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INSTANT DESIGN milan design week 2011

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Instant Design_01 Milan Design Week 2011 The best one hundred design products Five scouting portfolios One special guest Six insiders Twenty seven snaps from cool places  Dominic Wilcox and five special sketches

grace + pressure by susanna legrenzi * and nicola gotti ** thanks to lorenzo castellini fabio cocchi luigi rotta beniamino marini stefano mirti kuno prey delfino sisto legnani * design curator and journalist, she writes for vogue italia, klat magazine, nòva/il sole 24 ore and il giornale dell’architettura  follow her on www.bigbenzine.com/ ** art director follow him on www.bauau.net/

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Double Side by Matali Crasset Danese â&#x20AC;&#x153;At home today the structures are fixed, like a paused video with a paused picture, life is changing and itâ&#x20AC;&#x2122;s in movement and it reactivates the video so to speak. My projects work in the interstices of the activities, in passages between one paused picture to another in order to reattach them to one another and to renew the movement and the action in between the spacesâ&#x20AC;?. www.matalicrasset.com/ www.danesemilano.com/

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Tools by Fabien Dumas Poetry Happens â&#x20AC;&#x153;The purpose of this object is to turn the common into the uncommon. Using existing products as parts of new objects consequently supports the concept of sustainabilityâ&#x20AC;?. www.toomanydesigners.net/ www.poetry-happens.com/

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OpenStructures by Thomas Lommée New Times, New Heroes by Z33 and REcentre “The OpenStructures (OS) project initiates a construction system where everyone designs for everyone”. Photo Kristof Vrancken/Z33 www.openstructures.net/ www.newtimesnewheroes.be/

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New Standard x Shin Subuki by Scholten&Baijings, Sylvain Willenz, BIG-GAME, Teruhiro Yanagihara. Karimoku www.karimoku-newstandard.jp/

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IX Mirros by Ron Gilad Dilmos Photo Emilio Tremolada www.rongilad.com/ www.dilmos.com/

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Subalterno1 â&#x20AC;&#x153;Subalterno1 considers self-production as a set of activities that include the self-organization of the design process, the construction/production, the promotion and the distribution. Not necessarily the above items have to be made in person by a designer, but when not made directly, they must have at least one person as a customer-organizer. Subalterno1 is a project by Andrea Gianni, Stefano Maffei and Patrizia Bolzanâ&#x20AC;?. www.subalterno1.com/

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Osso Chair by Ronan and Erwan Bouroullec Mattiazzi â&#x20AC;&#x153;As designers, we feel involved in supporting such valiant microstructures that are always on the edge as they try to adjust to a constantly changing market. That said, the Osso chair had to be the illustration of what Mattiazzi is in its roots. We designed an object in plain wood but not in regular plain wood, the quality of the wood literally makes the object, like the best piece of meat would make the refinement of a dish. Our intention was to let the sensuality of the wood material - from oak to maple to ash - express itself. The Osso chair invites to be touched, even caressed as it is extremely sculpted and polished thanks to the use of highly sophisticated digital control equipment. The high-tech assembling system of geometrical wood panels allows a quite singular strength while preserving a design balance of the objectâ&#x20AC;?. Photo Ronan and Erwan Bouroullec www.bouroullec.com/ www.mattiazzi.eu/

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Matière à chaud by 5.5 Designers for Saazs Galleria Luisa delle Piane “Twelve unique pieces which reinterpret an essential household object the radiator”. cinqcinqdesigners.com/ www.saazs.com/

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Lantern by Tong Ho Yii Taiwan Craft Research Institute Curated by Gijs Bakker â&#x20AC;&#x153;A classic appearance and new technologies go hand in hand in this product. Fitted with an inner LED system, this ceramic version of a traditional Taiwanese lantern reveals its decoration only when lit. The lantern is mobile, since it can be recharged from a ground baseâ&#x20AC;?. yiidesign.com/

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SKETCHES

by Dominic Wilcox | Circus Rug by Fernando and Humberto Campana www.nodusrug.it/

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Chinabrenner Thomas Wrobel and Jo Zarth Poetry Happens Photo ettlabenn www.chinabrenner.de/ www.poetry-happens.com/

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From kitchen to Table by Alfredo H채berli Georg Jensen www.alfredo-haeberli.com/ www.georgjensen.com/

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TIME MIRRORS by Stefano Mirti (co-founder id-Lab) Stefano Mirti: Stefano, how is it to be interviewed by yourself? Stefano Mirti: Indeed, it is quite a strange feeling, I’ve never done before. Anyway, it could be nice. Thanks for asking me. SM: There is always a first time. Let’s see what happens. SM: Yes of course. Not to mention that I have known you for quite a long time and you know I don’t agree with many of your opinions on contemporary design. SM: Like what? SM: So often you come up with provocative statements made for immediate pleasure and fun, just to impress your audience or your reader. I have known you for a long time, I know how much you like it. You do it once, you do it twice, but then what? In the end, what’s your aim? SM: You could be right. Anyway you shouldn’t try to flip around the roles. This time, it’s me interviewing you. You have to answer to MY questions, you don’t have to come up with YOUR questions. This other exercise, if you want, we can do it another time. SM: Va bene. So, what do you want to know? Ask your questions and let’s get to the point. SM: Well, once again we are in the Milanese design week. The 2011 edition just finished last night. An opinion from your side? What did you like? What didn’t you like? SM: Mmmmmhhhh... Honestly speaking, what a boring way to start an interview. What do you want? A list? The twenty designers of the future? I am not Paola Antonelli. Why do you ask me such a silly question? SM: Don’t you agree with Paola Antonelli’s list? I think it was quite interesting... SM: I’m not so sure. Boop. If you want lists, please ask someone else... SM: Don’t escape my question... What did you find most interesting at the latest Salone? SM: You are insistent aren’t you. You really want the names, the list, I’ve seen this, I went there... Where shall we start from? A description of Eindhoven’s best students? Ingo Maurer’s latest trick? What do I think about Enzo Mari’s statements on the

death of design (while presenting his 1000th chair?). Dai... Don’t be so obnoxious.... SM: Why do you have to be so aggressive? I am simply asking you what were the most interesting things you saw during the week. Give us a list with some comments and remarks and there we are. SM: You want to know what I like about the Milanese week? SM: Yes, please. It’s very simple. It takes no longer than five minutes. SM: I liked the Fuori Salone very much because it’s like being in Groundhog Day. Do you remember it? The movie with Bill Murray and Andy Mc Dowell. One of the greatest movies ever. SM: The one where they are stuck in some mountain town and every morning Bill Murray wakes up and it is the day before? Waking up everyday and understanding you are once again living the same day over and over (and being aware of it)? SM: Yes indeed. Wasn’t it great? I watched it so many times, there was a moment I felt being Bill Murray myself. It looked like an Hollywood movie, but it was (all in all) a flabbergasting philosophical concept. SM: Checking Wikipedia from my phone, it says: “the phrase ‘Groundhog Day’ has entered common use as a reference to an unpleasant situation that continually repeats, or seems to”. SM: Welcome to the Salone del Mobile di Milano, darling. The most exciting element is this total, complete and absolute repetition. A never ending loop. I enter the exhibition of the young brilliant designer from London and I love this feeling of entering the exhibition I went to last year, the exhibition I went to five years ago, the exhibition I will see next year, the next and the one after that. It is an absolute feeling. Very powerful, very impressive. Pure teleology. The condition where you can’t escape thinking about the final causes of setting up a relation between ourselves, other people and nature. SM: I follow your description and excitement. Yet, in common language “Groundhog Day” it has a negative connotation. It refers to an unpleasant situation. SM: This could be. Actually it could be considered un-

pleasant. Indeed, I love it. Milano’s week looks like a Gabriel Garcia Marquez novel. You are at Bar Basso and you feel like being in One hundred years of Solitude. Places, situations, characters repeating themselves over and over. Day after day, glass after glass, chair after chair. This is why it is so successful and why we all like it so much. I love this feeling. You feel timeless, don’t you? SM: Actually, I never thought about it. You mean being in Milano is like being in Macondo? SM: Yes. The design world could be intended as the Buendia family. We all live in this fictional Mediterranean village (a very special village: although we are in the South, every time there is this f*****g week, it rains all the time), we all spend our lives busy in multiple incests, births, love, deaths. If you are not part of the big Buendia family you find all of this quite entertaining and charming (although it is nothing more than being very spooky). SM: And if you are part of the Buendia family? How do you feel? SM: I told you before. If you are part of the family, the only thing you can do is to accept your destiny and happily play your role again and again. Year after year. Meeting the same curator over and over (although he or she will have a different face), answering to the same journalist, going to the same exhibition. SM: Same exhibition? SM: Yes, a life where you are condemned to go to the same exhibition. The jury met, and after several hours the judge condemned you to Milano Fuori Salone. Fifty years of it. One week per year, like the Swiss when they go to the army. Fifty years straight. Year after year. Over and over. The same exhibition, with the same opening where you will meet the same people, where you will drink the same wine, where you will share the same gossip. Talking with the same students, reading the same magazines and of course being completely aware of this. But pretending it is about “new” things. Not even Ionesco or Beckett could have imagined such an incredibly story. SM: But this is quite horrible, is it not? It sounds like Dante’s Inferno. SM: Yes, a mix between Garcia Marquez and Dante’s

Inferno. Eventually engraved by Gustave Dore’. To live in a Gustave Dore’ wooden engravure (dreaming of Andy Mc Dowell when she was young). Indeed, if you think about it for a second it is a great condition. SM: Not so sure I like it. It is quite challenging indeed. SM: No. I don’t think so. Groundhog Day, Macondo... They are nice references. I could have answered to your question going to Festen (The Celebration). Do you remember it? it was that Danish movie, Dogme #1. The family reunion with the nasty old man... SM: Upon your thinking, Fuori Salone is just like that. Isn’it? SM: Undoubtfully. It is like a family celebration with all kind of different problems. Where everyone hates each other. Still, you are part of the family and there is nothing you can do about it. This is. Nothing more. SM: I am much more positive about Salone. It is like a festival, a celebration, a week-long party. SM: Yes. A celebration. I just observe that it is a quite peculiar celebration. Not so dissimilar from Festen. But then, this is a minor thing. The really exciting thing is the exact repetition year after year. This time element and its mirror feature really fascinates me. I think it is actually very nice. Very exciting. As I said, it’s like being Bill Murray in Groundhog Day. Not wanting to repeat myself, but I like Andy Mc Dowell very much. If, at the end of this game of multiple repetitions, mirrored in a never ending loop, I will finally get my Andy Mc Dowell, I will be quite happy. I know this will never happen, still, it is a quite sweet idea to my mind. SM: Thanks. Of course I find your ideas ridiculous, but I understand your point. Thanks for your kindness and see you again next year. SM: Yes. To give, once again, the same answers to the same questions. Jolly good! By the way, have a nice day. SM: You too!

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Textiles by Linde Hermans New Times, New Heroes by Z33 and REcentre Ph Rien Geypen www.lindehermans.be/ www.newtimesnewheroes.be/

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Jambox by Yves BĂŠhar and Fuseproject Team Up for JamScape Jambone www.fuseproject.com/ www.jawbone.com/

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Yiil by Werner Aisslinger Younicos www.aisslinger.de/ www.younicos.com/

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Hereand(T)here by Fabrica with Sam Baron Secondome â&#x20AC;&#x153;Exhibited in the new spaces of the showroom Benetton, Hereand(T)here is a collection of 8 objectsculpture designed by Fabrica for Secondome in limited edition to 30 signed pieces and numberedâ&#x20AC;?. www.secondome.eu/ www.fabrica.it/

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Migration By Formafantasma Nodus Rug www.formafantasma.com/ www.nodusrug.it/

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Food on the Table by Marre Moerel Poetry Happens www.marremoerel.com/ www.poetry-happens.com/

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WashHouse by Studio Makkink and Bey Courtesy of HELMRINDERKNECHT Poetry Happens www.studiomakkinkbey.nl/ www.helmrinderknecht.com/ www.poetry-happens.com/

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Balcon by Inga SempĂŠ Moustache www.ingasempe.fr/ www.moustache.fr/

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SCOUTING Beatrice Brovia and Nicolas Cheng

Conversation Piece Chapter 1 On the Doorway Galerie Caroline van Hoek www.conversationpiece.co/

“All handles, no matter how diverse, revolve around the same standard: a steel, oblong, squared profile with base 0.75 x 0.75 cm. This profile, this strandard, was the strartign point: the measure unit around wich “going wild” in making sculptural, unique handles. Materials have great importance when it comes to let the pieces communicate and are used across hierarchies of value. The diverse selection of materials, is to stress the many concepts, feeelings and ideas related to “home”, Home is both a physical and emotonal space. It very private but also pubblic. It is the place of affection but can also be very anonymous, changeable, an empty shell. The door handles, in their diversity, are metaphora of varius, simoultaneous definitions of homes”.

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SCOUTING

Root / Nest by Beatrice Brovia and Nicolas Cheng Galerie Caroline van Hoek

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SCOUTING

Ageing by Beatrice Brovia and Nicolas Cheng Galerie Caroline van Hoek

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SCOUTING

Collection of door handles by Beatrice Brovia and Nicolas Cheng Galerie Caroline van Hoek

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SCOUTING

Silent Walls by Beatrice Brovia and Nicolas Cheng Galerie Caroline van Hoek

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SCOUTING

Rosa Portogallo by Beatrice Brovia and Nicolas Cheng Galerie Caroline van Hoek

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An Imaginary Museum by Jon Stam with Simon de Bakker New Times, New Heroes by Z33 and REcentre â&#x20AC;&#x153;Today, networked technology allows us to access information anywhere and at anytime, but a meaningful exhibitionformat for this information is far from commonplace. In this Imaginary Museum, collections by artists and designers can be intimately experienced through digitally hacked View-Masterâ&#x20AC;?. www.commonplace.nl/ www.newtimesnewheroes.be/

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Perch Collection by Pierre Favresse Nouvelle Vague, the new French domestic landscape Curated by Cèdric Morisset Photo Benjamin Le Du www.pierrefavresse.com/

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Yabane by A+A Cooren Sponsored by Walnutsgroove Nouvelle Vague, the new French domestic landscape Curated by Cèdric Morisset “Inspired by a traditional Japanese graphic pattern, Yabané (arrow in Japanese) is a drawer that opens in two directions. It can easily be used in the middle of a room as a divider of space”. www.aplusacooren.com/ www.walnutsgroove.com/

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Accordion Cabinet Salone Satellite by Elisa Strozyk with Sebastian Neeb www.elisastrozyk.de/

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Public Design Festival Cavalcavia Bussa Esterni publicdesignfestival.org/

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esterni designing a city for all by Lorenzo Castellini (co-founder esterni)

In a week where the best interior design from all over the world is shown, esterni speaks about the design of the public space with its Public Design Festival: 6 days to build everyoneâ&#x20AC;&#x2122;s city â&#x20AC;&#x201C; a city that pulses with life from centre to suburbs, that welcomes foreigners and offer services, that features places where people can meet, share and socialize. Among the venues involved by the festival two in particular have had a strong meaning for esterni. The Cavalcavia Bussa (in the Isola district), an urban void over the Garibaldi Rail Station, was transformed into a street public lab, a place where citizens were invited to build a new public space. At disposal pieces of wood cutted in three different lenghts (35; 37,5

and 80 cm), nails, screws and hammers and very simple assembly instructions. After one week the output is terrific. People started from the instructions given by esterni and developed them into new unexpected street furniture. For a week, this space had become the center of the neighborhood life. In Ventura Lambrate district, between via Rubattino and Via Caduti di Marcinelle lies the widest outdoor/covered urban space in the city of Milan, right under the access road of the eastern bypass (Tangenziale est). The area was turned into an accomodation and reception spot open to everyone. The Public Camping is a nomadic service conceived to fit different places in the city, like

empty urban spaces, abandoned factories, public parks. Thanks to this simple and flexible solution (wooden platform used as camping site), a camping with 100 tent sites can be built up in less than 48 hours. Almost 200 young designers from all over the World (China, Brazil, Mexico, Korea, Netherlands, UK and many other countries) were hosted by esterni in the Public Camping.

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Bodycloth by Brecht Duijf New Times, New Heroes by Z33 and REcentre “You hide your own body with the bodies of others. Both Bold and cowardly at the same time”. www.newtimesnewheroes.be/

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Baguette Chair by Ronan and Erwan Bouroullec Magis â&#x20AC;&#x153;Our intention was to design a chair that would be brought down to its minimum, using the least quantity of material and assembling itemsâ&#x20AC;?. www.bouroullec.com/ www.magisdesign.com/

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Urban Futures Domus www.domusweb.it/

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Tablescapes by Christane Hoegner New Times, New Heroes by Z33 and REcentre www.christianehoegner.com/ www.newtimesnewheroes.be/

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The Coiling Collection bu Raw Edge FAT Galerie, Paris Talking Textiles by Li Edelokoort www.raw-edges.com/ ww.trendtablet.com/

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Unpolished Young design from Poland/Milan Curated by Agnieszka JacobsonCielecka and Paweł Grobelny “While choosing works and designers, we were looking for the most characteristic elements of Polish design, features that distinguish us from other designers. When preparing for such exhibitions, we always have to answer the question: what do we want to prove exactly? That the Poles design like everyone else? Or that they design differently?”. www.unpolished.pl

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EIGHT TIPS by Prof. Kuno Prey (designer)

The nature of designers is characterized by curiosity, which turns many of them into passionate collectors of little and larger things. Designers are eager to experience, which â&#x20AC;&#x201C; ideally â&#x20AC;&#x201C; is the basis for their attitude and personal approach to project. Here some advice, which was gathered from my personal experience and which I would like to share with young designers

1_Be curious: explore and take apart things to better understand how they work 2_Question everything, even the questions you are asked. Question yourself 3_You do not know everything, therefore ask 4_Be generous and fear no imitators 5_Talk to people, even in languages you are not familiar with 6_Try everything before you claim to know.Document what you do 7_Ask a lot from yourself. Never be satisfied with the first solution 8_Educate yourself, listen and read

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Houdini Chair by Stefan Diez e15 www.stefan-diez.com/ www.e15.com/

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Behive by Werner Aisslinger Foscarini www.aisslinger.de/ www.foscarini.com/

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Stitched Chair by Tord Boontje Moroso â&#x20AC;&#x153;For a long time, I have been interested in sewing and embroidery. When I was a child, my mother would show me how to sew and I made some clothes for myself (with her help). More recently I have used embroidery in my work on textiles and fur niture. This time I started to think in a more functional way about sewing, the idea of creat ing holes in materials and connecting pieces with yarns. I realized that by stitching plywood components together it would be possible to create strong structures for furnitureâ&#x20AC;?. www.tordboontje.com/ www.moroso.it/

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Object of Sound by NOCC Nouvelle Vague, the new French domestic landscape Curated by Cèdric Morisset “The profile of the sound is shaped into a 3D form and becomes an object. By giving volume to the sound wave, the form becomes a piece that is used according to the word pronounced. A candle holder profile becomes a candle holder, a vase profile becomes a vase and a light profile becomes a light”. www.nocc.fr/

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Kartell Design Icon Fiera Rho Pero Stand by Ferruccio Laviani www.kartell.it/

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Sheep Chase by Maria Volokhova Poetry Happens ww.volokhova.blogspot.com/ www.poetry-happens.com/

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Castor Collection by Big-Game Karimoku New Standard www.big-game.ch/ www.karimoku-newstandard.jp/

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SCOUTING Dominic Wilcox

Speed creating London, Uk variationsonnormal.com/speed-creating/

“Each day for 30 days I will make a new object, installation or creative intervention while going about my daily life. At home, in the studio, on the train or wherever my day takes me, I will attempt to make something that interests me creatively and then quickly document it on the M&M website (and here) via photographs, drawings or video. Each day I will receive a small budget of £10 for materials. I believe that this self-imposed project with it’s constraints on time and money will force me to take an instinctive and experimental approach. The fear of failure and the usual time spent thinking through the potential pitfalls of a project will not be an option and I will need to react swiftly to my thoughts, observations and experimental outcomes discovered along the way. I am not focused solely on the final objects or images but on the creative journey I take. Complete failures are expected and embraced. I will document each day on this site but more pictures and details will be on the soon to be launched www. mestakesandmanifestos.com/”.

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SCOUTING

Day 1 Bubbly Balls by Dominic Wilcox

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SCOUTING

Day 7 Diary Tape by Dominic Wilcox

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SCOUTING

Day 12 Chair swing by Dominic Wilcox

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Day 19 Bread objects by Dominic Wilcox

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SCOUTING

Day 20 150 Brush by Dominic Wilcox

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Le fabbriche dei sogni Uomini, idee, imprese e paradossi delle fabbriche del design italiano Curated by Alberto Alessi Triennale Design Museum Milano Photo Fabbrizio Marchesi www.triennale.it/

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Bote by Big-Game Materia Photo Julien Chavaillaz www.big-game.ch/

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Container by Alain Gilles Casamania www.alaingilles.com/ www.casamania.it/

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Klara by Patricia Urquiola Moroso www.patriciaurquiola.com/ www.moroso.it/

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Public Camping Public Design Festival Rubattino www.publicdesignfestival.org/

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hashtag #_natural_makeshift #_anti_checklist #_under_minimalism #_milanuncut #_field_works #_softly_softly #_eco_ego #_rapid_prototyping #_enhance_imperfection 121


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Cuore by Liviana Osti Design delikatessen A project by the students of the Atelier Prey, Faculty of Design and Art, Free University of Bozen-Bolzano, Italy, in collaboration with PAOLA C. and the art-direction of Aldo Cibic. Teachers: Kuno Prey, Gianpietro Gai and Anniina Koivu www.unibz.it/design-art/ www.paolac.com/

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Moon by Tokujin Yoshioka Moroso www.tokujin.com/ www.moroso.it/

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Light tray by Andreas Engesvik and Daniel Rybakken Spazio Rossana Orlandi www.danielrybakken.com/ www.andreasengesvik.no/

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Bubble Sofa by Yu-Jui (Kevin) Chou and Su-jen Su Street life -Yii Taiwan Craft Research Institute Curated by Gijs Bakker “The sofa refers to the history of bamboo furniture and demonstrates the material’s endless possibilities. Its light yet stable construction is made of 999 hand-woven bamboo balls – the most common elements to be found in a bamboo craftsman’s studio”. yiidesign.com/

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Impossible Wood by Nipa Doshi and Jonathamn Levien Moroso www.doshilevien.com/ www.moroso.it/

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Ral 7035 by Studio Job Lensvelt “Who says mass production cannot be flexible?”. www.studiojob.nl/ www.lensvelt.nl/

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SKETCHES

by Dominic Wilcox | Fly Light by Design Drift www.designdrift.nl/

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Hal by Jasper Morrison Vitra Photography Marc Eggimann www.jaspermorrison.com/ www.vitra.com/

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Kutani Choemon by Jaime Hayon Spazie Rossana Orlandi www.hayonstudio.com/ www.choemon.com/

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Industry by Benjamin Hubert Casamania www.benjaminhubert.co.uk/ www.casamania.it/

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Jill by Alfredo H채berli Vitra Photo Marc Eggimann www.alfredo-haeberli.com/ www.vitra.com/

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Lâ&#x20AC;&#x2122;Oiseau by Ronan and Erwan Bouroullec Vitra Photo Ronan and Erwan Bouroullec www.bouroullec.com/ www.vitra.com/

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Longue Vue by Emilie Pallard Talking Textiles Curated by Li Edelkoort â&#x20AC;&#x153;Interested in dissecting the moment, Pallard has created a series of Domestic Disguises to interact with the interior. Longue Vue is a lamp design that allows the user to encapsulate light,seeing cosmic light planes when looking into itâ&#x20AC;?. www.emiliepallard.com/ www.trendtablet.com/

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Johnny B. Butterfly by Ingo Maurer and Team Ingo Maurer www.ingo-maurer.com/

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Ecal/Alessi Workshop by Elric Petit Photo Ecal/Julien Chavaillaz www.ecal.ch/

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Looksoflat by Stefan Geisbauer Ingo Maurer www.ingo-maurer.com/

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Hugh by Ella Robinson Talking Textiles Curated by Li Edelkoort “Inspired by the Brighton coastline on which she grew up, like a true beachcomber, Robinson collects interesting driftwood elements upon which she incorporates brightly-coloured haberdashery to reflect the contemporary urban condition. Balanced by the wood’s natural presence, her graphic totems and planks are studied compositions of optimistic colour”. www.ellarobinson.com/ www.trendtablet.com/

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Lightwood by Jasper Morrison Maruni Photo Yoneo Kawabe www.jaspermorrison.com/ www.maruni.com/en/

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Loggia by Jakob Timpe Alias www.jakobtimpe.com/ www.aliasdesign.it/

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Luoxor by Pool Nouvelle Vague, the new French domestic landscape Curated by Cèdric Morisset

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Proust by Alessandro Mendini Magis “From 1978 onwards the “Poltrona di Proust” was realized in many versions, different in colours, materials and dimensions and was even made of ceramics and bronze. It travelled all around the world and was hosted in many museums. Now a real unexpected news. A paradox becoming true. Now the “Poltrona di Proust” has become an industrial rotationalmoulded object”. www.ateliermendini.it/ www.magisdesign.com/

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Metamorphosis, by Vicente Garcia Jimenez con A.j. Weissbard e Francesco Morosini Foscarini www.vicente-garcia.com/ www.foscarini.com/

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Magic Hole by Philippe Starck with Eugeni Quitllet Kartell www.starck.com/ www.kartell.it/

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Map Table with Tip Ton by Edward Barber & Jay Osgerby Vitra Ph Marc Eggimann www.barberosgerby.com/ www.vitra.com/

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Petite Gigue by Franรงois Azambourg Moustache www.azambourg.fr/ www.moustache.fr/

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My Storage by Ineke Hans Magis www.inekehans.com/ www.magisdesign.com/

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OK by Fabio Novembre Kartell “Some say it comes from the language of some native American people or from the Bantu of African slaves or even from the American civil war but others maintain that it is simply the opposite of KO. The fact is that OK has become the universal positive principle associated with the gesture of the closed hand with the thumb pointing upwards. That opponent thumb means that man is capable of any kind of grip and it distinguishes primates from the other animals. In this moment of darkness, trying to freeze that gesture by pressing it into a cube of transparent polycarbonate produced by rotational moulding has propitiatory worth… thanks, Monsieur Baldaccini, it’s all OK!” www.novembre.it/ www.kartell.it/

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by Dominic Wilcox | Fragile Future III by Design Drift www.designdrift.nl/

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SPECIAL GUEST FORMAFANTASMA Botanica for Fondazione Plart Eindhoven, nl www.formafantasma.com/ www.plart.it

â&#x20AC;&#x153;Botanica is the latest project by studio FormaFantasma, commissioned by Plart, an Italian foundation dedicated to scientific research and technological innovation in the recovery, restoration and conservation of works of art and design produced in plastic. Maria Pia Incutti, founder of Plart and Marco Petroni, curator of the project, commissioned the studio to create their own personal interpretation of polymeric materials. The perception of plastic materials has drastically changed over time. Initially considered the material of the future, synthetic polymers are now seen as the symbol of a not anymore exciting oil era. Scientific research is increasingly looking to find sustainable alternatives or ways to make plastic biodegradable. In opposition to this, the Plart foundation is addresses another necessity with its activities and research: to preserve plastic-based art and design pieces. The tension between the need to find valid alternatives to an extraordinary material, and to preserve the artworks of the last century underlines how deeply both the qualities and disadvantages of plastic have penetrated into our culture. Most of the objects we use daily are made of plastic, and though the material may take a different form, plastic will remain relevant as we move forward. With Botanica Studio Formafantasma is giving its personal homage to plastic materials by investigating the history of polymers. Botany, as a discipline, began with early human efforts to identify edible, medicinal and poisonous plants, making it one of the oldest sciences. More

then two centuries ago plants started to be categorized also for their secretions, a possible source of material. The objects displayed in the Botanica collection are designed as if the oil- based era, in which we are living, never took place. Almost as if historians, Studio Formafantasma investigated the pre-Bakelite period, discovering unexpected textures, feelings and technical possibilities offered by natural polymers extracted from plants or animal-derivatives. The designers researched and hunted for information, digging into the 18th and 19th centuries, when scientists began experimenting draining plants and animals in search for plasticity. Rosin, Dammar, Copal (a sub-fossil state of amber), Natural Rubber, Shellac (a polymer extracted from insect excrement that colonize trees) and Bois Durci (a 19th century material composed of wood dust and animal blood), are amongst others, materials investigated by the studio. The organic details and plant-like forms of the pieces underline the vegetal and animal origins of the resins, while the palette of colours is based on natural amber tones in combination with traditional materials such as wood, ceramic and metalâ&#x20AC;?.

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Pizza Table by Naoto Fukasawa Magis â&#x20AC;&#x153;Its pizza like thickened rim around the table top shows its character and fits well with the wooden legs. This bulged border of the table also looks tasty and friendly at the same time. It is designed to serve as a coffee table or like a table for serving snacks with wine for the sofa sideâ&#x20AC;?. www.naotofukasawa.com/ www.magisdesign.com/

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Raviolo by Ron Arad Magis “We thought we’d never embark on yet another rotational moulding project and that with the Voido we’d managed to get away from the expected ‘container’ look of rotational moulded furniture. Magis tempted us again, but this time we were determined to come up with a shape that goes even further in resisting the inflated volume look”. www.ronarad.co.uk/ www.magisdesign.com/

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Retroviseur Domestique by Ionna Vautrin â&#x20AC;&#x153;This wall mirror evokes urban mirror nestled in small cramped streets. Transposed to the domestic life it borrows a poetic and mysterious dimension with a minimum of signs: a simple convex mirror framed by a thin wooden edge fixed to an aluminum rodâ&#x20AC;?. Photo Felipe Ribon www.ionnavautrin.com/

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Roundish Chair by Naoto Fukasawa Maruni Photo Yoneo Kawabe www.naotofukasawa.com/ www.maruni.com/en/

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Ryutaro by Victor Carrasco Viccarbe www.victorcarrasco.com/ www.viccarbe.com/

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Mitose by Amba Molly This Way Design Academy Eindhoven “Can products, like people, fertilise each other and grow into something new? Amba Molly has designed a system of moulds based on human cell division. She started with four products that came from two worlds; the industrial and the traditional world. A plastic bottle merged with an oil jar and a Tupperware pitcher connected with a hand-turned earthenware water jug. By dividing her moulds systematically, Amba has created sixty building blocks that can be stacked to form new products time and again. During four stages of mitosis the products will keep on blending, creating a new family called Mitose with a new DNA along the way. SM’s - Stedelijk Museum ‘s-Hertogenbosch / NL”. Photo Astrid Zuidema www.designacademy.nl/ www.ambamolly.nl

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Pl(a)ywood - Table by Silvia Kn端ppel www.silviaknueppel.com/

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Armoire Souple by Inga Sempé Moustache “Made of a sycamore structure, its flexible cupboard can be accessed from the front or the back and, by stacking, enables storage space of variable dimensions to be created”. www.ingasempe.fr/ www.moustache.fr/

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Reiet by Javier Mariscal Magis www.mariscal.com/ www.magisdesign.com/

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Spun Chair Red by Thomas Heatherwick Magis www.heatherwick.com/ www.magisdesign.com/

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Endless Dirk van der Kooij This Way Design Academy Eindhoven “This is Fanuc: heavyset, yellow, and dilapidated, but still fast as lightning. He was pensioned off after a 140,000 hour non-stop career in a Chinese production line. Dirk van der Kooij has given him new software and with that, a new lease of life as a prototyping machine. Normally speaking, rapid prototyping is unsuitable for large-scale production: constructing 3D-models in extremely high resolutions is too time-consuming and costly. But Fanuc has a much lower resolution, which allows him to produce robust models at a steady pace. The coarse structure reveals how the product has been constructed layer by layer. Endless combines the flexibility of traditional workmanship with the speed of industrial production”. Photo René van der Hulst www.dirkinvorm.nl/ www.designacademy.nl/

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tagliatelle by Jasper Morrison Alias â&#x20AC;&#x153;The direct and concise language of Jasper Morrison is applied to the spaghetti chair. A highly innovative follow-up, tagliatelle is a chair inspired by the perfect synthesis of technology and form incorporated in the spaghetti chair, extracting and reformulating each and every element. The resulting form is Zen inspired; of studied yet simple elegance. A harmonious and balanced composition derived from meticulous attention to each detail; the calculations for the diameter of the tubular steel, the structureâ&#x20AC;&#x2122;s interlocking system, the invisible system used to secure the elastic stripsâ&#x20AC;?. www.jaspermorrison.com/ www.aliasdesign.it/

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Tiers by Patricia Urquiola Viccarbe www.patriciaurquiola.com/ www.viccarbe.com/

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Aurelia Eichhornia by Jo Meesters Leolux www.jomeesters.nl/ www.leolux.com/

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Hemp house and Hemp Chair by Werner Aisslinger Poetry Happens â&#x20AC;&#x153;Design history is driven by new technologies and material innovation. For us designers, the advent of these technologies has always been the starting point for new objects and typologies in design. The sustainable sheet material of the *hemp chair* allows the use of more than 70% natural fibers in combination with BASFâ&#x20AC;&#x2122;s water- based acrylic resin Acrodur. Unlike with classic reactive resins, this method releases no organic substances such as phenol or formaldehyde during the cross- linking process. The only by-product of the curing procedure is water. Furthermore, the industrial process of compression molding accounts for low-cost mass production of three-dimensional objects with high mechanical resistance and very low specific weight. This production method is widespread in the automobile industry. Natural fiber composites are often used in lightweight components such as door linings, glove compartments or rear shelvesâ&#x20AC;?. www.aisslinger.de/ www.poetry-happens.com/

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Tom and Jerry by Konstantin Grcic Magis â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s the working stool of an architect in his studio or a scientist in a research laboratory; the resting place of a museum attendant, telephone stool, valet in a changing room, seating for the children in a kindergarten... â&#x20AC;?. www.konstantin-grcic.com/ www.magisdesign.com/

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SCOUTING Innovo Lei Christoph Jovana From Yuhang Paper Umbrella Yuhang,Hangzhou,China www.innovo-design.com

“In august 2010 we visited a small village in the Yuhang area, China. There we met 4 craftsmen who were producing original Yuhang paper umbrellas. But actually, those umbrellas disappeared already for about 50 years from the public society. According to the today’s requirements they are too heavy, too low quality and just too old-fashioned. So our goal is to help them, to change it. Right away we started this project. For 2 moths we were living and working with the craftsmen, using all their techniques and learning from their experiences. Finally we created new designs by keeping the traditional roots. During this process we also found some details, materials and functions which we transferred into other products such as lamps, storage, trash bin and even chair. We are searching for the future of the traditional paper umbrella”.

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Ying by Innovo

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Xuan by Innovo

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Chao by Innovo

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Paper chair by Innovo

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Schwarm by RaR Beate Reinheimer and Ulrike Rehm. Thomas Eyck Spazio Rossana Orlandi www.thomaseyck.com/

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Tokyo Chaise Longue by Charlotte Perriand Cassina www.cassina.com/

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Handle Me Cookware by Simen Aarseth, Crhristoffer Angell and Oyvind Wyller Salone Satellite www.awaa.no/

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Waver by Konstantin Grcic Vitra Photo Eggimann www.konstantin-grcic.com/ www.vitra.com/

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Design Royale by id-Lab and others â&#x20AC;&#x153;An on-line workshop, a party-inprogress, and a mind-boggling night of the Milan Design Weekâ&#x20AC;?. design-royale.com/ www.interactiondesign-lab.com/

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Tron Armchair by Dror Benshetrit Cappellini www.studiodror.com/ www.cappellini.it/

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Daily Haptics by Marie Rouillon Textile Futures “In the digitalized world we live in, our senses are less and less triggered. The interactions that we entertain with everyday devices are lacking sensibility, tactility, sensory experiences. Senses are just like muscles, if we don’t exercise them, they loose strength ! We might end up in loosing them if we loose our awareness of their importance. Skin is our largest sense organ, and we experience the world through it. As a textile designer, I am particularly interested in what we call the sense(s) of « touch ». (Which probably includes hundreds of different senses : our fingertips for instance can feel warmth, cold, pleasure, pain, pressure, and an infinite array of textures). How sad is that we are loosing our awareness of this plurality? Moreover, the sense of touch is critical for human functioning at many different levels, from controlling the body to perceiving the environment. Through my design, I am creating tactile experiences in order to reconnect people with tactility, and make them aware of this ability they don’t pay attention to anymore”. www.marierouillon.com/

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Rythmique Fonctionelle Emilie Colin Grarros Aides Ă  project Via Paris www.via.fr/

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Objet Trou Noir by Gaëlle Gabillet & Stéphane Villard Carte Blanche VIA 2011 www.via.fr

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Balance by Nathalie Dewez Established and Sons â&#x20AC;&#x153;The Balance desk lamp is a bent aluminium tube with integrated LEDs. A transformer for the LEDs is hidden within the larger tube that also serves to counterbalance the lampâ&#x20AC;?. www.n-d.de/ www.establishedandsons.com/

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3dwn1upâ&#x20AC;&#x2122; chair by Aldo Bakker Particles Gallery New Times, New Heroes by Z33 and REcentre Photo Erik and Petra Hesmerg www.aldobakker.com/ www.particlesgallery.com/ www.newtimesnewheroes.be/

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SCOUTING Maarten De Ceulaer The Balloon Bowls Brussels, Be www.maartendeceulaer.com/

â&#x20AC;&#x153;The Balloon Bowls are created by casting mass-colored, strong synthetic plaster into a balloon, after which a second balloon is inserted, and inflated. These two balloons act as flexible moulds, resulting in always unique shapes for the bowls. Once the plaster is hard, the balloons are removed, and a bowl appears. The colorants come out completely different each time again as well, with spectaculair and uncontrolled colour patterns as a result. The bowls are finished with a special coating which reinforces the plaster, makes it waterproof and usable. The process is an experimental review of a traditional ceramic practice; instead of using porcelain or clay, it takes plaster as an end material, not just as an inferior material to make moulds with. The project is all about serendipity; the parameters that influence the process are known, but still the result is always a guess, and never turns out exactly the way you want it. A simple technique which creates unique items over and over againâ&#x20AC;?.

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The Balloon Bowls by Maarten De Ceulaer

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The Balloon Bowls by Maarten De Ceulaer

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The Balloon Bowls by Maarten De Ceulaer

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The Balloon Bowls by Maarten De Ceulaer

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The Balloon Bowls by Maarten De Ceulaer

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Plaid Bench Collection by Raw-Edges Dilmos www.raw-edges.com/ www.dilmos.com/

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Quilt, The Thing by Ronan & Erwan Bouroullec Established and Sons www.bouroullec.com/ www.establishedandsons.com/

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Trasparent Table by Nendo www.nendo.jp

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Domestica by Formafantasma Dilmos â&#x20AC;&#x153;The reference is to the Gerla Basket, a container usually used by farmers to collect harvested cereals and transported as a bag-pack. In some region of north of Italy, the Gerla basket has in time assumed other connotations and it is often considered as a symbol of the Italian resistance movement during World War II. Woman were in-fact using the basket to bring foods and ammunition to partisan forces formed by proAllied Italians. As a reference to this historical connotation a little Italian flag is stitched on the military-green blanket that finish the upper part of the basket. The design of the seat refers to a small stool used as a support to help take off the Gerla basket once it is full. More then designed, Domestica appears as the result of a natural gesture, as if the basket is hung on the back of a chair and, as time passes, the two objects are fused together. The design of the object and its undefined functionality invites the user to invent new gestures and rituals. Such rituals are stimulated by ancient memories evoked by the familiarity of an object rooted in tradition. As with the previous work of the Studio, Domestica re-introduces objects from rural culture into contemporary lifeâ&#x20AC;?. www.formafantasma.com/ www.dilmos.com/

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black thick glasses as cavour by Beniamino Marini (news editor Vogue.it)

When I was still a student in high school, true snobs didn’t even care about the Salone del Mobile. Even the word “Mobile” (which means “furniture”) made people think about provincial carpentries and TV promos for furniture department stores – those with cheerleaders doing choreographies that aired on minor networks. Then the ‘90s came (and also the Dutch architects dressed in black), and so the people from Milan, with red pants and boat shoes, realized that the Salone was “in”. Perhaps even more “in” than fashion. So Italian designers, journalists, workers of the field – but even simple “crashers” – starting dressing in black too. Black, thick glasses, like Cavour or Le Corbu. Ten years of total black.

A geological era, if you compare it to the fashion weeks, where trends last a semester. Year two thousand: everyone becomes free. A self-imposed concession that has lasted until today, where the new casual entries and beginners in jeans and t-shirts, like Yves Béhar, coexist with fashion revelations that look eclectic and all-embracing, like Bethan Laura Wood, young woman from London that puts on the Memphis-meets-Gilbertand-George geo-prints not only on the rolled sections (by Abet) of her creations, but also in the clothing she wears. But it’s the so-called “fixed points” that are the true arbiters of the Milan style during fashion week. Those characters that will never stop being

fashionable at the Salone: observers, dealers, and heirs of great fortunes – at least artistic ones. The ones that are around the design and social scene all year long. And that season after season built an original image, taking from fashion just what they need. That’s the ethnic ultrachic of Nina Yashar, owner of the Nilufar gallery, who gives eastbound interpretations of her friend Miuccia Prada’s creations. The rough dandyism of Barnaba Fornasetti, son of the genius Piero, who always wears striped jackets and ultra decorated scarves. The structured and conceptual jackets matched with wide Alaia-like skirts of the design critic Cristina Morozzi, the always present design-doyenne in every respectable opening, unmistakable with her white hair.

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Cruciale by Giulio Iacchetti Milano Museo Diocesano Curated by Beppe Finessi e Paolo Biscottini www.giulioiacchetti.com/

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by Dominic Wilcox | Mammuth by Duillio Forte for Design Royale

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Origin Part II Balance by BCXSY Spazio Rossana Orlandi â&#x20AC;&#x153;Seven woolen area rugs, which are the result of our recent collaboration with the Bedouin non-profit organization SIDREH and the Lakiya Negev Weavingâ&#x20AC;?. www.bcxsy.com/

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Multiple by Raphael Charles Belgium is Design www.raphaelcharles.com/

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Husk by Patricia Urquiola B&B Italia www.patriciaurquiola.com/ www.bebitalia.it/

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Serve by Estd Collection Established and Sons www.establishedandsons.com

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Night Night by Vanessa Hordies Belgium is Design www.vanessahordies.com/

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Arkys by Jean Marie Massaud Eumenes www.massaud.com/ www.eumenes.it/

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365 Knitting Clock by Siren Elise Wilhelmsen Salone Satellite “365 seeks to give a physical manifestation to the change of time. drawing from the change that is witnessed through the growth of human bodies and hair, the same concept is found in ‘365’ which translates time through the growth of knitted material. the clock houses a circular knitting machine with 48 needles, a thread spool, a thread holder and roll of yarn. moving in clockwise direction, one day leads to a complete round, while a year gives users 2 meters of a complete scarf”. sirenelisewilhelmsen.com/

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Lungometraggio by Bruno Fattorini and Robin Rizzini Zanotta brunofattoriniandpartners.com/ zanotta.it/

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Stadsmuziek by Akko Goldenbeld This Way Design Academy Eindhoven “The tall buildings in the city centre have a heavy touch; the low-rise villas to the South create considerably gentler sounds. Akko Goldenbeld has a very personal way of looking at, or rather listening to, the city. He has created a scale model of Eindhoven and assigned it the role of sound recorder; the buildings create the score. Placed on a revolving wooden cylinder the buildings set little hammers in motion that play the keys of a piano. And turning and turning, the city makes its voice heard: from loud to soft, long to short, highpitched to low, translating the urban developers’ three-dimensional reality into an aural experience. Stadsmuziek (City Music) makes you tune in to the ensemble-playing that is environmental planning”. Photo René van der Hulst akkogoldenbeld.com/ www.designacademy.nl/

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Super Conic by Matali Crasset Established and Sons â&#x20AC;&#x153;Light is a medium on which I particularly like to reflect as it conspires to reveal the intimate dimensions of the areaâ&#x20AC;?. www.matalicrasset.com/ www.establishedandsons.com/

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we wish achille was still with us... by Fabio Cocchi and Luigi Rotta (founders dovetusai)

Salone del Mobile is certainly one of the most exciting experience to live in Milan. In those days the city is really amazing, a beautiful melting pot of visitors. It’s New York... but in Europe, it’s Paris or London... but in Italy. This year, celebrating its 50th Anniversary, we could have expected great installations and settings. Thanks God this did not happen. “We all want products” everybody seemed to say up and down the streets, among the thousands presentations. Good new products from established companies and inventive projects from young designers, this is the request... Trying to recover from the economic downturn some companies hired famous designers. As we know, this does not always work. On the

contrary, you get the idea they all look the same. Only in a few cases, when the art direction was very precise and coherent , brilliant results were generated. As for young designers, it’s always magic to spot a few great talents among the hundreds who try to show their projects during the worldwide most important event of the year! Some foreign schools are really very good in teaching and directing their students.... We wonder what’s happening to Italian young designers though... Maybe we should all look back and learn from old masters... Technology is great, but we don’t have to forget what design means. Art is great but design implies function. And being professional...for sure. Maddalena De Padova used

to say “Not everybody understands how hard this job is, how difficult to be yourself...”. It really takes a lot of passion, poetry and professional attitude. We wish Achille was still with us...

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Ttable by Jan-en-Randoald Labt Belgium is Design www.janenrandoald.be/ www.labt.be

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Pina, Dina, Gina, Mimma by James Irvine Marsotto Edizioni www.james-irvine.com/ www.marsotto-edizioni.com/

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Grandi Legni by Andrea Branzi Indipendent Secession Triennale Bovisa Executive producer Design Gallery Milano, Nilufar Ph Rui Teixeira www.triennale.it/

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Tivan by Arik Levy Molteni www.ariklevy.fr/ www.molteni.it/

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Piani Lamp by Ronan and Erwan Bouroullec Flos www.bouroullec.com/ www.flos.it/

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Pressed Chair by Harry Thaler Nils Holger Moorman â&#x20AC;&#x153;Pressed chair is a light, stackable metal chair stamped out of a 2.5 mm aluminium sheet. The value of the design excels in the intent of creating a piece out of one single material without any joints or connectors. Furthermore the manufacturing produces no waste material and is 100% recyclableâ&#x20AC;?. www.harrythaler.it/ www.moormann.de/

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Market Research Tables by Atelier Takagi www.ateliertakagi.com/

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SKETCHES

by Dominic Wilcox | Photography by Shi Kai Tseng RCA

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Dakar by Marco DessĂŹ Skitsch www.marcodessi.com/ www.skitsch.it/

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Edition of six by Simona Casarotto, Enrica Cavarzan, Giorgio Biscaro, Oscar Diaz, Takuya Matsuda, Pedrita, Zaven e Matteo Zorzenoni â&#x20AC;&#x153;Can craftmasnship go together with design? This exhibition approaches a new answer to the ageold question, introducing a limited edition of pieces by six international designers, made together with Italian artisans. Craft traditions and materials, care of high-quality finishings and attention to details draw new impulses upon innovative designâ&#x20AC;?. www.editionofsix.com/

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Laikingland â&#x20AC;&#x153;A creative collaboration, based in both the UK and The Netherlands, who design and manufacture beautifully crafted kinetic objects that engage, and evoke a sense of play and nostalgiaâ&#x20AC;?. www.laikingland.co.uk/

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Tour Chair by Rui Alves Salone Satellite myownsuperstudio.com/

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Domestic compost distiller. Lisa Johanssen Royal College of Art â&#x20AC;&#x153;This is a system in which organic kitchen waste gets processed into alcohol, soil nutients and compost. The design which I developed is suitable for communal kitchens, canteens and restaurants. The same system can be developed for smaller or larger scale applications. I intended to create a process and/or products which would fully utilise the 38% organic content such as fruit and vegetable peelings, produced annually in the UK. With this project I would like to communicate that by adding a fermentation and distillation step between the waste bin and the garden composter it is possible to harness the energy and nutrients stored in the waste before it becomes soil. In the light of imminent government legislation concerning landfill allowances, this product would enable councils, companies and even individuals to deal with organic waste locallyâ&#x20AC;?. www.johalisa.com/ www.rca.ac.uk/

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Lambrate Ventura www.organisationindesign.com/

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Thinking Hands by students of Bezalel Academy curated by Ezri Tarazi, head of the Master of Design program Bezalel Academy www.bezalel.ac.il/en/

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Material Matters by Francois Azambourg and others De Padova www.depadova.it/

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The Story Vases by Front and the Siyazama Project for Editions in Craft Spazio Rossana Orlandi “The project began with a series of conversations in Durban between Anna, Sofia and Charlotte from Front and Beauty, Thokozani, Kishwepi, Tholiwe, Lobolile of the Siyazama Project, a collective of women working with traditional beadcraft. They told about their daily lives, their husbands and children. They shared their hopes and dreams, and talked about love, life and death. Their stories also touch on such serious subjects as the effect of HIV on their society, gender, poverty and unemployment. They talked about their businesses and what beadwork meant to them. Each of the vases tells a part of these stories, and documents the daily life of women in rural, post apartheid South Africa. Each woman formed their own story into text by threading glass beads on to metal wires. These wires were made into vase-shaped moulds, into which glass was blown. With the Story Vases, Front used its conceptual approach to design, material and narrative to explore new ways of working with Zulu beadcraft in collaboration with the Siyazama. This long-term project aims to broaden the market for the women’s craft and to let their stories, which are seldom told, be heard by more people”. www.designfront.org/ www.editionsincraft.com/

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Zieta Bazair curated by Maria Cristina Didero and Art At Work Cardi Black Box

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