Paul Coenen | Designer
- Onur Çoban
- Oct 5
- 4 min read
Based in Eindhoven, designer Paul Coenen pushes the boundaries of metal with a deep dedication to material and an innovative approach. Without using traditional fasteners like welding or screws, he creates his distinctive "Tension" series by harnessing the natural tension of the material itself, carving out a unique place in the design world. For Coenen, design is not about form but the exploration of material and production processes; each piece is an experience where craftsmanship meets industrial techniques.
We spoke with Coenen about his design philosophy, material choices, and creative process, as well as how he balances traditional craftsmanship with innovative techniques to shape the future of design.
Interview: Onur Çoban
Who is Paul Coenen? Can you briefly introduce yourself?
I’m a designer based in Eindhoven, The Netherlands. I graduated from the Design Academy Eindhoven in 2019 and started my own design practice right after. My graduation project was the beginning of my Tension series: an ever-growing collection of pieces that are based on a joinery technique I used. It’s using the tension in sheet metal to lock all components together without the need for welding or any other fasteners. These were actually one of my first metal furniture pieces that I have made. After working so much on this project, I got many ideas for other metal pieces and just kept working in sheet metal after that.
How would you define your design philosophy?
In my work, the material is central. Every material has its own way of taking shape. The various (production) techniques applied to a material bring their own aesthetic, along with their own advantages, disadvantages, possibilities, and limitations. By listening to and exploring materials in this way, the material guides me in how it wants to be shaped. As a result, every object and detail is a logical step and reaction to what I’ve learned in my research: the final form is a consequence of material and technique. Nothing needs to be hidden, because it is shaped in such a way that there is nothing to hide. So, I really never sketch a design and later choose the right material for it; the design emerges from what I discovered in working with a material.
What factors do you consider when conducting material research or selecting materials for new projects? Could you tell us a bit about your material choices in your work?
Choosing the right material is foremost a ’technical’ choice. I found out that the curved pieces I make, such as the Tension pieces, as well as the stainless steel Candle holder I did for Rohé, are best done in stainless steel. The material is strong and very stiff, which makes it possible for me to form it in a very controlled manner. Next to that, I also like that what you see is what you get. No paint, no extra layer on top, just raw material.
"I really never sketch a design and later choose the right material for it; the design emerges from what I discovered in working with a material."
Can you share a bit about the production process in your projects?
My projects begin with hands-on model making, so I have a large workspace dedicated to that. It's filled with shelves and boxes overflowing with scale models, prototypes, and experiments. This is my favourite part of the process, where ideas take shape through cutting, gluing, and folding paper. I rarely start with the idea to make a specific type of furniture, but more explore interesting details, shapes, and joinery, which I then translate to an object that best fits its purpose. My objects have a mix of industrial manufacturing and some more handmade aspects. I really enjoy working with and to learn from these techniques that those factories use, but adding my own details that are not feasible to do there. All the precise bending is done in factories by brake pressing, while all freeform bending is done here in my studio with low-tech wooden molds.
Among your projects so far, which one has excited you the most in terms of the design process and the final outcome?
That would be the Tension Shelf, especially the tall version or the new Coil lamps. For me, these pieces are exactly showing how I think and what I love to do most. They have all the elements they need, but nothing more, while still being quite expressive pieces.
Can you tell us about the sources of inspiration behind your work? Who are the names you follow with interest, either in this field or across different disciplines?
I’m really into the work of artists like Eduardo Chillida, Anthony Caro, Richard Serra, and Richard Deacon. Large works with big expressions and the use of raw material and honest techniques. In the field of design, I admire the work of Jonathan Nesci. He has this growing collection of carbon tube pieces, which for me are a very good example of using one material and finding a new way of joining them, and where this joinery becomes the whole design. Also, the work of Théophile Blandet. He has a high understanding of materials and techniques, a mix of craftsmanship and industrial elements, and a strong own handwriting.
Are you excited about the future?
What plans do you have ahead? Absolutely! Last April, I moved to a new and bigger studio, which is very exciting and opens the door for larger projects and upscaling my production. For a year or so, I’ve been more focused on the work that I really want to make — but never did — and have been exploring this intensively. Hopefully, some output of this will be released coming year. A part of this is pushing myself to work with different materials, too. I’ve started with a long-term research project of incorporating metal with the craft of glass, and I’m lucky to work alongside very skilled glassblowers.
