AD!DICT #28 WORLD 2.0
AD!DICT
creative Lab since 1997 - TALENT ACCELERATORS
I N S P I R AT I O N B O O K - N O V D E C J A N F E B 2 0 0 7 - 0 8 # 2 8
#28 Research on ecodesign
BELGIUM �12 OTHER COUNTRIES �15
ISBN 9789077509142
WORLD 2.0 { ideas for a better world... }
Inside :
design brussels
coNtEMPorAry hoME AND iNtErior fAir
17-25 nov 2007 BrussEls
ExPo, hAll 7
E l ke d a g va n 11u tot 19 u. 23 n ove m b e r, n o c t u r n e tot 23 u.
De enige Brusselse designbeurs. Naast toonaangevende merken op het vlak van meubilair en binnenhuisinrichting worden ook smaakmakers aangetrokken uit zowat alle andere sectoren van de designwereld, juwelen en mode, tot communicatietechnologie, architectuur en automotive design.
Thema 2007: Table talks Een uitgebreide centrale tentoonstelling georganiseerd door Giovanna Massoni stelt het feest op de voorgrond, en wordt uitgewerkt door de meest gerenommeerde scholen uit de wereld van het design. De tafel - een onvermijdelijk meubelstuk wanneer het om feesten gaat - zal alomtegenwoordig zijn in al haar vormen: de tafel, de versiering van de tafel, maar ook wat er zich onder bevindt‌
Een niet te missen evenementenprogramma: een Avant-Première, uitsluitend op uitnodiging - de designnight, waar de sfeer verzekerd is - en de gezellige en trendy lounge.
www.designbrussels.com
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World 2.0 ideas for a better world The night that I was writing my editorial word for this book, I had a pretty traumatic experience in our house in South Africa. Two guys with two guns came in our house via our bedroom. They tied us up, let a third one in, and held my family: my wife, son, daughter and mother in law who was visiting us from Belgium, hostage for more than an hour while they were stealing our most valuable belongings. You can read more on addictlab.blogspot.com on the event and my thoughts on that. On a more practical note: that is why certain projects didn’t make it in the book, and especially why the labfiles section is but a first step into becoming a true lab-magazine. I don’t have my first draft edito-version anymore. I still do believe in the force of creative thinkers. Of being able to implement sustainable changes. Of working on that one brand that deserves all the marketing, product development and innovation we can offer. It’s just even more difficult than I - being an eternal optimist - had anticipated.
Jan Van Mol jan@addictlab.com
I’d like to thank Giovanna and Fenna, Elke and Ann for their contribution to a well edited, well created World.
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REACT
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ACT Reflect, rebuild, rethink, reduce, refeed, remind, reuse, recycle, respect… the list is long, and far from being a linguistic exercise these ‘re-‘ words suggest an innovative look and critical behaviour towards the world and the environment – human, natural, tangible and intangible. React is the unsaid but desirable message of this new Addictlab Inspiration Books’ issue. An overview on ecosolutions and responsible approaches in the creative domain, input–free, bottom-top, fresh and stimulating reflections – fostering sustainable development. Addict labmembers offer low and high tech solutions, ideas, objects and clothes, as well as industrial design prototypes: stressing on cultural diversity, memory, innovation, respect and dialogue, in a diagonal interplay; contrasting overconsumption and overproduction, spreading ideas and experimental projects, or prototypes that deserve the attention of the industry. Major ‘best practices’ (see the Solar Bottle by Alberto Meda & Francisco Gomez Paz in the Labfiles section, p. 138) coexist with students’ and young talents projects: Addict’s goal being to enhance everybody’s contribution to design a better world, through a series of big or small gestures (referring to Thierry Kazazian’s “petits gestes” celebrated in his sustainable development simple and unforgettable lesson). Including our purchasing behaviour, as Patrizia Lugo reminds us in her article (p. 150). Introduced by the “Universal house?” project, launched by Addict end of 2005, the question mark is more than ever the character of the present overview: an open flux of ideas to share, questioning our awareness, suggesting transversal solutions, free from established canons and commercial diktat… Some of these projects are today featured throughout the different chapters of the book. “We urgently need a new generation of entrepreneurs!” - firmly states Alberto Meda in our interview in the Labfiles-section. This acknowledges Addictlab’s mission to help building an innovative open source to encourage and display a number of creative ways to make a better world. We agree with Alberto: global designers are more and more engaged on the same battle field. But what about production and distribution? Following Bruce Mau, visionary designer, initiator of the Massive Change project, design is “one of the world’s most powerful forces…in a period were all economies and ecologies are becoming global, relational and interconnected”. From cradle to grave: ideas can generate objects that create revolutionary, zero waste impacts. Contrasting economical fundamentalism and monopolies, designers together with illuminated industries can make a change. Leave your creative fingerprint: react! Giovanna Massoni - giovanna@addictlab.com
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RE-USE OF THE CITY... Belgium
Name mAgMa + ptA = 03/AM Credits 03/AM Contact magma_architects@hotmail.com
RE-USE OF THE CITY AND HIS ELEMENTS The Bezalel Academy of Arts and Design organised an International Architectural Competition for a New Campus, with nine departments, in the Center of Jerusalem. We entered the competition with 03/AM: Manu Gelders, Anne Moerman, Andrea Portugal Deveza, Aldo Tornaghi.
URBAN CONCEPT At first we studied the city from macro to micro to find its identity. We tried to transform the local habits and form language into a building by continuing the urban landscape and re-using architectural characteristics like: volume-mass, roof terraces, Jerusalem stone, ad-random perforations, cemetery…a summary of the image of Jerusalem. These are a few elements that give Jerusalem its identity, seen as an object, “a building”. The cubic volumes with its narrow streets. Left-over open spaces in between; spaces where people meet…These identity-giving-elements are even noticeable in the Jewish cemetery. The idea is to soften the step into “a world of culture” with the re-use of common elements. When starting the design it was very important to well design the space where the city interfaces with the university; the space between extremes. The city becomes a design tool, the re-use of what was already there, to level out differences. So the building will be seen as an extension of the city, in the city. So people would feel like they are at home. “At home” brings the best vibe to consume and produce culture. The city moves into the university, into the building. So the university, as a building, has not been alienated from the city, but takes part in its daily life; it can even be a catalyst…
ARCHITECTURAL CONCEPT
Jerusalem’s elements VERTICAL roof terraces Due to the program of the competition and local building restrictions we were scared to end up with two buildings. Instead of 2 buildings without connections we made underground connections and split up all the departments as separated identities in their own city “the university”. Going from one to the other is like walking in the city on the search to your destination. Seeing friends, stop to have a drink and a quick chat…the building will not absorb you it will be absorbed by being used. The use of the roofs as a fifth facade gives the building a third dimension and it refers to the roof terraces in the city. By using these “roof terraces” you get a dialogue between the department buildings. Ones facade can be the others projection screen.
HORIZONTAL narrow streets There is always the need for a main entrance and so be it, but by giving a lot of secondary ways to get in, on places well connected to the city, gives the feeling that the city never stops and the building never begins. The space between extremes is no more. So maybe it is also good to see the world as a city and we need to try levelling out boarders by using each others’ paths to enter… Connecting points ”crossroads” are meeting points Working separately with well chosen connecting points, every department has his own identity. They can stand on their own but they meet at the left-over spaces; city squares-common areas. The left-over spaces are a manifestation of the moment when they were created. But, as in the city, they must remain alive. They can become meeting points for the students from different departments or it can be exhibition space,…. = creating space to generate your own space. Creating spaces in between volumes, like streets in the city, generates light but also provides shadow.
VOLUME-MASS By using the traditional building material “the Jerusalem Stone” the building characterised itself as one of them. Because the stone can only handle pressure its been stacked on each other…so a volume appears. The mass is optimal in Jerusalem’s climate…But by using the ad-random perforations, one of the city elements, the volume-mass becomes lighter… The university becomes the city….the body of the city embodies the building.
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IN/INTO/OUT Singapore
Name Tanny Wong & Lijuan Tan Credits Quote by Vicente Guallart, The metapolis dictionary of advance architecture. Text by Wong & Tan Contact greyclay02@yahoo.com, cheeeken08@yahoo.com
PROPOSAL AND ARGUMENT Most Singaporeans live in a HDB flat (Government subsidized public housing). At the mention of ‘HDB flats’, an image of symmetrical, rigid buildings come to our minds. There is a lack of identity in HBD flats.
Whether a HDB flat is from the central, east or north of Singapore, HDB flats carry no particular character that helps us identify one from another. They were built and designed for the sole intention of providing cheap public mass housing in the early 60’s and haven’t evolved very much since, apart from the attempt to look better with inappropriate ornamentation. They are a repeated housing type that fill up our estates. The current guidelines for building a flat is stringent and relatively stiff, resulting in the sort of style we see today. But having lived in a HDB estate myself, I realize there’s a myriad of experiences. I consider the experiences to be truly unique and therefore, in this project, my proposal would be to explore a method into which we may design HDB flats, with the starting point of the studies from a resident’s live in experience. Identifying some of these experiences, understanding them and responding in designs will reveal a set of issues that one should consider during the planning of a HDB estate. The objective of this project is to bring about a different perspective when we design buildings that constitute human spaces in them. While most designers/ architects and town planners will plan spaces on a map, this proposal challenges that planning gesture and starts with studies within existing flats, learning from it, later to develop a means to design a type of accommodation that reflects the identity of public housing. The project would attempt to reveal how one may create architecture from the interior, therefore the title ‘in/into/out’. ‘In’ referring to the experience within a space, ‘Into’, referring to the operations and meanings behind the experiences, ‘Out’, referring to the projections through design.
“We come to know the world from an interior. The security of an interior: a speeding car along a motorway; a highspeed train crossing a territory at 300km/h; a dwelling that leads to anywhere in the world in real time. Projecting. Projecting ourselves. “
MEANS AND METHODS My first means into the project was to analyze my site from within my flat using drawings, to draw what I understand about my site starting from a subset of my site (my apartment), thereafter moving to the rest of the block, such as the corridors, lift and staircases. Primarily, in the sketch drawings, I’ve used representations and scale adjustments to illustrate my idea. This idea is inspired by the film ‘rear window’ by Alfred Hitchcock. In the film, a detective watches his
neighbours from their windows, and where there was
Eraserhead’, where he played with the scale of things.
the operations and elements involved in each of these
a wall between the windows, he had to make up what
David lynch also reveals the film from the interior. One
5 experiences. I responded to the findings by suggest-
was happening behind the wall. In the same way, my
is unaware of the general plot of the film, as he/she is
ing simple design gestures. The process continues with
drawings were made based on only what I could hear,
put through closed up scenes all the time.
a series of mock up designs and reflection to allow me
see and smell, with only the understanding of them
Five experiences were randomly selected from the
to gain knowledge on what each experience informs
from within my room. I made use of the shift of scale
drawings. After which, I made a model (with a short
me. The final design outcome which is presented is an
to further illustrate my experiences. This was inspired
video clip) for each of them. This helped me to under-
example of the application of the method.
by the filming technique of David Lynch in the film ‘
stand the space in 3 dimension. I went on to identify
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Expanded painting Mexico
Name Raymundo Sesma Credits Advento Contact advento_ac@hotmail.com
Raymundo Sesma is continuing with Expanded Painting (“Campo Expandido VIII”) after having painted the 13 meter high by 37 meter wide crane at Bâlelatina, Basel. He was invited to Albuquerque, New Mexico to paint two constructions in a Parking lot in Silver Avenue. The Alburquerque project is a site intervention in a historic space, where the Southern Union Gas Company was originally built by John Gaw Meen in 1950. Sesma used colors and an encrypted text that refers to camouflage, to paint the volumes and unify them in one sole virtual visual structure. The expanded painting changes the architectural unit and the spectator is compelled to look again and to search for meaning about him.
Since 2004 the artist has been working with expanded painting, a series of ephemeral monumental works in public places in Italy, Switzerland and Mexico, where he has started to work for the Ollin Yoliztli Cultural and Educational Center, a City within Mexico City. Looking for a dialogue between painting, architecture and landscape, Sesma´s work becomes tridimentional and a vessel of communication between art, the community traditions, its culture and its future.
Tel U Switzerland / Croatia
Name Hannes Baur & Ivica Kesic Contact hannes_baur@gmx.net ikesic@gmx.ch
Tel u is basically designed for temporary use, which could be for living, working or exhibition events, also as a two storey unit. Depending on metrological circumstances, it might either be used inside a hall (where it is protected by a roof), or outdoors. This might be an interesting option for creative and cosmopolitan people who want to combine working and living, while still having a high standard and unique home with all its comfort. Tel u is a modular and multipurpose unit, 5x5x5 meters. Its basic frame is made of steel tubes, which are holding the reflecting acrylic glasses. The tubes can easily store electric power cords as well as watertubes for sink and toilet. As the hand sketches show, the idea is to combine three or more elements with the flexible corridor (made of heavy duty folded fabric) to an entire combination. Each interior unit, like stoven, fridge and sink, kept its shape from the acrylic glass skin, just extended. The kitchen unit is fully equipped with a fridge, sink, stove and a cupboard, all of them quite spacious. The stove and sink elements contain an extractable slice, which can be used as a dining table or as extra working space. Sink and stove move in vertical direction and are stored underneath their massive docking stations above and are attached to the conductors on the main steel structure. Fridge and cupboard move in horizontal and vertical direction. In case of use, they are pulled out of the wall, then vertically moved to the needed high. This allows to have a completely empty room up to the high of 2.5 meters, where the docking stations, which are fixed on top, begin.
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no.made Italy
Name Politecnico di Milano – Facoltà del Design Contact Francesca Murialdo francesca.murialdo@studiometrico.com
The first large group of projects presents the synthesis of the educational activity originated from a deep study about new needs in spaces for living and hospitality. Today’s rhythm in everyday’s life underlines a new genre of metropolitan nomads that, for business, pleasure and attitude, keeps on moving, living temporarly in many places. The students have been working on this concept by thinking of hospitality cells as units to be repeated, fitted together and could be easily disassembled and transported. The second group of projects investigates the evolution of the way people are connected to each other. To taste, to speak, to play, to meet are just some of the actions-functions that were stimulating design for innovative, catchy and sustainable objects. Politecnico di Milano – Facoltà del Design Laurea Specialistica in Design degli Interni 2005-’06 Laboratorio di Sintesi Finale – sezione I1 Professors - Silvia Girardi, Francesca Murialdo, Francesco Scullica Tutors - Daria Baglieri, Gabriele Cervetta
Students - Albano M., Allievi F., Ambrosini P., Anghileri G., Bassis M., Bertotti R., Butti C., Cazzaniga A., Confalonieri C., Della Rossa S., De Marco A., Erbetta C., Fossati M.R., Gazzaniga G., Ghirardelli N., Montà F., Nespoli A., Odelli S., Pedretti C., Perospoado E., Pileggi P., Talamona S., Tandoi M., Viganò E. and Politecnico di Milano - Facoltà del Design - Polo di Como Corso di Laurea in Design dell’arredo a.a. 2005-2006 Laboratorio di Sintesi Finale – sezione B Professors - Massimo Duroni, Andrea Manfredi, Cesare Mercuri, Danilo Morigi Tutors - Marco De Iuliis, Flavio Simeoni, Angela Tomasoni, Valerio Vinciguerra
no.made: Step Italy
Name
Cecilia Erbetta, Caterina Perdetti, Sara Talamona, Erica Viganu
Claudio Confalonieri, Andrea Cazzaniga, Alberto de Marco, Federica Allievi
Name
Floating :no.made Italy
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no.made: Gift Italy
no.made: Elle Italy
Name
Silvia Della Rossa, Guido Gazzaniga, Francesca Monti, Emiliano Perospado
Name
Cristina Cattaneo
no.made: Industrial Shelters Italy
Name
Chiara Butti, Maria Rosanna Fossati, Nicola Ghirardelli, Stefania Odelli
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no.made: Blue Connection Italy
Name
Mariangela Albano, Paola Ambrosini Matteo Bassis, Riccardo Bertotti
no.made: Back to Back Italy
Name
Valentina Nicolosi
no.made: Abitare l’abbandono Italy
Name
Guido Anghileri, Alberto Nespoli, Paolo Pileggi, Marco Tandoi
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A Folly The Netherlands
Name Bert Kramer Contact www.bk-fabrics.nl
It points out questions about our social and architectural spaces. Four L-shaped units are strangled in a static, cubic form. The whole structure has an inwardly character but is open/transparent towards the other units. So you have to move within your own space, and will not be able to enter the other units. Every unit has his own entrance and has room for two persons (in the whole folly is room for eight people) They can see each other but can not touch. It’s an architectural experiment about how to deal with your privacy or what is the relation to your neighbours. To live in a high dense situation. My current work imagines scale reducing/enlarging in architecture, balancing on the thin line between autonomous sculpture and applied interior design. It is a constant study into the interaction between these disciplines and is a part of both. In my opinion there are two worlds: the reality in which we all live and a world in which I construct. Both tell a story concerning each other, are on the one hand a detail, but form together also a whole. In my work I try then to make the architectonic surroundings tangible. They not only form the context against which my work manifests itself, but “claims” also a place in the whole. My designs are characterised by a minimum use of details and clear lines. The functional, pure form that appears, influences the complex surroundings but also the other way around. The work is as it were “filled in” by the architecture which surrounds it and by the way it is used. The simplicity of the design invites for its part for purifying the surroundings.
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Heritage in danger Belgium
Name Antoine Hanzen Contact antuand_2806@yahoo.com www.m3.com.bo
The present investigation tries to show the result of a personal preoccupation, of a restlessness with respect to a cultural patrimony that possess the city of Cochabamba in Bolivia, through a clear example that has become the investigation object: the rationalist architecture during the decades of 1930 and 1940. Beyond the territorial object itself, the present investigation tries to represent an important moment in the development of the city: the arrival of modernity and proposes to open new ways in search of new patrimonial sources. The architecture of the decades of the 30’s and 40’s is victim of a centralized patrimonial vision, the republican period. Also it is victim of the lack of knowledge of the historical process that gave origin to its birth, the same that marks a stage of transition in the development of the city. The “modern adventure” in Cochabamba deserves, despite, to be valued and to be divulged for the historical and social changes that brought to the city. Due to the few studies that were made on the subject, this investigation on these patrimonial objects in the decades of 1930 and 1940, ample the knowledge on a new potential patrimonial layer, through a diachronic and synchronous process, allowing to better know an ideological and stylistic movement that had an influence in the urban development of the city of Cochabamba. It is certain that, having a greater knowledge of these objects of architectonic value, the radius of influence of the regulations of existing protection could be extended and be given the new policies of conservation. The investigation articulates in four parts that show an evolutionary and centripetal process (of the general to the individual) of the conditions and factors (external and internal) which were developed with the arrival of modernity in Bolivia and its materialization in Cochabamba during the decades of the 30’s and 40’s. This period can be defined as purest and most intact locating and understanding the “modern, idealistic adventure”, almost utopian that took place in Cochabamba.
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Global Façade Germany
Name Jan-Philipp Wittrin Contact info@pog-design.de
The façade of this universal house speaks about the modern realm of an artificial and livable space. It is an industrial sculpture produced by a connected “village vertical” with moderate climate. The air condition and the satellite receiver are global products of cultural leveling (of information and space) and in this sense part of our world heritage.
Name Francesco Gorni Contact joker_91999@hotmail.com
Pot-House Italy
BECOMING A TREE GUARDIAN, TO PROTECT IT AND ENJOYING ITS BENEFIT. “POT-HOUSE” ALLOWS A SORT OF HUMAN/VEGETAL SYMBIOSIS, PROVIDING A LOW COST PRE-FABRICATED HOUSE AND AT THE SAME TIME INVITING TO TAKE CARE OF A TREE.
Walking around the globe, we can see a lot of green spaces (urban and not) with plenty of abandoned and menaced trees. It’s important to provide trees to each family, in order to protect them and enjoy their presence. This study goes around low-cost houses for our holidays or just to live in. By mixing these two aspects, Pot House was born: a useful tool to save both human beings and nature (the two big world heritages) in one time. It could also be considered as a sort of ‘proletarian expropriation’ where every citizen takes for himself his own natural oxygen dose and takes care about it…
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See Green Be Green Belgium
Name Lisa Allegretta / Ocolo design Contact www.loveocolo.com
IDEA The Netherlands
Name Ronald Ubbink Conatct www.ideaa.tk
Idea is a design project from Ronald Ubbink, a Dutch artist. His objective is to make art accessible by translating it into something that already exists and is therefore easily recognizable. Ubbink designed furniture and other products inspired by Ikea’s familiar house style. His Idea instruction manuals show how everyone can make art, even with trash, if only you have the right manual. The furniture for IDEA is not for sale in a shop, people have to create it themselves, by collecting pieces of rubbish and trash. I just try to stimulate people to be creative in their Universal house. The Idea of taking care of the environment somebody’s living in, instead of buying ´cheap crap´ over and over again.
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Gas Mask Design The Netherlands
Name diddovelema Contact www.diddovelema.com
We are in a state of perpetual war – with ourselves and with the eco-system that sustains us. Perpetual war breeds perpetual fear. In the present context, this fear stems from our extreme desire for authenticity and manifests itself in our collectively insatiable culture of consumption. Deep down, we are afraid we may never be satisfied. An expanding archive of branded myths and icons feeds this fear. Designer Gas Masks is an attempt to visualize this state of mind. Because it is only by first acknowledging and then challenging fear that we will all be able to breathe a little easier.
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Amaryllis Belgium
Name Foam Contact www.fo.am
[Foam] is a pliant material, a dynamic organisational principle, a possible quantum universe... [Foam] is an intricate gossamer of people and places, extending through the interstices between artistic and scientific, physical and digital, professional and cultural boundaries. [Foam] is shaped by a group of designers, scientists, cooks, artists, engineers and gardeners, interested in advancing their own fields, as well as sharing and applying knowledge in new public contexts. Although our individual disciplines vary, everyones practice integrates principles of ethical living, sustainable design and eco-technology. Within the [Foam] structure, we commingle fresh creative expressions, transdisciplinary knowledge, materialised imagination with emerging and forgotten crafts, for a lively present and an abundant future. We blend digital and physical realities in materials, interfaces and environments. We conjure up vibrant social situations, where food, art and technology intermingle to create total experiences. In events and publications we raise public understanding of contemporary science. We conduct professional development and community oriented workshops to train new generations of interstitial explorers. We seek out, collaborate with and support forwardlooking people, able to live and work in an ecotone of heterogeneous creative practices. These people work together in an elastic openwork of social and professional relationships, contributing to a [Foam] ecology, while growing their own worlds.
Battery of Amaryllis flower infused with pear and citrus juice.
Tulips Belgium
D’eco-system #2: Table arrangement for ten tulips and one LED
Solarcricket, powered and activated by sunlight
Solarcricket Belgium
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Eco Communication System Belgium
Name Wim Goossens Contact info.wimgoossens@pandora.be
eco communication system Both “sustainable energy icons” and “filling station prepay terminal” are eco communication systems. The ease of the use and understanding as well as the elimination of the language barriers, give them a wide range of application possibilities.
filling station prepay terminal With the appearance of hybrid cars, bio fuel engines, and the need to be less depending on fossil oil. Today’s gas station will soon be out dated. Multiple power solutions will be available. Time to propose a new selection system for the “filling station”. A combination of energy types (based on oil, electro power, gas or molecule cell ), source icons (natural, down cycled, reusable )and colors (that make you aware of the environmental impact) will guide you to find the best option . Eco-points offered by government to stimulate the use of an environment low impact source, can be donated to “green” projects. And finally prepayment via FT bank (fair trade bank) will guarantee that your money will only be used to finance projects that fulfill a fair-trade label. Stay mobile !
Sustainable energy icons Today we see an evolution towards multiple energy solutions, so the timing is right to guide you with icons to your preferred source. If you travel around, you understand the advantage of icons. In the many different ways of transport you can easily select your preferred option. If it is a car, a plain, a bike, a bus, for each option you have an icon. Arriving at the airport , icons will guide you to bars, check in, gate, bathroom, etc. It doesn’t matter if you speak Chinese or Danish the icons will guide you. This icon set is created to communicate globally the different options of sustainable energy. They can help to promote the use of less harmful energy sources and making us less depending on limited sources like fossil fuels.
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My universal house Italy
the universal house
Name Studio Matteo Ragni Contact www.matteoragni.com
the universal house
the universal house
the universal house
the universal house
the universal house
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Grandma’s revenge Germany
Interior design department Burg Giebichenstein / University of Art and Design Halle Credits Prof.Klaus Michel Contact www.burg-halle.de Name
Grandma’s revenge is a new interpretation of a good old kitchen dresser. And so it’s like the grandma herself: a real multifunctional talent. Grandma’s revenge is the symbiosis of a kitchen and a dining room in one piece of furniture (h=2.5mb=2md=0.67m), that works on a basic size of 4 sqm. Grandma’s revenge plays with the two dimensional view in a dining room scene. The outlines frame a table, two chairs and a lamp in an artistically minimalistic way. Grandma’s revenge is changed by different mechanisms from a picture into a three dimensional experience. A horizontal folding door opens up to the whole room at once which consists of a cooking area on the right, a combined dishwashing facility and a chopping board area on the left and the desk is used as a depot area in the middle. The kitchen equipment like oven, dishwasher, refrigerator…and the storage boards are set in drawers below the working area. Additionally the desk, chairs, and lamp can be pulled out up to a width of 1.1 m supported by a special touch mechanism that requires no more handle. It might be utilized either for 1 person, for a family or for a 4 person diner. The folding door can easily be closed at any time to hide the cooking area and to create a pleasant atmosphere as shown in the picture. After finishing your romantic candle light dinner it is not necessary to waste your time with cleaning the table and the dishes, for example. Just push the table and close the folding door and it looks tidy up to the next morning. Grandma’s revenge is the result of the project compact kitchen. Students: Julia Bau, Henrike Louisa Binder, Henrike Stefanie Gänß, Robert Haslbeck, Matthias Hiller, Bettina Nissen, David Oelschlägel, Ilja Oelschlägel , Melanie Olle, Marie Vaubel.
Display Belgium
Name Justin Lalieux Contact justinlalieux@hotmail.com
Le principe de base, étant le gain de place, le vaisselier se range sous la table, les assises de la table deviennent des portes, afin de transformer complètement le meuble une fois qu’il n’est pas mis en fonction, l’intérêt de ce genre de mobilier se fait notamment dans les petits espaces, puisque une fois au repos la fonction est cachée..
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FurnitureSuitcase Belgium / Singapore
Name Anita Nevens Contact www.anitanevens.be
A range of furniture that fits in a suitcase. People tend to feel more at home when they have their belongings with them. Your home can be your universe.
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Le projet de la maquette Morocco
Name Rachid L’Mouddene Contact lmouddenerachid@yahoo.fr
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Sweet Home Italy
Name Gumdesign - Laura Fiaschi & Gabriele Pardi Contact www.gumdesign.it
The stereotype of the abat-jour cut in the paperboard closed into a box for shipments. A representation of imaginary house with other materials. You will have the feeling to be home when you open the box... sweet home.
MAX5000 W Germany / Portugal
Name Albio Nascimento + Kathi Stertzig Contact www.the-home-project.com
A mindful play of extensions in objects and their use. What is the value of energy? How much quantity of light would you need?
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La Liseuse Belgium
Name Benoit Deneufbourg Credits photo: Philippe Lermusiaux Contact www.benoitdnb.com
‘La Liseuse’ is a table lamp made of lacquered steel. The shade refers to the form of a mushroom, not without recalling the general outline of a classical lamp, of which the feet and the lampshade would have been cut in two on the height. The lamp is constituted of two parts of folded steel. These two parts are combined to create a form as simple as possible. Size (L x D x H) : 208 x 179x 400 mm
Out Of Power Belgium
Name Valerie Wilms Credits Eco-workshop Sint-Lukas Brussels at addictlab Contact valwilms@hotmail.com
Ever since we’ve had power sockets, people tend to see power supply as infinite. My work tries to make people aware of this faulty way of thinking: electrical power is not infinite, it only looks that way because we rapidly deplete natural resources.
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BOLD chair Switzerland / Belgium
Name BIG GAME Credits photo: Milo Keller Contact www.big-game.ch
Inspired by the elementary structure of a metal tube chair, the Bold Chair is thickened by upholstery. Its sock-like sleeving makes the cover removable.
100 Bottles Belgium
Name Flore de Crombrugghe Contact flore.decrombrugghe@gmail.com
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Tireless Italy
Name Chiara Moreschi Contact www.chiaramoreschi.com
Laptop bag, incorporating in one of its multiple pockets a foldable (collapsible) sleeping bag to be taken with you to your work place, in order to extend your own productive capabilities until late night, without having to give up a comfortable rest.
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Tasteful Japan
Name Kuniko Maeda Contact www.minale-maeda.com
‘Tasteful, a project by Kuniko Maeda’, is a balancing act between food and design, between gusto and creativity. Her food furniture does not only looks incredibly real, it also consists mainly of foodstuffs. The kitchen table, for example, has a sweet surface finish. As ‘textiles’, she created tablecloths made of bread, ham and cheese. Laid one on top of the other, they make a classic sandwich. She even designed a meat dress. “For me”, says Maeda, “this method of making clothes is a way of dressing translated into food.” ‘Tasteful’ is a declaration against the superficiality of the world and in favour of a better life. Tablecloth - Instead of manipulating the food, stitching, which is a basic technique of clothing, can make the food bigger in a more harmless way. At the same time it’s a translation of traditional of cultural theme into modern disposable consumer culture.
Potato Bowl Belgium
Name Kris Provoost Contact kris_provoost@hotmail.com
Bowl for the famous Belgian French fries made of silicon and potatoes peels, the left overs when you are making French fries.
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Vegware United Kingdom
Name Joe Frankel - Vegware Contact www.vegware.co.uk
Using technology in creative ways to reduce the environmental impact of our daily lives. Vegware exists to provide economic, eco-friendly, and high quality options to the food service industry. Our longer term goal is to play a part in enabling a paradigm shift in how waste is managed. We offer an environmentally sustainable range of cutlery and tableware, a bespoke packaging service, and strive to give the highest possible levels of customer service. Vegware’s natural starch cutlery is moulded from Plastarch Material (PSM). It is fully functional cutlery, being heat resistant up to 105C, robust, and safe. Unlike traditional plastic cutlery, Vegware’s is made from annually renewable resources and is 100% biodegradable. Our cutlery is primarily made from corn grown in China’s Shandong region and our suppliers assure us that it is GM free. Vegware’s range of cassava starch includes plates, bowls, cups and trays. They are strong and rigid and the cups have very good thermal properties - no sleeves required. They are also suitable for domestic composting.
Wasteware The Netherlands
Name Matthijs Vogels Credits K.Stertzig & A. Nascimento - DESIGN FOR FUTURE Contact www.sproutdesign.nl - www.the-home-project.com
Plates and bowls, pressed from foodwaste/herbs by heating and pressing
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Patattenschellers Belgium
Name Antoine Van Loocke Contact www.knifeforging.com
Knife ‘Noir’ made of carbonsteel recuperation and ebony waste out the furniture factory. Exclusive sale by Bientôt demain (France).
Cutting Up Knives Italy / Austria / Germany
Name Jim Hannon-Tan, Gabriel Heusser, Paul Kogelnig Credits K. Stertzig & A. Nascimento- Design For Future Contact www.pervisioni.it
A limited production run of selected knives which have been transformed into bottle openers through the application of an industrial process. The future of mass production is mass customization. Cutting Up Knives is a production of selected knives, modified to become bottle openers through the application of an industrial process. Each bottle opener is individually chosen and cut. Beautiful name brand knives have been ruthlessly transformed, while factory rejects and second hand knives have been recycled, modified to become useful once again, functionally reassigned, yet still connected to their own unique history. As every knife is different, each one must be individually positioned for the water-jet cutting machine. A production method where an artisan-like attention to detail is enabled by the use of modern CNC (computer numeric controlled) machines. The final cut of the bottle opener detail on the knife blade is always unique decision based on aesthetics and ergonomics.
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B-side Italy
Name Alessandro Busana Contact www.alessandrobusana.it
Considering a table as a melting pot of different cultures, B-SIDE offers the possibility of using one of its ends to eat after the western customs and the other one following the oriental tradition. The declared gestural use of this object gives you the possibility of communicating your own culture of origin or, on the contrary, your open attitude towards new life styles.
Itadakimass Claude! Belgium
Claude est un artiste du Créahm avec qui j’ai voyagé au Japon. Durant le séjour, l’acte le plus exotique était de se nourrir…avec des baguettes. Après quelques explications laborieusement mimées, Claude a utilisé ces bouts de bois pour tenter de porter la nourriture à sa bouche. Les jours passants il s’y est accoutumé tant et bien qu’on n’y prêtait plus attention. Dans l’avion du retour, l’observant manger, je l’ai vu coupant et piquant du poisson avec sa paire de baguettes qu’il utilisait comme nos couverts occidentaux. Mais pourquoi ne pas adapter des accessoires que l’on pourrait enfiler au bout de toutes les baguettes japonaises? Naquit donc une paire d’accessoires discrets, que l’on trimballe dans une petite boîte en poche ou dans son sac. Il suffit de les enfiler à l’extrémité des baguettes lors du repas. Puis de les remettre en boîte après usage… Un peu comme un dentier ou des lentilles de contact! D’aspect brut, irrégulier, ce sont des objets un peu tribal, primitif. Ils font également penser à des outils sans les manches qu’il faut «fabriquer», «assembler» avant de manger. Ces 2 accessoires (trident et couteau/spatule) à la ligne élancée s’enfilent sur la plupart des modèles de baguettes japonaises.
Name Pinky Pintus Credits photo: P. Schyns Contact www.pinky-pintus.com
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Universal Cutlery Germany / Portugal
Name Kathi Stertzig & Albio Nascimento Contact www.the-home-project.com
Our very own heritage is what and how we eat. Food and eating traditions are main expressions of our culture, they distinguish very clearly our origin. Food and eating habits are since always travelling goods - tea, pasta or spices were reaching our mouth long before the majority of us took a step into other cultures. Ingredients from all over the world are available in every corner of the city. We prepare food into a delicious potpourri of cultures. Mixing or separating cultures by choosing ingredients from all over the world. But we don’t define ourselves just by chosen ingredients: our table ‘costumes’ in fact are expressing the real differences much clearer. Are you eating by hand, fork or chopstick? Do I make noise while drinking my soup? Shall I belch after finish eating? Food is no longer dividing the world at the table but the tools for eating still do. Often it becomes a handicap to eat with people from other origins together at one table. Our cutlery does not suit the different needs. Eating together is a world heritage, sharing the experience of diversity in eating habits and the enrichment of exotic ingredients. We are unifying these eating differences in a cutlery that responds to every culture. TABLE = SHARE
“MI” Glamour Glass Italy
Name Alessandro Ruga Credits no.made – Politecnico of Milan
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The take-it-with-you-Spoon Latvia
Name Ieva Laurina Contact ieva.laurina@gmail.com
Project of a disposable spoon > easy to transport and to stock it because it is flat; > easy to fold with just one hand move and it is ready to use; > minimal use of material; > could be produced in some plastic or other material, preferably- recycable or/ and recycled; > ideal to take with you to the office/ to school for a yoghourt-break in the afternoon. Could be used by the ice cream sellers in the street; > can be distibuted in individual packaging or in ¨leaves¨ so that one can separate his spoon when he needs it; > dimensions: 130 x 37 x 0,3 mm
Soft Liquid(s) Belgium
Name Diane Steverlynck Contact www.dianesteverlynck.be
Soft Liquid(s) is a supple container. Made of a waterproof textile or paper, it is flexible and unbreakable. Light and easy to put away, you can carry it everywhere. By the way it is folded, its shape is simple, familiar, refined and naturally watertight. Soft Liquid(s) allows a tactile and sensuous approach of the liquids it contains.Â
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Mind your manners! Don’t eat like a pig! Germany
Name Anna Bormann & Selma Serman Contact www.bormannundserman.de
Table; powder-coated steel, cherrywood. At this table, you eat like pigs, like our ancestors or like peoples with different table manners – without cutlery directly from the tabletop. The table reduces the distance between the eaters, but also towards the food itself, thus sensitizing the persons at the table. It is rather unlikely that it comes to a big mess: Particularly by eating without the usual cutlery, with the hands and from one plate with others, the eaters reconsider what makes the others feel disgusted and oneself ashamed. There are no rules or prohibitions for use and behaviour. You have to follow your own feeling to avoid mistakes. Mutual consideration is the most important necessity. Inappropriate behaviour would quickly spoil the others´ appetite. Eating with one´s hands feels unusual, but increases sensual experience and pleasure. The host is delighted: There is no tiresome washing-up and the table is easy to clean.
Mind your manners! Don’t Spill! Germany
Tablecloth; cellulose-fleece, silk-screen print. A festive dinner table is usually covered with a tablecloth, traditionally white damask. How embarrassing it is to knock over your wineglass and ruin the good tablecloth with a huge stain! This disposable paper tablecloth has a white-on-white print which produces a damask-like effect: Depending on the angle of light the print is more or less clearly visible. The pattern, showing small sausages, refers to traditional damask patterns. The tablecloth transforms the awkwardness of spilled wine or sauce into a moment of surprise: The paper turns into the colour of the stain, the print remains white and the pattern becomes clearly visible. The attention of the other guests is drawn from the unlucky fellow to the tablecloth. The clumsy guest can relax and does not need to worry about the cleaning. Spilling is allowed!
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ECOCook Belgium
Name AurĂŠlie Delville Credits Eco-workshop Sint-Lukas Brussels at addictlab Contact delville_aurelie@yahoo.fr
Thanks to ECOCook you can easily prepare a meal, using one single cooking plate. Only the red part, which is the hotest, is on the plate and conducts heat to the orange parts where you can cook or warm up food slowly, at a low temperature. Putting a pan on it is another possible interest. ECOCook offers you several cooking temperatures and limits all kinds of loss of heat.
Meadow Italy
Name Daniele Maggioli Credits no.made – Politecnico of Milan
Outdoors kit
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...and the teeth? Italy
Name Flavia dalla Pellegrina Contact www.flaviadallapellegrina.com
‘a smile for every working day. from Monday to Friday, when (like a smiling children that shows his first tooth) we smile because tomorrow is Saturday.. coffee spoons [4+1] - stainless steel - length: 10 cm
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Plastic Carpet Belgium
Name Sixinch - Pieter Jamart & Jan Cuypers Contact www.sixinch.be
A Persian carpet: once very popular, nowadays almost a rarity. We thought it was necessary to revaluate this carpet again, by transforming it into a new type of furniture. On a coated block of foam we printed a full colour classic carpet. This is a new technique which gives us the possibility to succeed in making a crossover between old and new. We show the classic old carpet but this in totally different and new materials. Nothing of the old material is left. The object can be used as a living room table, or an extension of your sofa, you can sit on it, lay down on it, work on it,‌ Soft and comfortable but hard enough to put a glass on it. With this new technique we open a world of new opportunities and perspectives in design.
Melange Switzerland / Austria / Portugal
Name Villavieja & Primschitz - Yuniic design Contact www.yuniic.ch
Melange is a side table resp. a lounge table, which evokes past times. It´s combining the authentic viennese coffeehouse culture including doilies with the actual time, its new materials and simple forms. The solid core panel is printed with the motive of a doily which seems deceptively real and has two advantages, it will neither slip away nor get dirty. The table top lies on three curved legs of stainless steel, which provide stability. Black solid core panel with print of doily Legs: stainless steel Melange large: Ø 100 cm, height 40 cm Melange small: Ø 50 cm, height 50 cm
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Granny’s room Slovakia / Italy
Name Peter Jakubik & Alessandro Busana Contact www.peter-jakubik.com www.alessandrobusana.it
Multiple hands project -“Granny’s room”: 3d models of tea furniture set / Chair “Granny” and “Doily table”/ for virtual “granny’s room”. My vision for Universal House should be an installation of interior consisting of original furniture, interior accessories and various past cultures lamps, and subsequent digital redesign/reflection/ of the same interior, where its local contemporary aesthetics will acquire present touch. Slovak folk wooden chair to be an inspiration for my design, in past frequently seen in our grannies’ rooms. Growing industrial production has pushed folk production as well as traditional chair aside. (Peter Jakubik) Chandelier, doily and table…The amalgamation between this 3 objects, goes to create a new table typology wherein furniture and ornament are fused all in one for create a new deco side of design. (Alessandro Busana)
Rendez-Vous Belgium
Name BLINK* - Céline Poncelet and Emilie Lecouturier Contact www.atelierblink.com
A wallpaper pattern named ‘Rendez-Vous’ which gets its inspiration from the wallpapers that used to cover our grandmothers’ walls. In reaction by the strong come-back of this type of pattern on the market, Blink* tried in a discrete but humoristic way, to question a consumer already feeling reassured by these old traditional values. By using erotic positions as a base for ancient patterns, these two designers managed to create a gap between the actual product and what men can expect from it; and so, widen the imagination of the consumers. Three different patterns exist: from the linear to the most floral.
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Reconstructed memory Belgium
Name Jean L’Olivier Contact jeanlolivier@yahoo.co.uk
I reconstructed a corner of the house I grew up in. It was on the outside. It was the inner corner of the L-shaped house. I took photographs of the soil and the two façades that formed the three parts of the corner. With those photographs (black and white photocopies) I made a collage. When I try to visualise the house in my head, I think of many details. Put together, they create an image of the house. This image is black and white, just like my dreams. I took some hundred pictures, from different angles, with different exposures, suggesting a difference
in time. It hit me when putting them together: that every little piece had a meaning. Here I had been playing with my toys, through these windows I would watch the Christmas tree lights… I had lived every inch from the house. I somehow belong to it, or it belongs to me. The decision to reconstruct this corner came when my parents announced that it was going to be sold. Others would take possession of it, like we had. I wanted to make a last tribute to this house. I also thought of the possibility to recreate it somewhere else. I dreamed of being able to recreate it anywhere. When trying to look inside I was fascinated by the reflex in the windows, like a witness of another now, where another me or somebody like me had grew up… Maybe before, maybe somewhere else. Every window seemed to reflect another time and place… Watching the reflex, I could see that I was in this world. I could see myself in it so it existed. So there I was in a white cube, placing an outside corner on the inside of a room. A contradiction, reinforced by an illusion. Could three pieces of a corner wall and a floor put together give us the feeling of a house, give us the feeling to be standing outside of a house, standing outside of a house on the inside of a white cube? I transported my world into a box. It re-existed. Things never go. The house would live in space just as it lived in my memory.
Breath of the earth Belgium
Name Pascal de Backer Contact www.pascalina.be
My starting point was the wind that you can hear in the woods, the sound that touches the leaves of the threes. I wanted to bring this sound in the city. The wind touches the strings at the small street in Amsterdam, The Netherlands. The sound that you hear makes people more calm and relax when they are rushing through the busy city. I made this project for real in little streets of Amsterdam, I also want to realise this at the Music Building at Amsterdam. The concept can also be placed in subways, so that people can hear the sound while they are waiting.
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Zulu Mama South - Africa
Name Haldane Martin Contact www.haldanemartin.co.za
Design with a Conscience My first attempt to design with a conscience was the Zulu Mama Café chair. As it is with most of my designs, Zulu Mama is an expression of our new emerging South African identity. This theme of contributing to a new South African design language has been central to my work as designer since my student years in the early 90’s. In fact, I was studying Industrial Design at Cape Tech, when across the road on the Parade, Nelson Mandela delivered his famous freedom speech after being released from prison. The embarrassing fact is, that being an ignorant young white South African, I hardly even knew who Mandela was at the time! Such are the sins of Apartheid. Striving to understand and forge a new national identity, has helped me heal from the pain and shame of Apartheid. We South Africans, have a real need for ICONS, to stand for what is possible and good in our new democracy.
I wanted to create a café chair that embodied the nurturing aspect of the Mother archetype. This archetype is somewhat missing in our western culture. Perhaps it is really the nurturing Universal Mother that we are looking for when we take time for ourselves to enjoy a tall creamy latte at our favourite Café. I began collecting hand woven baskets from all over Southern Africa, which beautifully express the feminine gesture of gathering and holding. The rounded organic form of these indigenous baskets, would be perfect for shaping a comfortable seat. I worked together with Ester in rural Limpopo for a week, to develop the weaving technique suitable for this chair. She was taught weaving by her mother when she was a young girl. This experience was one of the highlights of my career. We, two South Africans, managed to transcended our vast racial, cultural, language, and social differences to create something beautiful together with our hands.
The seats are now hand woven by 6 rural woman in Limpopo. Craft work raises dignity and provides much needed income for many South Africans. The cost of pursuing this “idealistic” scenario of supporting rural craft, is excessive road freight. Road freight is a major contributor to global warming. Trying to weigh up social benefits with environmental costs is a major challenge in Africa. In hindsight it would perhaps have been wiser to set up the weaving with township women in Khayalitsha….even though this would contribute to the continued urbanisation of rural people. This is the kind of struggles between right and wrong I was talking about at the beginning of my presentation! The answers are certainly not black or white! I replaced the traditional weaving material, which is slow growing Illala palm, with plastic. The UV stable plastic is more durable and can be used outdoors without deteriorating, which is important for a café chair. Contemporizing and evolving traditional craft in this way ensures that hand work will always have a place in our hearts and homes. I originally intended for the plastic to be made from recycled household waste, as this picture indicates. But when it came down to production, the plastic extruders refused to extrude this material, as they were afraid that the recycled pellets would contain dirt and bits of metal that would damage their extrusion machines. Together we compromised, – and began recycling the plastic factories own inhouse plastic waste. Another challenge was that the only colour we could recycle with consistency was black. Fortunately black is proving to be the most popular colour. The feminine, hand woven, traditional basket seat, is held by the masculine stainless steel frame. This beautifully expresses the integration of the 1st and 3rd world realities that exist side by side so uniquely here in SA.
Chinese Look country, date
The frames are manufactured in 304 stainless steel which is the “cleanest” steel available. Stainless steel is made up of 60% recycled material, is 100% recyclable. Even though the stainless steel and plastic used in the Zulu Mama are both made from recycled material, these materials are still very high in embodied energy and are also originally mined from the earths crust. Never the less, Zulu Mama, has been designed more responsible than most chairs in the market. As the hospitality industry has become more sensitive to these soft issues, Zulu Mama has proven to be an attractive option over imports that don’t consider Africa’s cultural, social and environmental issues. Here the Zulu Mamas are being used at Little Kulala Game Lodge in Namibia.
Name Name Credits Credits Contact Contact
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Fiela se Feather Light South- Africa
Name Martin Haldane Contact www.haldanemartin.co.za
I am always looking for ways of using local resources in a contemporary way. This strategy also helps me differentiate my products from imports. Differentiation is the only way I know for my company to survive globalisation. Ostrich feathers are a by product of the lucrative ostrich hide export industry. I see it as my duty as a designer to add value to local materials BEFORE they are exported. In this small way, I am do something positive, about the 25% national unemployment figure! I am awed at the beauty of organic geometry found in nature. I wanted to pay homage to the Creator by mimicking the organic pattern of flower petals in the layering of the 64 feathers that make up this light. The end result is Fiela se Feather Light. Named after Dalene Matthee’s heart warming story “Fiela se Kind” which is set in the same ostrich farming district of Oudshoorn, where the feathers for this light come from.
My Bedsheets 2004-2006 Latvia
Name Ieva Laurina Credits Ieva Laurina Contact ieva.laurina@gmail.com
An exercise close to meditation that aims to end up with a period of my life.
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inFORMel Serbia
”inFORMel” presents combination of childhood fairytales, science-fiction stories and dream world fantasies through the playful objects of furniture. Our mind is daily influenced by the surrounding where the tradition and culture is basically shaping the way of our performance without us noticing it. The culture I am carry with in me is diverse due to the fact that I am French born Serbian educated in Finland and nowadays traveling across Europe meeting people and working. However, in all this mixture the tradition of my own people, and I do mean Serbia, is the strongest root I have. The weaved materials denoted with own characteristic motifs, such as “cilim”, used in Serbia from carpets and rugs through their application to canapé and covers for furniture all the way to the garments and fashion accessories, was the daily picture I saw through my childhood, and even life now. That is one of the strongest pictures I have in my mind – the colures, the patterns, the geometry… proportion, the way how motifs are interlaced in one complete story without being too obvious, the process how they are made… On the other hand I am fascinated by the ways how the traditional country houses in Serbia used to be build - fully mobile (due to the fact that they have been moving on regular basis)… flat-pack… folded… mobile …fold… motion …form …line …do I see my self?
Name Vesna Pejovic Contact www.vesnapejovic.com
Season Four Chair Indonesia
Name Haris Roosydin Contact roosydinharis@gmail.com
Indonesia, my homeland...is known for years for its talented craft artist. Among them were the wood carve artist. Centuries ago...carved wood furniture was a luxury prior to royal family only. The artist was respectable among others. Further...in this recent days, that luxury is widespread as the extinction of monarchy and Indonesia becomes Republic. As wood is more and more being industrialized...the ability to reproduce those luxury heritage is wide open. The demand is rising but not the artist itself. Many of those artist are trapped into a dreadlock of industrial capitalism...the knowledge is forgotten and extinct by itself...by creative sake in this case. Many traditional wood carve motifs easily being mimicked with better and cheaper, but not the essence of its creation. The creativity and ability to explore the concept is the essence they forgot, in my opinion. As globalization and Industrialization take it place in everyday living...many traditional heritage is being endanger or transformed into something we can call it getting modernism, we should aware that those heritage was an precious works. It should not be erased from our life, we should appreciate them as well as we appreciate progress. Season Four Chair is a critique of this condition. Furthermore, I’m positioning the chair for being more global by using more sophisticated material, like plywood (Indonesia is the second larger plywood exporter I presume...). The stackable characteristic is quite rare in traditional woodcarve furniture.
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Rialto-Express France
Name Studio Up! Contact www.up-studio.org
Chinese Look country, date
Name Name Credits Credits Contact Contact
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Tap Light United Kingdom
Name Cat McKee Credits Fuse UK Contact www.fuseuk.org
Tap light works on the basis of our intuitive actions. There are hundreds of objects we use everyday without a second thought, a key, a door handle, a bottle top, but how is it we know how to use them? And what would happen if their function was altered? Tap Light’s non-distinct form offers little clue to its function, yet we intuitively know to turn the tap, and in doing so will discover its altered purpose. Tap Light is a dimmable fluorescent tube light, made from opal acrylic, with brass tap dimmer switch.
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On the Floor Norway / Sweden
Gunnar Moen and Johan Pihlstrรถm started up during studies at The National College of Art and Design in Oslo, 2003. They finished school 2005 and are now located in Oslo and Gothenburg. Until now they have mainly been focusing on a conceptual approach to furniture and related objects. Moen and Johan like to variate their creative process with different settings, tools and materials. After developing an idea, they often choose to sketch with full size models in the workshop. They enjoy and believe in working with real materials and do the prototypes thereselves. On the Floor: Floorlamp, doing something forbidden...
Name Moen & Philstrรถm Contact mopihis@hotmail.com
Share: chair, with a humble message for humanity
Share Norway / Sweden
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HEN Italy
In my design I search for simple and clear lines, resulting in objects with new forms and a new identity; I want to realize unexpected objects for everyday life. “Hen� is a chair realised with an aluminium frame and net (used for hen and chicken). The idea was to reinterpret the classical shapes of Thonet chairs, but using contemporary materials, as aluminium and metal. The metallic net, commonly used for hen fences, is replacing the traditional weaved materials.
Name Diego Sferrazza Contact www.diegosferrazza.com
Instant Vase Belgium
Name Carolien Van Den Hole Contact carolienvdh@hotmail.com
Buy your flowers, a bag comes with the flowers, you get come and make the bag wet. form it as you like and let it hard for 1 min. put water and flowers in and ready!
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MONACCA Bag/Light Japan
Name Takumi Shimamura Credits Shimamura Contact www.t-shima.com / www.ecoasu.co.jp
“MONACCA” is a brand name for products made of thinned Japanese cedar in Umaji Village, Kochi Prefecture in Japan. Cedar is the most popular tree in Japan and it has been widely used as building materials since the 1940’s governmental forestation project. Umazi Village was one of the many places of forestation and their traditional “Yanase”cedars were planted. In order to obtain good quality timber the maintenance of forests is absolutely necessary. If the forest is too dense, the trees’ growth will be stunted due to the lack of sun-light and forest resources will be damaged. To avoid this, it is necessary to thin the forest regularly. As a result of tree thinning a lot of thinned wood used to be left in the forest. However, the quality of these trees are good as well. Umazi Village took another look at this matter from an ecological viewpoint and established ECOASU UMAZIMURA Inc. in order to carry out a reuse project exploring the feasibility of cedar wood. MONACCA projects The collaboration of ECOASU UMAZIMURA and a qualified industrial designer Takumi Shimamura. Takumi Shimamura made a presentation of the products to develop a new market for wooden items. After several trials a prototype of products was introduced as MONACCA brand at “Designer Block 2003” in Tokyo. With high appraisal during and after the exhibition they are producing a series of productsmade of thinned cedar targeting on city dwellers who emphasize the design in their lifestyle. Bags and cushions are the current main items but more new items are coming soon. Features 1) The only item with different natural grains 2) Natural warm touch 3) Light and user friendly is an advantage of cedar products 4) Strong , because made of press-laminated wood back into the forest... Umaji Village in Kochi established a “Millennium forest fund” to keep the forest forever. And Ecoasu Co., Ltd. who produces Monacca is contributing 1% of the sale to this fund to the maintenance of the forest.
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Handle with care Plant a dream Made in Cushion United Kingdom
Name Bridget West Contact bridget.west@piecesofyou.co.uk
Designer, Bridget West creates individually crafted, contemporary homeware through her company, Pieces of You. Social responsibility led her to imitate nature’s eco-systems, to explore ‘waste’ as resource. Her three tiered collection includes Printed Designs, Unique Pieces and the Bespoke range. ‘Printed Designs’, printed onto Organic textiles, play on label obsessions and use international care symbols. ‘Unique Pieces’ celebrate recycling as discarded clothing and their labels evolve into something functional and precious. The Bespoke service is personal as the client’s sentimental fabrics and memories, pieces of themselves, are incorporated to create something unique. The way forward is to not simply allow objects to be superseded through time but to change our attitude towards them, bringing a level of appreciation of them to an extent that they’re kept and valued as timeless.
Cushions made form unloved textiles and their labels
Treilli Tapis rouge France
Name Helene Lacourt Contact www.helenelacourt.com
Floor cushion & carpet are part of a furniture range made with felt industrial wastes, from the last felt factory in France. I believe in low design to value craft, materials and human work.
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Metro Brazil
Name Carolina Gay Contact caroldesign@terra.com.br
The idea of transforming a plastic meter into a hanger is inspired by the re-use concept. The process of modification not only minimizes the production stages but also simplifies them. The new object, the hanger, apart from the re-use concept, bares a significance of memory. I consider re-use as a very interesting and up to date theme, because it also represents a simple and clear answer to the problem of recycling industrial elements and of ecology in general. It is an amusing but also useful and possible solution and it works well. The value of re-use can also be seen in the economic and social domain. The use of semi-finished products or existing components reduces pollution, production, and costs encourage wider distribution.
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Street Sofa United Kingdom
Name Sarah & Jason - wemake Contact www.wemake.co.uk
Annie the Trolley Chair Max Bath
Name Max McMurdo - Reestore Contact www.reestore.co.uk
Reestore take everyday waste objects and cheekily turn them into charming yet functional pieces of furniture and accessories.
United Kingdom
We try to avoid traditional eco materials in favour of contemporary finishes, fabrics and above all style. Managing Director Max McMurdo is keen to stress that environmental consideration need not compromise the aesthetics and desirability of reestore’s products. New for 2007, Max the bath tub chaise. A contemporary twist on the sofa briefly featured in breakfast at Tiffany’s. Created from a vintage cast iron bath and upholstered in fabric of your choice. Perfectly formed for single seater slouching or sofa for two.” Annie the Trolley Chair, rescued from the ditch. Annie is made from a reclaimed shopping trolley to provide you with a comfortable seating solution. Suitable for any room inside or outside the home. With armrests deep enough to rest your drink and a biscuit, or just to chill and admire the view. Galvanised steel finish with dark grey upholstery.
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To Sit Belgium
Name Karlien Claeys Contact karlienclaeys@hotmail.com
Garbage is still one of the biggest social problems in our world. Rubbish is the reason that the combustion ovens never stop working, and the waste volume grows. The question is: What can we do about it? Recycling is the answer! ‘To sit’ is born. This bench is made of bands of PMMA (polymethylmethacrylate) garbage, which origin from a company that fabricates light bowls. The size of the bands is 200 x 45 cm and the material would no longer have been of any use. After warming and bending the plates, the baseline modules were developed. The separate modules can be connected to each other and in this way form a larger entity. Depending on the preference of the user, the design of the bench can be adapted; this means the bench is able to adopt different forms. However ‘To Sit’ sit doesn’t look comfortable, experience definitely proves the opposite. By bending the bands of PMMA closely together, the comfort is successfully taken into account. ‘To Sit’ guaranties comfort, esthetics, changeability and modernity. Good for usage outside, as well as inside use.
RD4 Chair United Kingdom
Name Cohda - Richard Liddle Contact www.cohda.com
The RD4 (Roughly Drawn) Chair is an instantly iconic design hand-woven in 100% recycled plastic waste material, with no two chairs being exactly alike. The RD4 Chair is a tour de force piece heralding the future of sustainable design, and makes a striking visual statement uniquely its own. Much stronger than its airy openness might imply, the inherent flexibility of its plastic construction allows for it to naturally respond to the weight of an occupant. The design is created by Cohdas Unique URE Process.
U.R.E The U.R.E Process is the conclusion of a 2 year research project by Cohda into the use of recycled plastics in design, the associated environmental problems and design limitations imposed since the early 1990’s by pre-manufactured recycled sheets and lumbers. The aim of the U.R.E design process is to view waste packaging as a valuable resource as opposed to an ecological difficulty, utilize the embodied energy present in waste plastics as effectively as possible, and generate a new recycled design aesthetic, breaking from traditional flat-pac forms.
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n+ew light Chile
Name Rodrigo Alonso Schramm - MUSUC Credits Recycla Chile S.A. Contact www.rodrigoalonso.cl www.musuchouse.com
N+EW Light is the continuation of my investigation in the use of e-waste materials for interior and exterior design. In Chile and several countries of Latin America, policies on recycling and reuse of non biodegradable materials aren’t a habit nor law. Amongst materials which try to be recicled, plastic is one of the most complex ones, due to the variety of its density, its huge dead volume (transformed in cell phones, toys, computers, mouses, keyboards, etc.), its low price (bad relationshio of volume/weight/ quality) and the short term of reusage of some plastics (aproximately 4 times before losing its molecular capacity and ending sooner or later as trash).
Therefor, it is absolutely necessary to search for other use and possible solutions to return this material gladly to our homes, gardens or exteriors, creating a durable piece which allows the use of different dense plastics, no matter its weight, color, form, final price nor brand. This creation is a beautiful object due to its extreme honesty and perfect randomness. Almost an example where error transforms itself in the final search and perfection. N+EW light is is produced by rotomolding, where low density plastic is mixed with the plastic of the crushed electronic waste shaping an irreverent diffuser molded in an also recycled iron matrix. Its base is produced with smelted aluminum of beer and drink tins amongst others. Together they form this 32 x 32 x 32 cm piece.
This object that assembles big quantity of waste, is a way to freeze in time and extract (and to empty if we could) from our garbage what we don’t occupy any more, giving it life again in important parts of our home. The idea behind N+EW isn’t the creation of a recyclable object, but the way to immortalize and to give a last use to objects that their only destination is contamination.
n+ew stool Chile
N+ew stool is an object part of a collection in development, that is only possible thanks to the meticulous work of extremely experienced technicians and professionals in metal smelting, counterfoil development and work with plastic resins.
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Outdoor Bench Gumboot Belgium
Name Bart Baccarne Contact www.baccarne.be
This bench is completely made of recycled materials. The back consists of recycled PE from industrial foodstuff containers and is bended for higher comfort and higher stiffness. The frame of this bench is composed of massive beams of recycled plastic material, a mix of PP and PE, coming from sheets, industrial waste and factory scrap. By doing so, we give the material back to the community. This material can not rust nor rot and has a zero maintenance and is therefore very suitable for outdoor use (in communities). Recycled materials are generally seen as inferior quality or third-rate materials. We see it as our duty to upgrade these semimanufactured products into first-class and aesthetical objects with a surplus value. The plastic components are holded together by means of only three stainless wire bars. The seat doesn’t feel cold in winter, nor hot in summer and has slots to drain the rainwater. Dimensions: 210 x 57 x 80 cm (LxWxH) Lamps with flashy coloured rubber lamp-shade made of recycled children gummy-boots that were melted and pressed into sheets. Used boots must not be incinerated anymore. We give them a new life. The boots are even identifiable in the melt. Hanging lamp 40 (40 x 17 x 17, for saving lamp 11 W) Hanging lamp 80 (80 x 17 x 17, for saving lamp 18 W) Wall lamp “Kim the Deer” (for 11 W or 60 W)
I was born in Sao Paulo, the largest city in Brazil, where people from all over the world live and form an enormous cultural and sub-cultural network. In this scenario, we can find the Indian culture, the black culture, the Portuguese and Hispanic cultures and influences from other parts of Asia and Europe. I believe we are a young culture and in the mood for inventions. In Brazil we do not have a good industrial or postindustrial decorative culture; what one can find are innumerous aspects that come directly from craftsmanship which very often does not show the point of view of the formal realization of the object. Additionally, in my opinion it is necessary to look and feel the spirit of these objects and the aesthetic atmosphere that surrounds them. By building the prototypes myself which is fundamental in my work process, because I discover the intrinsic relation among the object and its craft and stylish relations.
Belt Chair Brazil / United States
Imperfections of a culture in formation. This is another aspect of my work: the investigation of the imperfect, the unfinished and banal-ordinary objects. This industrial waste recycle influences my work not only in the formal building of the object but also allows me to create a rational and emotional language which is possible to research in detail various aspects of my culture, personal culture, Brazilian culture and world culture ... Name Rodrigo Almeida Contact rodrigoalmeidadesign@hotmail.com
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Les CheminĂŠes Belgium
vases polyester (video film 35mm), resin, polyurethane 18- 40 cm
¨ Charles Name Raphael Contact www.raphaelcharles.com
Octopus Pouf tentaculaire
Octopus Belgium
BLINK* - Céline Poncelet & Emilie Lecouturier Name Contact www.atelierblink.com
Entre le fauteuil et la sculpture de salon, l’Octopus permet d’adapter son assise à son intérieur. Jeans recyclés - billes polystyrène - bouton pression 85 x 85 x 100cm
Octopus - entre le fauteuil et la sculpture de salon, l’Octopus permet d’adapter son assise à son intérieur.
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Sunday Papers United Kingdom
Name David Stovell - Stovell Design Contact www.stovelldesign.co.uk david@stovelldesign.co.uk
The range was inspired by the bundles of newspapers left out side shops (in the UK) on Saturday nights, which have a cultural and economic value, and that the same product has a different set of values by the Monday morning, in that the news is old news and their value is for pulp. I wondered that if by simply repackaging the papers with the same materials but in a different way, could the material life cycle be extended and the material re-valued. At the end of the seats life it can still be pulped. The range consists of a chair, stool, coffee table and micro table.
Clamp table United Kingdom
The Clamp table utilises scrap material (the table illustrated incorporates vertically layered printers waste used for make ready) and superbly finished European oak. The quality of the oak accentuates the gorgeous colours of the paper, exposed by cutting through the print. It is held together with stainless steel rods and finished with a glass top. The wooden ends up-value what is (to the print industry) scrap materials. With this mix of materials the table sits well in both a contemporary and traditional setting. make ready is when a printer puts extra paper through the press to start and stabilise ink flow and to clean the excess ink at the end of a print run, this paper (often used more than once) is then disposed of.
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Gloves Ballerina’s Sleeves & Laces Belgium
Name Felix Aerts Credits Technical assistent: Agnes De Man Model: Margo Photography: Alane Contact felixdepoes@hotmail.com
A clothing line based on a concept. This clothing line had to have at least 4 different designs with that 1 concept. My concept was to multiply one clothing part and to make a dress of the multiplied clothing parts. So taking one clothing part like a ballerina shoe multiply it by 100 and then make a design that goes with the flow of the ballerina shoe. This idea was worked out and left me with one dress made of ballerina shoes, one made out of gloves, one of sleeves and one out of laces.
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Moulitex Belgium
Name Olivier Van Gierdeghom Contact ollebolleke@pandora.be
Men’s shirts made out of old used tablecloths, turning it into a trendy fashionpiece for people who aren’t ashamed of enjoying food.
(RE)CICLE Portugal
Name Nuno Oliveira Contact www.nunoalexandre.com
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Second Hand Second Life Belgium
Name Spullenhulp - Petits Riens Credits photo : Lionel Samain styliste : Jennifer Defays coiffure : Nadia & Nacera for L’oréal Professional maquillage : Helena Rubinstein maquilleuse : Dominique Dubois mannequins : Isabelle, Sacha et Sammy from VISION Contact www.petitsriens.be - www.spullenhulp.be
Chrystel Fischer
The Belgian organization ‘Spullenhulp - Petits Riens’ is organizing the 5th edition of the fashion show ‘Second Hand Second Life’. Seventy years ago, Spullenhulp was founded by priest Froidure to help people living on the border of the society and in poverty. Beside free food, free housing and psychological support, Spullenhulp has several shops of second hand goods, open for everyone. In addition Spullenhulp is organizing each year -since 2002- a second hand fashion show with customized apparel. 22 fashion designers, big names and starting designers, ranged side with this noble goal. After the show the customized concepts will be auctioned by the famous auction house Sotheby’s. 22 fashion designers...
Christophe Van Liedekerke
Valérie Berckmans
Nathalie Verlinden
Edouard Vermeulen
Edouard Vermeulen
Kris Van Assche
Levi Strauss Eur Design Team
Chrystel Fischer
Suzy Gydé
Gérald Watelet
Natalia Culebras
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Véronique Branquinho
CĂŠline Pinckers
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reMix - Bathtub Seat Belgium
Name Wouter Peeters Credits Katholieke Hogeschool Mechelen interior & design department PRESTI 5 Contact remix@khm.be www.remix.khm.be
reMix! The reMix! project is a form of ecodesign. In reMix! design, second hand objects and materials become a source for new creations: the original object is transformed or redesigned and has another function in its ‘renewed’ life. To spread the spirit of creative re-using, a sensibilisation campaign is currently running. Expositions with reMixed objects are planned from September 2007 on. In October 2007 workshops will be organized where the participants can reMix their second hand objects with the help of professional designers. In 2008 a recycling festival will be held where everyone can display their own reMixed objects.
THE ECODESIGN WAY The sensitivity for the environment is growing each day. Reducing consumption – energy, objects, etc. – is an important step towards sustainable solutions. Another one lies in the role of designers. They play an important role when one considers the environmental impact of a product. Designers decide which materials are used, how much energy they will consume, which parts of the product can be recycled, how the consumer will use the product and so on. Because the designer is standing at the start of a new product’s life cycle, he has a big influence and responsability. Ecodesign values beautiful, ergonomic and functional objects that have a low impact on the environment as well as a strong economic relevance. On following pages a few examples!
1 Francesco Di Berardino - NUTCRACKER 2 Tim Hundersmarck - PULP SEAT
reMix - projects
3 Olivier Deffontaine - GRATERLAMP
Belgium
4 Hanne Jacobs - SALADBOWL-VENTILATOR 5 Isabelle Coen - IRON SEAT
3
1 5
4 2
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Chinese Look The Netherlands
Name Anne van Dijk Contact anne.d@zonnet.nl
With my work, I open the eye for a different use of the materials we have around us.Everything can be recycled. I make bracelets and necklaces from zippers, buttons and bicycle inner tubes. Belts from neckties. Cardholders from tetra pack. Scarves from pieces of clothes. Bags from army material. I think more of it as re-using, where the characteristic of the material lives on in the new products.
Postbag ES-DE The Netherlands
Name Katell Gelebart - ART D’ECO Contact artdeco742@hotmail.com
Shopping bag from Spanish & German post bags
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Fiocco Italy
Name Ilaria Marelli Contact www.ilariamarelli.com
Fiocco - pouff with metal structure and set composed by renewed felt and polyurethane, 90 x 65 x h 55 cm. A pouff like a bracelet of coloured beads. A soft bracelet, where to sit, a bracelet that suits to your body. Beads of renewed felt and polyurethane which get old, and can be replaced, as threaded beads.
ER
SPECT
8
RESPECT // 120
Prothesis table Belgium
Name Hans-Christian Karlberg Contact www.hck.be
Not dissimilar to terms such as death and graveyard, illness and hospital are being pushed away from the centres of European cities and are in fact being kept subdued from our everyday life. Therefore, in short, this table was conceived after some research as a referential object narrating the opposite tendency. It is a modest attempt at bringing the notion of illness back into our daily lives.
Soul Ash Soulace Belgium
Name Maxime Szyf - maximaldesign Contact www.maximaldesign.com
Cremation coffin
RESPECT // 122
Cushionized Sofa Germany / Belgium
Name Christiane Hรถgner Contact www.christianehoegner.com
The CUSHIONIZED SOFA uses the smallest element of a sofa - the little pillow on top - as main component. Commonly used to adjust and customize our personal comfort level, it is now multiplied in different colors and piled up to the shape of a sofa. This setup of various textures and tints reminds us of a paintbox and invites us to play and change the composition. A pure framework from ash-wood holds everything together and provides a structure and quiet background. The cushions work on the same principle as a beanbag, yet their filling consists of organically cultivated millet husks, which are the outer covering of the millet grain. These hulls feel like very fine sand, are soft to touch and adjust to the contours of the body. At the same time they ensure the needed support. Commonly used for sleeping pillows, this filling is dipped and coated with a fine layer of natural rubber (caoutchouc) which ensures flexibility and durability. It is washable, easily refillable and 100% biodegradable. attributes of millet hulls - quiet (in contrast to polystyrene balls known from beanbags) - dense but lightweight - distribute bodyweight evenly - feels smooth and silky in texture - instantly mold to body contours - a natural, recycled resource materials ash wood outer cushions: diverse fabrics inner cushions: filling from millet husks dimensions (L x W x H): 250 x 90 x 70 cm
reMix - Butterfly Belgium
Name Benjamin Michielsen Credits Katholieke Hogeschool Mechelen / PRESTI 5 Contact remix@khm.be
A floating sink with double curvature and an elegant design. Butterfly is made of a composite of loam, lime, hempfibre and varnishwax. It’s economic, ecologic and above all floating thanks to the fixation with a fastening bow to the syphon.
RESPECT // 124
Oil tank chair Portugal / São Tomé e Príncipe
Name Nuno Viana Credits SEED - Pedro Alegria Contact www.seed2006.org
Dear Giovanna, The project “SEED” took 4 months of tutoring and working together with 6 different groups and this last one is from the State Prison. The project “oil tank chair” was designed by a friend portuguese artist NUNO VIANA. Regarding the puzzle carpet, it was design trying to get people ordering more than only one, as they do work as a puzzle so you can fill small areas as easily as bigger ones. As you know, we went for a four-month project on design and social economy, aiming at goals such as the sustainability of the involved families, and trying to refresh a market by providing them other tools like innovation and creativity. From January until April 2006 we set up a schedule, by dividing the 27 craftsmen involved into 6 different groups, as the program was being adapted to each group needs, wills and abilities. We’ve always worked on a self initiative basis, making clear that they also had responsibility on this, since we’re dealing with their “lives” in its widest meaning. It wasn’t just about designing for the craftsmen, but with them. And for the last month we worked more as consultants. In the end, we had an exhibition in São Tomé, with around 50 different products, that turned out to be profitable for them. So the program included innovation and creativity, design, technical drawing (for some of them) and contemporary art. please note: At this moment we are producing it and looking for potential clients who are able to order a considerable number of these objects, so we can insure the involved families’ sustainability and even include more families on this project. Best regards, Pedro Alegria
Natural Fence The Netherlands
Name Marisa Klaster - Studio Klaster Contact www.studioklaster.nl
The fence is designed with 2 purposes in mind. It has to guarantee your safety and it has to have a friendly natural appearance. To suit both purposes a laser-cut technique is used on steal. A customized illustration will blend the fence with it’s natural environment. In time - if not treated – it’s natural look will become even stronger every time you open your window.
V.U.: Jan Van Mol, Ad!dict Creative Lab, Delaunoystraat 60, 1080 Brussel.
Sp Ecod eciale e esig n Aw ditie ar i.s.m . OV d 2007 AM
V.U.: Jan Van Mol, Ad!dict Creative Lab, Delaunoystraat 60, 1080 Brussel.
Nog wat groen achter de oren?
WAT IS ECODESIGN? 1. Ecodesign
impact, voegt een nieuwe dimensie toe aan het afvalpre-
Ecodesign is een ontwerpmethode waarbij de ontwerper
ventiebeleid. Door ontwerpers te duiden op hun verantwoordelijkheid en de impact van hun ontwerpbeslissingen
reeds bij het begin van de ontwerpfase een analyse maakt van de levenscyclus van zijn product en hierbij de milieuimpact tracht te beperken.
kan de milieudruk van het product immers rechtstreeks worden aangepakt. Ecodesign toepassen gaat verder dan het verwerken van
Het begrip ecodesign ontstond een 30-tal jaar geleden om de toenemende milieudruk van onze consumptiemaat-
milieu of ecologie in een product, het gaat over het op de markt brengen van rijpere producten van een hoger inno-
schappij te verlagen. Milieu speelt nog steeds een marginale rol bij de ontwikkeling van de meeste producten. Het
vatieniveau. In onze maatschappij zullen nog vele nieuwe producten op de markt worden gebracht, maar voor de
is intussen duidelijk dat ons Westers consumptiepatroon, dat ook door landen als China en India wordt overgenomen, niet houdbaar blijft, door onder meer de schaarste aan grondstoffen en energiebronnen. Het is moeilijk om
manier waarop deze producten tot stand komen breekt een cruciale fase aan. De OVAM wil daarbij ecodesign als een positieve en innovatieve strategie in de kijker plaatsen en een positief klimaat voor ecodesign creëeren.
de consument te wijzen op de verborgen milieulast van een product. Of een product al dan niet ecologisch verant-
De ecodesign-werking van de OVAM richt zich niet louter tot
woord is, hangt bijvoorbeeld niet meer louter samen met het gebruikte materiaal. Ook de mate van energieverbruik zorgt voor een groot deel van de uiteindelijke milieudruk.
consumenten, burgers, bedrijven en distributie, maar vooral tot productontwerpers en productproducerende bedrijven. Met de ecodesign-werking wordt getracht een dynamiek
Een aantal koplopers onder de bedrijven heeft de ecode-
inzake ecodesign op gang te brengen en een positief klimaat tegenover ecodesign te creëren binnen de ontwerpwereld. Dit
sign-methodologie in de jaren ‘80 opgepikt en deze vaak ook toegepast als drijfveer voor innovatie. Niet toevallig zijn dit de bedrijven die ook op economisch vlak bij de top
komt neer op informatieverspreiding en sensibilisering rond ecodesign naar ontwerpers, bedrijven en studenten. Concreet gaat het over ondersteuning, het aanbieden van ecodesign
behoren. Zij zagen snel de voordelen van eco-efficiëntie: het samengaan van economische en ecologische winst. Andere bedrijven hebben nog geen kennis gemaakt met
instrumenten en de uitvoering van onderzoek en projecten rond ecodesign. De OVAM communiceert over ecodesign op haar website
ecodesign of bekijken milieu-overwegingen eerder als een bedreiging in plaats van als een opportuniteit.
(http://www.ecodesign.ovam.be) en in de digitale eco-efficiëntie nieuwsbrief. Op de eco-efficiëntie voorbeeldendatabank van de OVAM website (http://www.ovam.be/jahia/Jahia/pid/
2. De OVAM en ecodesign
1126?lang=null) vindt u voorbeelden terug van ecodesign, met een beschrijving van hun ecologische en economische voordelen. Momenteel lopen er ook een aantal ecodesign projecten
De OVAM werd opgericht om te zorgen voor minder afval en een zuivere bodem in Vlaanderen. Jaren van informatie-
binnen het PRESTI 5 subsidieprogramma, die bedrijven en ontwerpers met elkaar in contact brengen. Ook is er de jaarlijkse
en bewustwordingscampagnes en een doelgericht beleid maakten de Vlamingen koplopers wat betreft het sorteren en recycleren van huishoudelijk afval. Maar de OVAM wilde
Ecodesign Award, ingericht voor de aankomende ontwerper en de ontwerpers in opleiding. Omwille van de geïnteresseerde en positieve reacties bij professionele ontwerpers en bedrijven,
verder gaan en zocht naar manieren om de hoeveelheid afval te verlagen. Ecodesign bleek hierin een aanzienlijke rol te kunnen spelen. De fase waarin producten worden
zal de wedstrijd voor de volgende editie uitgebreid worden naar de professionele wereld. Dit wordt ‘De OVAM Ecodesign Award PRO’, in samenwerking met Design Vlaanderen.
ontworpen en waarin nagedacht wordt over hun milieu-
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3. De Ecolizer
4. Eco-efficiëntie
De academische wereld besteedt reeds veel aandacht aan ecodesign. Er bleek echter ook nood aan instrumenten om ecodesign in de praktijk te brengen. De academische methodologie van ecodesign die in de jaren ‘80 werd
Vlaamse bedrijven zijn een specifieke doelgroep van de OVAM via het concept eco-efficiëntie. Eco-efficiëntie gaat ervan uit dat economische en ecologische winst samengaan. Een belangrijke actie in dit kader is het Eco-effi-
gedefinieerd, was te weinig bekend bij en werd bijgevolg te weinig toegepast door ontwerpers en productproduce-
ciëntiescanprogramma. Dit subsidieprogramma, specifiek gericht op kmo’s, heeft de ambitieuze doelstelling om op
rende bedrijven. Om ecodesign toegankelijker te maken voor de ontwerper ontwikkelde de OVAM de Ecolizer: een modern en mooi vormgegeven ontwerpinstrument dat
een termijn van drie jaar 1000 kmo’s door te lichten om zo de kansgebieden voor eco-efficiëntie verbeteringen in
gebruik maakt van eco-indicatoren. Bij het ontwerpen van een product worden diverse parameters vastgelegd die de milieubelasting doorheen de levenscyclus bepalen. De Ecolizer maakt gebruik van ongeveer 400 indicatoren die in één cijfer de milieu-impact van een materiaal of een proces samenvatten. Zo is het voor een ontwerper eenvoudig om een milieu evaluatie te maken tussen verschillende productvoorstellen, gebruikte materialen, productieprocessen, enz.
beeld te brengen. Dit wordt zo veel mogelijk ondersteund met praktische voorbeelden van maatregelen ter verbetering, en met een eerste berekening van bedrijfseconomische en milieuvoordelen. Deze doorlichting is gratis voor de bedrijven en gebeurt door ervaren adviseurs, geselecteerd door de OVAM. Voor het komende jaar zullen een aantal van de scans gereserveerd worden voor bedrijven die specifiek zullen gescreend worden op hun ecodesign potentieel.
Met de Ecolizer kan de ontwerper op een relatief eenvoudige en snelle wijze een wetenschappelijk onderbouwde inschatting doen van de milieu-impact van zijn product of productontwerp. De Ecolizer is opgevat als een waaier met fiches, voorzien van een beschermende aluminium houder. Er is bewust niet gekozen voor software om de toegankelijkheid en bruikbaarheid bij het tekenend ontwerpen te verhogen. Het geheel is erop voorzien om eventuele verouderde fiches te vervangen, of om nieuwe fiches toe te voegen naar aanleiding van feedback van ontwerpers en onderzoek naar nieuwe materialen. De OVAM is ervan overtuigd dat producten ontworpen volgens de ecodesign-gedachte, een hogere graad van innovatie nastreven en een voorbeeld zijn van het samengaan van milieucriteria en innovatief productontwerp. Voor bedrijven vormt ecodesign, naast de mogelijkheid om innoverend te zijn, een manier om te anticiperen op de Europese en nationale wetgeving rond milieubelasting. De producten die in Vlaanderen worden ontworpen zijn niet uitsluitend bestemd voor de Vlaamse markt. Daarom bekijkt de OVAM ook hoe zij zich met instrumenten als de Ecolizer kan profileren naar een ruimer internationaal publiek.
www.ovam.be www.ecodesign.ovam.be ecodesign@ovam.be OVAM Stationsstraat 110 2800 Mechelen
Pak dan de poen met de
08
EcodesignAward EcodEsign
De OVAM doet een beroep op jou, de Vlaamse ontwerper in spé, voor verfrissende ideeën en vernieuwende producten waarbij je rekening houdt met het milieu. Je ontwerpt een nieuw product, je geeft je project op voor nominatie bij de OVAM en je pakt de poen met duurzaam groen.
Wat kan jE WinnEn?
Tijdens de prijsuitreiking valt er naast eeuwige roem, ook heel wat prijzengeld te verdienen. De winnaar in de categorie ‘Beste eindwerk’ ontvangt 1000 euro, de tweede plaats is goed voor 500 euro. In de categorie ‘ontwerpprojecten tijdens het jaar’ worden de eerste en tweede plaats beloond met respectievelijk 600 en 400 euro.
VU: Henny De Baets, OVAM, Stationsstraat 110, 2800 Mechelen. D/2007/5024/59
Per categorie reiken we ook eervolle vermeldingen uit aan knappe ontwerpen die net buiten de prijzen vallen. Oogt leuk op je cv!
HoE nEEm jE dEEl?
Je stuurt je ontwerp naar de OVAM vóór 30 juni 2008. Meer informatie over criteria van deelname, over de verschillende categorieën of over de verzending, vind je in het reglement. Surf naar www.ecodesign.ovam.be. Heb je dan nog vragen, mail ons op ecodesign@ovam.be of bel 015 284 273.
www.ecodesign.ovam.be
131
ECODESIGN
AWARD 2007 In 2007 organiseerde de OVAM opnieuw de Ecodesign Award. Op 13 september 2007 reikt Minister Crevits de prijzen uit op de openingsceremonie van “Design doet zaken” van Design Vlaanderen. Naast de professionele ontwerpwereld en de productproducerende bedrijven wil de OVAM ook toekomstige ontwerpers informeren en laten kennismaken met ecodesign. De wedstrijd richt zich tot studenten van ontwerpopleidingen, zoals productontwikkeling, industriële vormgeving, productdesign, verpakkingsontwerp en interieurvormgeving. Zij kunnen deelnemen met eindwerken of jaarprojecten. De jury van de Ecodesign Award 07 koos uit de inzendingen volgende vier laureaten.
//// FLORIS WUBBEN
06
//// THOMAS BOYDENS
06
//// BRAM ROELENS COSIMA ROHDEN //// DAISY LENS
// SEPTEMBER 2007
07 07
CATEGORIE EINDWERK 2007
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LABFILE / FLORIS WUBBEN Project Description jury
LIVING FURNITURE
Eerste prijs in de categorie eindwerken Floris Wubben ontvangt voor zijn ontwerp Living Furniture, een tafel uit bamboe, de eerste prijs van 700 euro. De jury koos dit ontwerp omdat het een mooie toepassing is van bamboe, een duurzaam, ecologisch materiaal dat snel groeit en sterk is. De jury prijst het innovatief en commercieel karakter van het ontwerp. Het innovatieve karakter bestaat erin dat niet Label / LIVING FURNITURE DESIGN Discipline / NL Country of origin / floris58@hotmail.com Email /
ri 1ste p
enkel het tafelblad van bamboe is, ook de poten bestaan uit levende bamboestengels. De sterke materiaaleigenschappen van bamboe worden op deze manier ten volle benut. Het is tegelijk een duurzaam en ecologisch project, het schept een band met de natuur. Het ontwerp is een statement tegen het grootschalig gebruik van traag groeiend en vaak illegaal gekapt teakhout. De jury schat het commercieel karakter van deze tafel hoog in.
js
LABFILE / THOMAS BOYDENS Project Description jury
TANK!NG
Tweede prijs in de categorie eindwerken De tweede prijs van 300 euro gaat naar Tank!ng van Thomas
Label / TANK!NG DESIGN Discipline / BELGIUM Country of origin / Email / thomas.boydens@telenet.be
2de
prijs
Boydens, die met zijn eindwerk een mobiele tankinstallatie voor aardgas ontwierp. De jury schat het demonstratief karakter van Tank!ng hoog in, vermits het gebruik door een grote afnemer van aardgas kan zorgen voor een marktintroductie. Tank!ng is een dienstverlenend ecodesign project waarbij niet het product, maar eerder het ondersteunend systeem werd bedacht. Het is een oplossing voor de logistieke drempels die er momenteel zijn om aardgas als volwaardige brandstof voor voertuigen te introduceren. De jury prijst dit innovatief project omdat het inspeelt op een bestaand milieuprobleem. Er zijn momenteel in BelgiĂŤ geen tankstations op aardgas beschikbaar en bijgevolg is er geen vraag naar aardgas, zodat autoconstructeurs hun wagens niet aanpassen. Aardgas is een duurzame ecologische brandstof, met een duidelijk lagere uitstoot aan CO2, CO, NOx en SO2 in vergelijking met diesel, benzine en LPG. Het eindwerk werd tot in een ver stadium uitgewerkt en is voorzien van een compleet en overzichtelijk dossier.
BRAM ROELENS & COSIMA ROHDEN / LABFILE Project Description jury
Eerste prijs in de categorie jaarprojecten In de categorie jaarprojecten gaat de eerste prijs van 500 euro naar de Peppy phone van Bram Roelens en Cosima Rohden, een vernieuwend communicatiemiddel voor kinderen en hun ouders. De jury beschreef de Peppy Phone als het meest innovatieve, realistische en commercieel haalbare project. Het product werd ontworpen met aandacht voor een aantal belangrijke ecodesign principes. Zo is de Peppy phone makkelijk te demonteren, wordt de batterij via beweging van de pols opgeladen en is er gebruik gemaakt van lichte recycleerbare materialen en energiezuinige componenten. De Peppy Phone vormt een milieuvriendelijk alternatief voor de GSM. Dankzij het hands free bellen, wordt ook de mogelijk schadelijke straling ter hoogte van de hersenen met dit ontwerp vermeden.
Label / PEPPY PHONE DESIGN Discipline / BELGIUM Country of origin / info@bramboogie.be Email / cosimarohden@hotmail.com
1ste prijs
DAISY LENS / LABFILE TIRE ON R E T I R E
Project Description jury
Eervolle vermelding in de categorie jaarprojecten De eervolle vermelding in de categorie jaarprojecten gaat naar Tire on Retire van Daisy Lens, een krukje waarvan het materiaal voor de zitting en het stalen onderstel uit gerecycleerde autobanden komt. De jury argumenteerde dat Tire on Retire een consequent, ecologisch doordacht ontwerp is. Het ontwerp is een mooi voorbeeld van een nuttige toepassing van gebruikte autobanden. Label / TIRE ON RETIRE DESIGN Discipline / BELGIUM Country of origin / Email / daisylens@hotmail.com
eervo lle verme lding
CATEGORIE JAARPROJECT 2007
PEPPY P H O N E
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DE OVAM & ADDICTLAB ZIJN OP ZOEK NAAR JOUW ECO-IDEEﾃ起!! Vul hier jouw gegevens in!
Heb jij ideeﾃｫn die onze planeet kunnen redden, of toch tenminste je eigen omgeving verbeteren? Dan is dit het moment om met jouw ideeﾃｫn naar buiten te komen. De OVAM en internationaal creatief laboratorium ADDICTLAB.COM zijn op zoek. De beste projecten worden gepubliceerd en naar buiten gebracht.
Schets of beschrijf jouw idee hier!
Courtesy:Â SANDEC (Water & Sanitation in Developing Countries) at EAWAG (Swiss Federal Institute for Environmental Science and Technology), CH-8600 DĂźbendorf, Switzerland.
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Contents The Ecoresearch 138
Solar Bottle
Interview with Alberto Meda & Francisco Gomez Paz
144
Actics
Actions & Ethics
146
149
Global Inspiration Satellite - G.I.S Labconcepts for sale
150
How can we make things better? Sustainable consumption
Architecture for humanity
South-African Lab
147
by Joost Hulschbosch
Work on the winkel
Illustrated seatbags Work on the winkel
148
Urban Forest Labconcepts for sale
152 Remarkable Trees Soweto Table by Alan Cooper
153
Labfiles Info about labmembers
Addictlab
155 Innovation Desk Cases
156 Ongoing Projects The Nanoresearch Arablab The Kidsresearch
157 Labambassadors
THE ECORESEARCH // 138
Solar Bottle
design by Alberto Meda & Francisco Gomez Paz
producer: no producer till now!
“We urgently need a new generation of entrepreneurs.” Challenge One sixth of the world’s population has no access to safe drinking water, increasing their risk of waterborne diseases such as diarrhea, cholera, typhoid fever, Hepatitis A and dysentery.
Response Solar Water Disinfection (SODIS®)* www.sodis.ch is a low-cost water treatment which uses UV-A radiation and heat of solar energy. It takes six hours of full sunlight exposition to destroy pathogenic microorganisms. The project improves this method while integrating a transport solution. The new bi-colour blown moulded PET container, has one transparent face for UV-A + infrared rays collection and one aluminium colour to increase the reflections. The 4 litres container has a high ratio surface/thickness improving the performance of solar disinfection and making easier the transportation and storage. A special handle integrates the angular regulation to improve sun exposure.
d n ”
About the Solar Bottle and the designers Last August 24, 2007 their design was rewarded with an Index:Award and €100 000. Index: organisation aims to increase public and professional awareness of the human and commercial potential in Design to Improve Life. At the award ceremony held in Copenhagen, jury member and Executive Consultant in digital media and entertainment Hael Kobayashi praised Meda and Paz’ Solar Bottle as an improvement to the SODIS method that integrated a transport solution: “Solar Bottle is contemporary, iconic, self-evident and universal. It carries the potential to improve the water situations radically, while the world community struggles to find permanent solutions”. The Italian designer Alberto Meda, born in 1945, combines engineering and design in a poetical way: from 1973 has been technical manager of Kartell, in charge of the development of projects of furniture and plastic laboratory equipments and from 1979 he’s freelance industrial designer for various companies - Alfa Romeo Auto, Alias, Alessi, Arabia-Finland ,Cinelli, Colombo design, Brevetti Gaggia, JcDecaux, Ideal Standard, Luceplan, Legrand, Mandarina Duck, Omron Japan, Philips, Olivetti, Vitra, etc. His companion in this important adventure, the Argentinean Fracisco Gomez Paz, is 30 years younger. After working with architect Paolo Rizzato, he opens his own studio in Milan, developing product and design projects for several companies: Artemide, Driade, Danese, Olivetti, Sector, Gispen, Sumampa, Conven, Apen Group and Italkero.
Francisco Gomez Paz - photo by Max & Douglas
THE ECORESEARCH // 140
Interview
by Giovanna Massoni with Alberto Meda
We met Alberto Meda last September 2007 in Brussels...
GM : A Solar Bottle: how did it come that you’ve decided to develop such a product? AM : We had been both invited to participate to an exhibition under the general theme “H2O” at Milan’s International Furniture Fair, learned about the SODIS a simple, low-cost solution for treating drinking water at a household level. We designed a container that brings the best out of the SODIS system. Contaminated water is filled into transparent plastic bottles. When exposed to full sunlight for six hours, the pathogens in the water are destroyed. We developed the container up to an advanced stage, doing 3D computer models and pushing to find a company interested in manufacturing the container. GM : It’s quite unique to see a project signed by two designers of different generations… AM : I’ve met Francisco by pure chance, he studied at the Domus Academy and at that time my studio was at the same address. The intergenerational exchange is quite a common approach in a lot of studios, but of course it’s not ‘public’, nobody knows… GM : And how did it go? There is a clear distribution of roles, due to different skills? AM : It’s an equal collaboration, we are quite complementary. Francisco is more mechanical minded, an expert in 3D, and he’s from Argentina. The weird thing is that I’m used to work alone: this collaboration is a real team work, where each one brings in his own specific experience. GM : What about your engagement in environmental and social projects… AM : Many designers started to work in this sense at least twenty years ago. But then, nobody was interested in these issues, the industry and the media were far away to think about ethical design. Personally, it’s a long time that I’m developing my own research about the application of new low impact materials, energy saving systems and so. As a teacher at the IUAV (the university of Venice), I’ve already promoted workshops on domestic energy for instance. Concerning my design, I’m actually studying with Vitra the applications of new PCM materials (see “es-screen”- part of the Vitra Edition collection recently presented) with a performative screen that was born from the observation of the properties of phasechanging materials – PCM – which yield or absorb heat according to external environmental conditions and behave as energy accumulators.
GM : How do you see the future of design?
AM : We urgently need a new generation of entrepreneurs! And media should help this to happen, instead of focusing on individuals and trendy stars…
GM : And what about the Index award? AM : It’s a very rich award: now we have the money to manufacture the mould. But we are still looking for a distributor. Distribution is the main central issue in nowadays global world and not only in the design domain. GM : How do you feel about that? AM : I feel son of my time. The environmental problem is determining each of my projects. GM : What is to be considered ‘innovation’ today? AM : It’s a balance between material technology and formal solution.
* In 1991 EAWAG (The Swiss Federal Institute for Environmental Science and Technology) and SANDEC (EAWAG’s Department of Water and Sanitation in Developing Countries) conducted extensive laboratory and field tests to develop and test the Solar Water Disinfection Process (SODIS). The laboratory tests conduced as well as the practical experience gathered during the application in the field revealed a simple, low-cost technology with a great potential to improve the health of those still without access to safe drinking water.
Alberto Meda
Since 1995, SANDEC is engaged in providing information, technical support and advice to local institutions in developing countries for the worldwide promotion and dissemination of the Solar Water Disinfection Process, SODIS. In the last 4 years we have been coordinating the promotion and dissemination of SODIS in more than 28 countries. SODIS is used at household level under the responsibility of the user. Therefore EAWAG is not liable for any harm caused by a faulty or inadequate application of the water treatment process. [www.sodis.ch]
sources www.albertomeda.com www.gomezpaz.com www.sodis.ch
THE ECORESEARCH // 142
Labfile
Courtesy: SANDEC (Water & Sanitation in Developing Countries) at EAWAG (Swiss Federal Institute for Environmental Science and Technology), CH-8600 Dübendorf, Switzerland.
project - Name
n° 53 - Meda & Gomez paz
research theme
The ecoresearch
date
2007
project title
solar bottle
short description
“Solar Bottle is contemporary, iconic, self-evident and universal. It carries the potential to improve the water situations radically, while the world community struggles to find permanent solutions�.
THE ECORESEARCH // 144
Action & Ethics
THE ECORESEARCH // 146
Labconcepts for sale
project - Name
n째 53 - Jan van mol
research theme
The ecoresearch
date
2007
project title
Urban forest
short description
Urban forest is a light installation aiming to bring back nature into our cities, or at least respect for nature. Urban forest consists of objects shaped as irregular tree trunks and are made out of recycled plastic. It criticizes our consumption attitude and uses waste to start reflecting on our human behaviour. The build-in LED-lights can change colour depending the atmosphere, the sound scapes, the seasons or other emotions linked to the location of the forest or the reason for gathering. The forest therefor can be silent and contemplative, or assertive and loud. The inside can be used as an ice container to cool drinks in, turning the light objects into lounge creators. The art installation becomes a guerilla tool or a design object, to be used at outdoor events in cities and forests, but always creating reflection and respect for our surrounding. Material : recycled plastic, LED spots, ice, cool drinks
concept: Jan Van Mol
3D : Ive Peeters
Labconcepts for sale
project - Name
n° 53 - Jan van mol
research theme
The ecoresearch
date
2007
project title
Global Inspiration Satellite
short description
Communication is the most important aspect of humanity. is it not? What about freedom if you can not communicate? What about respect if you are unaware of social differences? The G.I.S. is an art installation reflecting yet also allowing for people in deprived and other areas to communicate, learn, share, even travel virtually. G.I.S look like sophisticated Satellite dishes. But in all areas G.I.S’ are constructed using local people and materials. In Soweto it can be using old car tyres, in Beiroet it can be using the rubble from bombed houses, on the Northpole it’s in ice. All G.I.S’ serve as a lounge environment, can be used to get inspiration (art/film/music can be shown inside - and there is a link towards the other dishes using internet and a high tech circular screen.
THE ECORESEARCH // 148
Work on the winkel
Architecture for humanity Imagining a world without the Internet is nearly impossible. Despite the Internet’s global significance, less than 20 percent of the world’s 6 billion people currently have access to the educational, social and economic opportunities it can create. You can change that. Enter the AMD Open Architecture Challenge and help enable affordable Internet access to 50 percent of the world by 2015. The AMD Open Architecture Challenge is an open, international design competition. Its aim is to develop not one but many solutions for building sustainable, multi-purpose, low-cost technology facilities for those who need them most. Three community partners have been selected to participate in this year’s Challenge. Each site poses a unique set of design constraints and opportunities. While the needs of each client are unique, the hurdles they face in embracing technology to offer access to education, healthcare and the global marketplace are shared by millions of people in communities all over the world.
Three sites. Three continents. Hundreds of innovative designs. One connected world.
You do not have to be trained architect to participate. Anyone can enter. Entrants are invited to develop a design for one, two or all three sites. Each design entered into the competition will be published and shared on the Open Architecture Network so that any community looking for similar design solutions will have access to them. Proceeds from the competition entry fees will be awarded to the top entry for each site. The overall winning solution will be built and one years’ operating costs will be given to the community partner with funds of up to $250,000 provided by AMD. Centers will be constructed for the other two sites and replicated for additional community partners as funding becomes available.
By entering the competition you will have not only the opportunity to work one-onone with a community to realize your design and bring connectivity and computing power to those who need it most but also a chance to share your ideas for a more connected future with the world. In fact, just by entering you are helping people connect with design in ways never before possible.
[http://www.architectureforhumanity.org/] [http://www.openarchitecturenetwork.org/]
Jason Wiggin - How to butcher a chicken
Kobe
Tempest van Schalk - Ellemennopee
Emma Van Mol - Kids
Marike Hechter - Add!ct
Telri Stoop- Owl
Illustrated seatbags
THE ECORESEARCH // 150
Sustainable consumption
How can we make things better? By Patrizia Lugo Loprieno
Watch the news today on TV for awhile. You’ll notice that more and more stations are delivering (in different ways and with different approaches) programs focused on environmental concerns and related social issues. Let’s do another experiment: go online and get the main international newspapers’ PAGE ONE articles. Picking up just a few titles among the dozens appeared in the last month: “‘Pay as you throw’ rubbish charges back on agenda to boost recycling” (The Times, October 30, 2007); “China birth defects soar due to pollution: report” (Reuters, October 29); “Brussels gets tough on CO2 emissions” (Financial Times, October 26); “Sarkozy promises a green revolution for France” (Reuters, October 25); “Beijing meeting Pledges but Pollution a Concern: U.N. ” (Reuters, October 25); “Gore prize transforms climate debate” (FT, October 12)… As you can easily see, nowadays the state of the environment is perceived as mainstream (at least in industrialised countries). Moreover, our well-being, the economic development and welfare of our communities, and even our (only possible) future are finally strongly linked to our planet’s health. You don’t have to be a rocket scientist - or an
economist - to see that the way we make products, the amount we consume and the way we dispose of our ‘stuff ’ causes stress on the earth’s natural resources and systems. As a designer, remember: promoting and supporting product designs and manufacturing systems that utilize innovative designs, resource productivity, closed-loop manufacturing systems, and product take-back strategies can dramatically reduce the amazing amount of waste we currently produce, preserve natural resources (biodiversity), reduce energy consumption (in particular from fossil fuels) while creating vast new business opportunities.
Are we all equally responsible? NO. It’s clear that while some need to reduce consumption, others urgently need to increase their material and dietary intake. Inefficient production and consumption patterns, together with uneven distribution, have widened the
existing gap between North and South. It has been estimated that if the rest of the world were to consume like the developed world, we would need the equivalent of 4 extra Earths. Figures from the World Wildlife Fund (WWF) show that the average world citizen requires 2.3 hectares (one hectare is equal to the size of a soccer field) to produce what he/she consumes every year and then to have a place to dump what’s left over. That’s 40% more than is sustainable. So, are we all equally responsible then? No, not really. If you’re Italian, for instance, you need 8 times this area, if you are American, it is 18 times more. And if you’re Bangladeshi, it is one third. This also tells us that the distribution of consumption is seriously out of balance. The world’s 20% richest people consume nearly 75% of the planet’s natural resources. Think about it: the USA makes up 6% of the planet’s population but consumes a staggering 30% of its resources.
The wealth of the world’s 225 richest individuals equals the annual income of the bottom 47% of the world’s population, or 2.5 billion people. Everyday 50 plant species become extinct. How many is that per week, per month, per year? Scientists believe that plants hold the key to finding cures for many diseases. So each lost species not only causes irreparable damage to the ecosystem, but is also a lost opportunity for our future development.
Workable solutions Sustainable consumption (SC) is about finding workable solutions to imbalances – social and environmental – through more responsible behaviours from everyone. In particular, SC is linked to production and distribution, use and disposal of products and services and provides the means to rethink their lifecycle. The aim is to ensure that the basic needs of the entire global community are met, excess is reduced and environmental damage is avoided. SC is an integral element of sustainable development and an issue of paramount importance to the United Nations: “…development which meets the needs of the present without compromising the ability of future generations to meet their own needs.” [Gro Harlem Brundtland et al., Our Common Future, WCED, New York-Oxford, Oxford University Press,1987, p. 43]
Providing tools for change is the responsibility of governments, regulatory institutions, NGOs and business. However, the role of the global consumer/citizen is essential in pushing these groups to take action more quickly and for the better. This is why two United Nations agencies, UNESCO and UNEP, joined their forces to make young people aware of opportunities offered by more sustainable lifestyles and empower them to make a difference starting from their daily lives.
Half the world’s population is under 20 years old and 90% of all young people live in developing countries. Young people are a critical stakeholder in the global economy and will be the main actor and motor for change in the near future. The habit they develop now will play a decisive role in future consumption patterns. Their decisions as consumers exercise a growing influence on markets and lifestyles. Thus the energy, motivation and creativity of youth are essential assets to bringing about change.
The youthxchange network We should look at what and how we produce and consume. But in order to do so without too much cost, we - as consumers - need: clear information, accessible sustainable products & services, and adequate infrastructures. The youthxchange (YXC) toolkit is a website - www.youthxchange.net, in English and in French - and a printed guide already translated in more than 20 languages (among these: Chinese, Japanese, Arabic, Spanish, French, Italian, Dutch, Portuguese…). Through YXC, UNEP and UNESCO try to show young people that it is possible for all of us to translate our aspirations for a better world into everyday actions. For this reason and to make SC more immediate to youth, the YXC tool kit uses a broad and inclusive approach to the issue. For example, although healthy eating, the sex trade or media literacy are not always considered strictly related to SC, the kit views them as significant factors in developing consumer awareness.
inter-generational factors. In particular, YXC underlines how SC directly relates to quality of life, efficient use of resources (both human and natural), reduction of waste, and ethical issues such as child labour, animal welfare, fair trade and general equality. YXC has a specific training approach, more focussed on aspects of our lives rather than on traditional issue focussed sustainability learning (water, energy, fair trade, etc). The reasons for it are that to interest a young audience, the best approach is to talk to them about what they feel the closest (music, clothing, sense of identity, etc.). The target group is urban youth who have access to information media and have comparable consumption patterns. But anybody with access to the Internet can participate in the YXC initiative. The YOUTHXCHANGE training tool kit has been conceived by MÉTA – Media Ecology Technology Association. We developed the general concept, researched and finalised the original version of the project (in English). We have also translated the YXC guide in Italian.
For further information: META Media Ecology Technology Association Rue du Chimiste 34-36
Using accessible information, concrete examples and everyday language, the YXC kit provides many facts & figures on SC issues. It highlights the links between cultural, geographical and
1070 Brussels (B) Patrizia Lugo Loprieno p.lugo@e-meta.net
THE ECORESEARCH // 152
Trees & Tires
South-African Lab
Remarkable trees of South Africa is a magazine concept devoted to the beauty and characteristics of South Africa’s wide variety of indigenous and non-indigenous trees, and of Johannesburg’s trees in particular. Ten million trees populating the rolling hills of Johannesburg make it one of the greenest cities in the world.
Remarkable Trees Concept and design: Joost Hulsbosch - www.bhagdesign.com Photography: Joost Hulsbosch & Michael Meijersfeld
Soweto Tables Tables & chairs made out of re-used tyres. These tables were part of a project for a park in Soweto. Local bodies did not select the concept, but opted for a ‘modern’ - clean look. We believe they missed out on the richness of the concept presented: It shows a valuable link between contemporary design and the respect for the cities heritage and its inhabitants.
Concept and design: Alan Cooper
Labmember
Van den Hole
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Carolien
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Art
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Geraardsbergen
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Belgium
carolienvdh@hotmail.com
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DESIGN
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Wilms
// FIRST NAME
ValĂŠrie
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Design
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Leuven
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Belgium
valwilms@hotmail.com
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Oliveira
// FIRST NAME
Nuno
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Oliveira de Azemeis
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Portugal
nuno.aso@gmail.com
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De Crombrugghe
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Rodrigo
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rodrigoalmeidadesign@hotmail.com
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ieva.laurina@gmail.com
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Martin
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Haldane
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haldane@haldanemartin.co.za
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ARCHITECTURE
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Hanzen
// FIRST NAME
Antoine
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Architecture
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Lantin
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Belgium
antuand_2806@yahoo.com
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addictlab.com
innovation/desk/ How to tap into Addictlab
Addictlab is all about accelerating talent and generation innovation. Creating a bridge between a brand and a growing creative scene. Of course, we’re not just passing on business cards. We believe in the added value of collaboration. Addictlab’s brand department guards brand coherence and respect for the creative minds, and guides the process. 1. Innovation = new products brand Diesel jeans 2. Innovation = new ideas brand confidential brand
Labmembers * Malin Lundmark
Discipline Design
Country Sweden
Labmembers * Ina Arends * Martin Roedolf * Liuan Tan * Garth Roberts * Jens Martin Skibsted Labresearchers * Jan De Lancker * Ina Arends Facilitator * Jan Van Mol
Discipline Art Photography design design design
Country the Netherlands the Netherlands Japan US Danmark
Marketing Art
Belgium the Netherlands
Branding
Belgium
3. Innovation = new markets brand Italosuisse
Labmembers * Elke Timmerman * Mireia Mazon * Carmen Bianco Jordà
Discipline Marketing Graphic Design Graphic Design
Country Belgium Spain Spain
4. Innovation = product tweeking brand Labmembers Tonkeys * Elke Timmerman * Nuno Oliveira
Discipline Marketing Graphic design
Country Belgium Portugal
5. Innovation = coherence in brand strategy brand Labmembers Woodlake * Katherina Tretter * Anja Samson
Discipline Fashion Graphic Design
Country Austria Belgium
Discipline Marketing Graphic Design
Country Belgium Belgium
6. Innovation = inspiration brand TNT IMEC
Labmembers * Elke Timmerman * Fenna Zamouri * check Addict #27
THE ECORESEARCH // 156
addictlab.com
innovation/desk/ How to tap into Addictlab
7. Innovation = re-inventing brand Tonkeys
Labmembers * Elke Timmerman * Fenna Zamouri
Discipline Marketing Graphic Design
Country Belgium Belgium
8. Innovation = research brand Personalised brand labs Chocolate Design research
Labmembers confidential check Labfiles
Discipline
Country
9. Innovation = brand experiences brand Labmembers Modo Bruxellae * Garth Roberts Italosuisse * Benoït Deneufbourg
Discipline Design Design
Country US Belgium
10. No innovation without press. brand Labmembers Lee Cooper * Aleksandra Paszkowska * Fenna Zamouri
Discipline Fashion Graphic Design
Country Poland Belgium
Ongoing projects:
}
nano/research Research endorsed by IMEC
kids/research arab/lab
What? Addictlab’s researchers are scanning the Labfiles database continuously for fresh ideas on Children. // Lab_input New ideas come from 1. Creative people with ideas, please send us your concepts. (Tell us if you want them to be online or if we have to treat your ideas confidential.) 2. Labresearchers browsing the sites, visiting fairs 3. X-Rays where we invite Labmembers to come and brainstorm on certain topics. // Lab_output 1. Shall we produce a book on the matter? We are thinking of making our #29th Research issue. Mail jan@addictlab.com if you’re interested. 2. Industry interested in our research, can tap into our lab. For a monthly fee, you can receive Confidential trend research. We create password protected webpages for your company, based on our proactive research and answering to clear briefings you might have. http://www.addictlab.com/index.php/Research
Labambassadors
Belgium
Antwerp, Silke Fleischer Brussels, Elke Timmerman
Portugal
The Netherlands
Amsterdam, Elena Kulikova Rotterdam, Jeroen Evereaert Utrecht, Arjan van der Mee
Oliveira de Azemeis, Nuno Oliveira
South-Africa
Capetown, Alistair Luke Johannesburg, Marike Hechter
New-Zealand Antony Nevin
Australia
Melbourne, Giuseppe Demaio
Your city? Country? Region? You? Local ambassadors can help you discovering all about addictlab, registering and more. They can use these pages to show their selection of local talent and interesting activities. This site is created by .... You. Addictlab is all about expanding a creative network. All the links on this page will direct you to pages that are created and maintained by local labambassadors. It is their way to show the creative talent in their city, talk about intersting stuff, pointing out important issues. Want to join in? Mail ambassador@addictlab.com and you’ll receive a special login and password to start talking about your city or region.
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Publisher & Creative Director Jan Van Mol jan@addictlab.com Editor-in-chief Giovanna Massoni giovanna@addictlab.com Graphic Designer Fenna Zamouri fenna@addictlab.com Creative Lab Researchers Fenna Zamouri Giovanna Massoni Contributing LabMembers see on all pages Head Office & subscriptions Ann Van Dievoort ann@addictlab.com Design Lab Researcher Giovanna Massoni giovanna@addictlab.com Ad!dict Creative Lab LAB.001 bvba Delaunoystraat 60 1080 Brussels Belgium Tel + 32 2 289 51 01 info@addictlab.com
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