Design: Money box with high explosive content

May 1, 2016 § 2 Comments

Presenting my first functional object, inspired by Henry Van De Velde, a Belgian painter, architect and designer of furniture, interior, clothes, book covers, silverware, dinner sets, candle holders, etc.

Famous as one of the founders of the Art Nouveau style, late 19th Century – first half of the 20th century. He was very inventive in designing functional objects and had a sharp eye for aesthetic quality. Through out his long life his style developed from high aesthetic ornament to a more modern, minimalistic style. He designed several country houses, schools, a theatre, the Nietzsche Archiv in Weimar, Germany, the Library of Ghent University with the booktower, Ghent, Belgium.

He also designed a beautiful silver money box, unfortunately I didn´t found a picture of it. You´ll find it in this catalogue:

Passion, Function, and Beauty: Henry van de Velde and His Contribution to European Modernism



In times where you have to pay for your bank deposits, banknotes are safer under your pillow. It´s an interesting challenge to re-invent the money box, using mainly found objects, coffee and peanuts cans glued together penetrated with electricity cables and metal wire.


Handmade money box with high explosive content

in German´die revolutionäre Spardose´


Some examples:


Design object consists of a coffee and a peanuts can, electricity cables, metal wire, key of the heart, blue feather, piece of a bank card. Dimensions:22 x 22 x 22 cm.


The red with the yellow pill version.


The smaller silver cardboard version with a deer and the Sagittarius symbol.


The turquoise version with bears and a found key.

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§ 2 Responses to Design: Money box with high explosive content

  • serge vanhee says:

    I like very much the street credibility of the Money box. What I mean is that it obviously was not made out of love for the pure art (in the same way that it was not made to defend the cause of the oppressed). For me, Money box refers to the hero and for that which his heart beats. That what necessarily is being persecuted by society: to simple prove that the creator has been ‘always wrong ‘. So the truth hidden in the work can only come to light when the ‘ real ‘ drama subject has gone through a ‘real’ critical analysis. (reed: the non-esthetic one). Like the ‘ noble sauvage ‘, the work assumed the role of a catalyst. The ‘ goodness ‘ of that abstract being is an absolute value (where no single dose ‘ barbarity prejudice’ can reach). So the work really believes in his own innocence because it passionately believes in the fault of the judges. As a spectator you need endured the ordeal, may be less intense than that of the creator, but there are still many similarities with it. The ‘ real ‘ critic/viewer/by-stander does not remain proud and cold lensed. He really communicates with the creator and struggles together with her. I like that punk attitude very much!

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