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A presentation of 18 Dutch design studio’s during Salone Internazionale del Mobile di Milano 2009 + 5 international design studios next door see related newspaper for more info


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tuttobene milan 2009 sponsors & partners:





[Foreword Tuttobene: ‘Tuttobene’s perspective’ by Victor le Noble]

It is with pride that I present our newspaper to you. This publication first of all supports the designers that pre­sent their work at Tuttobene during the Salone in Milan. And second, it allows us to share our ideas about design and the co-directing role it plays in our society. In this 6th edition of Tuttobene you'll again find an exci-ting mix of products made by a selection of young talented designers, both Dutch and international, in two separate presentations. All these products together can be seen as an extraordinary collection that will challenge you visually. But it will also challenge you to think about the design industry as a whole, and how we can use this industry to contribute to a better world. The presentation evolves around taking distance to have a better view. This is represented by the elevated path that guides you along all products and the google earth perspectives you will find in this publication.

[Foreword Minister: ‘Creative grassroom from dutch soil’ by Frank Heemskerk]

Adding to this process, experts from all kinds of disci­plines (e.g. chemistry, logistics, physics, historics and social studies) we believe we can create project outcomes that are 100% positive. As Michael Braungart states in his interview [Designers don’t be shy!] on page 23: We need different types of designers […], such as ‘material flow’ designers who can form a team with the artists, design managers, etc. And this stresses Tuttobene’s ambition for the years to come; initiating, developing and installing commercial projects by bringing together designers, companies, experts and governments, to work in multi-disciplinary design teams, searching and setting new standards for the whole industry. If you feel inspired let us know!

Victor le Noble

But why should we take distance, why do we need to have this better view? In today’s world, with our troubled economy and ecology, we are faced with many questions. So far, unfortunately, with very few answers. We too lack knowledge to provide fully satisfying answers, but we aim to contribute in the search to find them. By taking some distance and creating a better view, we hope to identify characteristics of some of the answers. One important characteristic we found, tells us how extremely important it is to work with the right mentality as a designer. Only by working with true sustainable intentions you will be able to create products for a better future. If all designers stick to this idea there will be no alternative (and no way back!) for the industry.

Is great design exclusive to luxury objects? Or can design reflect a universal search for the best tools to furnish our lives? Dutch design reflects a holistic mindset, a desire to tackle social, economic and environmental issues. The Dutch designers at Milan?s prestigious fair exemplify this vision. They ask and answer the most significant questions of our time. They shape our future by working with sustainable means. I am proud that my Ministry supports these cutting-edge studios. Dutch designers are unconventional, yet purists. They like to tease, yet feel responsible at the same time. They represent the spirit of the Dutch, who are known for their international collaboration and hospitality, their embrace of diversity and their love of freedom of expression.

Victor le Noble & David Heldt, organisers Tuttobene Photo: Ilco Kemmere

Dutch education, one of the driving forces behind the success of Dutch design, nurtures this mindset. Schools in the Netherlands have a good reputation and attract designers from abroad. After graduation, many of these designers establish a studio in the Netherlands. Here, they benefit from our attractive business environment and support for entrepreneurs.

The new crop of Dutch designers reiterate our forte: unconventional ideas that make a positive contribution to how we live. Their work commands attention in a competitive market and generates international business. That is why the Dutch government supports the DutchDFA, a programme aimed at design, fashion and architecture. Its activities and networks focus on sustainability and local demand in China, India and Germany. I am proud that Dutch design merges creativity with socio-economic purpose. I wish all our designers an inspiring and commercially successful week.

Frank Heemskerk Minister for Foreign Trade, the Netherlands



COLOPHON Tuttobene Milan 2009


A presentation of 18 Dutch design studio’s during the Salone Internazionale del Mobile in Milan.



Laura Sciotti


Victor le Noble & David Heldt Damrak 70 - studio 5.63 1012 LM Amsterdam The Netherlands [telephone] +31(0)615510727



















Organisation Tuttobene [board members] David Heldt Victor le Noble Silke Spinner


[editor] David Heldt [graphic design] Kitty Ebbers & Anne Hänni (graduate students from ArtEZ Arnhem - Academy of Visual Arts). Thanks to Rein Houkes, Thomas Buxo, Thomas Castro [photography] Ilco Kemmere [printed by] Dijkman Offset

Production Assistants Fabiola Slijngaard Floris van der Burght Laura Schön


Pien Bennen & Godelieve Cooymans -

PR & Press

Luc Deleau +31(0)652472990

FOReWORD TUTTOBENE by Victor le Noble FOREWORD by Minister Frank Heemskerk COLOphon/content floorplan womanpower versus abk column by Laura Sciotti bok. studio-re-creation floris hovers damian o’sullivan AD. AD. gerard der kinderen

Interior Design

marianne kemp schelling & borsboom peli design bo reudler article Designer don’t be shy!

Commissioned by

All Your Colours EVD, the Dutch Agency for International Business and Cooperation


Rabobank International-Milan branch

Supporting partners

BNO - Association of Dutch Designers Consulate General of Netherlands in Milan Premsela - Dutch platform for design and fashion © Tuttobene 2009 All rights reserved. Copyrights on the photographs, illustrations, drawings and written material in this publication are owned by the respective photographer(s), the designer(s) and the author(s). No part of this publication may be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without permission from the publisher and designers, photographers and authors involved.

Interview with Michael Braungart

plushdepartment H.U.U.B. by-lin krejci SUSTAINABLE DESIGN COLlective article Give me the green light

Interview with Anne-Mette Jørgensen (IMSA) and Rob Huisman (BNO).

mvos frans willigers studio niels & sven article Creativity is needed to solve the current crisis


by Wouter Keuning.

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Wouter Keuning








Frank Heemskerk








Wouter Keuning






Alexandra Onderwater














Alexandra Onderwater





Alexandra Onderwater



Alexandra Onderwater










Diana den Held




Diana den Held





Diana den Held


Diana den Held




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WOMANPOWER versus ABK Maastricht Gitte Meeussen Bernadette vd Braak Malu Berbers Ineke Frohnhofen [contact]

Celia Suzanne Sluijter C. Nahar(abk) +31(0)657213349 MAASTRICHT [studio profile] An expanding collection based on Design and sustainability deriving from the co-operation between talented Dutch designers and 18 feminine producers in Nepal. All producers participating in this unique project are part of fair business. Womanpower has a poverty alleviation target reached trough a business, work and production improvement.

.k w



The collection lanced at Tuttobene Milan 2009 is the result of womanpower versus 4 final year students from ABK Maastricht - department of jewellery & products + the fashion & textile and the 3rd year of the department of jewellery & products. The collection is based on natural resources from Nepal and provides a profitable situation for both designers and producers. Womanpower aim is to link both worlds; western design and production in development countries. All participant in this unique project are part of fair business (IFAT). Woman-power has a poverty alleviation target reached trough a business, work and production improvement. It is supported by Design4Development and Return to Sender.

10 [‘In nature nothing is lost, nothing is created’ by Laura Sciotti]

[column by Frank Heemskerk] 10

11 11

bok. Sander Bokkinga [contact] +31 (0)62 84 55 874 ROTTERDAM

If we look back at history, we’ll notice that designers have always faced economic crises with a surge of creativity. Think of Italian design: developed during the 40’s it gained momentum after WW2 and it became the symbol of the economic boom in the 50’s.

create environmental health, keeping an eye on equity and ecology i.e. the impact that the new created product has on human beings and on the surrounding environment. Because in nature nothing is lost, nothing is created.

I see design as a neverending quest for change. It’s all about discovering new ways to make things. I believe that the economic, political and moral crisis the world is undergoing, will lead the XXIº century designer not only to conceive new working methods. He will also awake new lifestyles and values, which I expect to be more sober and to play on memory. Furthermore, designers will most likely pay more attention to the social function of design.

Nowadays some Dutch industries have adopted this new “eco-efficiency” strategy, manufacturing a 100% recyclable products. In many cases, thanks to the contribution of and the cooperation with designers: for years, Dutch design institutes have been teaching designers in pectore about the importance of the environmental issue. That’s why sustainability is now an understood principle in their work. Also the Dutch government plays an important and quite successful role in this process, aiming at awaking and It is fair to say that the Dutch increasing the environmental realized the powerful connection awareness of its citizens. How between creativity and business is Dutch design doing? a long time ago, probably earlier Tuttobene, grazie (All right, than most other countries. Business thanks). without creativity cannot be innova-

One thing is sure, though: being cyclic, financial crises can be overcome – maybe also without taking any measures against them. The environmental issue is the only crisis we cannot further defer, as it thrusts new responsibilities upon us and compels the world to accomplish a second ‘industrial revolution’. The world won’t look like this over two centuries, and neither will we. Companies and designers are asked to keep the pace.

[studio profile] bok. is Sander Bokkinga. bok. was born in 1971 in Stokkum (Twente) The Netherlands. bok. has been an architect (TU Delft) and designer since 1997. bok. lives in Rotterdam and designs and makes special “objects” that did not exist before, but needed to be made. bok. started his own label in 2006 and showed his bok.collection in 2007 and 2008 at the Mobile di Salone in Milano. At the Mobile di Salone 2009 bok. will show his latest work. Bok. wants to make the world nicer and little better. Sustainability and social responsibility are important components of the Bok. wants to make the world aware of the beautiful things around us by using or reusing existing products or materials in a different, smarter and funnier way. Bok. wants to stop the race of better and more. Quality instead of quantity. The new objects are always functional, not complex, with durable pure materials and easy to recycle or reuse. All bok. objects are produced in Holland by bok. himself.

bok.hosepipe furniture

tive and competitive, and creativity without business cannot prosper

Dutch Design has already got the message with its being clear, simple, witty, ironical, conceptual, fun, cheap and appealing. And - above all - environmental friendly.

and become widely accessible for others to enjoy. The Dutch, both in the past and today, are emphasising this dual value to business and

What about companies? In the past those which invested in innovation despite unfavourable economic scenarios, finally turned out to be successful. That’s especially true for industrial design producers - as the launch of Apple I-Phone proved - but we can consider it as a general rule. It is essential to invest in innovation - in sustainable innovation, of course - the only one able to perform successfully, to stir the economic growth and to create value-added goods! In the Netherlands a new design paradigm is now in vogue: the cradle-to-cradle model. According to the cradle-to-cradle philosophy, the economic success is chiefly an opportunity to

society. Some 46.000 designers are

Laura J.H. Sciotti Commercial Section Consulate-general of the Netherlands in Milan

active in the Netherlands. Almost three quarters of them work in the commercial service sector, with 20% working in manufacturing and 7% in the non-profit sector.

Lamp-shade XL 07 dark red garden hose. Bok.HOSEPIPE furniture is a furniture concept made of old and new hosepipes. Each object is handmade by Bok. The furniture is for interior and exterior use.



Studio-Re-Creation Nikola Nikolov Jennifer Kanary [contact]

jenniferkanary@yahoo .com .com +31(0)627046677 AMSTERDAM [studio profile]

Studio-Re-Creation aims to preserve and re-shape your personal belongings and memories towards your design of desire. Your first car or your Grandma's coffeetable and chair may be alternated into a new function that fits your contemporary interior demands. Your materials and memories need not be thrown away or hidden any longer! This unique environmental friendly concept is offered to private people as well as companies. Your most cherished or surplus products may be transformed into centre pieces that represent the vision of your company! While functioning on the grey borders of interior design and art, the exclusive products of StudioRe-Creation are extremely personal for its customers. Studio-Re-Creation does more then re-cycle or re-use materials. It helps to preseve belongings and memories that would otherwise be neglected or thrown away.

Floris Hovers [contact] +31(0)615002097 Moerdijk [studio profile]

Floris Hovers is an indepen-

dent designer. He makes his own designs that have arisen from his love of simplicity, austerity, and clarity. At the same time, he wants to move people with naive objects, put together in a playful way. The theme of Industrial Handicrafts runs through his work and expresses his search for the balance between man and machine, for the things that were and the things that are and to work with standardisation. His core activity is the design of furniture, yet he is increasingly often involved in the creation of more different products. Working with standardised products and components is often an important part of the design. The application of existing products and components can offer a new benefit and provide a dual function. He tries to keep the production as simple as possible and almost always the use of fair and transparent materials. To make his designs it is often necessary to use crafts.

The lamp


The Lamp is an example of how materials can be re-shaped in to a different image. The Lamp’s delicate features remind us of an eccentric 18th century ballroom.

The design comes from an investigation into how people solve something temporary. This has resulted in a visual way of fixing the construction.

14 Damian O'Sullivan Design [contact]

info@damianosullivan .com www.damianosullivan .com +31(0)650633339 ROTTERDAM [studio profile]

Damian O’Sullivan,

a graduate from the Royal College of Art, started his career working for Philips Design. Four years later he set up his own design consultancy, Damian O’Sullivan Design, with a mission to provide fresh and original work that reaches beyond the pale and predictable. Initial assignments have been as diverse as they have been interesting: a landmark tower in London, a water sculpture for Anish Kapoor, the design of OnStream back-up drives, perfume bottles for Comme des Garçons, luggage items for Hermès, a home cinema system for Pioneer, concepts for Lexus Cars, shoe designs for Paul Smith, Asics and Camper. We are at the dawn of an era where design will have to concern itself with ever greater urgency about ecological issues. I believe that the Solar Lampion shows that design and sustainability can form a lasting aesthetic partnership.

Solar Lampion

The Solar Lampion is composed of 30 solar cells. These are held in place by an exoskeleton-like frame, which twists upwards and gives the lampion the same organic spiralling that can be seen in a pinecone. A simple handle allows the lamp to be easily moved from the garden into the home.




Gerard der Kinderen [contact] +31(0)653428564 HELMOND

Local WorlD Table

[studio profile]

Gerard der Kinderen

started designing furniture in 2007. He sold his Communication agency after 20 years to make this radical career switch. In 2008 Gerard started designing furniture for the new label ZinX and developed the ‘Local World Table’ concept to be presented in Milan 2009. The ‘Local World Table’ concept was developed with a strong focus on local materials and local production. The construction, by means of an aluminium bracket, makes the design more or less ‘material quality independent’. The concept started with using local trees already chopped for different reasons. The concept evolved to suited materials that are all environmentally friendly, sustainable and can be locally produced or processed. Using local materials reduces world transport, promotes the possibilities and appreciation of local materials. Local production, with local materials, by local firms, creating/keeping local jobs. The design is exported by licensed use of the bracket and the design.

The construction bracket is used to create a table made out of local chopped wood, by local craftsman. All sorts of wood, formerly not always suited for furniture, can be used for realising tables with this design concept. Different materials can also be applied.






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Marianne Kemp [contact]


i es

info@horsehairweaving .com www.horsehairweaving .com +31(0)615254840 Amsterdam


[studio profile]

Marianne kemp is special-


The horsehair used for the fabric is sourced from live horses overseas (Mongolia), as they are from working and local insufficient horses. The horsehair is a strong fibre that is ecologically sustainable. The weavings are made by the designer herself.







e y en art st! ob g p st li tt in ed gue


en imit on arty_ l, Op ck, l rself .nl/p pri e i u A yo en qu 3 an er ob 2 il Be st tt y gi .tu 00 , M Re ww sda 01. a 6 w ur – n Th .00 o 21 a Sav

ised in weaving horsehair. During her final project at the KABK in the Netherlands (1999) Marianne used the theme ‘Bringing Outside Inside’. In this project she has been experimenting with many kinds of natural materials including dried plant fibbers and horsehair. Marianne is inspired by, metropolitan city streets, fashion, architecture as well as nature. Translating the observed patterns and textures into woven textiles. The most interesting designs are developed into interior objects or installations. The experiments with different techniques are a very important part of the success of Marianne’s artwork. Each piece of work has its own unique character.

‘Weavings with a feel’ Undoubtely a correct description of Marianne Kemp’s unique hand woven horsehair pieces. In the weaving process she manipulates the horsehair through knotting, curling and looping. Because the horsehair has various characteristic qualities like it’s shine, texture and length, each final weaving demonstrates an individual and exciting design.



studio Schelling & Borsboom Onno Schelling [contact]

info@schellingbors www.schellingbors +31{0}644264876 The haGUE

PeLiDesign Alexander Pelikan [contact]

[studio profile]

Schelling & Borsboom

is a small company based in The Hague, specialised in producing prototypes and special furniture for different artist, company’s and designers, as well in producing autonomous designs by Onno Schelling who is inspired by historic designs. Because my time on earth is limited, my work is limited too. A statement by Onno Schelling who is totally involved in the design as well as in construction of his autonomous work, believing a holistic attitude is adding to the identity of the work. This way of producing includes that even in an edition there is space for difference and individuality as long it fits the concept of the edition. Durability is a key item in the studio. Before choosing a construction several questions are asked like: can the object be repaired and is it capable of being restored in future times? Where possible we use solid wood and high quality plywood with F.S.C. trademark. +31(0)641403687 EINDHOVEN [studio profile]

Alexander Pelikan (PeLi) founded his studio PeLiDesign in 2006. The Design Academy graduate and trained cabinetmaker has a good feeling for materials and an experimental mind. PeLiDesign focuses on connections. This can literally be the connection used to construct an object, but above that what is more exciting than connecting high and low culture, emotional and sober and playing with contrasts? CLICFURNITURE bamboo used in the bar area of Tuttobene 2009 is knockdown furniture concept that is very easy to build up by yourself without the use of screws or other connections but the clicksystem. The natural choice of bamboo makes the CLICFURNITURE durable and ecologically friendly.



This cabinet and it’s construction is inspired by Dutch seventeenth century cabinets and by comparing them thoughts about craftsmanship, labour and durability will inspire hopefully...

The Cliclounger is a comfortable lounge chair. It's comfortable sitting position makes it a nice seat for public spaces as well as domestic uses.


23 [‘Designers don’t be shy!’ by Diana den Held]

Bo Reudler Studio [contact] +31(0)645526474 KROMMENIE SLOW WHITE CHAIR

A chair constructed from gathered branches, carefully selected for their distinguishing imperfections and curves. These forms give personality to each piece which will always be different due to the randomness of each branch.

[studio profile] We are a product and interior design studio; we are storytellers through matter. We love materials: following their hidden qualities to bring out their natural beauty, experimenting to discover things. We tend to present nature in a controlled way: branches simplified into repetitive patterns, majestic trees become squared beams, flowers flattened into graphic motifs. Nature’s complexity, randomness and rawness is tamed. We lost our connection with nature and our surroundings. This century will be about renewing this connection.

Together with Bill McDonough, Michael Braungart wrote the book Cradle to Cradle: Remaking the Way We Make Things. Increasingly more organisations are realising that they can benefit from Cradle to Cradle (C2C) ecologically as well as financially. But what is the role of C2C in the current economic crisis? And what can designers do to help? Diana den Held sits down with Michael Braungart for a candid interview.

For my new collection, I left my computer behind and ventured into the woods. I gathered fallen wood to transform into furniture. I started building again with my own hands, knowing everything that went into the process, working consciously, smelling the wood, feeling the structure, and composing. Following the shapes of branches led me to the designs. Linseed-oil paint adds a glistening snow-white gloss that accentuates the curves.

“In a crisis, besides hoping for change, there is always much fear and uncertainty. People quickly fall back on some medieval behaviour. And then, they aren’t creative, funny or innovative. They just keep doing what they were doing before the crisis. Only when you see that going down the same road is not to your advantage do you go looking for solutions, and only then can you overcome your fear. I’m not trying to say that this will inevitably lead to innovation, but it has happened before,” explains Michael Braungart.

Interwiew with Michael Braungart by Diana den Held Photo: Mariëlle Verhoef

With the implementation of C2C, have you already seen changes due to the crisis? “We have mostly noticed a positive movement. Many companies and organisations

now see how important it is to make clients loyal by collaborating with them and addressing their needs. At Desso, a Dutch carpet manufacturer that has made the switch to C2C, we can see that they’ve increased their profits in a declining market.”

ally conservative chemical industry C2C is now high up on the agenda.”

And that can’t just be consumers being environmentally conscious all of a sudden in such times... “No, but they are more aware of quality. As a consumer you are more careful with spending and actually nobody wants a carpet that stinks and is toxic for you and your environment. So much is going wrong now that people want to make the right choices. As a manufacturer you can bring about change.”

What role can designers play in this turnaround? “Although designers are often seen as having an enormous ego, I think they are much too shy when it comes to the environment and raw materials. They arrange a collection of toxic materials a little differently and call that design. It’s time to show some ambition. At the moment, we need designers who can make good things, who can get other people organised and change processes, people who want to be a part of it, and not just ‘make things a little nicer’.”

Are you saying that the financial crisis can bring out the best in us? “Possibly. There is a good reason to be afraid of what is happening now. But if you realise that fear paralyses you and delays the possibilities of change, then you know you have to take action. It is on this point that architects, designers and developers should see the crisis as an opportunity. Of course, sometimes you can’t move as fast as you’d like, but you can pick up the pace by collaborating. Creativity and collaboration take over the main role from capital. Even in the tradition-

“They arrange a collection of toxic materials a little differently and call that design. It’s time to show some ambition.”

Young designers often make their first designs by hand, as a prototype. But then, their idea is successful and mass production is just around the corner. They could easily fall into the ‘old’ processes of the big production companies. What do you recommend? “Making that first design is always a great phase. But then, you have a relationship with your design and get a deeper connection, which is vital. Only then can you have a romantic affair with a first >


25 [‘Designers don’t be shy!’ by Diana den Held]

“History shows that real innovation always came from teams, not from individuals.” Michael Braungart

< product design and move on to a serious relationship. Here as well there is a question of ambition. Do you want to continue to act like a teenager where you pick something up and drop it quickly or do you want to grow up? I think designers are happier when they don’t just take part in a small part of the process.” Does the design world need a different attitude? “Today there is major pressure on designers – much is expected from them. They want to be artists. They want to be creative. They have to be entrepreneurs, managers and be able to deal with clients. And then there is also their ego – enough factors to make anybody doubt themselves. This is why I think we need a change in studies. We need different types of designers. For example, communication design is already a separate discipline, but more qualifications are needed, such as ‘material flow’ designers who can form a team with the artists, design managers, etc. A more diverse group is needed. Competing, as a designer, on way too many different levels basically generates mediocrity. There can’t be just one hero that everyone worships. Then you get a person who tries to overcompensate for all their shortcomings. Focus on your >



[‘Designers don’t be shy!’ by Diana den Held]

Plushdepartment Vince Vijsma Marie Blanco Hendrickx [contact]

Jeroen te Boekhorst jeroen@ www.plushdepartment .com Amsterdam +31(0)641481890

strengths, discover your shortcomings and find people who can help you with them.”

“As a designer, you are a user of materials developed by others. Put them to work.” Many young designers feel that they lack knowledge to work with C2C. You often hear questions, such as “I know that the right materials are there, but where can I find them? How should I work with biologically degradable ‘plastic’?”, etc. What do you recommend to them? “When people ask these kinds of questions, express the desire to holistically make good design, they already have 50% of what they need. I can’t emphasise often enough that they don’t have to do everything themselves. History shows that real innovation always came from teams, not from individuals. You sometimes saw an individual in the foreground, but there always was a team standing behind them. This mechanism also holds true now: on your own at a certain point you’re only working on changing existing things. For designers already more into the design stage, much more C2C material knowledge can be found in the database at Material Connexion (www. in i.e. Milan. But again, don’t take

types of materials as a starting point in your concept phase, as it hinders your thinking. What is not available now will be there in a few years, especially if you ask as a designer.” Is that the top tip for designers who want to design in a more C2C way? “Yes. Start by being more arrogant and ask questions about the stuff you’re working with. Just say, “I don’t want to use that material” and get a movement going. For example, if you look at brands such as Louis Vuitton, Dolce & Gabbana and Armani, what comes out of the plant and goes into the shops is just hazardous waste. Almost every famous design brand is due for some serious innovation. Designers have influence there. Ask for materials that you can wear on your body that are suitable for people. Design products for a house or workplace where the indoor air is actually healthy. As a designer, you are a user of materials developed by others. Put them to work.” But how do designers obtain alternative materials? “Why would you let your designs be influenced by the availability of a certain type of material? It is a form of expression of design, not the key. State your wishes and requirements with your design.

Point out the shortcomings – it doesn’t need to be 100% perfect. By wanting to have it perfect the first time around you’re just blocking and delaying yourself. As long as you mention when and where you want to introduce changes you can have a look at it together with others. Take intermediate steps, but don’t compromise your vision.”

You want to be able to get it back to the plant and get it out of the device as easily as possible. To do so you need a good design. It isn’t that difficult to calculate how you can profit from that.”

OK. Designers can influence the development of the right materials. But what can they do themselves now concretely also considering the crisis? “As a designer you don’t just shape things, you can also influence the material flow. That doesn’t mean that everything has to go back into the biosphere per se. You can also use materials that aren’t degradable as long as they can go back into the technosphere. This means making your design so that it can be taken apart.

The Plushdepartment computers have the best cutting edge technology, which is also used in the famous, at/ch and computers. The technology of those computers won uncountable prices from highranking international magazines for their speed, silence and inventiveness. When Plushdepartment started the search for the case producer, no other company than Cor Unum dared to touch the design, since square forms are extremely difficult to create in ceramic material. I took one year to realize the Pure* cases, but now they are here and going everywhere!

“We need different types of designers (…) such as ‘material flow’ designers who can form a team with the artists, design managers, etc.” For example, building a television set without copper is impossible nowadays, but building a television set that’s easy to get the copper out of can be done. Copper is rarer than oil, which you really don’t want to lose in a garbage dump.

[studio profile] Plushdepartment envisions and produces design computers dedicated to the modern lifestyle. Form and functionality meet in a clean and beautiful shape. Plushdepartments choice of material is inspired by the living space: ceramic, glass and even concrete are favoured.The ceramic computers are available in several colours as well in glossy as in mat. And we are proud to present limited editions which will be painted by known artists as Zender and MijnSchatje. Dutch designers Piet Boon and Edward van Vliet chose to cooperate with us to give their vision on how a computer should look, represented by the best technical material inside of course.



Plushdepartment’s PURE line are handcrafted ceramic design computers and amplifiers. The timeless design reflects a seamless integration in the home and work environment. The PURE line exists in several colours accompanied by the PURE Art line which contains models in limited edition of selected artists.



H.U.U.B. Huub Giesen

by-Lin Linde van der Poel


[contact] +31(0)643259559 Eindhoven [studio profile] As I look at the products developed at the studio, I can say that the context is my manual for creating clear and functional solutions. The products have a strong sense for the context and a metaphoric character that refers to its use. They have a strong link with nature. Material inherent shapes creates a nature feel. Next to creating products with a clear sense for use and feel, my goal in designing products is also to create awareness for natures elements, that can be weathered wood as well as visua-lising gravity.

Peter van der Poel +31(0)629011803 Hengelo vases

First one out of a new series of Vases that is made out of three segments, which kept visually by the characteristic mould-seems. The vase shows gravity as well as light-footedness.

[studio profile] Linde van der Poel recently graduated at ArtEZ, academy of fine art. After traveling to Bali, Linde founded her own company: by-Lin and started designing and producing her handbags in small quantities. Her exclusive products are fair-trade and handmade under her daily supervision. The original Dutch "Tulip by-Lin" is Linde's trademark (model and name patented). Her designs are handcrafted bags, produced in Bali, by local handicraftsmen. The small quality driven production site has customers from all over the world.


The original Dutch ‘Tulip by-Lin’ is Linde’s trademark. The model as well as the name of the bag are worldwide patented. Linde shows with her glamorous ‘tulip’ her Dutch origin en leaves nevertheless room for Indonesian influences. Her way of producing makes every handbag unique. The ‘Tulip-by-Lin’ is deliverable in three different sizes, in leather and –completely new– in canvas and in chequered material.


KREJCI Doreen Westphal [contact] +31(0)624240989 AMSTERDAM [studio profile] The work of designer Doreen Westphal is known for melting together strong, high quality design, craftsmanship and the use of common materials in a playful, unorthodox and innovative way. Earlier Doreen Westphal presented her successful line KREJCI, a collection of bags and living accessories made from used Amsterdam inner tubes. The Quantz collection is a series of interior objects investigating the properties of ultra high performance concrete within design. It has been developed in collaboration with German company G.tecz who is specialised in the fields of material optimization as well as structure and product development for cement bounded materials. By optimizing high strength concrete to individual needs one is certain to reach a significant reduction of local material cement while gaining in surface properties and strength. The Quantz garden chair for example is practical, innovative, rough but beautiful, has a long life under any weather condition while itâ&#x20AC;&#x2122;s weight became a fracture of comparable concrete furniture.

Concrete Table Ware/Quantz Collection

The table ware, made from ultra high performance concrete, combines influences from architecture, design and craftsmenship.



33 [‘Give me the green light’ by Alexandra Onderwater]

Sustainable Design Collective (SDC) Celia Suzanne Sluijter Lidewij Spitshuis Rixt Reitsma [contact]

ingrid meijer +31(0)348468037 montfoort [studio profile] The SDC consists of 4 Dutch design labels that met eachother during the Milan design week 2008. They all produce in a sustainable way and decided to joint forces. As a joint force we are stronger in design, production, knowledge. We can also offer broad possibilities for customized designs. Two of the members, being MoreThanHip and Celia Suzanne Sluijter will launch this new Sustainable Design Collective in Milan 2009!

Although the whole world seems to be in mourning these days, the economic crisis can also offer new, longterm opportunities for designers, argue project director at IMSA Anne-Mette Jørgensen and Rob Huisman, director of the Association of Dutch Designers (BNO). ‘Designers should be more aware of the context in which they work’. The future is green.

More Than Hip - stands for lifestyle products with stylish designs merged with social and environmental consciousness. Design and sustainability are our keywords. All our products are made from recycled, organic, or earth-friendly materials, and are manufactured through our network of (fair trade) partnerships around the world. Celia Suzanne Sluijter - Designing starts from an atmosphere, a history, a material, a technique. Design, pure and honest. Fragile but strong in character forms the distinct signature noticeable in all designs. The Focus lies on the purpose, the applicability of the object and the visual enrichment in form.


In design Celia Suzanne Sluijter and MoreThanHip support different development projects. To combine our strengths and knowledge The Sustainable Design Collective (SDC) was founded in September 2008. Both Celia Suzanne Sluijter and MoreThanHip are member of the SDC. Our collections are produced by fair trade organisations.

A series of porcelain vases. The shape of the vases is inspired by water tanks that are quite common in Indonesia, seen at the roofs of houses. The little silver detail refers to the colonial influence from the Netherlands. Its shape is inspired by the Dutch tiles you still can find in the palace of the Sultan in Yogyakarta.

An interview with Anne-Mette Jørgensen, project director at IMSA, a Dutch institute for environmental and system analysis ( and Rob Huisman, director of the BNO, Association of Dutch Designers with members in all various design disciplines ( by Alexandra Onderwater. Photo’s: Alwin Slomp.

Talking about the possible effects of the current eco­n omic situation on industrial design in general, and sustainable design in specific, in an im­posing building in up market Amsterdam-Zuid, the headquarters of Dutch IMSA, triggers some ambivalent feelings. Let’s drop a bombshell – now are The Times anyway. Hadn’t we better met in an all-recycled eco-hangout, or the cozy children’s farm, surrounded by Billy goats and back-to-nature freaks?

[Jørgensen] Actually, I think the cliché image of sustainable design is its primary weakness. Sustainable design should not be about looks, it’s about approach, thinking ahead, knowing the broader context of your product and thereby providing better quality. Sustainable design that does not match common standards of quality and esthetics is doomed to fail in reaching a broad consumer market. [Huisman] There are more and more profound initiatives aimed at fostering sustainable design. Take an initiative like the Materialenbieb (Material Library) in Eindhoven, where sustainability is considered a serious issue. Institutes like this offer possibilities that go beyond the outdated seventies’ translation of sustainable design. You are optimistic. [H] Well . . . I also have to say that in my experience as director of the Association of Dutch Designers, sustainability isn’t yet embedded in the design conscious.

BNO hardly receives requests from designers regarding information or support in this field.

“Information on the environmental impact of materials is crucial” Rob Huisman With dismissals at (even) the most prominent architectural firm’s – Foster + Partners was recently forced to kick out 300 employees, Eric van Egeraat pronounced itself dead (to restart under a new name in reduced size), OMA is downsized by 50 of its employees –fresh in the collective memory, what surprises will await us in Milan this year? [H] The architecture world is hit extremely hard. But I am less worried for design. And regarding the Salone del Mobile as an event, that could do with a little less anyway. Most people will agree it has turned into a sort of Queensday. And frankly, the world can do without the umpteenth vase with frills, really. >


35 [‘Give me the green light’ by Alexandra Onderwater]

No signs of distress among your members yet? [H] Of course we notice a change. But it varies according to the type of members BNO is having – the impacts seems to be bigger on industrial designers then graphic designers, because they are dealing with more long-term projects. For now, we post temporary vacancies and shortage in staff on our website – thus fostering demand and supply. I also see a tendency toward anticyclic entrepreneurship. Designers start to focus on projects or specialist education they normally lack the time for. Sustainable design could be such an aspect.

“Most people will agree Milan has turned into a sort of Queensday” Rob Huisman

Anne-Mette Jørgensen and Rob Huisman

Could IMSA support designers in this perspective, for instance by offering lectures on Cradle-toCradle framework1 – one of your specialties? [J] That could be interesting,

as there are many misunderstandings about the Cradleto-Cradle concept being equal to design based on recycled materials. However, the focus of IMSA’s work is on a more strategic level. We help large enterprises and authorities, understand what sustainability and Cradleto-Cradle thinking implies for their overall strategy. [J] In the past years, there has been a development on one hand of energy-efficient products like LED lighting and on the other hand on increasing the convenience of consumer products in a way which often consumes more energy, e.g. electric tin openers, Nespresso machines, bottled water. When we at IMSA are presented with a new innovation or products, we always ask the question: this is the answer, but what was the question? Designers can create value by considering this question in an early stage. [H] Designers aren’t very aware of the bigger con-

text of their product. It’s not programmed in their brain so to speak. Only if the client asks for a sustainable approach, they’ll start to investigate this. How come? [H] Designers are trained to make beautiful things. Social awareness hasn’t increased over the last fifty years. [J] Also, it seems there isn’t much knowledge among designers on the environmental impact of different materials. [H] Part of that has to do with the fact that designers aren’t specialised in one material. They can use glass as easy as plastics or wood – which is part of their strength. Hence the importance of an initiative as Materialenbieb. Information on the environmental impact of materials is crucial. But if everyone needs to be saving money, won’t these types of projects suffer first? [H] I don’t think so. Consumers are still environmentally aware, with or without a recession. They won’t suddenly start buying low-

priced products if these put a burden on the environment. Even if the costs rise? [J] Sustainable products need not necessarily be more expensive than unsustainable products. On the short term, more efficient use of energy and materials can save costs. From a societal perspective, low-priced products often imply that certain costs have been shifted from producers to the society, e.g. costs of environmental damage or of increasing unemployment. So instead of consumers paying more, taxpayers are paying more.

“One could say the recession is supporting the environment” Anne-Mette Jørgensen And on the long run? [J] That is a major concern of mine. It depends on how the authorities respond to the recession. If their approach will be to just stimulate all economic activities, regardless of what the consequences are, I am not too >



[‘Give me the green light’ by Alexandra Onderwater]

MVOS Mischa Vos [contact] +31(0)648978386 AMSTERDAM [studio profile] Characteristic of my work is a transparent and powerful language of forms. In my process of design I relate parts that leads to an eventual form. This process of relating produces subtle designs because of their simplicity and transparency. On the one hand parts need each other, while at the other hand a different layer is being opened up by a humoristic questioning of the functionality of existing products. Sometimes this process leads to an engagement of cartoon nature. For most of my products I use simplistic materials like 100 % wool felt that are not harmful to the environment. I deliver my designs in different parts in small packages. The cost of transport is less. Also I use a minimum of packaging materials. Besides that my products are easy to produce. Social working places can easily produce my designs.

Alexandra Onderwater

optimistic. Companies will continue turning to low-cost countries in Asia, using oil and other fossil fuels as long as they are cheap. Instead of investing in renewable energy and Cradle-to-Cradle material cycles, which will provide us with long-term benefits. We have an opportunity to make a change, but for that to succeed, we need to start thinking about how the future will benefit from our acts and the choices we make now. [H] But the bicycle industry is flourishing as never before! [J] True. Bicycles are a greener option and cheaper in use for the consumer. The whole concept of ‘consume less’ fits in well with the crisis. [H] From his expertise, a designer - being at the start of the production chain can fulfill a key role in this process in advising a client on the different options. The type of paper of a book, using recycled glass... We are talking about it for a while already, but what exactly is sustainability?

[J] Ai! Well, eventually it is the law of good stewardship: acting in such a way that the outcome doesn’t put the world in a worse position than when you started. And Cradle-to-Cradle followers want to make the world a better place. [J] Yes, in principle products can be designed in such a way that they positively contribute to for example soil quality, when they are composted at the end of their life cycle. What materials have proved to work? In principle, all kinds of materials work, which may be recycled without loosing quality. Copper is brilliant, but you need to be able to obtain it again in the end. Nylon 6, a carpet fiber, is another great example. [H] There aren’t many places where a designer can go to get this kind of information, are there? [J] Not yet, unfortunately.

How dark is the near future for the industrial designer? [H] About a downpour of the economic depression on industrial design, I am not too worried. Apart from of course unexpected or forced dismissals in design companies, like now is happening on a major scale in the architecture world. But regarding the design profession, I am not a defeatist. [J] I do not think the future has to be dark, for designers who manage to understand new opportunities. For example, there are lots of opportunities for designers in designing for the ‘Bottom of the Pyramid ’2 – two third of the world is in need for your ideas, an immense chance! Less frills, more useful products that still look appealing. [H] I can do without another emotionally loaded one-off chair. [J] It’s a huge challenge to design for a sustainable world, but it demands a different focus: adding value to society rather than adding extra luxury to the blessed few.

1. Cradle_to_Cradle:_Remaking_ the_Way_We_Make_Things 2. Maslow’s_hierarchy_of_needs


Lamp that looks like it is falling. If you put this lamp next to your chair the light comes to you so you can read better.


38 Frans Willigers [contact] +31(0)681429400 Amsterdan [studio profile]

Frans Willigers wants to

show the essence of the design in an unambiguous way. This can be the essence of the function, but also the techniques and materials used. The discussions about socially responsibility and ecological sustainability are changeable en depend on the definition of these ideas. Apart from a smart handling of techniques and materials, the main role of the designer is to give the user of a product a permanent feeling of enrichment. A feeling that continues generation after generation.


â&#x20AC;&#x2DC;Form follows Functionâ&#x20AC;&#x2122;


40 Studio Niels & Sven Sven Lamme Niels Kerkkamp [contact] +31(0)614447058 +31(0)624220224 HILVERSUM [studio profile] After finishing their school of arts in Utrecht Niels Kerkkamp and Sven Lamme combined their strengths. Studio Niels & Sven is a versatile design agency in the field of interior design, product design and applied art. Our broad knowledge of materials and production methods provides us with opinionated designs. Our motto: Excessive Urban Design in Farmer Style. It is always hard, almost physical work when you are experiencing the goods of Niels & Sven. Not only in a real sense but also visually. Sometimes the materials are hard, rough and unpleasant. Shapes are easily recognised but rugged in its context. This leads to an experience that is way more emotional. The awareness of the emotion will bond the user to the goods. That is exactly why our products are sustainable.

Female Cleanliness

Female Cleanliness is more than just a bucket. It functions as a Champaign cooler, as a pot for some beautiful plants or as a newspaper holder.




[‘Creativity is needed to solve the current crisis’ by Wouter Keuning]

[‘Creativity is needed to solve the current crisis’ by Wouter Keuning]

By Wouter Keuning, journalist at the business-section at de Volkskrant, Newspaper in the Netherlands.

The economic crisis hits hard. Governments all over the world spend more than thousands of billions of dollars already in attempts to try to save important companies and industries. But the economic downturn also provides the world with chances. That’s true for designers too. Especially if they explore activities in the field of sustainable design. The Chinese understand the true nature of crises. At least that’s what John F. Kennedy gathered from the character they use for the word ’crisis’. Speaking to an audience in Indianapolis in 1959 he mentioned what he had learned just a couple of days before of a Chinese friend: ‘The Chinese use two brush strokes to write the word ‘crisis’. One brush stroke stands for danger; the other for opportunity. In a crisis, be aware of the danger-but recognize the opportunity’.

So if we were to believe Kennedy, or more so the Chinese, chances emanate from every crisis, also from the current worldwide financial crisis. Many politicians and economists hold the view that this crisis specifically bears chances for developments in sustainability. After the example of the New Deal, the sequence of economic stimulus programs president Roosevelt initiated to recover the United States economy from the Great Depression during the 1930’s, more than a dozen of experts advocated the necessity of a so-called Green New Deal. Such an approach of the crisis would tackle the issue of climatechange and the economic problems all at the same time. ‘We believe that with a Green New Deal we can begin to stabilise the current crisis, and lay the foundations for the emergence of a set of resilient low carbon economies, rich in jobs

and based on independent sources of energy supply’, the influential British think tank New Economic Foundation for instance stated last year in British Daily The Guardian.

“The Chinese use two brush strokes to write the word ‘crisis’. One brush stroke stands for danger; the other for opportunity” John F. Kennedy (1959) Not long ago Alice Rawsthorn, the renowned designcritic of another British daily, the International Herald Tribune, in an article in that newspaper argued that not only oil companies and electricity companies could play an important role in creating a more sustainable world. In here view an important role is reserved for designers as well. More so, according to Rawsthorn, designers could take advantage of the crisis. ‘The main reason why design could

benefit from this recession is because it always thrives on change, and every area of our lives is currently in flux’, she wrote in her article. ‘The economic crisis will not only transform finance and business, but the way we think and behave. Then there’s the environmental crisis, and the realization that most of the institutions and systems that regulated our lives in the 20th century need to be reconfigured for the 21st century’. Combining the statement of the New Economic Foundation and the words of Rawsthorn can only lead to one conclusion: the current crisis indeed especially bears chances for sustainable design.

“My work is very optimistic. I think that’s what people fancy in dark days like these” Richard Hutten

Famous Dutch Designer Richard Hutten thinks the design-critic is right. ’People consume too much’, he says. ’I hope and I think that, due to the crisis, people will decrease their consumption levels. That would be a good thing, because by definition that means the choices they make will become more deliberate. They will opt for secure investments, will buy stuff that lasts longer and will choose for sustainable alternatives.’ Floris Hovers, a Dutch designer who will present a couple of his chairs and tables (industrial handiwork, he likes to call it) at Tuttobene, agrees on Hutten and Rawsthorn totally. ’This crisis will make people want to choose for quality. Most of the time they’ll have to spend a little more money for that, but that will make their choices and their actions more sustainable. You won’t throw away a 500 euro design-chair as

easy as a cheap chair from Ikea for instance’, he says. Apart from that, at present Richard Hutten is busier than ever, he says. And he likes to think that that’s a direct consequence of the crisis, although it has nothing to do with sustainability. ’My work is very optimistic. I think that’s what people fancy in dark days like these.’

“All crises entail restrictions from which new creativity is born” Floris Hovers Although he didn’t experience the positive consequences of the crisis personally Floris Hovers is sure that in the long run the period of malaise is good news for sustainable designers. Not because it will increase his sales dramatically, but for another reason. ’All crises entail restrictions from which new creativity is born’, so Hovers. ’And creativity is exactly what’s needed to find a solu-

tion for the problem of climate change.’ According to Hovers the state of the economy anyhow influences the content of design. He points out the development of last years during which unbridled economic growth never seemed to stop. ‘In the same period of time designers more and more often started to produce so-called one-offs. They would only produce one sample or just a very l imited number of their designs. Prices of these oneoffs were exorbitant. The sky was the limit.’ One-offs and limited editions are an invention of artists, says Hovers. ’When you see designers start doing things like that, you know things are getting out of hand’. Hovers things the trend of one-offs not only were a manifestation of the unbridled economic growth, they also were the absolute opposite of sustainability design. ‘Due to this crisis from now on designers will think twice again

to make a template and use it only once.’ Alexander Pelikan, a designer who at the exhibition in Milan will show his ‘click-furniture’ made of bamboo, designs ecological products for more than ten years already. Not because the market demanded it, but just because he liked it and saw the necessity of sustainable products. So the fact that Pelikan didn’t sell that much of his products during prosperous economic periods nor surprised him nor bothered him really. But now recession has made its entrance, he expects that selling his products will get easier. ’People become more and more aware of the exhaustibility of natural resources’, he says. ‘If that makes people choose for a handmade chair made of durable bamboo, instead of choosing for mass-products made out of plastic, I’ll be very pleased.’


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Bo Reudler Studio


Damian Oâ&#x20AC;&#x2122;Sullivan Design

Floris Hovers

Frans Willigers













Gerard der Kinderen



Marianne Kemp
















Studio Niels & Sven


studio Schelling & Borsboom

Sustainable Design Collective







[contact] +31 (0)62 84 55 874 ROTTERDAM +31(0)653428564 HELMOND +31(0)641481890 Amsterdam +31(0)645526474 KROMMENIE +31(0)643259559 Eindhoven +31(0)614447058/+31(0)624220224 HILVERSUM +31(0)629011803 Hengelo +31(0)624240989 AMSTERDAM +31(0)627046677 AMSTERDAM +31(0)650633339 ROTTERDAM +31(0)615254840 Amsterdam +31{0}644264876 The haGUE +31(0)615002097 Moerdijk +31(0)648978386 AMSTERDAM +31(0)348468037 montfoort +31(0)681429400 Amsterdam +31(0)641403687 EINDHOVEN +31(0)657213349 MAASTRICHT

Video onte

Via M

Tuttobene Milan 2009  

DUTCH, distributed during the Milan Design Week 2009

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