companies want to renovate their objects in order to sell as much as they can. This is not for me, actually.I rather would like dealing with producers who want to make articles with a longer lifespan and with high quality, instead. On the other hand, recycling components can be very important as long as you can give life again to your old design objects. For example if you can split the upholstered part of a chair and replace it with a new one, then you get the splendour of your chair back. Making everything with independent pieces and recycling the original materials is a way to respect the environment. For example: I like polished stainless steel more than chromed steel.

M.E.F. : Dodo chair determined the start of your cooperation with Artifort: how did you conceive it?

R.H. : I like designing chairs just seated on them. Adjustable back and flexibility were the main characteristics of Dodo: The back is connected to the seat and the seat to the base and this mechanism gives dynamism in its design. For this particularity Dodo is still sold after 10 years.

M.E.F. : How was working with Wiel Arets and what you have learned from him?

R.H. : When I finished the Art Academy, then I went to Amsterdam and then to Switzerland.  After that, Wiel Arets asked me to carry on the design part of his company. I made a lot of competitions there. What I picked from him was how important is to learn and to develop your hand writing.

M.E.F. : I like very much your sanitary creations for Clou. They have something sculptural.

R H. : You can make logical objects, products that sell or you can make something different. It is up to you. I only wanted to see how water flew, so I made a cut with a knife in the middle of a washing basin. It was interesting to see the water’s movement. So in order to adapt the cut to the syphone I had to make a special element which could allow to use a standard pipe system and that was it. However working with Italians is really special, because they follow your ideas. They are definitely more flexible and open-minded than anybody else.

M.E.F. : What is that important ingredient in Design that makes consumers’ desire for tools just for loving them, instead of considering them as simple tools for living?

R.H. : It is nice when a person chooses a chair because he or she has a connected feeling with it. I do not buy things for the sake of buying them.

M.E.F. : What is that invisible line that reveals your style through all your creations?

R.H. : I cannot tell. Somebody else probably can easily find out, not me.

M.E.F. : What is ispiring you?

R.H. : The world around me is inspiring; nature, people, creativity and beauty in every human being. So I can admire on one hand the beauty of nature but also for example the beauty of a new piece of fashion. Movies and music can also be very inspiring to me. It differs a lot; the ideas for the washbasin “First” for Clou came to me while I was playing with my son in the sand on a sunny summer beach.