113 individually actuated hexagonal acrylic rods. A surface that sees, weighs and responds — translating each product into its own language of motion.
Open for creative roles · Art Direction / Product / Trade Fair & Store Design — available now
Scroll
Hover the rods — each row is a doorway
A table should not merely hold a product. It should understand it — recognising what rests upon it and answering with a gesture that belongs to that object alone.
From object recognition to the mechanical hook mounts that move each rod — every layer designed to disappear behind the experience.
HOOK-MOUNT ACTUATOR 01 / 113
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CONTROL LAYOUT BUS WIRING · TOP VIEW
SYS_02*
Seeing
A camera that recognises, not just records.
The vision layer identifies which product has been placed on the surface and where it rests. Recognition selects the choreography; position anchors it in space, so motion always begins where the object lives.
Feeling
Weight as a second opinion.
Load cells beneath the surface confirm presence and distribution. Vision can be fooled by light; weight cannot. Together they form a perception that is both intelligent and grounded.
Speaking
One BUS, 113 voices.
A single protocol addresses every rod individually. Each receives its own position, velocity and timing — allowing waves, pulses and swells to travel across the surface as one continuous gesture.
Moving
Hook mounts, engineered to vanish.
Each hexagonal acrylic rod sits on a mechanical hook mount — precise enough for choreography, quiet enough to keep attention on the object, never the mechanism.
05 · Job Perspectives
One table. Five professions.
Every discipline sees a different machine. Choose a perspective — the table is lit, framed and explained from that point of view.
What I did
Where it comes from
Why this way
06 · Projection Lab
Play with the beam.
A live top view of the surface. Drop products onto the field, move your hand across it, switch on the info layer — and watch the projector answer in real time.
LAB_01* — LIVE SIMULATIONCURSOR = HAND
DRAG PRODUCTS · CLICK THE SURFACE FOR RIPPLES · ✕ OR DOUBLE-CLICK REMOVES A PRODUCT
Scenario · Hand
The beam follows you.
Approach the surface and the projection leans toward your hand — a halo of light and a crosshair that tracks position. Pull away, and the field settles back into stillness.
Scenario · Product
Recognition, projected.
Place an object and the projector frames it: bracket corners, name, live weight from the load cells beneath. Each product summons its own choreography — terrain waves, beat rings, a composed swell.
Scenario · Information
Data as light.
Coordinates, axis lines and readouts are cast straight onto the rods. No screen between you and the data — the table itself becomes the interface.
07 · Systems of Connection
Every node a thought. Every connection, a synthesis.
Eight disciplines existed for decades — separately. The table is the point where they touch. Hover the network to read each one.
The Network
Systems of Connection
Move across the nodes. Each discipline carries its own logic — and reveals what it becomes when it meets the others.
How to read thisOuter nodes — existing disciplinesCentre — where everything convergesFlowing light — ideas travelling between fields
Why connection matters
The Interactive Product Experience Table is not simply a product. It is a synthesis of eight distinct disciplines converging at a single point: computer vision and weight sensing, precision engineering and material craft, motion choreography and product design, user interaction and storytelling.
Each discipline has existed for decades. Yet their convergence here — the moment when all eight touch and amplify one another — creates something that didn't exist before.
This is the nature of creative synthesis. It is not about invention. It is about connection — finding the hidden threads that link seemingly separate worlds and weaving them into something cohesive, meaningful, alive.
The table responds to products because it understands them. It moves with grace because every element was designed with intention. It creates emotional experiences because craft meets technology at the exact intersection where both become transcendent.
I am drawn to the moment when an object stops being passive. A table that recognises what you place on it. A surface that answers a running shoe differently than a suitcase. Design, for me, begins where things start to respond.
The Interactive Product Experience Table is my flagship project — 113 hexagonal acrylic rods, two sensing layers, and a conviction that presentation can be a dialogue rather than a display. Brands like Salomon, Bundo and Rimowa each receive their own language of motion, because no two products should be spoken to in the same voice.
My work sits between disciplines on purpose. Engineering gives ideas a spine; craft gives them a skin; storytelling gives them a reason to move. I believe the most interesting design happens when fields that never met are introduced to each other — and asked to build something together.
Connect the unconnected
The strongest ideas are bridges. I look for disciplines that have never spoken and give them a shared language.
Motion is meaning
Movement is not decoration. A wave, a pulse, a swell — each gesture says something specific about the object it serves.
Technology should vanish
Sensors, protocols and actuators succeed when nobody notices them — only the moment they create.
Origin
From a toy to a table.
Fibre-optic lamp — the missing link
01
A projector, alone.
The first concept was modest: a beamer above a table, casting information next to products. Useful — but flat.
02
The itch.
I wanted the table itself to answer. Not another screen, not more pixels — a physical response you could feel in the room.
03
The lamp.
The missing link was a childhood object: a fibre-optic lamp. Hundreds of glass-like strands, each carrying light from a single source at its base.
04
The synthesis.
The same principle at furniture scale: glass-like rods above, one light source below. The projector I already had became the lamp's bulb — and the surface came alive.
Angaben gemäß § 5 DDG Clemens Dickers Lützowstr. 15 50674 Köln Deutschland
Kontakt Telefon: +49 176 82432054 E-Mail: c.dickers@icloud.com
Verantwortlich für den Inhalt Clemens Dickers, Anschrift wie oben.
Salomon, Bundo und Rimowa werden auf dieser Website ausschließlich als konzeptionelle Fallstudien dargestellt. Es besteht keine Verbindung zu den genannten Marken und keine Beauftragung durch diese; alle Marken- und Kennzeichenrechte liegen bei den jeweiligen Inhabern.
Rechtliches
Datenschutz
Verantwortlicher Clemens Dickers, Lützowstr. 15, 50674 Köln · c.dickers@icloud.com
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CD_TABLE* — FULL ASSEMBLY · KÖLN '26
DARKNESS AS PRESENCE — LIGHT AS INVITATION
