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THE DOTS p22

p44

p36

p48

p52 p90

p34

p12

p60

1


by robert bronwasser

smool by robert bronwasser

design by robert bronwasser

_SPaCe TrICkS aND MaTerIaL TreaTS Visit the exhibition Space Tricks and Material Treats, powered by Ahrend. Check @ Via Ventura 6, Milan Press Preview: 11 april, 15 – 20 hours Ventura Lambrate Opening Night: 13 april, 19 – 23 hours Opening hours: 12 – 17 april, 10 – 20 hours

smool by robert bronwasser opening showroom 12 - 14 may 2011 amsterdam

ww

Famous Dutch designer Ineke Hans presents Ahrend 380 made of recycled and recyclable materials.

Japanese designer Yuya Ushida presents Ahrend XXXX_Stool play with space.

New Ahrend Loungescape

Playing tools for architects (not in Milan yet). Basten Leijh designed a spectacular broad Soft Seating programme.

www.ahrend.com/salone

www.smool.nl


MILANO PARIS LONDON TRENDFORECAST TRENDS TRENDSPOTTING EVENTS NETWORKING PLATFORM HET NEDERLANDS INTERIEUR INSTITUUT VERBINDT Het NII is een platform van bedrijven in de interieur en lifestyle branche. NII organiseert events waar trends de basis zijn voor inspiratie.

The Dutch Interior Institute is a network organisation of companies in the interior&lifestyle business. They organise events inspired by trends.

27 MEI 2011

27TH MAY 2011

Masterclass Interior & Lifestyle door o.a. Li Edelkoort. Meer informatie op www.interieurinstituut.nl

Masterclass Interior & Lifestyle by Li Edelkoort. More info at www.interieurinstituut.nl

25 OKTOBER 2011

25TH OCTOBER 2011

Masterclass Architecture door Li Edelkoort Meer informatie op www.interieurinstituut.nl

Masterclass Architecture by Li Edelkoort More info at www.interieurinstituut.nl

Meer informatie om lid te worden en de masterclasses bij te wonen: info@interieurinstituut.nl, +31(0)70 345 08 24

To become a member: info@interieurinstituut.nl, +31(0)70 345 08 24

POSTBUS 43

2501 CA DEN HAAG

TEL +31(0)70 345 08 24

info@interieurinstituut.nl

www.interieurinstituut.nl

Het lijkt zo eenvoudig: water uit eigen bron, gerst van eigen land en hop uit eigen tuin. Maar waar vind je dat nog? Gewoon in ons eigen Limburg! Bij Gulpener. Daar put onze meester-brouwer (‘Zeg maar gewoon Jan-Willem’) zijn natuur-zuivere water uit eigen bron en staat hij met liefde voor u aan de ketels. Daar verbouwt Ben Lacroix, samen met nóg dik vijftig andere milieuvriendelijke boeren uit de streek, zijn zonnige gerst en teelt Roger Wouters met trots de hoppigste hop. Gulpener bier is telen met trots, brouwen met liefde en genieten met smaak. Zó eenvoudig, dat het gewoon weer bijzonder is.


Colophon

David Heldt

Connecting the Dots Dutch Design Yearbook in Milan Representing all Dutch presentations during the Milan Design Week 12-17 April 2011 The magazine Connecting the Dots is published by Tuttobene Tuttobene, Damrak 70 - studio 5.63 1012 LM Amsterdam The Netherlands www.thedots.nl connecting@thedots.nl +31 (0)208932886

Editor in Chief David Heldt david@thedots.nl +31 (0)615510727

Commissioned by Agency NL, Ministry of Economic Affairs, Agriculture and Innovation

Contributing editors Annemiek van Grondel, Jeanne Tan, Maria Serra, Monique van Empel, Alexandra Onderwater, Thies Timmermans and Judith van de Goor (Groene Offerte), Johan Kramer (Consul General of The Netherlands, Milan), Els van der Plas (director Premsela), John Wood (Emeritus Prof. of Design, Goldsmiths University of London), Diletta Toniolo (designpuntodoc.com), Victor le Noble (Tuttobene), Micaela Nardella (intern at Tuttobene). Translator/Copyeditor Caitlan Kennedy www.bureaukennedy.com

Supporting partners BNO - Association of Dutch Designers Consulate General of the Netherlands in Milan © Tuttobene 2011 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 of the publisher and designers, photographers and authors involved.

Graphic design Koehorst in ‘t Veld www.koehorstintveld.nl All images set in blue are taken from Het Geheugen van Nederland. www.hetgeheugenvannederland.nl Contributing photographers Roos Kroes (photo reportage) www.rooskroes.com Ilco Kemmere www.ilcokemmere.nl Arthur van Megen www.arthurvanmegen.com Printed by VNV Mediaprinting www.vnvmediaprinting.com Communication & Press Luc Deleau luc@thedots.nl +31(0)652472990 Advertising Victor le Noble

Potsherds, found in Sneek –200 —200

6

COLOPHON

Sharing the Real Thing Boer Zoekt Vrouw is a popular Dutch television show, in which farmers go looking for their future wives. Is this the umpteenth variation on the dating show format, which is so tediously familiar? Nothing could be further from the truth. 5.5 million people watch the show. Only the World Cup football finals scored higher. One third of the Dutch population tunes in every week to watch the struggles of very ordinary, shy farm boys who live with four ultra-Dutch women for one week and then get to pick Mrs Right. The awkwardness with which the men court these women is authentic and many have found it to be moving. While milking the cows, making cheese or shovelling manure, a fragile romance blooms. This has turned out to be a golden egg, a formula for success in a time in which integrity and sincerity seen to have become scarce. The programme illustrates a strong predilection for authenticity. People want to see the real world, not an idealised one. Nothing would seem further from what you came to see this week in Milan. But even so, this spirit of the times is haunting us even here, during Milan Design Week 2011. Where do these products come from? How are they made? What materials have been used and what social aspects cling to the creation process? Design is not purely functional, more and more it tells us about its origins: true stories that are visualised in the countless presentations held throughout the city, whether it is by individual designers, small design agencies or large companies. You could even say it is an international movement that is gaining influence. And it is a trend in which the Dutch are in the lead. More and more, Dutch designers are turning their attention toward the consumer, as a result of which the development process has increasingly fewer secrets. This offers the maker the opportunity of embedding his work in a broader context. Claudy Jongstra (p. 19), Christien Meindertsma (p. 77) and Lotte van Laatum (p. 53, p. 20) are only a few examples of designers for whom the development process is an important part of the design. The process as a starting point seems to be increasingly important and that is exactly why  , we ve asked Diana Krabbendam for an interview, which opens this edition, on page 12. Krabbendam initiates projects in which creativity is the driving force behind change and innovation.

7

FOREWORD

Television stills from Boer Zoekt Vrouw

 , On the principle that ‘You are what you share , she advocates the sharing of knowledge. With that, Krabbendam leads the attack against large companies who, in her words: ‘are too attached to  , principles of not sharing and of creating scarcity . She is putting her money where her mouth is and  , is launching a new master s programme in Amsterdam under the name of THNK., starting in September. An important leitmotiv during the programme is the notion that multi-disciplinary collaboration is the key to creative leadership. A  , master s in process design, you could say. Krabbendam will elaborate on her ideas during the launch of Connecting the Dots at the Dutch Consulate in Milan. Hidden behind the products shown in Milan lies a dynamic world. That is made all the more clear during Milan Design Week, where the entire industry gathers together once again; a temporary global village, where everyone presents their work internationally and comes to expand their network. Designers who are not presenting their work in Milan are often here nonetheless. So if you should have trouble finding a Dutch designer in Connecting the Dots, just ring them up. Chances are they are in Milan even without a presentation, and you can get together for drinks at one of the openings. Have fun!


Presentations

Photo Documentary   , ‘Designers at Work by Roos Kroes

FuoriSalone p69  — FS01 Mat&Me and Made in Design Studio — p69 FS02 Yii — p69 FS03 Max Lipsey — p69 FS04 Nodus — p70 • Studio Formafantasma • Studio Job FS05 Studio Job — p70 FS06 Dilmos — p71 • Kranen/Gille • Studio Formafantasma

Zona Tortona p80  — ZT01 BRAND VAN EGMOND — p80 ZT02 Moooi — p81 ZT03 Via Tortona 12 — p81 • Pieke Bergmans • Tristan Frencken • YLdesign ZT04 Functionals — p82 ZT05 NgispeN / Gispen — p82 ZT06 Iconic Indoors — p83 ZT07 Royal Academy of Art — p83

FS07 Pastoe — p71 FS08 Tuttobene — p72 • Barbara Vos • Hendrik • Studio Jacob de Baan • Jolanda van Goor Architectural Designer • Laurien Oversier • Louise Cohen • Melle Koot Design Studio • Collective Paper Aesthetics • Melt interieur • Studio Sjoerd Jonkers • Tanja Soeter • Temporary collective Teun & Floris • Vormstudio • Willem Matthijs Schilder FS09 Stortplaats van Dromen — p76 FS10 ag22 — p76 • Droog • Lensvelt

Zona Lambrate p84  — ZL01 Autofficina — p84 • Studio Roel Huisman • De Vorm • Designlabel Vij5 & Mieke Meijer • Floris Hovers • Galerie Judy Straten • Studio Schneemann • Studio Laurens van Wieringen ZL02 New Times, New Heroes — p86 ZL03 Studio DRIFT — p87

FS11 Spazio Rossana Orlandi — p77 • BCXSY • Jack Brandsma • Studio Formafantasma

ZL04 Collective Location — p87 • PeLi Design • Academy Fine Arts Maastricht • Studio Dave Keune ZL05 Kevin van Braak — p88

FS12 WET — p78 FS13 Design Academy Eindhoven — p78 FS14 aMAZElab — p78 FS15 Cascina Cuccagna — p79 • Gitte Nygaard • Jair Straschnow • Wouter Nieuwendijk & Jair Straschnow

ZL06 Light Space — p88 • Annelou van Griensven • detailF • Doreen Westphal Design BV • Lambert Kamps • Particles Gallery ZL07 Undai — p91 • Ahrend • Emmanuel Babled Studio • The Dutch Standard • Van Eijk & Van der Lubbe • Weltevree

Fiera p93  — F01 Arco — p93 F02 Magis — p93 F03 Montis B.V — p93

BCXSY p18 Claudy Jongstra p19 Dirk van der Kooij p32 Frederik Roijé p33 Ghyzcy p42 Ineke Hans p43 Kranen/Gille p52 Lotte van Laatum p53 Piet Hein Eek p56 Yuya Ushida & Wijtse Rodenburg p57

Articles & Columns

Foreword

Sharing the Real Thing by David Heldt p7  — Interview

Contents

Sustainability from a Technological Viewpoint by Thies Timmermans and Judith van de Goor (Groene Offerte) p36  —

Now is the Time for Designers Interview with Diana Krabbendam by Annemiek van Grondel p12  —

Article

The Entrepreneurial Designer

Column

Social Design, a Dutch Tradition

by Maria Serra p44  —

by Els van der Plas, director of Premsela, the Dutch institute for design and fashion. p20  —

Article

Article

Dutch Designers Who Live Abroad by Jeanne Tan p22  —

Bugaboo — The Logic of the Asymmetrical Donkey by Alexandra Onderwater p58  — Article

Textiel Museum — Craft Meets Innovation by Alexandera Onderwater p59  —

Column

Creativity Flourishes Mainly in the Right Environment

Article

by Johan S. Kramer, Consul-General of the Kingdom of the Netherlands in Milan p31  — Column

How can Metadesigners Design a Diversity-ofDiversities? by John Wood, Emeritus Professor of Design, Goldsmiths University of London p34  —

8

Article

9

Contents

More Atmosphere, Less Names by Monique van Empel p60  —


ViSibiliTy

grOwTh

th 10 Anniversary

DEVElOPMENT

kNOwlEDgE ExChaNgE NETwOrkiNg COOPEraTiON

iNiTiaTiVE

CONNECTabiliTy

www.ddw.nl iNCUbaTiON 1

Design Cooperation Brainport aims to stimulate and connect creative initiatives that strengthen the region’s

SErViCE

(inter)national reputation in the field of top technology and design. We are a broad collaboration between various design organizations within the Brainport

2

Eindhoven region, which distinguishes itself through Technology and Research, quality manufacturing, and a close-knit Design community. In connection with

THIS WAY

the establishment of Design Academy Eindhoven, this

by Design Academy Eindhoven

CONCEPT : VOLLE - KRACHT

// PHOTO : LISA KLAPPE

region may rightfully position itself as the ‘cradle of Dutch Design’.

Design Cooperation Brainport is proud to present ‘THIS WAY’, an exhibition by

Within the Brainport Eindhoven region there is a strong

Design Academy Eindhoven (DAE). This is a wonderful example of the way the

focus on close cooperation between government,

Brainport Eindhoven region operates. The exhibition consists of a selection of

business and knowledge institutes. We work hard to

2010 graduation projects as well as alumni work, and also shows successful

link the industry with the creative sector so conceptual

collaborations of designers and industry.

design can be translated into industrially feasible

10 th anniversary Dutch Design Week DDW is a renowned international design festival held in the Netherlands. Over 1.500 designers present unparalleled ideas, individualistic works and insightful designer solutions. DDW is a platform for innovation and inspiration with a sophisticated blend of fresh talent, excellent designers and established bureaus. Providing a comprehensive overview of all aspects of design, from the conceptual stage to the high-profile product, showcased at more than 60 locations throughout the city. In cooperation with our guest curators, DDW oers a balanced and inspiring event. 360 events: exhibitions, lectures, award ceremonies, workshops, food, and parties.

products, including connected services. The ambition

This year DAE is based at Via Friuli, where the Academy Café will be run by alumni

of Design Cooperation Brainport is to further integrate

and students. A number of events are scheduled, including ‘MY WAY’ (talks by

Design and Design Thinking into the economic and

prominent alumni) on Wednesday 13 April from 5.00 – 6.30 pm, and a series of

social system of the region.

Breakfast Conversations by DAE Masters students in collaboration with Premsela on Thursday 14, Friday 15 and Saturday 16 April from 9.30 – 11.00 am.

1 DESIGNER AS ENTERTAINER The sound of the city Akko Goldenbeld: “Pianola” graduated 2010

Curated by:

Photo: Design Academy Eindhoven, René van der Hulst

at Design Academy Eindhoven.

2 DESIGNER AS INNOVATOR From production line to prototyping machine Dirk van der Kooij: ‘’Endless” graduated 2010 Photo: Design Academy Eindhoven, René van der Hulst Other photos: Boudewijn Bollmann Sjoerd Eijkmans

British designer Ilse Crawford, Head of Department Man & Well-Being

OPENING TIMES WEDnEsDAy 13 ApRIl unTIl sATuRDAy 16 ApRIl 11.00 AM – 7.00 PM sunDAy 17 ApRIl 11.00 AM – 6.00 PM VIA FRIulI 26 MIlAn nEArEST SuBWAY ExIT LODI T.I.B.B.


Annemiek van Grondel —  Photography Ilco Kemmere

There are more than enough innovative theories about the design profession, but putting them into practice is a whole different matter. Diana Krabbendam is the prototype of a multifaceted source of inspiration and creative innovator who considers the saying ‘You are what you  , share of paramount importance. With her company The Beach, she examines creative innovation in various fields and truly puts it into action. ‘With culture as my driving , force, I am continuously searching for new meaning.

N ow i s t h e T i m e for Designers —

12

13


I share, therefore I am. Is this the answer to designing new routes for complex issues? Is it the way to interpret creative leadership in this  , day and age? Let s focus on Nieuw-West, hardly the most dynamic of Amsterdam suburbs. Here we find an unshrinking violet amid the concrete. An immense former car park is concealed amongst silent blocks of flats. Inside, its metamorphosis from stagnation to industry becomes clear: the building has been rechristened a creative breeding ground, complete with concierge. On the ground floor, there is a meeting/ café area, an open neighbourhood kitchen and various workshops. On the first floor, offices have been constructed round an open area, which is regularly used for meetings and events. Behind a simple wooden partition is the working space of Diana Krabbendam (1956) and her creative innovation company, The Beach. She shares the space with Goods, a company set up by her husband Frank Blom, which produces and distributes accessories for the home and small furniture pieces by Dutch designers.

culture and economy. ‘Michiel Schwarz, a pioneer in the field of e-culture, proposed a collaboration. So we set up The Beach, which stems from a desire to work , towards a better society   , says Krabbendam, seated at a large meeting table with a cup of coffee. ‘One of our questions was: how can creative processes in a general sense be of influence? How can examples of real-life design within various disciplines contribute to developments in culture and economics? We decided to undertake a thorough investigation of the , matter.

Transdisciplinary Krabbendam trained as a graphic designer in Utrecht. After graduating in 1984, she worked at Keja Donia design agency in Amsterdam for ten years, part of that time as creative director. Her strategic insight into helping companies define their identity in terms of their products and services was noticed by Randstad Holding, an employment agency with over 15 thousand employees. She crossed over to the client side and assumed responsibility for the management of international design. Nearly seven years later she went on to briefly manage a design agency, after which she started her own company, initially called School. Guts and a willingness to stick  , her neck out, that s what characterises Krabbendam. ‘My approach is a transdisciplinary one and comFive years ago, Krabbendam and bines thought and action. Dreaming  , two others decided it was time for up concepts doesn t solve complex a change. An important driving social problems and that is pre, force behind this decision was the cisely where my passion lies , she Creative Challenge Call initiated by says. ‘My design ambitions were the ministries of Economic Affairs not unexpected – my father was an (Economische Zaken, EZ) and architect, my brother is a structural Education, Culture and Science engineer and my sister is a fashion (Onderwijs, Cultuur en Wetenscdesigner – but I am also an idealist. hap, OCW). This Creative ChalFor a long time, I was a liberal  , lenge Call asked the business activist, active in the women s community, both creative and liberation, anti-nuclear and squat , otherwise, to come up with project ters movements and in political proposals aimed at creating theatre. For me it was all about networks between the creative achieving a greater goal together. sector and other parts of the Dutch That also applies to design conbusiness community. Its aim: a cepts. I think it is more interesting to fertile cross-pollination between be able to complement one an-

‘I am looking for a new ecology, a free-functioning , organism 

14

programme. ‘We create new connections, for example by bringing media technology together with more traditional crafts, such as in FABLab. This creates a learning environment for (potential) creators and designers from , different disciplines.

‘Large companies are far to attached to principles of not sharing and creating scarcity. It prevents them from developing a truly innovative , view of society 

other in creating something than to , have it be “your” idea. While advising companies in design and innovation under the name of School, she also became editor-in-chief of Items design magazine and managing director of Pal West, where she encouraged young people in Amsterdam Nieuw-West to collaborate and discover their talents. A fashion show featuring clothing designed by young people in an empty garage in the neighbourhood resulted in a dialogue with the housing association and the district in the Notweg Garage, a creative hotspot, in which The Beach also set up shop. Makers+Co is an , emerging platform for ‘new design . It is a programme for creators and designers with, among other things, a festival and a youth workshop

NOW IS THE TIME FOR DESIGNERS

T-shaped designer Krabbendam has titled herself a cultural programmer and considers creative professionals and cultural design processes to be the motor of creative innovation. The Beach has formulated several key concepts for this new playing field. They reflect a holistic ideology that can be recognised in culture as a giver of meaning, conversation, diversity, culturisation versus economisation, mass innovation instead of mass production, collective thinking, open participation, ‘from function , to meaning and ‘from design in a , situation to design of a situation . ‘I think it is important to consider the motivation behind and conse , quences of your actions , she says. ‘With culture as my driving force, I am continuously searching for new meaning. And collective processes, such as collective intelligence and collaborative creativity, are crucial , in doing so. Design thinking is more than thinking about how to design something, according to Krabbendam. ‘The T-shaped designer? I never use that buzzword. When it comes to designing new routes for complex issues, the term T-shaped designer is confusing. People who are hardly interested in the com-

15

plex context in which they are designing, are hailed as conceptual  , designers. It s rubbish. Designing is both head work and hand work. I believe in workmanship, going into things in depth and being good at your craft. But it is also about finding new perspectives, visualising and translating into products, services, situations and environments, which give rise to new meaning. Good design contributes to changes in society in a positive way. So designers need to have a lot to draw from. They need more than an expressive and creative ability; they need stamina and they need to be vulnerable. I believe in more of a T-shaped team, in which designers contribute a broad outlook: broad collaboration, thinking and designing as a team, inspiring people. That is creative  , leadership, it s a new form of

dam School of Creative Leadership, which is starting a pilot in September. People from various disciplines will be trained ‘to actively seek no comfort zones to , trigger creativity  . She knows ‘sharing knowledge and skills is hard for a designer. Exposing ideas to others when they  , haven t yet been completely thought-out is risky. So some creatives have developed a comfortable stage persona. The media use them and quickly catapult them into the position of inaccessible star designer. Why is an open attitude  , difficult? It s a continuous balance between, on the one hand, author-

ship and gut feeling and, on the other, the enrichment of society, which is something you can never do alone. At the same time, you want to clarify your own perspec , tive, even when other people s  , authorship. For me, it s about ideas are forced upon you. Trust taking the lead, claiming responsi- and vulnerability are part of  , bility and including others in your sharing .  , plans or in other people s plans so Large companies are far too they can be realised. That is better attached to principles of not than the umpteenth designer sharing and of creating scarcity. featured on TV or on a magazine She believes it prevents them from cover. You are what you share; developing a truly innovative view  , , that s the main idea. of society and from seeing and taking advantage of opportunities Free flow of ideas to improve themselves socially. As Head of Design, Krabbendam is Passionately, she says: ‘That is the involved in setting up the THNK big flaw in the system. What does training programme at The Amster- this mean for designers? Do you act


in the interest of companies or of society? How can you put into action the enormous potential of individuals and of organisations to solve social issues? By sharing or saying: “I am at an advantage, because I have something you  , don t have?” If you want to solve a

problem, you have to take advan , tage of all possible sources. Don t create scarcity, create a free flow of ideas. This requires new environments and interchanges with opportunity for the development of new insights and practices through use of media technology. I am looking for a new ecology, a free-functioning organism. I was recently at a conference of the UN Global Compact on the realisation of the Millennium Development Goals. Despite their good intentions, participating companies are disappointed about the level of cooperation and the  , result. TNT s CEO Peter Bakker concluded during the discussion: “First, we should redesign the  , whole system. But we can t do that, you can.” Then he pointed to the young people in the audience. I agree with him that the system must be changed. To begin with, more , connections should be formed. What will change within the  , designer s playing field? How can he design new environments in order to enable those connections and facilitate a new way of cooper-

16

which digital natives and older generations play together by contributing their knowledge and experience and are facilitated by a storyline with accompanying characters. After successfully completing a pilot on Food Wisdom, the PlayReal team is now in talks with a cultural festival on Curaçao, which wants to examine the cultural identity of this former Dutch colony using PlayReal. We live in a complex world with problems such as crumbling healthcare, unsafe streets, concern about the environment and failing education resulting in school dropouts. How can this be improved through design? Krabbendam: ‘Linear thinking is passé. A complex society and a great variety of visions require a holistic approach. Start with asking the right questions. You do that by involving people from the neighbourhood in question in the design process. For example, regarding the feeling of security on the streets: are there loitering teens, are the houses too small, why  , aren t the young people in school? er with Joost Elffers. Or my colAs a designer, you have a moral , legue Bas Ruyssenaars ‘Institute responsibility. Author and critic , for Brilliant Failures : a platform John Thackara says in his book In that discusses failing practices, the Bubble – Designing in a Com , purely to gain insight into where plex World (2005): “You don t they went wrong and where they design something within a situation, could be improved. These are designing is the situation.” Design initiatives that advocate a change thinking should be a part of all in mentality. And that is also what sorts of processes and should, in , The Beach is about. any case, be taught in school far , sooner than is currently the case. Play Real She sees more benefits than One of the projects that The Beach pitfalls. ‘Now is the time for designis working on is PlayReal, an online ers. Stay true to yourself and know and real-life design platform based where your strengths lie. And also on gaming principles with technol- try to share your knowledge and ogy comparable to that of World skills. It is the answer to consumerof Warcraft. Participants can link ism and materialism. The creation their efforts to those of others in of scarcity is still the mainstay of order to reach higher levels. the economic system. Sharing has , Instead of ‘knowledge is power  or proven difficult and remains so. But , ‘scarcity creates value  , the partici- we are working hard at breaking , pant creates value by collaboratthat taboo. ing. All kinds of (local) problems contributed by various parties, for • example concerning the environment, food shortage or neighbourhood livability, can be solved through play. It is an environment in ating? ‘This is what THNK and organisations such as Mediamatic , and Waag Society stand for, Krabbendam says. Take the book Sustainism Is The New Modernism: A Cultural Manifesto for the Sustainist Era by Michiel Schwarz, published at the end of last year, in which he launches a new language and conceptual framework, togeth-

NOW IS THE TIME FOR DESIGNERS

17


BCXSY FS10 • ZL06•

Claudy Jongstra • claudyjongstra.com


Els van der Plas, director of Premsela, the Dutch institute for design and fashion.

Social Design, a Dutch Tradition At the Design Academy in Eindhoven in 2004, Lotte van Laatum created a bowl made of three hundred polystyrene coffee cups, which is modern and refreshing. The recycling of this waste prod, uct, or the ‘upcycling of the material as she herself calls it, was a convincing example of sustainable design. But this practical and aesthetic way of , combating the destruction of the planet wasn t taking it far enough. She also wanted to make a social impact.

The role of the designer is becoming more and more a social one, both in the Netherlands and abroad. Take Colombia, where urbanist Alejandro Echeverri and Sergio Fajardo, political activist and mayor of Medellin, changed the social structure of this city known for its high crime rate. In the elevated slums of Medellin, where ordinary citizens dared not go, they planned culture centres with libraries, connected to the city centre via cable-lifts. By placing the newest and most beautiful buildings in the poorest slums, the neighbourhood improved, people came in from the centre of the city and the murder rate dropped from 134 in , 100,000 to 34. The designer didn t design buildings but, in collaboration with the policymaker, he found solutions to appalling social problems.

, The Netherlands has a ‘design thinking tradition. , So Van Laatum s attitude and qualities are not singular. At the beginning of the 20th century, many Dutch designers believed that design done well could change the world. With their dedicated approach, Gerrit Rietveld and J.P. Oud created a beautiful living environment for the common man, full of light, air and space. Their work has left an indelible impression on art and industry and has helped determine the standing and the look of Dutch design and the dedicated approach of its designers. Van Laatum fits into this tradition beautifully. More and more often we see that, in Bloeisofa by Lotte van Laatum, Ayse-naciye other countries, designers are relating to social fundamentals, often out of social necessity. It So a year later, she started Bloei, in which she would be good to bring together these like-mindfurther developed and renewed the embroidery ed people with different experiences, skills and technique for the Oya – the crocheted, decorative cultural backgrounds. That way, designers who trim of a headscarf – in collaboration with firstcreate something functional and beautiful from generation Dutch-Turkish women. This group of disposable cups and designers who improve slums women is hardly integrated in Dutch society. By can think up new and unique solutions to difficult applying their expertise and skills to new and social problems. contemporary creations, Van Laatum produced a beautiful new product - floral, crocheted neck and — home jewellery – that also gave these women respect and prestige.

20

COLUMN

ELS VAN DER PLAS

DutchDFA in China: Join the Dutch Design WorkSpace in Shanghai and work with the Dutch Design Desk in Guangzhou Dutch Design WorkSpace This creative incubator programme provides fully equipped office space to Dutch design companies that would like to enter the Chinese market. The WorkSpace aims to support their first steps into this challenging business environment by providing assistance with local marketing, networking and practical governmental issues. More information: www.dutchdesignworkspace.com

dutch

design

fashion

Dutch Design Desk South China used to be the anonymous factory of the world. Today, Chinese companies want to grow, from producing to creating. They need professionals with design and branding skills. Providing market insight and matchmaking, the Dutch Design Desk GPRD supports the entry of these professionals into the Chinese market. Interested? Get in touch via: contact@dutchdesigndesk.com

architecture

Dutch Design Fashion Architecture (DutchDFA) is a four-year strategic programme that aims to strengthen the international position of the most prominent sectors of the Dutch creative industries – design, fashion and architecture – through a joined-up approach with (inter)national partners. www.dutchdfa.nl DDFA_ad_inChina_216x143.indd 1

04-03-11 17:05

Kansen pakken waar anderen grenzen zien. Dat is het idee. Uw internationale bankzaken regelt u via uw eigen Rabobank. U profiteert van onze kennis en ons netwerk

van

buitenlandse

kantoren.

Onze

International Desk in Milaan staat voor Nederlandse ondernemers in Italië opgesteld. Zodat u zaken kunt doen op wereldniveau, met de persoonlijke benadering die u van ons gewend bent.

Internationaal Zakendoen. De Rabobank gaat verder. Rabobank. Een bank met ideeën.

Kijk op rabobank.nl/internationaal of mail naar internationaldeskmilan@rabobank.com


Jeanne Tan

In the 2010 edition of Connecting the Dots, we explored the changing face of Dutch design with the article  , ‘Foreign Designers who call Holland home . We looked at how a new generation of international designers who relocated to study and/or work in the Netherlands, were making their mark on the Dutch design scene.

Sarah van Gameren United Kingdom

Maaike Evers USA

Said Mahrouf Morocco

In this 2011 edition, we examine the other side of the story and speak with Dutch designers living abroad. Nine Dutch designers on all sides of the globe share their experiences of love, hilarious cultural differences and what it is like to be a foreign designer.

Huub Ubbens Italy

Nicole Uurbanus Brazil

Anne Feenstra Afghanistan

Frank Bakker India

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Marc Ruwiel South Africa Lok Jansen Japan

Dutch Designers W h o Li ve A b ro a d —

Boukje Koch China

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Sarah van Gameren Glithero London, UK Product Design

and galleries to interior designers and private clients. London is the portal through which we reach these , people, all over the world.  While the established Dutch design culture attracts many foreign ‘London is full of designers to the Netherlands, Van people who find it a Gameren sought distance to examchallenge to make ine her own work. ‘It felt liberating something seemingly to be able to develop our design , impossible happen identity outside of the Netherlands. There seems to be a more eclectic , Since leaving Eindhoven to study at approach in the UK; it  s a melting the Royal College of Art London in pot of influences from all different , 2006 and soon thereafter establish- cultures and one designer  s aping Glithero with British designer proach can differ enormously from , , Tim Simpson, Sarah van Gameren another s.  Van Gameren adds, has barely had a moment to pause. ‘Not forgetting the similarities, most The Anglo/Dutch duo earned importantly that the design commuinternational accolades of late for nities in both countries are very , their unique brand of performance- close-knit.  And while she might get and installation-based design: think the occasional craving for Dutch viscous poured-concrete tables or herring or a yearn for flat roads to their Blueware series of ceramic cycling on, Van Gameren sees few vases and tiles, which slowly turn downsides to calling London home.  , blue by exposure to light. No doubt she s picked up some Van Gameren credits the rapid British traits in the process? ‘Defi, growth of their studio to people s nitely a fascination for engineering , open attitudes towards design in and machines! London. ‘We found an audience for our ideas in London. People are — receptive to cross-discipline work and have an unconventional approach to design. Our customers are diverse, varying from museums

Glithero  Photography: Petr Krejci

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Said Mahrouf  Photography: Michael Durr

Said Mahrouf Casablanca, Morocco Fashion

Lok Jansen Tokyo, Japan Illustration and art direction

‘Even though I knew my culture very well, I only discovered how Dutch I was when I actually , came to live in Morocco

‘Surrounded by the rich culture in fashion, art and design in Tokyo, I feel like I ,m being re, charged all the time

An opportunity to expand his career amid an emerging design culture led fashion designer Said Mahrouf to relocate his design studio to Morocco in December 2010. Mahrouf had been jetting between Amsterdam and Casablanca since 2008, but the increasing demand on and recognition for his work in his birth country cemented  , his decision to stay. ‘It looks like I ll be staying long term just because I see much faster growth in my business here. Specifically in fashion there are few designers and the design industry is still developing.  , , So it s an exciting time to be here.  In addition to designing fashion collections and art installations, Mahrouf is an advisor for local fashion brands and fashion events. His international background gives him a new outlook on the local scene. ‘My experience and education in the Netherlands and New York have enriched my design skills, which differentiates me from other Moroccan designers, as does my , simple Dutch aesthetic.  On the business side, this is perhaps where , Mahrouf s Dutchness shines through most. ‘People here are not direct in their opinion, which makes it tricky during negotiations. It affects my work in such a way that agreements are not always respected but that means I need to think of creative , ways to get the job done.  On the plus side, manufacturing in Morocco, with its established tradition of craftsmanship and exquisite materials, is easier and less expensive than in the Netherlands. And what inspires Mahrouf most about being in his country of birth? ‘What I find fascinating about Morocco is how colour is used unrestrictedly and yet , always in perfect harmony.  —

DUTCH DESIGNERS WHO LIVE ABROAD

For illustrator and art director Lok  , Jansen, living in one of the world s most populous and dynamic metropolises is his biggest source  , of inspiration. Jansen s first taste of Tokyo came in 1999 when he studied at the Tokyo Institute of  , Technology. Since 2004, he s been Frank Bakker Lok Jansen based there full-time creating visuals for clients including Prada and OMA. ‘Much of my work , , Frank Bakker concept of ‘right and ‘wrong . The comes from what I see in the city.  , CGC Engineering cultural differences are indeed huge Whenever I m stuck in a project I FB Design and you must be open to seeing that just take a long walk outside  , Pune, India and to adapting to make life workbecause I know I ll always find , Industrial Design able and liveable. As a result, something that excites me. Visually Bakker has integrated both Indian I find the surroundings, the chaos and Dutch ways of working. ‘In the and the juxtaposition of seemingly ‘It seems to me that  , Indian context being blunt is generrandom things incredibly rich. many Indians live life ally not appreciated. Not being Thanks to the enormous scale of the as a process, while the able to express opinions freely city Jansen continues, ‘there is Dutch and much of the makes the design process very enough critical mass to cater to West live lives filled with complex. In India, one has to make even the smallest sub culture. This things work and many things go brings a whole host of surprising targets and deadlines,, differently than originally planned visual input from the sensitive and always chasing results – but not wrong per se. As a result, subtle, to the wild and crazy - a ,  , Judging from the enthusiasm that there s a flexible, "everything is real visual treat. industrial designer Frank Bakker has possible!” mindset, which is fantas With regards to doing busi , for his adopted homeland, he s tic. To manage these processes I ness, Jansen observes a much obviously in his element in India. keep the end goal in mind like a clearer system back home. ‘In the Eight and a half years after foundDutch person would, but work with Netherlands things are more direct  , ing his design and manufacturing the variability of local conditions. and efficient, from initial contact to companies CGC-Engineering and Industrial design is still relatively getting the go-ahead for a project.  , FB Design, the future is looking new to India – design in general In Japan I ve had clients approach, bright. Admittedly, it wasn t always takes a functional or engineeringing me about wanting to work  , smooth sailing. ‘The culture is based approach and Bakker s together and it might take 2 years difficult to understand (as an outclients still need convincing when it before collaborations can get sider). Like unpeeling the layers of comes to investing in good design. started. Good times to work on  , your patience and perseverance! an onion, one begins to understand Despite this, Bakker continues, ‘It's , why things are the way they are, the Indian mindset of seeing possiAnd what has he learnt most from Bakker says. ‘Health risks are an bilities and tapping into resources his adopted homeland? ‘An inissue (Bakker contracted Malaria that is very energizing. There are creased sensitivity or sensibility last year) and sometimes basic people of great skill and talent here both art- and design-wise, as well  , necessities are challenged like and a market that s only beginning as in dealing with situations and the ,  , water, electricity or proper roads. to discover design. A growing people around me. For newcomers to India, Bakker economy brings excitement; the recommends leaving all preconpeople here are very positive about —  , ceived cultural notions behind. ‘The life. meaning of 'yes', 'food', 'time', 'deadline' changes as does the — 25


Maaike Evers Mike and Maaike San Francisco, USA Industrial Design

month later I was pulled aside in the office and asked to “tone it  , down a little” , laughs Evers at the memory. No doubt, her English skills have come a long way since then. ‘The main thing the  , America has been Evers local culture has taught permanent base since 1994 and me is to be much together with her Californian more at ease with the partner Mike Simonian, she estabambiguity that comes lished industrial design studio Mike&Maaike in San Francisco in with the Californian , 2005. Their aim is to bring a more life & work style experimental outlook to a design culture that is largely industryWhen industrial designer Maaike focused. ‘In the Netherlands, Evers first arrived in the US in 1992 design has the potential to progress to do an internship, she was more autonomously from industry, reprimanded not for her design with the benefit of government work but for her language skills. ‘I support. In the US, design tends to learned English by watching TV be very dependent on indusand listening to music, so when I try. 
There is also much more design came to the US I thought that in everyday life in the Netherlands swearing was a completely normal compared to in the US - design is part of conversation. About a seen as an element of Dutch

 , culture. The Dutch tendency towards directness and discourse, Evers feels, has filtered through to  , benefit the practice. ‘I think it s typically Dutch to have strong opinions and a quickly-developed point of view, usually with the objective to start a discussion. I believe this attitude can be found in  , the work that we do. I ve had to learn, however, to become more tactful with my opinions. Americans are not comfortable with confronta , tion like the Dutch are. But the casual American relaxedness, in particular that of a Californian nature, does wonders for learning to let go. ‘If I were to ever leave the US, I would take with me a more open-minded and “anything goes”  , work mentality. 

 

 —

Mike and Maaike

Marc Ruwiel

Marc Ruwiel Ideso Cape Town, South Africa Industrial Design

‘South Africa has a real entrepreneurial spirit and a “can do” attitude that I hope to take, with me wherever I go The abundance of sun, space and nature are some of the things industrial designer Marc Ruwiel loves most about living in Cape Town – quite different to that of his home country. ‘My parents immigrated to South Africa in 1974 (I was eight years old at the time), so I had little choice in the matter. My father and I had attended a few English lessons in the Netherlands. I had proudly learned the word “umbrella” but once we arrived in sunny South Africa, there was no  , need to use it! Ruwiel sees his immigrant background as a positive influence on his practice, Ideso, which he founded in 1998. ‘As someone with foreign roots who can easily draw inspiration from different places, it has helped to open my mind to different ideas and influences and to have a more lateral viewpoint in  ,  , my work. South Africa s design industry is relatively young, which has its advantages and disadvantages. ‘The general Dutch public has a pretty good understanding and appreciation of design whereas in South Africa, even though there are annual events like Design Indaba, I still regularly have to explain what industrial design is  , and what we do. While locals might be learning about his profession, Ruwiel is absorbing valuable lessons from daily life. ‘South Africa is a melting pot of cultures. It has taught me to accept that not everyone has the same set of beliefs or values. Our problems here are huge, but South Africans  , have an incredible resilience. I m  , proud to say that I m truly a Dutch South African or a South African  , Dutchman – whichever you prefer. —

Mike and Maaike

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DUTCH DESIGNERS WHO LIVE ABROAD

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Nicole Uurbanus

Nicole Uurbanus São Paulo, Brazil Jewellery

me. I have complete freedom to develop my work in a non-traditional way, adapting and adopting input from different fields. The ‘The Brazilian spontaneity challenge of always finding your own way around things forces you and culture has been,  , to become extremely creative. The and still is, extremely , openness of the creative commuenriching for my work   nity seems less evident in Brazil. ‘I always show my work and my Jewellery artist and goldsmith experiments, which is not normally  , Nicole Uurbanus connection to done here for the fear of being Brazil began as a teenager when copied – this lack of sharing is a she lived in Recife for several years big handicap. But I surprise people with her family. Thirty years ago, by not being afraid of trying. I try after meeting the (Brazilian) love of to convey through my work that  , her life in Japan, she returned to anything is possible. For Uurbanus, Brazil and is now settled in São who has previously lived in the Paulo, setting up her atelier there in Netherlands, Pakistan and Japan, 1984. her experience of cultural ex The more traditional nature of change has been invaluable. Brazilian jewellery making has ‘Dealing with different cultures driven Uurbanus to carve her own makes you grow, reach out, rede , path – with an open mind. The fine. It s wonderful to observe and situation is both limiting and reinterpret my work from a totally liberating. ‘The lack of jewellery different perspective. Living  , schools and exchange among abroad, I ve learned that different  ,  ,  , jewellery-makers here forces me to isn t wrong – it s just different. practise on my own, allowing me to delve into anything that interests —


Boukje Koch Ask4me Group Guangzhou, China Industrial Design

Huub Ubbens, Milan, Italy Product design

‘China is the , workshop of the world  A desire to learn from the ‘work , shop of the world led industrial designer Boukje Koch to Guangzhou China in 2005, to help a Dutch company set up an assembly factory. After that, Koch founded her company Ask4Me Group, which acts as a design agency and an intermediary between local manufacturers/factories and international companies wanting to produce goods in China. This is where the practicality of the Chinese mindset can be an issue. ‘Where the West needs to stand out by concept, the  , Chinese still do it by price. It s essential to be practical (I learned that in China) in order to be price  , competitive but it s also important to push the manufacturing possibilities to create something special and be competitive through innovation  , (that s my Dutchness in China). Manufacturers tend to modify  , clients original ideas blindly to what  , they re used to doing and to cut costs. When doing design projects  , for Chinese clients, it s difficult to convince them of the importance of  , design and that it s more than making a pretty shell around a product. But it is somewhat chang , ing. The world flocks to Guangzhou for production, however, and Koch has a fond word to say about her compatriots. ‘Dutch companies are particularly notorious for demanding the lowest price and best quality but ordering the smallest quantity.  , You can t have all three; quantity and quality of course influence the price. To produce in China, you  , need a large market. For now, there is still much to learn and Koch is enjoying the fast pace. What has she learnt most while being in China? ‘Quick decision-making. That anything is possible. I do think I will go back some day, but not quite  , yet…

Ask4me Group

Ask4me Group

‘What I ,ve learned from my Italian colleagues is to be patient and what I‘ve often taught them is that they are, crazy to be so patient! When Huub Ubbens has first arrived in Naples, Italy, many years ago, he spotted a guy on a Vespa and asked him why  , he wasn t wearing a helmet. ‘Surprised at my question, he replied, “But why should I, it is not cold outside today!” For a newly-arrived Dutch boy, this was the best answer I ever  , heard! Ubbens recalls fondly. Eighteen years later, Ubbens is an honorary Italian, previously

Dutch straight-forward approach is sometimes almost offensive in Italy, especially when writing  , emails. While Ubbens cites the heritage, sense of beauty in Italian culture and the strong tradition of craftsmanship as big  , inspirations, it s the more humble pleasures that he relishes. ‘One of the specific things I love about Italy is the clanking sound of coffee cups and plates that announces an open cafe. Upon  , entering, there s that distinct coffee smell, people quickly downing their morning “shot”; the cashier guy makes a joke and  , you re off! Thinking about it now, it was about twenty-four years ago, one morning drinking coffee in Florence that I decided that I  , really wanted to live in Italy. —

Anne Feenstra

Anne Feenstra Kabul, Afghanistan Architecture

be asked what brought him to Afghanistan. ‘A combination of  , love and curiosity, he answers, smiling. A passion for architecture for humanity is what drives the ‘Afghanistan has time, energetic Dutchman, whose buildsomething that the  , ings include a visitors centre for   , Anglo-Saxon world has Afghanistan s first two national lost a bit; perhaps these parks Band-i-Amir (Bamyan) and ancient civilizations have Wakhan corridor, the renovation of the National Museum and five a different, more spiritual ,   Maternity Waiting homes commisapproach towards time sioned by UNICEF that address the high mortality rates of pregnant  , Anne Feenstra s story must surely women and their newborn babies provide good fodder for conversa- by creating a safe, hygienic envition. Feenstra set up his own ronment. architectural practice in Kabul in Feenstra has international 2003 – with a second office in the experience, working for agencies northern city of Khulm - and such as OMA and Will Alsop, and teaches architecture pro-bono at a specialisation in sustainable Kabul University and, since 2009, design with an eye for keeping  , at the School of Planning & Archi- architecture ‘local . ‘Our design tecture in Delhi India. He must often practice is very much hands-on;

with my team we also build a lot together with local crafts-people,  , (there s no construction company involved) like carpenters, black smiths, glass-blowers, stone-carv , ers, textile designers. Conditions are far from easy but Feenstra wants to tough it out for the long term. ‘It has become more difficult to work in Afghanistan because of the blurring lines between military and civilian. The gender issue is the most difficult part; I will never get used to that. Climatically it is harsh; one needs good stamina to be able  , to work here! The biggest reward, however, is the architecture itself: ‘Design is NOT a luxury; design is a language of the world. Ultimately it is about the relationship with the people and their appreciation. You can make a real difference here as  , a designer. Huub Ubbens

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heading the design departments as the art director at Artemide and Danese-Milano before establishing his own studio  , in Milan in 2005. He s also mastered the language, which he credits as an important influence in his work, which  , focuses on lighting. ‘There s an ease of communication in Italian. Living the language every day permitted me to discover an enormous new range of possibilities of expression that we do not have in Dutch. I dare say that already, intrinsic aspects of my work that have had the opportunity to flourish in Italy may have remained hidden had  , I stayed in the Netherlands. Doing business in Italy did take a little getting used to. ‘A  , gentleman s agreement, or a “deal is a deal” mentality is an almost not-existing concept in Southern Europe and our typical

DUTCH DESIGNERS WHO LIVE ABROAD

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Johan S. Kramer, consul general of the Kingdom of the Netherlands in Milan

Creativity Flourishes Mainly in the Right Environment

, ‘Jacobakan , 1400~1500

Fragments of a lamp, from Bodegraven

Fragments of blue glass vase found in Zeewolde, 1880~1900 Potsherds, found in Sneek −200~200

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I often hear people talking about the power of creativity. By this I think they mean that there are people who are able to look at the world with a sense of renewed possibility. Because people who are creative primarily occupy themselves with products and services that are full of symbolism. Design, fashion, new media and music are all activities that are born out of inspiration; they contribute to our dreamworld. Ever since my arrival in Milan, I have realised that these things occupy me more now than they did in the past. In this city of all places, every effort is made to create a fertile environment in which creative powers can thrive. Milan has taught me that this is only possible if all participants in business and culture contribute to this objective. For example such participants as design academies, cultural institutions, museums, chambers of commerce, branch organisations, fairs and the media. It is not by accident that Milan is one of the most important creative platforms in the world and the place to be if you want to present your creativity to the world. Milan smells and tastes of creativity. And the FuoriSalone has a major part in this. The dynamics and that trendy innovative aura that characterises every FuoriSalone-goer are evident everywhere. It is an atmosphere more international cities, such as New York, London and Tokyo, are eager to equal. The synergy between the various creative sectors is typical of Milan. For example, for the past few years the BIT tourism fair has had its own FuoriBIT. This year the hyper-modern and, at the , same time, terribly Dutch ‘Dutch Pumps , a design by Hester Vlamings, have been presented. Premsela too has taken the opportunity to organise a public interview with Thomas Widdershoven, conducted by Aaron Betsky in the Triennale design temple. Furthermore Milan is the quintessential fashion capital and in strong competition with cities like Paris, London and New York. “Is it already time for the spring/summer collection?” I hear myself asking, to my own surprise, when I see models walk by on their way to the next

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catwalk. I have also had to learn more about fashion since I have settled in Milan. The DFF, the Dutch Fashion Foundation, has been attracting much attention here with mainly young and innovative designers. Names such as SPIJKERS en SPIJKERS, Marcha Hüskes and Avelon are no longer unknown to me! Coming back to the importance of the FuoriSa­lone for the Netherlands, I notice that the number of Dutch participants has increased yet again. And this magazine, “Connecting the Dots”, provides a comprehensive overview. Some participants are looking for a manufacturer, others for a showroom, a buyer or a partnership. Whatever the case may be, they all have one main goal: to present themselves to the world. And that is precisely what we, as a consulate general, encourage. For years now, we have been devoting ourselves to the introduction of visitors and press to Dutch Design in the most important of design bazaars: Milan.

www.holland.it

Johan S. Kramer, portret Carlo Boni. Background photo: Kate M - Mature 1999, by Erwin Olaf

JOHAN S. KRAMER


Dirk van der Kooij FS12• ZT05•

Frederik Roije •roije.com


John Wood, Emeritus Professor of Design, Goldsmiths University of London

How can Metadesigners Design a Diversity-of-Diversities? As we know, the world needs our help. Species are disappearing at between 100 to 1,000 times  , the ‘background levels found in fossils, and carbon in the atmosphere is higher than it was 650,000 years ago. According to the Pentagon – climate change is the greatest threat to our survival. OK - governments are doing their best to encourage changes in behaviour, but their methods (e.g. targets, taxes, penalities, bureaucratic definitions) are too indirect to be effective. The good news is that designers have enormous untapped potential for remedying the situation.

 ,

Oakwood tableleg, found in the Noordoostpolder, 1800~1850

designers to address mankind s global predicament, before it is too late. But, to be able to take on this challenge, designers must learn to work in a far more joined-up, comprehensive and adaptable way. Our initiative – the Metadesigners Open Network - is developing a conceptual framework within which designers would work together more coherently and holistically. So, what is wrong with design? As we have seen, designing greener products and services have failed to avert a possible  , impending ‘Force Majeure . This calls for innova, tive measures, including more radical, ‘joined-up  ways to feed, clothe, shelter, assemble, communicate and live together. The scale of this change will require us to re-think the way that designers are taught, practice and organise themselves. The changes needed suggest that we will also need to re-design design, as we currently understand it. , Working to bridge ‘top-down   and ‘bottom, up  initiatives, metadesign teams would seek to integrate community and government approaches. They would generate new possibilities at the level of economics, technology, logistics, language and ecology. They would encourage a ‘diversity-of, diversities , from which many synergies could be cultivated, harvested, named and branded. Ultimately, they would seek to cultivate, and align, existing synergies in order to create a global and  , emergent ‘synergy-of-synergies .

Earthenware plate, found in Zeewolde, 1600~1625

www.en.wikipedia.org/wiki/Metadesign www.metadesigners.org

But this calls for measures that exceed what designers are trained to do. The design professions were established in the 19th century as a way to make the industrial revolution work for society. As a result, designers became the mercenaries who maintained vested interests and catalysed economic growth. In the 21st century, governments and NGOs must commission more

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Silver spoon, found in Voorburg, 20~270

, , Two wooden chairs from Groninger Tjalk De Zeehond , 1878~1886

JOHN WOOD

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Thies Timmermans and Judith van de Goor (Groene Offerte)

Well-known, forward-thinking designs based on , sustainability are often amassed in the ‘design  category: limited editions with a strong concept and an attractive aesthetic. But what about sustainability as a result of technological innovation and its application on industrially manufactured products?

Sustainabilit y f ro m a Te c h n o l o g i c a l V i ew p o i n t —

UTwente, photography: Arthur van Megen

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The Netherlands has three Universities of Technology: in Delft, Enschede and Eindhoven. These universities guarantee a measure of innovative initiatives and technological solutions. The question is to what extent this progressive outlook extends into the area of sustainability. This article offers a behind-thescenes look at the three universities and their view on sustainability.

‘These (sustainable solutions) range from lightweight packaging to the dream of every true beer drinker: the introduction of a beer supply system, in addition to the existing ,water supply system  Judith van Voorthuizen (UTwente)

T wente University of Technology in Enschede (UTwente) ‘The big difference between the three Industrial Design programmes at the technical universities is that UTwente teaches students to design products that can be launched in 5 years, TU Delft products can be introduced in 10 years and TU/ eindhoven designs products to hit , the shelves in 20 years. This is according to Thonie van den Boomgaard, Director of Education Industrial Design at UTwente. Is this eastern level-headedness? He is of  , the opinion that UTwente s concrete and realistic approach is brought about mainly by its understanding of the importance of environmental issues and the finite supply of resources at present. A designed product must be taken seriously by the consumer, so that it can be accepted. This requires a design strategy without ado that introduces the consumer to sustainability one step at a time. It is not surprising that Cradle to Cradle, the prevailing usable sustainability strategy, is inextricably linked to the faculty in Enschede. In the , master  s course of the same name, students are taught by the master himself, Michael Braungart. Because energy problems are not extensively covered in the Cradle to Cradle story, but are a contemporary issue, a more general approach to sustainable product design is discussed in other mas, ter  s courses.

Judith van Voorthuizen did her final research project on sustainability in packaging development at Royal Grolsch. There, she discovered that packaging plays a crucial role in the protection of a product from the moment of packaging up until the product is consumed. The greatest challenge for a packaging developer is to find the right balance between protection of the product and the minimising of the environmental impact of the packaging. In the end, the environmental impact of three types of packaging was determined with an extensive life cycle assessment. The outcome gives Grolsch insight into areas of improvement within the process and in terms of use of materials. Through literature study and a brainstorm session, several solutions have been devised for the creation of new, environmentally friendly packaging. These range from lightweight packaging to the dream of every true beer drinker: the introduction of a beer supply system, in addition to the existing water supply system. Solutions also include the supply of pouches, creating concentrated beer and printing the label directly on the bottle. Four ideas have been worked out in a case study and after a thorough LCA (Life Cycle Assessment) the environmental impact was compared to that of regular packaging. Ultimately, all aspects were  , integrated in Grolsch s packaging development process. This will help the company not only to calculate the environmental impact after the fact, but to make the right choices during the development process.

UTwente, photography: Arthur van Megen

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SUSTAINABILITY FROM A TECHNOLOGICAL VIEWPOINT

 elft University of Technology D (TU Delft) As a PhD, Ingrid de Pauw is conducting research at the Industrial Design Faculty of TU Delft into nature-inspired design strategies. She says sustainability within the Industrial Design faculty (Industrieel Ontwerpen or IO) is apparent even in the mission statement of the research institute: Fostering Sustainable Wellbeing. There are also several courses within the programme in which sustainability is interlaced. And there is even a possibility to specialise in sustainability and receive a sustainability annotation on your diploma. Students are offered the opportunity to take courses in which the newest sustainability strategies are covered. During these courses they are encouraged to assume a critically positive attitude in assessing sustainability claims and develop a well-founded vision for design commissions. This experience encourages students to be critical of sustainability and new developments, which will be increasingly important in the future. But sustainability is not included in the standard design courses in the way that a calculation of costs is, even though de Pauw thinks it should be. A minor in sustainability has been set up for all of TU Delft: ASSET. It is a collaboration between the Industrial Design Engineering, Aerospace Engineering and Technology, Policy & Management faculties. ASSET stands for Applied Sustainable Science, Engineering and Technology and is a research and development institute, which examines sustainability through education and projects. Main themes are transport and energy. The minor is described as ‘a minor for optimists who believe that human ingenuity can solve most environmental prob, lems . The Laddermill and the Superbus are examples of wellknown projects that stem from the programme. The visionary Wubbo Ockels, the first Dutch astronaut to travel aboard the Challenger Space Shuttle in 1985 and now

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Pharox Solar Kit by Lemnis Lighting. TU Delft

known as a pioneer in sustainable and innovative projects, is head of the ASSET minor. He has been both criticised and praised for this, but the noticeable projects provide national and international attention.

‘But sustainability is not included in standard design courses in the way that a calculation of costs is, even , though it should be  Ingrid de Pauw (TU Delft)

The Nuna Solar Car, which takes part in the Nuna Solar Challenge every year, or Formula Zero, in which teams of students compete for the honour of having built the fastest hydrogen-driven kart, are examples of innovative projects with which the TU Delft presents itself as technological trendsetter, including to the general public.

The Pharox Solar Kit by Bernard Hulshof is an example of a sustainable project that is now commercially produced. Hulshof graduated from the Industrial Design faculty in 2007 with a LED lamp charged by solar power. This lamp was initially designed for emerging markets, but has now been developed further into the Pharox Solar Kit for Lemnis Lighting. The Kit allows you to use solar energy to charge, for example, a mobile phone or MP3 player, in addition to its LED lamp function. And in addition to solar energy, the Kit can be used as back-up and be hooked up to an arbitrary energy source from 4 to 25 volts. The set comes with a solar panel, the lamp, which has three intensity levels and works from 9 to 45 hours depending on the level, and a USB connector. And the packaging has also been thought through. The box has been designed so that it can be used as a stand for the lamp or as storage box, for example for food, in addition to offering shock, moisture and dust protection.


Eindhoven University of Technology (TU/e) TU Eindhoven presents itself as the specialist in healthcare, sustainable energy and smart mobility education. Students at the Industrial Design faculty are mainly busy developing so-called intelligent products and services. Here intelligent means: reacting to the environment in an intelligent way. According to Martijn Verkuijl, lecturer and theme champ of the  , ‘Next Nature educational theme, sustainability requires more than just awareness. Influencing behaviour offers more opportunities. So Verkuijl considers Van den Boom , gaard s comments about designing products that will be introduced in 20 years as a compliment.

‘Design for social change requires a strong visionary ability, where a desired idea of the future is determined and is then worked towards. This does not mean that students sit in class dreamily philosophising, about a better future

A good example of a concrete but intelligent product is the Persuasive Innovative Emotional Trashcan, lovingly called P.I.E.T. This product, designed by first-year students, won the Strijp-S, Simply the cleanest design contest in Eindhoven and, in doing so, defeated several professional submissions. Currently, usability tests are being performed with the prototype and the team is working hard at developing the rubish bin further. The P.I.E.T. is a product with feelings: by using light, image and sound the rubish bin can change its expression. It can talk to people and give compliments. This should entice passersby to throw away their rubbish. This rubbish system has been developed to solve the street litter problem. In addition to the planet factor, the product also scores in the people and profit areas of the well-known triple p model. This is because residents benefit from a clean neighbourhood and the product saves local authorities money through a reduction in cleaning activities.

Martijn Verkuijl (TU/e)

Design for social change requires a strong visionary ability, where a desired idea of the future is determined and is then worked towards. This does not mean that students sit in class dreamily philosophising about a better future. From the beginning of the programme, students get to work on projects for  , clients in the ‘real world . The TU/e is often approached by companies that want to get started on a topical theme, such as sustainability.

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Collaboration In 2007, the 3 TUs founded the 3TU Federation, to strengthen the position of the Dutch knowledge economy and generate innovation. Through this collaboration, five joint , master  s programmes are being offered. With regard to the specific area of sustainability, the universities have indicated that there is no concrete collaboration other than , the joint master  s in Sustainable Energy Technology (SET). Conclusion There is a growing awareness within the three Universities of Technology that sustainability is an indispensable aspect for the future. By offering more and more pro, jects, electives, minors and master  s programmes with a sustainable character, more and more students will graduate feeling very strongly about sustainability. Ultimately, this will affect both the industry and consumer products, but it will take time. The universities of technology are known for innovative projects that require time to develop before they are ready to be applied in the commercial world. Awareness of sustainability is a relatively new phenomenon. And the collaboration between the universities even more so. So much can yet be achieved in the coming years. Fortunately, there are more and more commercial projects for which sustainability is the basic principle. And within the universities the demand for sustainable courses is growing. Hopefully, we will soon really be able to say that thinking about sustainable solutions is just as common within the design process as making a calculation of costs. •

P.I.E.T. (Persuasive Innovative Emotional rubish bin) TU/e

Via Maroncelli, 14 - Milan Contacts: T +39.02.29062986 - sscetti@libero.it EDIT is a communication platform, an innovative promotional format, a playground for creativity addressed at trends and trade. Home to international nomads, EDIT is also an exclusive location in the city centre of Milan: because meeting is always the way for authentically communicating. The exhibition space is located districts of Brera, Garibaldi and rarely large for the city centre. amazingly airy and luminous, contemporary architecture set atmosphere.

between the Isola and is EDIT is also a piece of in a quiet

EDIT can provide 1.250 square meters of available floor surface in a modular and flexible environment composed by: 2 grand open-spaces with double height and double air/sun exposition, private offices and rooms, kitchen, services, loading area with elevator and 2 private courtyards. EDIT provides to companies, communities and a selected public a pleasantly living space and a community of diversified professionals to help them communicate and promote their ideas, projects and products.

SUSTAINABILITY FROM A TECHNOLOGICAL VIEWPOINT


Ghyzcy •ghyczy.nl

Ineke Hans ZL04• F02•


Maria Serra

Setting up a business is hard work. Doing it in a profitable but creatively rewarding way might be an even bigger challenge. Does the environment a designer finds himself in play a significant role in this respect?

The Entrepreneurial Designer — A Dutch/Italian portrait

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Human geography does count and in fact makes a real difference to a designer, especially in a world that  , calls itself ‘global but is unequivo , cally ‘local in many respects. Looking at Holland and Italy, the social, political and cultural landscapes found there seem to share few similarities and when it comes to the economy the gap between these two countries becomes even greater in terms of their respective resources, production modes and business models. Indeed, notable stories of design entrepreneurship do appear to confirm this but, surprisingly, they sometimes also highlight a like-minded approach.

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and currently runs a studio there called Atuppertu, shares this view: ‘A crucial reason for my staying was that I had adopted some typical Dutch characteristics, such as the ability to approach projects with spontaneity and with a kind of , boldness almost.

 , one of Italy s most productive ‘industrial and craftsmanship  , districts . ‘As I see it, design has always been a creative solution to a very real and practical issue, or an answer to a question that has not actually been formulated yet but which calls for an exhaustive

, noses, comments Anglo-Italian designer Sam Sannia, who moved to Milan immediately after his studies in London. ‘While I was preparing my exhibition at the Salone Satellite for the first time, I outsourced the production of my prototypes, which I had up to then built myself, and it was at that point that I had my first encounter with the prolific Italian workshops. I was so impressed with them that they , still make my collections to this day. At the same time, Italian designers also benefit from the presence of big brand names that, once a relationship is established, may commission their designs for large-scale projects. However, what would at first glance seem like a great opportunity sometimes actually turns out to be a limitation; indeed, some designers have seen their entrepreneurial aspirations frustrated. In the absence of adequate financial support, the

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‘Dutch designers tend to oversee every aspect of their business without interference, from concept to manufacturing, to distribution  Maria Serra

This does not necessarily mean that Italians do not have a hands-on attitude or that they are afraid of  , ‘putting their feet in the clay as the well-known Dutch proverb goes; they simply seem to learn these skills outside school. ‘I was born in a typical industrial area, which is a direct product of the pragmatic , attitude of its inhabitants, recounts Filippo Protasoni, who comes from the outskirts of Varese near Milan,

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ber of Italian designers seeking artistic autonomy are slowly adopting the kind of entrepreneurial approach displayed by their Dutch counterparts. The success of 6

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, ‘It all starts at school, explains Edoardo Perri, co-founder of the Milanese brand Whomade, who attended the Gerrit Rietveld Academie in Amsterdam and taught at the Design Academy in Eindhoven. ‘In the Dutch educational system the focus is on the designer who is encouraged to express his individual creativity in various forms. In Italy, where education is rather methodical and generalist, the project and not the person is brought to the fore, ground. Gionata Gatto, a young designer who studied in Eindhoven

 , appeal of an apparent ‘fast-track to lucrative commissions essentially means that designers based in Italy rarely take the plunge and launch their own brand or, if they do, sadly, it will generally be a side activity to their main concern. Nevertheless, an increasing num-

recent fairs and events aimed at these people, such as Operae in Turin and Open Design Italia in Modena, in fact seems to confirm this. Antonio Cos, who has created  , his own ‘Cosllection , sees it as an essential form of creative survival, which allows designers to showcase their ideas and ways of  , working without compromise: ‘It s quite hard to find an ideal partner in the industry. They are businessoriented people, while we as designers have more concept-oriented minds. Italian design masters have become such because, besides obviously being extremely talented and bold, they have found sensitive industrial partners who were not just interested in sales. Entrepreneurs of this kind could not survive in the highly competitive global , market that exists today.

‘In the Dutch educational system the focus is on the designer who is encouraged to express his individual creativity in various forms. In Italy, where education is rather methodical and generalist, the project and not the person is brought , to the foreground  Edoardo Perri (Whomade)

,  , reply anyway. Italy s exceptional production infrastructure is a strong draw; indeed, many foreign designers have decided to relocate their business there for this very reason. ‘Italians are lucky because, before they have even properly begun, they already have everything they need right under their

THE ENTREPRENEURIAL DESIGNER

Dodo Arslan, an Armenian-born designer with a studio in Milan says: ‘My pieces would not meet the requirements of large-scale industrial production in terms of the choice of materials, the manufacturing process and cost. This is the reason why I have started to work with local craftsmen and, as a

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bonus, I have the opportunity to contribute to keeping their knowledge alive, which is a privilege , really. In fact, Arslan has collaborated with some of the most wellreputed artisans, including the original makers of Gio Ponti wood furniture (the Buraschi family), the manufacturer of Memphis and  , Cappellini s fibreglass classics (Antonio Pileri) and many more. 7

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, can be phenomenal. Daniele Mazzoleni, who makes hand-made products for his art design brand NeroAcciaio, highlights another plus: ‘Having straightforward access to the market and establishing a direct relationship with the final consumer, who can then track , your work. Disadvantages, according to most design entrepreneurs, lie mainly in the difficulty in finding the right distribution channels and actually bringing the product to sale. ‘This is certainly the main difficulty we come across, especially since ours is a niche product, crafted with unconventional materi, als, says Arianna Subri from Uroboro design, whose striking collection includes cardboard furniture. It has to be said that Italy still lacks , strong ‘designer-to-consumer 

entrepreneurial models of a calibre that is recognised at an international level. The Netherlands does not have this problem, however, as designers like Piet Hein Eek clearly show. Eek strategically uses his own name as his brand, which only some of the more well-established figures in the design scene have dared to do (Tom Dixon and Ingo Maurer, for instance). Dutch designers tend to oversee every aspect of their business without interference, from concept to manufacturing to distribution. This new way of approaching the design process essentially takes the old-style  , tradition of making one s own products to a new level. It follows in the steps of the music world,  , where establishing one s own label offers musicians the independence that they often crave: they retain control over production, make the 10

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One of the main advantages of working independently seems to be the opportunity to be proactively involved in every stage of the process up to and including promotion and distribution. Matteo Cavallari and Thea Campioli from TheGreenThea in Modena, who specialise in customisable objects made from recycled materials, are of the opinion that: ‘Working on your own collection requires total commitment and a lot of effort in terms of research but the rewards 48

THE ENTREPRENEURIAL DESIGNER

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production system to craft his , ‘Endless chair. He has basically built a customised robot and programmed it to make furniture out of a long string of plastic, which comes from recycled old refrigerators. Fanuc, as the robot is known, , supplies a very clever digital ‘arm , which replaces the traditional industrial mould. This is fascinating, especially given the flexibility it affords the designer in that he is able to make unlimited changes and refine the object time and time again at any stage of the process. Vander Kooij explains: ‘Indeed, it works like a “digital“ mould, which can easily be adjusted using the right software. Even once a product has been made available to shops I can still make a few changes, so there is nothing to stop me from continuing to tweak the product, something that conventional manufacturing techniques would of course never allow.‘

Another interesting example can be found in Studio DRIFT, which challenges product design itself: ‘There is so much more that can be done other than simply using existing production techniques to design more chairs or lamps. Industrial product design should not be seen as the only possible path.‘ , The studio s co-founders Lonneke Gordijn and Ralph Nauta, who design groundbreaking light installations intended to raise various questions with regard to , kind of album they really want and printer. The Finnish designer gradu- nature and technology, firmly , then sell it through whatever ated from the Gerrit Rietveld believe that a design ‘revolution medium(s) they choose. Academy in Amsterdam and, after should and will happen: ‘The role a few years, relocated his start-up of designers will change in the This independent way of working business to the Dutch capital where future. As long as we remain seems to appeal in particular to he explains: ‘Thanks to the govern- passionate and approach things in designers who work with new ment, which has been very support- the right way, some truly inspira , technologies. ‘Digital production is ive of art and design, there s a lot tional figures will emerge from , the best way to have a designer-to- more happening now . amongst us in years to come. A ,  , consumer approach, believes FOC s forward-thinking use of new small group of us are in fact alJanne Kyttanen, founder of FOC technologies, which essentially ready searching for new materials (Freedom of Creation), a design amounts to a re-design of the way and technologies to express company pioneering the manufac- products are made, is actually ourselves in completely new ways. It turing and commercialization of 3D something shared by an eclectic will show us what might be possible printed products. ‘You can quickly group of Dutch colleagues, who in the future and give our work a , reach customers worldwide and are experimenting with new kinds real edge. they can have your piece produced of production methodologies in in their hometown. All you have to various ways. Dirk Vander Kooij, Although aspirational perhaps, do is send them a digital file and for instance, has developed an Italian colleagues on the whole do they take this to their local 3D automated but flexible serial not seem to be taking up this 49


challenge, at least not at present. This is puzzling when one considers the fact that Italy is actually highly technologically developed, including in the field of 3D printing. , Furthermore, FOC s recent partnership with HSL Italy, a high-tech company specialised in advanced prototyping, makes this perhaps even more surprising. There are, of course, a few exceptions. One such exception is AquiliAlberg studio in Milan, an innovative architecture and design practice by Laura Aquili and Ergian Alberg. Thanks to an international background and a proven track record in major Dutch architectural offices, including Kas , Oosterhuis  s ONL, the studio has managed to develop a flexible approach to parametric design using up-to-date software and technology. ‘3D technologies are a fundamental tool for us that we use right from the outset of a project. 3D printing, for instance, allows us to more quickly visualise projects and control form, proportions, defects, required modifications, etcetera. We have a nice “zoo” , here in the studio!  In keeping with  ,  , the designer s supposed ‘new role , they have challenged a group of leading international companies to produce their progressive furniture; since their studio opened in 2006, they have collaborated with the

likes of Ritzenhoff, Moroso, Serralunga, Fiam and Fossil.  , AquiliAlberg s experience shows that, as long as designers maintain a proactive role, working on commission does not need to be perceived as a threat to freedom and creativity. What is clear is that there will not be and there does not need to be a single successful model. Designers of all schools of thought are ready to play a more active role than ever before in shaping the future of design and this can only result in the industry becoming more colourful and diverse. •

1 Uroborodesign Gruppo 2 Antonio Cos, Cuore di bottiglie 3 Endless Rock Blue Stripe & Lowback 4 Whomade Capela 5 Aquili Alberg, Inner table 6 Sam Sannia Meduse 7 The GreenTea_AL 8 Filippo Protason Who's the Fashion Victim Trophy 9 NeroAcciaio Around 10 Drift FF Concrete Chandelier 11 Gionata Gatto The Pedalator 12 FOC 1597 Wall Light

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‘There is so much more that can be done other than simply using existing production techniques to design more chairs or lamps. Industrial product design should not be seen as the only , possible path  Lonneke Gordijn (Studio DRIFT)

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THE ENTREPRENEURIAL DESIGNER


Kranen/Gille FS05• ZT04•

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Lotte van Laatum •lottevanlaatum.nl


Check out these Dutch designers from Brainport Eindhoven:

Fuori Salone --------------------------------------

01 | Design Academy Eindhoven Via Friuli 26 --------------------------------------

02 | Studio Formafantasma Dilmos Srl Piazza San Marco 1 --------------------------------------

03 | Studio Formafantasma Via Delio Tessa 1 --------------------------------------

04 | Max Lipsey Corso Giuseppe Garibaldi 71

Zona Lambrate

We wish all dutch designers a successful week in Milan!

06 05 09 10 11

12 13 14

Fuori Salone

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05 | Piet Hein Eek Lensvelt Via Alserio 22 --------------------------------------

06 | Studio Formafantasma Droog Via Alserio 22 --------------------------------------

07 | BCXSY Piet Hein Eek Studio Formafantasma Rossana Orlandi SRL Via Matteo Bandello 14-16 --------------------------------------

08 | Dirk van der Kooij Ngispen / Gispen Spazio A, Via Tortona 54 --------------------------------------

Zona Lambrate

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11 | Yuya Ushida Ahrend Via Privata Giovanni Ventura 6 -------------------------------------

12 | designlabel Vij5 together with Mieke Meijer Via Massimiano 23 -------------------------------------

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13 | PeLiDesign Via Privata Massimiano 6

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14 | Doreen Westphal Design BV Light Space Via Privata Oslavia 3 -------------------------------------

15 | Emilie Pallard Particles Gallery Via Privata Oslavia 14 ------------------------------------Source: Connecting the dots

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09 | BCXSY Jo Meesters Nacho Carbonell Niek Pulles Studio Formafantasma Mat&Me and Made in Design Studio Via Privata Giovanni Ventura 3

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Brainport EindhovEn

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10 | Van Eijk & Van der Lubbe Via Privata Giovanni Ventura 6 -------------------------------------------

Design Cooperation Brainport is a broad collaboration between various design organizations in Brainport which aims to stimulate and connect creative initiatives that strengthen the region’s (inter)national reputation in the field of top technology and design.

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Piet Hein Eek FS09• FS10 •

Yuya Ushida & Wijtse Rodenburg ZL04•


Alexandra Onderwater

Alexandra Onderwater

The Logic of the Asymmetrical Donkey Aernout Dijkstra is lead designer at Bugaboo International, the Dutch multinational that changed the look of the stroller with the multi-terrain Bugaboo Cameleon and the more compact Bugaboo Bee, with a optional design print. And they are still at it. The company, now with 850 employees, just keeps on innovating, most recently with newest member of the family: the flexible Bugaboo Donkey, an asymmetrical stroller made for one or two growing kids and goods. AO  Oddly enough, the Bugaboo Donkey looks rather logical. AD I consider that to be a compliment. My aim is to have people say ‘Oh, I could have thought of , that. That means they understand the design.

as possible, while maintaining a very narrow stroller. AO How does that show? AD For example, the seat is wider at the top than it  , is on the bottom. The revolutionary thing is we ve stepped away from a symmetrical design. This required a big change in thinking, but in the end it is really very logical. We worked on it for five years. AO That seems like a long time. AD The idea and about 80% of the design was  , done in a year. But we didn t stop at the innovation of the basket. There are 500 parts and they all had to be right. We aim to reduce complexity to its most elementary form. AO Even men love it. AD Men like to talk about specifications. The first Bugaboos appealed to men right away as well. It was almost a performance thing. AO How many designers do you have? AD Seven, and fifteen engineers. We are a global brand in the baby market. We are now also working on other mobility products. AO Sounds exciting. A rollator perhaps? AD Who knows? It is a dream of mine to design a Bugaboo that will last you a lifetime: one design that can be converted to something useful for each stage of life. AO  Are Bugaboos adapted to cultural differences? AD Hardly. We do take into account ergonomic differences, specific customs or a certain colour scheme that is culture-specific. And safety require AO  What is so innovative about this ments sometimes differ per country.  , AO So it s a true global stroller. mono-duo-mono stroller? AD Increasingly, women are having their first child AD When we saw that in sunny Los Angeles the later and later in life and a second child is often Bugaboo is usually pushed by fathers and mothers soon to follow. There are strollers to which a wearing flip-flops and that, therefore, the brakes , second ‘storey  can be added. But instead of had to be operable with bare feet, we gave them  , stashing the second child away under the first a smooth surface. It s funny that Americans always , child, in the Donkey they can sit or lie side by side. label our strollers as ‘European design . AO Why is that, do you think? In the mono set-up, goods can be stored in the  , AD It s a clear-cut design, both in terms of colour expandable side basket as well as in the basket  ,  , under the seat. What s more, the Bugaboo Donand style. It doesn t have a lot of bells and whiskey can be controlled with one hand, offering tles. Form and function are in perfect balance. more freedom of movement for the parent. Next to that, all the mechanics have been made as small — as possible to keep the space for the child as large www.bugaboo.com

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bugaboo

Craft Meets Innovation A fashion designer who runs into trouble during a specific textile treatment. An artist who wants to experiment with technologically advanced prints. An architect attending a master class on the new possibilities of textile applications in spatial design. Here, they have all come to the right place: the TextielLab, one of the three branches of the Audax Textielmuseum Tilburg, which was established in 2004, within the museum that was founded in 1958.

By now, pressing questions and complicated exercises have become routine for the eight product developers of the TextielLab, which forms the hart of the museum and yet is somewhat isolated, even though there is a natural synergy. For instance, the hard work of many an artist from the lab has ended up in the galleries and the Lab is also open to the public. Among other things, the latter caused a designer to radically alter her design after an elderly visitor came in to donate an old sampler. ‘We are really a company, open to designers , for product development and production, says  , Hebe Verstappen, the Lab s creative director.  , ‘We re a museum in motion. But a museum has curators, the TextielLab has product developers. Most designers are never given a chance to work with machines like ours; no company would shut  , , down their machines for a designer s research. Can just anyone come knocking on the Textiel , Lab s door? ‘We are a knowledge centre. But as for work requests, I rather favour projects we too

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can learn from. We want to continue to operate on , the boundary of innovation. For a year now, the bastion of textiles has had a third branch: the TextielAcademie. ‘We offer students from (international) academies opportunities to participate in workshops and multi-day programmes to gain knowledge and acquire skills , in the TextielLab. Rather than brief visits, the Lab welcomes extensive, long-term projects. ‘For example, interior designers or architects who want to create areas of substantial dimensions. We can manufacture quite a bit here. We have to get it out of the Lab and out into the world! Verstappen likes to take on experiments. ‘The more challenging the question, the more wholehearted our “yes” will be. Oh, and we would love to hear from creatives who want to experiment , with new, smart textiles. Last year, Dutch fashion designer Jan Taminiau created his glow-in-thedark dresses in collaboration with the Lab.

 , This past year s results have been documented in the Yearbook Textiellab 2010. The book includes the first Minor Textile of the Design Academy Eindhoven, a selection of their work is shown during the Milan Design Week 2011 – designers Bertjan Pot, Jurgen Bey, fashion designer Conny Groenewegen and West 8 architectural firm.

www.textielmuseum.nl

textiel museum


More A t m os p h e r e, Le s s N a m e s — The Netherlands, Land of Design and Design Exhibitions

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Amsterdam-Milan For the average home and deco enthusiast Woonbeurs Amsterdam is the expo for checking out new things, finding inspiration, buying fun gadgets, taking part in workshops and getting tailored advice. , , It s a good day s design shopping. One of the 9 expo days is for professionals, with lectures given by trend watchers, pitching sessions for designers and other opportunities for networking. Following the fair in Milan, where many (young) Dutch designers present themselves, a selection can be seen at the Woonbeurs , Amsterdam at ‘Via Milano . More Dutch design talent can be seen at , ‘NL Design . Both presentations are interesting for both Dutch and foreign visitors, because they offer an overview of the Generation Next in Dutch Design, all in one location. Each year, the Woonbeurs Pin is given to a person or organisation that has made a significant contribution in terms of Dutch interior design. These are frequently leading Dutch designers who also set the tone internationally, such as

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Piet Hein Eek (1995), Marcel Wanders (1998), Droog Design (2000), Studio Job (2007) and Scholten & Baijings (2010).

phere is mainly dictated by young designers. A design route that goes criss-crossing through Amsterdam makes it especially entertaining. It , takes you to places you wouldn t ‘The Woonbeurs Amsterdam normally go, like the Cruquius­ aspires to an increase in internakwartier, IJburg and the KNMS , tional collaboration , according to Island. Exhibitions are set up in Jolanda Koopman, member of the showrooms and shops, but also in , exhibition s organization, ‘both with studios and warehouses. The route participants, visitors and press. can be covered on foot, but there Every year we try to invite a top are also bikes, shuttle busses and international designer as guest of boats. This is particularly fun to do honour, for example Ingo Maurer, for foreign home and deco aficioRoss Lovegrove, Antonio Citterio or nados and tourists. For the past , Paola Navone. three years, the main location has been the Lloyd Hotel in Amsterdam, where different rooms are decorated by designers and/or manufacturers of furniture and other home-related items. Compared to Woonbeurs Amsterdam, Inside Design Amsterdam aims for more of a niche market as regards individual designers, including Kiki van Eijk, Chris Kabel, Jo Meesters and Scholten & Baijings. Woonbeurs Amsterdam Established in 1993 Focus: domestic consumers and home and deco professionals Next edition: 24 September through 2 October 2011 Location: RAI, Amsterdam Approx. 300 exhibitors Approx. 80,000 visitors in 9 days www.woonbeurs.nl

Inside Design Amsterdam was also initiated by a magazine, namely ELLE Decoration (formerly ELLE Wonen). Event producer Martien Koning says: ‘By setting up the world of ELLE Decoration in 3D, we attempt to inspire our visitors and give them new ideas. Just as in the magazine, our strength lies in the mixing of styles and brands, young , talent and established names. The locations of Inside Design Amsterdam always varies. In addition, there are various initiatives in the city that are also part of the event. It is sort of like Fuori Salone in Milan, where the atmos-

Photography: Remmert Bolderman

For such a small country, the Netherlands has a lot of design and living expos, from big crowd-pullers like the Woonbeurs Amsterdam to the Dutch Design Week , in Eindhoven. And that  s not to mention the dozens of shows, events and expos in smaller cities. Although , there are some overlaps in what  s on offer and in target audience, each expo has its own concept and its own unique atmosphere. And it works: each year, they attract more and more visitors. The Netherlands is a small country. And Dutch expo visitors like niches.

The Woonbeurs Amsterdam is the oldest and largest Dutch home and deco event held at one location: the RAI in Amsterdam. This event is an initiative of eight national indoor and outdoor living magazines published by Sanoma Uitgevers. Each magazine has its own spot at the expo. Every year Eigen Huis & Interieur, vtwonen, 101 Woonideeën, ariadne at Home and More Than Classic present their own true-to-life houses, each decorated in the style of the magazine. Outdoor living magazines Home and Garden, Tuin & Co and Seasons each create an outdoor presentation. The Superbrandzone was first introduced in 2009 and brought back in 2011; leading international brands get their own spot at the fair for exclusive presentations. In 2009, it included Poliform, Poggenpohl, Leolux, Rolf Benz, Gervasoni and Varenna, among others.

Jo Meesters, Via Milano, Woonbeurs Amsterdam 2010. Photography: Timo Sorbe

Monique van Empel

Inside Design Amsterdam Established in 2003 Focus: City route designer-2-consumer Next edition: 23, 24 & 25 September 2011 Location: Amsterdam Approx. 45 exhibitors Approx. 8000 visitors in 3 days www.elle.nl/inside_design


National character Whereas Dutch Design Week is clearly looking for international collaboration, 100% Design Rotterdam is mainly a Dutch affair. Marnon Heuvels, member of the , exhibition s organisation, says: ‘Even though we are happy with every visitor from outside the , Netherlands, we don t have much , international ambition. What s more: we are proud of our national character. Most exhibitors are Dutch manufacturers and designers. Foreign brands are often represented by a Dutch agent or importer. Visitors know that everything they see at 100% Design is readily available in the Netherlands. And that is not always the case for a , Dutch visitor of a foreign expo.

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DESIGN

Photography: Sjoerd Eickmans

with other “creative breeding grounds” in, for example, Istanbul, Essen, Munich, Milan, Berlin, Vienna, Cologne, Leuven, Lille, Shanghai and Singapore. In this context, DDW is actively participatThe Dutch event that draws far and ing in the “Creative Portal to , away the most visitors, both domes- Europe” concept. tic and international, is Dutch Design Week. In recent years the Breeding ground for design number of visitors has increased With the Design Academy Einddramatically: from 80,000 in hoven within its city limits, Eind2008, to 115,000 in 2009, to over hoven has a diverse and tight-knit 150,000 last year. 10% of these design community. Dozens of new visitors came from abroad, mostly start-up businesses, individual from Belgium, Germany, England, designers and collectives are based Italy, Poland and France and from in the city. Partly due to them the , extremes such as Japan, Taiwan, ‘week is now a 9-day event, with Mexico, Australia and the US. hundreds of exhibitions, lectures, During the three press days 150 activities, congresses and parties journalists were registered of which held during the day, evening and at , 60% was international press. night. The Design Academy s DDW is the most broadly oriented Graduation Show is still the largest event, where all different aspects of crowd-puller. It is unique that some design are examined: from indus150 students are present for all 9 trial design to graphic design, from days to illustrate their projects textile and fashion to architecture, personally. Another favourite with from social design to design the public is the Dutch Design management and trends. ExposiAwards exhibition. With over 1800 tions are mostly held in surprising designers and companies showing locations, occasionally in pop-up their work and 360 events spread locations, and in unusual settings out over 65 locations, Eindhoven is , such as Strijp S, a former Philips ‘the Milan of the north . industrial estate. The city council of ‘These are nice statistics, but Eindhoven is working on the we prefer to think more in terms of development of this area into a quality and less in terms of quan, living and working area for ‘creatity, says Hans Robertus. ‘In addi, tives , comparable to the Distillery tion to forming an inspiring environDistrict in Toronto and the Meatment, the DDW should primarily be packing District in New York. a breeding ground for designers and clients to meet, which gives rise to concrete follow-up assignments. Ambition We dedicate ourselves to creating Hans Robertus, director of Dutch a climate which facilitates this and Design Week, is quite clear-cut in to inviting the right people and the his international ambitions. right organisations that can play a ‘In 2014, Dutch Design Week will role in the process from idea to , be internationally recognised as the realisation. “thought leading design event” in The fact that the Netherlands Europe. We are already consulting has a relatively large number of organisations of comparable design events is a natural growth initiatives abroad and exploring the process, according to Hans Roberpossibilities of contributing to each tus. ‘The creative sector is gaining , other s programmes. Our 2010 in popularity; its economic imporTrend Book came about in close tance is increasingly being recogcollaboration with the Helsinki nised. Smaller initiatives are growDesign Week. This year will most ing and this results in grouping of likely see collaboration between events. DDW is a good example of , DDW and London Design Festival. that. Furthermore, we have close ties Dutch Design Week ‘Design in the flatlands reached new heights at this year's Dutch , Design Week November 2010, wallpaper

Dutch Design Week Established in 2001 Focus: breeding ground for young designers and clients Next edition: 22 through 30 October 2011 Location: Eindhoven Approx. 1800 exhibitors Approx. 150,000 visitors in 9 days www.ddw.nl

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24 SEPTEMBER - 2 OCTOBER 2011 woonbeurs.nl/participation

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100% Design Rotterdam is a three-day trade event in the monumental Van Nelle Fabriek in Rotterdam, with an emphasis mainly on office and project design, from flooring to lighting, from tiles to textiles. On a smaller scale, there is a peripheral programme in the city of Rotterdam itself.

Art, design and architecture Another inspiring location in Rotterdam is the so-called ‘Kop , van Zuid , a former dock area that includes the Cruise Terminal Rotterdam, which at one time served as the arrival and departure hall for the Holland America Line. Here industrial heritage alternates with new architecture. Joining Forces During Art Rotterdam the Cruise In theory, Marnon Heuvels is not Terminal is transformed into an opposed to one big Dutch expo intimate stage for modern and event, like in Milan, London or contemporary visual arts. 2012 Paris, but she has some concerns. will mark the fourth edition of ‘I think that joining forces probably Object Rotterdam as a side fair will work to gain international to Art Rotterdam: it is an internaattention, but also that the various tional expo for autonomous concepts would prove difficult to design, crafts and jewellery that combine. And would it be beneficial expose the cutting edge between to the participants and visitors? As design and visual arts. Last year, a small Dutch manufacturer, you this congenial expo drew 7000 would have to present yourself to people, mainly Art Rotterdam visiboth a professional audience and tors. ‘Art lovers often buy design, to the general public. And as a mostly unique or limited-edition , visitor, you wouldn t see the forest objects. At Object, they step into a through the trees. More is not whole different world, where the necessarily better. Those who want quality of an object is judged by a international attention go to Milan. different standard than art objects , Those who want to know what is usually are , according to director available here or whose main Fons Hof. ‘As part of Art Rotterdam, interest is the Dutch market are there is no point to us joining other better off here. And it is more design fairs. Object has made it its enjoyable. The unusual location, the aim to contribute to a mature grounds, the informal atmosphere market for autonomous design. It is and the manageable layout can be a up-and-coming market, but one , a breath of fresh air and a source that is showing promise. of inspiration to visitors that are used to straight aisles in boring • , exhibition venues.

Object Rotterdam Established in 2009 Focus: autonomous design Next edition: February 2012 Location: Las Palmas, across from Cruise Terminal Rotterdam Approx. 20 exhibitors Approx. 7000 visitors in 4 days www.objectrotterdam.nl

100% Design Established in 2002 Focus: Trade show for high end interior design Next edition: 26, 27 & 28 May 2011 Location: Van Nelle Ontwerpfabriek, Rotterdam Approx. 100 exhibitors Approx. 7000 visitors in 3 days www.100procentdesign.nl

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Index by company name Academy  Fine Arts Maastricht  ZL04 ag22  FS10 Ahrend  ZL07 aMAZElab  FS14 Arco  F01 Atelier Van Lieshout  FS10 Autofficina  ZL01  ZL07 BCXSY FS01  FS10 Brand van Egmond  ZT01 Cascina Cuccagna  FS15 Collective Paper Aesthetics  FS08 De Vorm  ZL01 Design Academy Eindhoven  FS13 Design Virus  ZT03 designlabel Vij5  ZL01 DetailF  ZL06 Dilmos  FS06 Doreen Westphal Design  ZL06 Droog  FS10 Een paar ontwerpers v.o.f.  FS11 Emmanuel Babled Studio  ZL07 EventArchitectuur  FS10 Floris Hovers Ontwerpen  ZL01 Functionals  ZT04 Galerie Judy Straten  ZL01 Hansen Hoepner  ZL04 Hendrik  FS08 Iconic Indoors  ZT06 Kranen/Gille  ZT04  FS06 Lambie & Van Hengel  F03 LENSVELT  FS10 LUSTlab  ZT03 Made in Design Studio  FS01 Magis  F02 Mat&Me  FS01 Melt interieur  FS08 Minale-Maeda  FS10 Montis B.V.  F03 Moooi  ZT02 New Times, New Heroes  ZL02 NgispeN  ZT05 Nodus  FS04 Ontwerpduo  ZL01 Osko + Deichmann  FS01 Particles Gallery  ZL06 Pastoe  FS07 PeLiDesign  ZL04 PrometeoGallery  ZL02   Re-Centre  For Sustainable Design ZL02 rENs  ZL01 Rooms  ZT02 Rossana Orlandi SRL  FS11 Royal Academy of Art  ZT07 Serener  ZT04 Spazio Rossana Orlandi  FS11 Stortplaats van Dromen  FS09 Studio Dave Keune  ZL04 Studio DRIFT  ZL03 Studio  Floris Wubben  FS08 Studio Formafantasma  FS04  FS11  FS06  FS10  FS01 Studio Jacob de Baan  FS08 Studio Job  FS04  FS05  FS10  ZT02 Studio Laurens van Wieringen  ZL01  ZL04 Studio Roel Huisman  ZL01 Studio Schneemann  ZL01 Studio Sjoerd Jonkers  FS08 Temporary Collective Floris&Fleskens FS08

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The Dutch Standard  ZL07 Tuttobene  FS08 Tuttobene Milan 2011  FS08 Undai  ZL03 Van Eijk & Van der Lubbe  ZL07 Venini  FS05 Via Tortona 12  ZT03 Vormstudio  FS08 Weltevree  ZL07 WET  FS12 Yii  FS02 YLdesign  ZT03

Index by designer   Akko Goldenbeld FS13 Albertine v Iterson  ZL04 Alexander Pelikan  ZL04 Alissia Melka-Teichroew  FS01  ZT04 Andrea Trimachi FS04  FS11  FS06  FS10  FS01 Anke Boelens  FS08 Anne v der Donk  ZL04 Annelou van Griensven  ZL06 Annet van Egmond  ZT01 Anno Koning  ZT06 Barbara Vos  FS08 Bart de Rooy  ZT06 Beatriz Ramo  FS14 Benjamin Hubert  ZL01 Bernd Upmeyer  FS14 Bertjan Pot  F01  ZT02 Boaz Cohen  FS11  FS01 Brecht Duif  ZL02 Breg Hanssen  ZL01 Chris Kabel  FS01 Chris Slutter  ZT04 Christiaan Lebens  ZL04 Christian Kocx  ZL01 Christien Meindertsma  FS11 Christophe Marchand  F03 Claire Vos  ZT04 Claire Warnier  ZL02 Cyril Duval  FS01 Dana Cannam  ZL07 Dave Keune  ZL04 Dick Spierenburg  F03 Dick van Hoff  ZT04 Diederik Schneemann  ZL01 Dik Scheepers  ZL04 Dirk van der Kooij  FS13  ZT05 Doreen Westphal  ZL06 Eddy Schoonfeld  ZL07 Ehlén Johansson  ZT04 Emilie Pallard  ZL06 Emmanuel Babled  ZL04 Fabian Sänger  ZL04 Fabian v Spreckelsen  ZL04 Fien de Graaf    ZL04 Floris Hovers ZL01 Floris Schoonderbeek  ZL07 Floris Wubben  FS08 Franziska Wernicke  ZL06   Friso Dijkstra ZL01 Gerrit Rietveld  ZT05 Gijs Bakker  FS02 Gijs Papavoine  F03

Gitte Nygaard  FS15 Greetje van Tiem  ZL01 Hansen Hoepner  ZL04 Heike Tittes  ZL04 Hein Lagerweij  FS09 Henny van Nistelroy  FS01 Ineke Hans  ZL07  F02 Jack Brandsma  FS11 Jacob de Baan  FS08 Jair straschnow  FS15 James Irvine  ZT05 Jan Habraken  ZT04 Jan Puylaert  FS12 Jo Meesters  FS01 Jerszy Seymour  ZT05 Jet van  Zwieten  FS09 Job Smeets  FS04  FS05  FS10  ZT02 Joep van Griensven  ZL06 Johannes Gille  ZT04  FS06   Jolanda van Goor FS08 Jon Stam  ZL02 Jonathan Prestwich  F01 Jorre van Ast  ZL01 Jos Kranen  ZT04  FS06 Joyce Souren  ZL04 Jurgen Bey  ZT05 Ka-Lai Chan  ZL01 Karel de Boer  F03 Kaspar Hamacher  ZL04 Kevin van Braak  ZL05 Koert Klaren  ZL07 Lambert Kamps  ZL06 Laurens van Wieringen  ZL01 Laurien Oversier  FS08 Lenneke Langenhuijsen  ZL07 Leonard Kadid  ZL07 Lonneke Gordijn  ZL03 Louise Cohen  FS08 Luc Daamen  ZL04 Malu Berbers  ZL04 Marcel Wanders  ZT02 Marco Lannicelli  ZL04 Mark van der Gronden FS10 Matylda Krzykowski  ZL04 Mauro Martinuzzi  ZL04 Max Lipsey   FS03 Melle Koot FS08 Mia Gammelgaard  ZT04 Michael Young  ZT05 Mieke Meijer  ZL01 Miriam van der Lubbe  ZL07 Morgane Kerbrat  ZL04 Nacho Carbonell  FS01 Niek Pulles  FS01 Niek Wagemans  FS09 Niels van Eijk  ZL07 Nynke Tynagel  FS04  FS05  FS10  ZT02 Oscar Diaz  FS01 Oscar Narud  ZL07 Oskar Zieta FS01 Pascal Smelik  ZL01 Pieke Bergmans  ZT03 Piet Hein Eek  FS11 Ralph Nauta  ZL03 Renier Winkelaar  FS08 Richard Hutten  ZT01  ZT05 Rikkert Paauw  FS09 Robin van Hontem  ZL04 Roderick Vos  ZT04 Roel de Boer  FS13 Roel Huisman  ZL01 Rogier Martens  ZL07

Sarah Mesritz  ZL04 Sayaka Yamamoto  FS11  FS01 Sebastiaan Herkner  ZL01 Shay Akalay  F01 Simone Farresin  FS04  FS11  FS06  FS10  FS01 Sjoerd Jonkers  FS08 Sjoerd Vroonland  ZT02 Stallinga  FS14 Stefano Giovannoni  ZT02 Tanja Soeter  FS08 Tessa Kuyvenhoven  ZL01   Teun Fleskens FS08 Thomas Eyck  FS11 Tina Koning  ZT06 Tristan Frencken ZT03 Valentin Löllmann  ZL04  FS01 WH Gispen  ZT05 William Brand  ZT01 Wouter Kock  ZL07 Wouter Nieuwendijk  FS14 Yuya Ushida  ZL07 Yvette Laduk  ZT03

Index by location

FuoriSalone FS01 Mat&Me and Made in Design Studio  — 69 FS02 Yii  — 69 FS03 Max Lipsey  — 69 FS04 Nodus  — 70 • Studio  Formafantasma • Studio Job   FS05 Studio  Job — 70 FS06 Dilmos — 71 • Kranen/Gille • Studio    Formafantasma FS07 Pastoe — 71   FS08 Tuttobene — 72 • Barbara Vos • Hendrik • Studio Jacob de Baan • Jolanda van Goor Architectural Designer • Laurien Oversier • Louise Cohen • Melle Koot Design Studio • Collective Paper Aesthetics • Melt interieur • Studio Sjoerd Jonkers • Tanja Soeter • Temporary collective Teun &  Floris • Vormstudio • Willem Matthijs Schilder   FS09 Stortplaats van Dromen — 76   FS10 ag22 — 76 • Droog • Lensvelt   FS11 Spazio Rossana Orlandi — 77 • BCXSY • Jack Brandsma • Studio    Formafantasma FS12 WET — 78   FS13 Design Academy Eindhoven — 78   FS14 aMAZElab — 78  FS15 Cascina Cuccagna — 79 • Gitte Nygaard • Jair Straschnow • Wouter Nieuwendijk & Jair Straschnow

Zona Tortona ZT01 Brand van Egmond  — 80 ZT02 Moooi  — 81 ZT03 Via Tortona 12  — 81 • Pieke Bergmans • Tristan  Frencken • YLdesign ZT04 Functionals  — 82 ZT05 NgispeN / Gispen  — 82   ZT06 Iconic Indoors — 83 ZT07 Royal Academy of Art  — 83

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Zona Lambrate ZL01 Autofficina  — 84 • Studio Roel Huisman • De Vorm • Designlabel Vij5 & Mieke Meijer • Floris Hovers • Galerie Judy Straten • Studio Schneemann • Studio Laurens van Wieringen ZL02 New Times New Heroes  — 86 ZL03 Studio DRIFT  — 86 ZL04 Collective Location  — 87 • PeLi Design • Academy  Fine Arts Maastricht • Studio Dave Keune ZL05 Kevin van Braak  — 89 ZL06 Light Space  — 89 • Annelou van Griensven • detailF • Doreen Westphal Design BV • Lambert Kamps • Particles Gallery ZL07 Undai  — 91 • Ahrend • Emmanuel Babled Studio • The Dutch Standard • Van Eijk & Van der Lubbe • Weltevree

Fiera   F01 Arco — 93   F02 Magis — 93   F03 Montis B.V. — 93


Where to find Dutch designers in Milan? Find their locations at FuoriSalone, Zona Tortana, Zona Lambrate & Fiera

FuoriSalone FS01 • Mat&Me and Made in Design Studio • Via Laghetto 9 About  Mat&Me and MiD Studio have teamed up to present Achille is watching us. Mat&Me is an intimate design blog established by Matylda Krzykowsk featuring drawn interviews. MiD Studio is a creative practice run by Marco G. Lorusso Presentation  The exhibition underlines the particular penchant for little things and the emotions that they can convey. We asked various international creators of objects to give us something personal that will be featured in the exhibition, accompanied by their own words.

Index

Presentation • Achille is watching us. An assortment of stories and memories Designers • Alissia Melka-Teichroew, Bcxsy, Chris Kabel, Formafantasma, Henny van Nistelroy, Jo Meesters, Julien Carretero, Nacho Carbonell, Niek Pulles, Oscar Diaz , Oskar Zieta, Osko + Deichmann, Valentin Loellmann www.matandme.net / www.mid-studio.eu Contact • Matylda Krzykowski, Mathias Soironstraat 6, 6217 PD Maastricht, The Netherlands e • matylda@matandme.net t • +31 (0)2 147 483 647

FS02 • Yii • Viale Alemagna 6 About  The Taiwanese design brand Yii aims to transform craft into contemporary context through design, and to translate the Taiwanese culture in a globally understandable language. It was initiated by the Taiwan Craft Research Institute as a platform between designers and craftspeople. Gijs Bakker (the Netherlands) is the creative director of Yii. Presentation  This year, Yii focuses on street life as a powerful expression of Taiwanese culture. Recognisible, daily outdoor rituals are reflected in design objects, refined with skillful craft technique. A few internationally renowned designers, invit-

ed by Yii, will demonstrate Taiwanese influences in their own distinctive styles. Exhibition space design • Nendo Location • Triennale di Milano Viale Alemagna 6, 20121 Milano Presentation • Yii Art direction • Gijs Bakker Designers • Helen Chen, Yu-Jui (Kevin) Chou, Tong Ho, Chung-Miao Hsu, Gina Hsu, Po-ching Liao, Camo Lin, Hsiao-ying Lin, Wan-shan Lin, Idee Liu, Rock Wang, Pili Wu www.yiidesign.com Contact • Olga Zhuravleva e • pr@yiidesign.com t • +39 3473519334

FS03 • Max Lipsey • Corso Garibaldi 71 About  Max Lipsey is an American designer based in Eindhoven. Since 2008, his studio has been a personal platform for the development and production of his own designs, for working with companies on mass production, and for reaching out to initiate group projects. ‘My work reflects my fascinations with nature, , materials, crafts, history and creating. Presentation  Presenting the Acciaio series: a collection of lightweight steel chairs, inspired by the bicycle. The presentation will take place in the garden of Rossignoli, a historic Milan bicycle shop, and will compliment their exhibition of classic bicycles.

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Location • Via Laghetto 9, 20122 Milan

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Location • Cicli Rossignoli Corso Garibaldi 71, 20121 Milano Presentation • Acciaio Chairs Designer • Max Lipsey www.lipsmax.net Contact • Max Lipsey Voorterweg 136, 5611 TS Eindhoven The Netherlands e • info@lipsmax.net t • +31 (0)6 430 176 46


FS04 • Location Nodus • Via Delio Tessa 1

FS06 • Location Dilmos • Piazza San Marco 1

 , c/o Il Piccolo Architettura d Interni Via Delio Tessa 1 20123 Milano

Piazza San Marco 1 (entrance Via Solferino) 20121 Milano 2 Presentations • Kranen/Gille • Studio Formafantasma

2 Presentations • Studio Formafantasma • Studio Job

FS04 • Studio Formafantasma • Nodus

FS06 • Kranen/Gille • Dilmos

Presentation  Studio Formafantasma has designed a collection of three rugs inspired by the work of 19th-century ornithologist Jan James Audubon, who scientifically categorised birds. The carpets are finished with wooden buttons, referring to a particularity of needlepoint technique that is used both in tapestry and to embroider clothes.

Location • Nodus

About  Kranen/Gille is a design studio based in the south of the Netherlands. Kranen/Gille always seeks to combine various disciplines, craftsmanship and their own particular aesthetics into appealing design objects. All their pieces seem to breathe industrial revolution with a whiff of natural structures reminiscent of the photography of Karl Blossfeldt.

Presentation • Migration- Nodus Rug company Designers • Simone Farresin, Andrea Trimachi www.formafantasma.com Contact • Studio Formafantasma Andrea Trimarchi, Simone Farresin Kronehoefstraat 1, 5612 HK Eindhoven The Netherlands e • info@formafantasma.com t • +31 (0)6 162 951 71

www.kranengille.com Contact • Kranen/Gille St. Josephstraat 20a, 5211 NJ ‘s-Hertogenbosch The Netherlands e • info@kranengille.com t • +31 (0)6 462 419 10

FS06 • Studio Formafantasma • Dilmos About  Job Smeets and Nynke Tynagel form Studio Job. From the beginning, their collaboration has resulted in highly expressive, usually one-off or limited-edition works. Recently Nynke and Job opened their own curatorial exhibition space for contemporary art and design based in Antwerp.

Location • Nodus

Presentation  For Nodus, the Milan producer of high-quality rugs, Nynke has fol , lowed up on last year s success with two new rug designs from the Book of Job. “Panthéon” and “The Birth” promise to be beautiful hand-knotted works of art.

e • press@studiojob.nl t • +32 (0)4 752 298 70

Index

About  Andrea Trimarchi and Simone Farresin, two Italian designers based in Eindhoven, are Studio Formafantasma. Their work reconfirms their ability to reintroduce into contemporary life objects rooted in tradition, suggesting to the user the invention of new gestures and rituals, stimulated by ancient memories evoked by a familiar objects.

Presentation • The Birth & Panthéon Designers • Job Smeets, Nynke Tynagel www.studiojob.nl www.nodusrug.it Contact • Studio Job Gallery Begijnenvest 8, 2000 Antwerpen Belgium

Presentation  Domestica chair is a further investigation of rural craft and its archetypes. In it, a reference is made to a woven container used by farmers to collect cereals. Domestica looks almost as if the basket has been hung on the back of a chair and the two objects were fused together.

Location • Dilmos Presentation • Domestica Designers • Studio Formafantasma www.formafantasma.com Contact • Studio Formafantasma Andrea Trimarchi, Simone Farresin Kronehoefstraat 1, 5612 HK Eindhoven The Netherlands e • info@formafantasma.com t • +31 (0)6 162 951 71

FS07 • Pastoe • Via Varese 20

FS05 • Studio Job • Via Santo Spirito 10

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Presentation • Islands Designers • Johannes Gille, Jos Kranen

Presentation  At Gallery Dilmos Kranen/ Gille will present their latest body of work: Islands. Islands is an archipelago of objects grown from steel: shapes formed by a combination of nature and industry.

Press • Gaia Di Palma e • g.dipalma@dipalmassociati.com

FS04 • Studio Job • Nodus

Location • Dilmos

About  Venini is the only authentic producer of Murano glass. Last year they developed with Studio Job: the Arnolfini chandelier, a suspended still life.

Location • Museo Bagatti Valsecchi Via Santo Spirito 10, 20121 Milano

Presentation  This year, a polychromatic version will be unveiled. Studio Job has also designed a new collection of light objects named after prehistoric, sex symbol Mae West and refers to Dali s famous installation of the same name. The six lamps combine to create a three dimensional trompe d'uil complete with icons.

www.studiojob.nl www.venini.it

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About  Simplicity, timelessness, quality and craftsmanship have all been at the  , centre of Pastoe s philosophy for nigh on a hundred years now. Ever since the company was founded in 1913, Pastoe has been making furniture of unruffled, austere design. The secret is in the simplicity.

Presentation • Mae West & Arnolfini Designers • Job Smeets, Nynke Tynagel

Contact • Studio Job Gallery Begijnenvest 8, 2000 Antwerpen Belgium

Presentation  For the second year running, Pastoe takes up residence at Understate, a beautiful shop near Corso Como. Pastoe presents two new products: Boxes designed by Pastoe and SM05, a wire chair designed by Cees Braakman. The creative and colourful presentation will also show new possibilities in Vision and Totem.

e • press@studiojob.nl t • +32 (0)4 752 298 70

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Location • Via Varese 20, 20121 Milano Presentation • Pastoe Designers • Cees Braakman, Pastoe www.pastoe.com Contact • Krista van Mourik Rotsoord 3, 3523 CL Utrecht The Netherlands e • marketing@pastoe.com t • +31 (0)3 025 855 03


FS08 • Location Tuttobene Milan 2011 • Via Maroncelli 14

FS08 • Studio Jacob de Baan • Tuttobene About  Jacob de Baan works for culture and industry and on his own account. He developed the (Non) Electrical Collection and he is the coordinator of the post-graduate course Industrial Design at Royal Academy of Art The Hague and several design events.

Via Maroncelli 14, 20154 Milano 14 Presentations • Barbara Vos • Hendrik • Studio Jacob de Baan • Jolanda van Goor Architectural Designer • Laurien Oversier • Louise Cohen • Collective Paper Aesthetics

• • • • • • •

Melle Koot Design Studio Melt Interieur Studio Sjoerd Jonkers Tanja Soeter Teun Fleskens Anke Boelens & Renier Winkelaar Willem Matthijs Schilder

Presentation  IJ- Lamp is the studio new collection of table lamps, ceiling lamps and wall lamps. Inexpensive; made in Holland/ Germany without material waste in production flow and flat packaging; reusable materials; no glue, no screwing.

Location • Tuttobene Milan 2011 Presentation • IJ- Lamp Designer • Jacob de Baan www.jacobdebaan.com Contact • Jacob de Baan Nieuwevaart 128, 1018 ZM Amsterdam The Netherlands e • info@jacobdebaan.com t • +31 (0)6 281 676 87

FS08 • Jolanda van Goor Architectural Designer • Tuttobene About  Tuttobene is a dynamic platform for design, working with and for a large network of creative professionals. Tuttobene works on a variety of design projects, from (international) presentations to design consultancy. Tuttobene focuses on ethical issues regarding design and production. Tuttobene is also initiator  , and publisher of ‘Connecting the Dots magazine.

Presentation  This year, Tuttobene will be present in Milan for the 8th time in a row. We show a selection of talented Dutch designers who present their newest designs, based on their ecologically and socially responsible vision of design. Tuttobene will show excellent and innovative interior products, including tables, chairs, lighting and accessories.

Tuttobene Milan 2011

About  Through design and use of material she tries to bring forth a sense of realization towards nature and the  , use of nature among people. Jolanda s designs are (double) layered. This is her way of encouraging people to look closer.

www.tuttobene.nl www.tuttobenedesignshop.com Contact • Victor le Noble & David Heldt Damrak 70, studio 5.63 1012 LM Amsterdam, The Netherlands e • info@tuttobene.nl t • +39 3664180618 / +31 (0)20 6685505

Presentation  Her new The Sheep Chair and Funky Dread Stool series are created to experience a different dimension of sitting. They will make people actively think about how to get seated in these chairs.

FS08 • Barbara Vos • Tuttobene

Presentation  Barbara wants to bring a decorative, yet subtle atmosphere to wall coverings. The tex-tile has a textile imprint with a subtle relief and it is only when you come closer that you will see what it is: always a different and imperfect pattern.

 , About Hendrik s big passion is to design patterns to be applied by talented design- , ers on their products. In doing so, Hendrik combines the creativity  of , various parties who support each other s growth through their synergy, without having to compromise quality.  , Presentation Hendrik has selected a number of products from a group of designers, which, in combination, represent  , the concept and the results of Hendrik in Milan.

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Index

Presentation • Sheep Chair and the Funky Dread Stool Designer • Jolanda van Goor www.jolandavangoor.com Contact • Jolanda van Goor Weerelaan 149, 1705 EV Heerhugowaard The Netherlands e • jolanda.vangoor@gmail.com t • +31 (0)6 251 866 71

FS08 • Laurien Oversier • Tuttobene About  Barbara works in a variety of different disciplines such as fashion, interior, furniture and products. Her work shows her passion for round organic shapes, vibrant colours, curved lines and special materials.

FS08 • Hendrik • Tuttobene

Location • Tuttobene Milan 2011

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Presentation  The ExpanTable is a very social product;  , it creates an atmosphere by its owner s identity. The idea of the  , ‘chairbag arose based on the concept of the table: a foldable stool. The construction makes it possible to fold the chair into a small bag.

Location • Tuttobene Milan 2011 Presentation • tex-tiles Designer • Barbara Vos www.barbaravos.com Contact • Barbara Vos Volkerakstraat 70, 2595 VG Den Haag The Netherlands e • info@barbaravos.com t • +31 (0)6 247 853 66

Location • Tuttobene Milan 2011 Presentation • Expantable Designer • Laurien Oversier www.laurienoversier.nl Contact • Laurien Oversier Walramstraat 22, 6131 BM Sittard The Netherlands e • laurien.oversier@hotmail.com t • +31 (0)6 520 008 94

FS08 • Louise Cohen • Tuttobene About  Louise Cohen has made a name for herself with designs weighing from 3 grams to over 3000 kilos. Connection, playfulness and simple ingenuity are part of her products that seem surprisingly familiar.

Location • Tuttobene Milan 2011 Presentation • Hendrik' www.hendrik.nu Contact • Wanda van Riet/Janna van den Berg Graaf van Solmsweg 85 5212 VB ‘s-Hertogenbosch The Netherlands

Presentation  Louise presents functional and durable designs with versatile elements. The LIFE IS GREAT Collection creates different ways to relax and to prepare food while LIFE IS EASY is a comfortable all-weather bench. Maximum usefulness is created with a minimum of material.

t • +31 (0)7 363 144 36

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Location • Tuttobene Milan 2011 Presentation • Life is great, Life is easy Designer • Louise Cohen www.louisecohen.nl Contact • Louise Cohen Bongastate 13, 8926 PJ Leeuwarden The Netherlands e • info@louisecohen.nl t • +31(0)6 470 545 95


FS08 • Melle Koot Design Studio • Tuttobene

FS08 • Tanja Soeter • Tuttobene

About  Melle Koot Design Studio is a multidisciplinary studio, which focuses on interiors, furniture and object design, but also works on stands, displays, concepts and equipment for fairs and festivals. Presentation  The collection is the ultimate design method with an almost limitless freedom of possibilities: one can play with (raw) materials and ideas from a durable point of view. Koot implements technological and biological life cycles and he chooses his material according to the Cradle2Cradle principle.

Presentation • Melle Koot Designer • Melle Koot www.mellekoot.nl Contact • Louise Cohen Oosterhamrikkade 108, 9714 BJ Groningen The Netherlands

Location • Tuttobene Milan 2011 Presentation • Leaf, Reef, Vain Designers • Tanja Soeter www.tanjasoeter.nl Contact • Tanja Soeter Nierstraat 49, 1078 VJ Amsterdam The Netherlands e • hallo@tanjasoeter.nl t • +31 (0)6 285 336 66

FS08 • Temporary collective Teun & Floris • Tuttobene

About  Noa Haim has been running her independent initiative titled Collective Paper Aesthetics since 2009. In a playful way, her work expresses the Dutch notion of architecture as a framework.

Location • Tuttobene Milan 2011

 , Presentation  The studio , s aim is to promote the method and ‘sell the manufacturing license in different countries. All products are distributed in flat-pack, incorporating the instructions text in the material. Print proofs, aluminium print plates and paper cardboard from the food packaging industry are used for this new object collection.

Contact • Noa Haim Nieuwe Binnenweg 194 B 3R 3021 GK Rotterdam, The Netherlands

About  Remmelt Dirksen designs look almost plain and natural; he likes experimenting with different materials, creating new details and opportunities that you would not expect.

Location • Tuttobene Milan 2011

About  Young Dutch designers Teun Fleskens and Floris Wubben met at the Dutch design week 2010 where they first saw each others work. Their visions are very different; while Floris focuses on the visionary, Teun is more interested in the added value of a product. After interesting brainstorm sessions, they decided to start a project together and to participate at the Milan Fair 2011 under the ,name ‘temporary collective Teun & Floris .

Presentation • Collective Paper Aesthetics Designer • Noa Haim www.collectivepaperaesthetics.wordpress.com

e • noa@collectivepaperaesthetics.com t • +31 (0)6 485 288 58

Teun: ‘For me the most important part of my design is that my products are not only functional but overall meaningful. The concept is very important. This can be a serious , statement or just making a smile appear.

FS08 • Melt interieur • Tuttobene

Floris: ‘I am always searching for interaction between creations of nature itself and my thoughts within the , world of designing and experimenting. Location • Tuttobene Milan 2011 Company • Temporary collective Teun & Floris Presentation • No. 3 Bench & ChitChat Designers • Floris Wubben & Teun Fleskens www.teun-floris.com Contact • Floris Wubben Den Dries 35, 5262 PS Vught The Netherlands e • info@floriswubben.nl t • +31 (0)6 467 113 92

FS08 • Anke Boelens & Renier Winkelaar • Tuttobene

Presentation  5° Desk and Meltingpoint table seem to be instable, but you will be surprised how well balanced and dynamic they are. His products interact with the user and are designed to change visually every time you approach them from a different direction.

FS08 • Studio Sjoerd Jonkers • Tuttobene

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About  The studio s products exhibit a natural simplicity through their materials and technique. The essence of everyday life and primitivism, with its first artefacts, form a rich base. Presentation  Studio Sjoerd Jonkers designed Tapis Noues during a residency in Casablanca, Morocco, in 2010. It has clean materials and each rug is handmade.

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Presentation  From the beautiful spirals of a nautilus shell and the delicate florets of a daisy to the branching sequence of an apple tree or an immeasurable number of corals united , together, recreate the beau , tiful, ‘nature s architecture atmosphere of her new object collection.

e • info@mellekoot.nl t • +31 (0)1 501 514 6

FS08 • Collective Paper Aesthetics • Tuttobene

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About  Creating concepts, forecasts & collections ,for a diversity of important clients, Tanja s experience centres on a new challenge, where subtle, intuitive graphic design objects are realised with 3D printing technology.

Location • Tuttobene Milan 2011

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About  Vorm design studio for interior and product design always tries to stay one step ahead of the trend, which makes it fresh and new and it always looks for contrast in its designs.

Presentation • 5° Desk & Meltingpoint Designer • Remmelt Dirksen www.meltinterieur.nl Contact • Remmelt Dirksen Joost Banckertsplaats 165, 3012 HJ Rotterdam The Netherlands

Presentation  The design of The tree of light, a 2-meter high tree of light, is based on the natural shapes of a tree and the exciting shadows coming trough when the sun is shining. The contrast lies in nature versus technique and steel versus sustainable wood (oak).

e • info@meltinterieur.nl t • +31 (0)6 285 966 1

Location • Tuttobene Milan 2011 Presentation • Tree of light Designers • Anke Boelens and Renier Winkelaar www.vormstudio.com Contact • Anke Boelens Trompstraat 7, 8023 TM Zwolle The Netherlands e • anke@vormstudio.com t • +31 (0)6 413 650 01

FS08 • Willem Matthijs Schilder • Tuttobene About  Design Industry Amsterdam creates interior concepts and turns these into high-quality finished articles. This is achievable by focussing on the desired methods and scale of production during concept design. A combination of design-sense and a background in mechanical production engineering give Design Industry Amsterdam is a competitive advantage.

Location • Tuttobene Milan 2011 Presentation • Tapis Noues Designer • Sjoerd Jonkers www.sjoerdjonkers.com Contact • Sjoerd Jonkers Eerste van Swindenstraat 133 1093 GB Amsterdam, The Netherlands e • mail@sjoerdjonkers.com t • +31 (0)6 427 587 66

 , Presentation ‘Kleurluchter was initially designed for Sikkens. It presents their latest colour collection in a three-dimensional space. From every viewpoint the kleurluchter shows two different sides of the colour circle in three different saturation levels.

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Location • Tuttobene Milan 2011 Company • Design Industry Amsterdam Presentation • Kleurluchter Designer • Willem Matthijs Schilder www.desind.nl Contact • Willem Matthijs Schilder Bredeweg 24, 1098 BR Amsterdam The Netherlands e • wmswms@gmail.com t • +31 (0)6 412 197 91


FS09 • Stortplaats van Dromen • The public spaces of Zona Isola About  Our designs for interiors, furniture and pavilions arise from both used and found as well as from natural material. Stortplaats van Dromen (Dump of Dreams) stands for improving the (social) environment in a very practical way, showing the potential of (waste) materials and finding easy ways to make big dreams come true with very little.

that gives a colourful glimpse into the area and its people.

Presentation  At the invitation of The Public Design Festival, we will build a collaged tavern with an adaptable bar made of found materials from the Isola district. We will serve drinks and a soup of the day and in doing so, create a meeting place

Contact • Rikkert Paauw Postbus 1396, 3500 BJ Utrecht The Netherlands

Location • The public spaces of Zona Isola Cavalcavia Eugenio Bussa, 20154 Milano Presentation • Stortplaats van Dromen Designers • Hein Lagerweij, Rikkert Paauw, Niek Wagemans, Jet van Zwieten www.stortplaatsvandromen.nl

e • rikkert@stortplaatsvandromen.nl t • +31 (0)6 451 619 82

FS10 • Location ag22 • Via Alserio 22

FS11 • Location Spazio Rossana Orlandi • Via Matteo Bandello 14/16 Via Matteo Bandello 14/16, 20123 Milano 5 Presentations • BCXSY • Jack Brandsma • Piet Hein Eek • Thomas Eyck • Christien Meindertsma • Studio Formafantasma

About  In the Magenta neighbour, Rossana Orlandi has been forecasting new talents from all over the world with a special focus on Dutch design, since 2002. In 2008 a gallery for limited edition and unique pieces was established in the same building that houses the work of artist such as Nacho Carbonell and Maarten Baas.

FS11 • BCXSY • Spazio Rossana Orlandi About  BCXSY is a balanced combination of two unique talents creating one unique narrative. The duo emphasizes beauty, purity, wit, emotional awareness, personal experience and personal interaction. BCXSY offers a multi-disciplined experience through the creation and development of concepts, identities, products, graphics, interiors and atmospheres.

Via Alserio 22, 20159 Milano 2 Presentations • Droog • Lensvelt

Presentation  BCXSY has collaborated with Sidreh – an organization based in Lakiya, Israel, promoting traditional Bedouin weaving. The resulting rugs col , lection reflects BCXSY s unique ability of taking part in the evolution of a craft

FS10 • Droog • ag22

Location • Spazio Rossana Orlandi Presentation • Origin part II Designers • Boaz Cohen, Sayaka Yamamoto www.bcxsy.com Contact • Boaz Cohen Sint Bavostraat 30, 5643 MB Eindhoven The Netherlands e • info@bcxsy.com t • +31 (0)6 471 624 10

FS11 • Jack Brandsma • Spazio Rossana Orlandi About  Join the launch of MakeMe, an online store offering an easy way to download, design, make and share design. Droog will present its brand presence on a platform featuring designs by EventArchitectuur, FormaFantasma and Minale-Maeda. Presentation  Co-founded and directed by Renny Ramakers, Droog pioneers new directions, new collaborations, creative tools and models for design, business and consumer culture. Droog has offices in Amsterdam and New York, stores in Amsterdam and Las Vegas and retail partners worldwide offering accessories, lighting, furniture and studio work.

About  Jack Brandsma was one of the first Design Products graduates at the RCA in London in 2001. Nowadays he designs custom interiors, furniture and products, as well as special pieces for market (re)production and art commissions. Jack welcomes and is open to collaboration with design manufacturers, as well as architects and artist.

Location • ag22 Presentation • MakeMe Designers • EventArchitectuur, FormaFantasma, Minale-Maeda www.droog.com Contact • Agata Jaworska Staalstraat 7a/b, 1011 JJ Amsterdam The Netherlands e • agata@droog.com t • +31 (0)2 052 350 50

FS10 • Lensvelt • ag22

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through the transformation of the existing elements in , an innovative manner while respecting it s nature.

Presentation  This year Jack will present tables, chairs and lamps at Spazio Rossana Orlandi and some other products are lined up for production, to be launched during Fuori Salone.

Photography • Harold Koopmans Location • Spazio Rossana Orlandi Company • een paar ontwerpers v.o.f. Presentation • Jack Brandsma Designer • Jack Brandsma www.jackbrandsma.com Contact • Dorpsweg 37, 9798 PC Garmerwolde The Netherlands e • jack@jackbrandsma.com t • +31(0)6 143 710 31

FS11 • Studio Formafantasma • Spazio Rossana Orlandi

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About  Lensvelt ,Company was founded in 1962. Lensvelt s mission is to manufacture innovative interior solutions to satisfy people and companies for every work, play, relaxing and creative space. The objective is to inspire users, architects, designers & artists and to give them the tools to do the unexpected.

Location • ag22

Presentation  For the first time in Italy, the Dutch brand presents the new ‘Job , Office with other pieces from its collection. Cabinets, lamps, tables and seatings for home and office. Installation: Studio Job.

e • g.flor@lensvelt.nl t • +31 (0)6 121 331 14

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About  Andrea Trimarchi and Simone Farresin are Studio Formafantasma, two italian designers based in Eindhoven. Their work reconfirmed their ability in the re-introduction in contemporary life of objects rooted in tradition suggesting to the user to invent new gestures and rituals stimulated by ancient memories evoked by a familiar objects.

Presentation • Just solutions Designers • Studio Job, Mark van der Gronden, Atelier Van Lieshout. www.lensvelt.nl Contact • Giuseppina Flor Lensvelt, Postbus 5627, Minervum 7003, 4817 ZL Breda, The Netherlands

Presentation  Studio Formafantasma is presenting a series of objects designed as if the oil based era would have never come. The design of the pieces is underlining the vegetal and animal origin of the resins, while colours are all based on a natu-

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ral amber tone in combination with wood, ceramic and metal. Location • Spazio Rossana Orlandi Presentation •Botanica - Curated by Marco Petroni, commission by Plart Foundation Designers • Simone Farresin, Andrea Trimachi www.formafantasma.com Contact • Studio Formafantasma Andrea Trimarchi, Simone Farresin Kronehoefstraat 1, 5612 HK Eindhoven The Netherlands e • info@formafantasma.com t • +31 (0)6 162 951 71


FS12 • WET • Via Regina Giovanna 24

FS15 • Location Cascina Cuccagna • Via Cuccagna 2/4

About  Design and Production company WET® is known for its highly innovative, colourfully illuminated bathtubs and sinks. WET® sells its products worldwide to an exclusive, design-orientated range of clients, including the film, television (Big Brother), fashion and musical industries. WET® has received international design awards and is highly specialised in rotational, moulded polyethylene production. Presentation  10mm laser-cut, lightweight, poplar plywood, reorganized like a puzzle into this unusual warm* armchair. A velvet-like surface finish covers its wooden structure, so as to protectively embrace you like a tender shield. It is a surprisingly convincing, colourful armchair that immediately takes up its own little place in the contemporary furniture world.

Location • Tourbillion Adriana Morandi Via Regina Giovanna 24, 20129, Milano Presentation • Gerrit by WET Designer • Jan Puylaert www.puylaert.com www.wet.co.it Contact • Jan Puylaert Via Altipiano 11, 21010 Porto Valtravaglia Italy e • wet@wet.co.it m • +39 347 960 3022

FS15 • Gitte Nygaard • Cascina Cuccagna

FS13 • Design Academy Eindhoven • Via Friuli 26 About  Design Academy Eindhoven: ‘We educate designers who will shape the future. We promote a mentality of creating new ideas, strategies, objects, experiences, spaces and services. Designers need to be responsive to changes in the world around them. Designers define, how we experience the world around us. Presentation  THIS WAY - new realities, new roles is an exhibition about the changing role of the designer and shows a selection of the latest graduate work from the Design Academy Eindhoven.

operating at great humanitarian and ecological costs.

Presentation  The design and choice of materials for the jewellery and objects refers to coal and diamonds both containing the elemental carbon C6 in the periodic table. The collection is a comment about the diamond and coal industries, which are still

Contact • Gitte Nygaard Burgemeester de Vlugtlaan 125 1063 BJ Amsterdam, The Netherlands

Location • Cascina Cuccagna Presentation • Been there - Done what, to Binchotan and Black Designer • Gitte Nygaard www.gittenygaard.com

e • gitte.nygaard@gmail.com t • +31 (0)6 106 720 31

About  Jair Straschnow is an independent designer living and working in Amsterdam. He was nominated for the Rotterdam Design Award in 2009, and with the grassworks collection has won the 2010 Designs of the year Award furniture category, at the Design Museum, London.

Photography 'Pianola' Akko Goldenbeld, Design Academy Eindhoven (René van der Hulst) Presentation • THIS WAY - new realities, new roles Designers • Roel de Boer, Akko Goldenbeld and Dirk van der Kooij, among 70 others

Presentation  grassworks are a series of experiments in self-assembly furniture - a range that is designed to be simple, spacesaving and wholly sustainable. The furniture is made from bamboo laminate sheets, with an interlocking system of component parts in order to assemble each piece with dry mechanical fastening and minimal use of glue and screws.

www.designacademy.nl Contact • Antoinette Klawer Emmasingel 14 / Postbus 2025 5600 CC Eindhoven The Netherlands e • antoinette.klawer@designacademy.nl t • +31 (0)4 023 939 39

Location • Cascina Cuccagna Presentation • Grassworks Designer •Jair Straschnow www.straschnow.com Contact • Jair Straschnow Diderotstraat 18,1064 XH Amsterdam The Netherlands e • jair@straschnow.com t • +31 (0)6 146 843 32

FS15 • Wouter Nieuwendijk & Jair Straschnow • Cascina Cuccagna

About  aMAZElab is a non-profit, cultural lab that devotes itself to the diffusion and knowledge of contemporary cultures. Its members and representatives include artists, sociologists, journalists, students and designers. aMAZElab develops perspectives on intervention in social issues and it is committed to research in territories, communities, micro-geographies and emerging cultures. Presentation  The Green Island provides an opportunity to reflect on key themes such as sustainability, green areas and urban landscape. It will exhibit the productions of Stallinga, a duo from Amsterdam and MONU (Magazine on Urbanism), cre-

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About  Gitte Nyggard studied jewellery design at the Gerrit Rietveld Academie in Amsterdam. In addition to jewellery she designs installations and furniture. Nygaard is fascinated by the intimacy and also the public nature of jewellery. Gitte lives in Amsterdam, and together with Jair Straschnow she was nominated for the Rotterdam Design Award 2009.

FS15 • Jair Straschnow • Cascina Cuccagna Location • Studio Zeta Via Friuli 26, 20135 Milano

FS14 • aMAZElab • Via Cola Montano 24

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Via Cuccagna 2/4, 20135 Milano 3 Presentations • Gitte Nygaard • Jair Straschnow • Wouter Nieuwendijk & Jair Straschnow

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ated in Rotterdam by Bernd Upmeyer and Beatriz Ramo and in Italy for the first time.

About  Jair Straschnow and Wouter Nieuwendijk are two independent designers working from the same studio in Amsterdam. Straschnow and Nieuwendijk collaborated on this project, designing sustainable outdoor furniture. The main material they use is bamboo, the fastest growing plant on earth that can be harvested again and again from the same stalk.

Location • Chiedi alla Polvere Via Cola Montano 24, 20159 Milano Photography • GREEN ISLAND. Design a Garden, courtesy aMAZElab, Milano. Presentation • GREEN ISLAND NETWORK Designers • Stallinga, Beatriz Ramo, Bernd Upmeyer

Presentation  Esterni commissioned Straschnow and Nieuwendijk to redesign their circular bench. (a)social bench is the result and will be shown amongst other outdoor furniture in Cascina Cuccagna, one of the oldest and most central cityfarm in Milan.

www.amaze.it Contact • Claudia Zanfi Via Cola Montano 8, 20159, Milano, Italy e • info@amaze.it t • +39 02 607 162 3

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Location • Cascina Cuccagna Presentation • (a)social bench Designers • Wouter Nieuwendijk, Jair Straschnow www.wouternieuwendijk.nl www.straschnow.com Contact • Wouter Nieuwendijk Diderotstraat 18, 1064 XH Amsterdam The Netherlands e • info@wouternieuwendijk.nl t • +31 (0)6 186 460 45


ZT02 • Moooi • Via Tortona 37

Zona Tortona

About  Founded in 2001 by Marcel Wanders & Casper Vissers, Moooi offers an exclusive mix of lighting, furniture & accessory design which outlast everyday interiors. During the last years Moooi has expanded its horizons at a rapid pace, opening showrooms in strategically located key-cities: Amsterdam, London, Antwerp, New York and Milan. Presentation  From the 12th to the 17th of April Moooi is proud to present a panoramic overview on its new products at the Milan showroom. In via Tortona 37 Moooi reveals the new creations of Marcel Wanders, Stefano Giovannoni, Studio Gothic Chair by Studio Job

Job, Rooms, Sjoerd Vroonland, Bertjan Pot and Moooi Works. Location • Moooi Showroom Milan Via Tortona 37, 20144 Milano Presentation • The Unexpected Welcome Designers • Stefano Giovannoni, Bertjan Pot, Rooms, Studio Job, Sjoerd Vroonland, Marcel Wanders www.moooi.com Contact • Karin Yedema Minervum 7003, 4817 ZL Breda, The Netherlands e • info@moooi.com t • +31 (0)7 657 844 44 Press • Marika Boso e • press@moooi.com t • +31 (0)7 657 800 98

ZT03 • Location Via Tortona 12 via Tortona 12, 20144 Milano 3 Presentations • Pieke Bergmans • Tristan Frencken • YLdesign

ZT01 • BRAND VAN EGMOND • Via Tortona 27

ZT03 • Pieke Bergmans • Via Tortona 12

 , About  Pieke Bergmans s favourite modus operandi is to alter existing production processes to create new forms and functions. Her products are called viruses, due to their natural forms and the way they come to life. The term combines the many disciplines and materials with which she creates products and works of art.

About  Lighting design studio BRAND VAN EGMOND, founded by William Brand and Annet van Egmond, is specialised in making unique and sensual lighting sculptures that truly capture the imagination. The collection includes several series of lighting sculptures as well as ‘Haute  , Couture pieces, specially designed for individual clients.

Presentation  Pieke Bergmans and the LUSTlab in 2010: multidisciplinary graphic designers from LUSTLab present L.A.M.P.0.0.1. IT IS LOOKING FORWARD TO SEE YOU.

Presentation  BRAND VAN EGMOND presents its latest lighting sculptures and is proud to announce the new cooperation with Richard Hutten! For our 2011 collection, Richard Hutten designed an exiting lighting object: minimalistic yet decorative, stylish yet frisky and sexy. The way we like it!

Location • Via Tortona 12 Company • Design Virus & LUSTlab Presentation • L.A.M.P.001/1 Designers • Pieke Bergmans, LUSTlab www.piekebergmans.com www.lustlab.net Contact • Pieke Bergmans Sint Annenstraat 6, 1012 HE Amsterdam The Netherlands e • info@piekebergmans.com t • +31 (0)6 520 706 97 Press • Studio Design Virus e • press@piekebergmans.com t • +31 (0)6 520 706 97

ZT03 • Tristan Frencken • Via Tortona 12 Location • Superstudio Più Via Tortona 27, 20144 Milano Presentation • BRAND VAN EGMOND Designers • William Brand, Annet van Egmond, Richard Hutten www.brandvanegmond.com Contact • Anne Wolters Nikkelstraat 41, 1411 AH Naarden The Netherlands e • press@brandvanegmond.com m • +31 (0)6 307 746 79

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About  Dutch designer Tristan Frencken graduated with honours from the Design Academy Eindhoven in 2004. During his studies, Tristan started his own design studio. In his work, he constantly explores endless possibilities and always strives for the 'wow effect'. His products distinguish themselves through exceptional aesthetic value and high-end usability.

Photography • Sirkel Fotografie

, Presentation  ‘Twister  is an extraordinary ornament that can be shaped into whatever you personally desire. The contrast of the smooth white “backbone” and the black  , rubber surface of the side-table ‘Snake makes you feel the elegance of  , this piece of furniture. ‘Bubbles is a playful way to display and highlight your personal objects.

e • info@tristanfrencken.com t • +31 (0)4 163 833 55

ZONA TORTONA

Location • Via Tortona 12 Designer • Tristan Frencken www.tristanfrencken.com Contact • Tristan Frencken Kerkstraat 33, 5154 AM Elshout The Netherlands

Press • Marloes Wolfs e • info@tristanfrencken.com t • +31 (0)6 454 545 63


ZT03 • YLdesign • Via Tortona 12

ZT06 • Iconic Indoors • Via Savona 45 About  YLdesign designs products based on a specific idea that is expressed in a shape, material or application. The result is eye-catching and user-friendly designs – practical products with a twist!

Location • Via Tortona 12

Presentation  This year, I , will be presenting several ‘evergreens from my collection, including the Woody Wood carpet and Flame IT candlestick. A new item in my  , collection is ‘Scarecrow is taking a rest , a comfortable and striking lounge cushion for outdoor use that is available in two colours.

Contact • Yvette Laduk Magnoliastraat 8, 2404 VT Alphen aan den Rijn The Netherlands

Presentation • Meetingpoint YLdesign | Yvette Laduk. Nice to meet you... Designer • Yvette Laduk www.YLdesign.nl

e • info@yldesign.nl t • +31 (0)6 557 513 15

ZT04 • Functionals • Via Tortona 54

About  By three designers: Bart de Rooy, Anno Koning and Tina Koning. We are fascinated by the tension between old crafts and new design. Through our work we generate a greater awareness of crafts by isolating them from their context. We design furniture and interior concepts.

Location • Via Savona 45, 20144 Milano

Presentation  A new concept by three Dutch designers. Authentic crafts are integrated in new design furniture. All of them have a different historical background. There is a genuine Jugendstil piece, but also Delftware, copper cutlery, tin wine jugs, etc. Seven ,pieces under the name ‘the aBt! collection. By Iconic Indoors.

e • bart@iconicindoors.com t • +31 (0)6 523 637 63

About  Functionals, a young Dutch design brand, features furniture and furnishings created by talented designers. They focus on craftsmanship and elegant simplicity, not fleeting trends. Their mission is to design and sell furniture, lighting, and accessories that answer needs, delight the eye and stand the test of time. Presentation  Architectural, industrial,  , graphical. ‘Expect the unconventional.

Contact • Yvonne Brok Edisonstraat 5, 5051 DS Goirle, The Netherlands

About  The Royal Academy of Art (The Netherlands) prepares its students to become self-aware artists and designers who make a significant contribution to their discipline and to society with passionate and meaningful experiments. Our work is guided by four core values: creativity, content, commitment and an orientation towards the future.

Presentation • Functionals Designers • Mia Gammelgaard & Ehlén Johansson, Jan Habraken, Dick van Hoff, Kranen/ Gille, Alissia Melka-Teichroew, Serener, Chris Slutter, Claire Vos, Roderick Vos www.functionals.eu

Presentation  The Royal Academy of Art: Nano and Giga demonstrates the relation between the human scale and the extremely large and extremely small in the performances that are the outcome of artistic research by students of the Royal Academy.

ZT05 • NgispeN / Gispen • Via Tortona 54 About  NgispeN has a collection targeting the domestic and project market. The Richard Hutten Collection is an essential part of the NgispeN label but also designers like Fabio Novembre, Michael Young, James Irvine and Jerszy Seymour designed products for NgispeN. All our products are designed under the credo “Playing with Tradition”. Presentation  NgispeN will exhibit new series of furniture, lighting and accessories. These products are interesting for archi­tects, professional distributors, retail companies and everybody who likes excellent design. Did you know that more

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www.iconicindoors.com Contact • Bart de Rooy Harlingerstraatweg 66, 8916 BE Leeuwarden The Netherlands

ZT07 • Royal Academy of Art • Via Voghera 11/b Location • Face to Superstudio Più Innovation/imagination 2011, 1st floor Via Tortona 54, 20144 Milano

e • yvonne@functionals.eu t • +31 (0)1 353 003 89

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Presentation • aBt! Designers • Anno Koning, Bart de Rooy, Tina Koning

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than 50% of our product portfolio is acquired by museums, all over the world, for their own collections? Location • Spazio A Via Tortona 54, 20144 Milano Presentation • NgispeN / Gispen Designers • Jurgen Bey, WH Gispen, Richard Hutten, James Irvine, Gerrit Rietveld, Jerszy Seymour, Michael Young, Maarten Baas, Dirk van der Kooij, Anke Bernotat, Dick van Hoff, ZUS www.ngispen.com www.gispen.nl Contact • Diane van Veen Parallelweg West 23, 4104 AZ Culemborg The Netherlands e • diane.van.veen@gispen.nl t • +31 (0)6 510 028 27

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For example, microscopic organisms are magnified into characters in an opera. Location • Studio Iroko Via Voghera 11/b, 20144 Milano Presentation • The Royal Academy of Art: Nano and Giga Designers • Students and Alumni from the departments of ArtScience, Graphic Design, Interior Architecture & Furniture Design and Textile & Fashion www.kabk.nl/milano Contact • Marjolein Brouwer Prinsessegracht 4, 2514 AN The Hague The Netherlands e • pr@kabk.nl t • +31 (0)6 118 723 31


ZL01 • De Vorm • Autofficina

Zona Lambrate

About  Thanks to strict lines, colour design and hidden features, furniture by De Vorm is surprising, contemporary and timeless. The design of each product creates an added value by combining optimal comfort with an unconventional identity. The playful character, the dynamics and the naturalness of De Vorm is guaranteed by its young and talented designers.

Felt-chair and the Clamp-a-leg are all exclusively designed for De Vorm, with regard to its philosophy.

Presentation  De Vorm presents new yet classic, eco-friendly and refined design by Sebastian Herkner, Benjamin Hubert and Jorre van Ast - three very talented, young designers awarded with prestigious design prizes. The Clip-chair, the Privacy

Contact • Jeroen ter Hoeven Uitmeentsetraat 19, 6987 CX Giesbeek The Netherlands

Location • Autofficina Presentation • De Vorm & Laurens van Wieringen Designers • Jorre van Ast, Sebastiaan Herkner, Benjamin Hubert, Laurens van Wieringen www.devorm.nl

e • jeroen@devorm.nl t • +31 (0)6 533 585 54

ZL01 • designlabel Vij5 & Mieke Meijer • Autofficina About  Vij5 is a Dutch design label with a collection of interior products, characterised by simplicity and the use of existing elements. Its young founders, Arjan van Raadshooven and Anieke Branderhorst, design the majority of the products and actively seek collaboration with other young designers to expand their collection. Presentation  This year, Vij5 presents a special collaboration with Mieke Meijer, who devised a solution for upcycling old newspapers into a new material: NewspaperWood. Vij5 and Mieke are currently developing the material together and invited a group of talent-

ZL01 • Location Autofficina • Via Massimiano 23

About  For designer Floris Hovers a basic, simple approach to techniques and materials is essential for the communication of his vision and working method. It creates clarity and gives insight into the workings of his designs, which is needed since this world is becoming increasingly more confusing! He is the playful designer and producer of his own work. Presentation  Standardized craft is a variation on his mainstream Industrial craft work area. It is a theme in which he uses standardised forms, measurements and industrial colours of materials. You could say he is restricting himself, but within this

ZL01 • Studio Roel Huisman • Autofficina

Presentation • NewspaperWood Designers • Breg Hanssen, Christian Kocx, Floris Hovers, Greetje van Tiem, Ontwerpduo, rENs, Tessa Kuyvenhoven www.Vij5.com Contact • Arjan van Raadshooven Debussystraat 2, 5654 SC Eindhoven The Netherlands e • info@Vij5.nl t • +31 (0)6 245 275 31

framework, he redetermines forms and proportions. Location • Autofficina Presentation • Standardised crafts Designer • Floris Hovers www.florishovers.com Contact • Floris Hovers Oosterhoutseweg 73, 4941 WX Raamsdonksveer, The Netherlands e • vorm@florishovers.nl t • +31(0)1 62 693 194

ZL01 • Galerie Judy Straten • Autofficina

About  Roel Huisman is an independent designer specialised in interior, product and theatre design. His work includes scenography designs for major theatre companies such as Toneelgroep Amsterdam and interior designs for public spaces, including the Rotterdamse Schouwburg theatre. He has presented new products and furniture designs at various exhibitions. Presentation  IF THIS IS NOW I AM HERE is a collection of furniture that defines space without raising walls, shelters communities without setting boundaries. It embraces memories, treasures dreams, seizes time.

Index

Location • Autofficina

ZL01 • Floris Hovers • Autofficina

Via Massimiano 23, 20134 Milano 7 Presentations • Studio Roel Huisman • De Vorm • designlabel Vij5 & Mieke Meijer • Floris Hovers • Galerie Judy Straten • Studio Schneemann • Studio Laurens van Wieringen

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ed young Dutch designers to experiment with NewspaperWood for a first product collection.

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About  Gallery Judy Straten is a Concept Gallery: Art + Design + Fashion = Creative Mind

Location • Autofficina Presentation • IF THIS IS NOW, I AM HERE Designer • Roel Huisman www.roelhuisman.nl

Location • Autofficina Presentation • Gallery Judy Straten on Location Designers • Ka-Lai Chan, Friso Dijkstra, Pascal Smelik www.galeriejudystraten.com

Contact • Roel Huisman Krelis Louwenstraat 1-B29, 1055 KA Amsterdam The Netherlands

Presentation  At Autofficina, the gallery will present Chan with SheLLf, Dijkstra with Mollusc and Smelik with Kaarsrecht Chandeliers. A mix of emotion, shape & technique.

e • deliver@roelhuisman.nl t • +31 (0)6 246 542 41

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Contact • Judy Straten Schoolstraat 7, 5961 EE Horst, The Netherlands e • ejstraten@galeriejudystraten.com t • +31 (0)6 506 417 66


ZL01 • Studio Schneemann • Autofficina

ZL03 • Studio DRIFT • Via Ventura 5

About  My inspiration is led by curiosity. A free playful mind is a necessity when I design. Sometimes, struck by an event or an encounter, I linger over a fleeting idea and before I know it, something is taking shape. My designs communicate through material or a clear conceptual approach. Presentation  A Flip Flop Story by Diederik Schneemann captures the eventful travel tales of worn, torn, often patchedup and eventually discarded or lost flipflops, translated into a colourful and playful collection of autonomous, handmade and sustainable design objects.

Location • Autofficina Presentation • A Flip Flop Story Designer • Diederik Schneemann www.studioschneemann.com Contact • Diederik Schneemann Hugo Molenaarstraat 49a, 3022 NP Rotterdam The Netherlands e • diederik@studioschneemann.com t • +31 (0)1 047 755 50

About  In 2006, Ralph Nauta and Lonneke Gordijn founded Studio DRIFT with a vision of creating design that reacts to & questions human behaviour.

Location • Pianissimo gallery Via Ventura 5, 20134 Milano

Presentation  We present FLYLIGHT, outside the Netherlands for the first time. Flylight is a light installation based on animal group behaviour. It reacts to the public as if it were a flock of starlings or a school of fish.

www.designdrift.nl

Presentation • Studio DRIFT Designers • Lonneke Gordijn, Ralph Nauta

Contact • Marjolein van Zanten Jan Evertsenstraat 337, 1061 XT Amsterdam The Netherlands e • marjolein@designdrift.nl t • +31 (0)2 084 069 93

ZL04 • Location Collective Location • Via Massimiano 6 Via Massimiano 6, 20134 Milano 3 Presentations • PeLi Design • Academy Fine Arts Maastricht • Studio Dave Keune

ZL01 • Studio Laurens van Wieringen • Autofficina About  Laurens designs special interiors and products for companies and private clients, mostly tailor-made to specific needs. Laurens creates surroundings and an atmosphere in which you can feel pleasant, surprising you, putting you at ease, making you smile or enjoy the clever use of innovative materials and production processes. Presentation  The collection presented this year , in Lambrate, Milan will consist of Laurens s most recent furniture pieces, designed for private clients and production labels: a striking cabinet to commemorate a loved one, a playful chair for a lucky girl,

ZL04 • PeLi Design • Collective Location something fruity for your table, wall and floor lamps for the office & home.

About  PeLiDesign is an international design studio and a producer of great concepts and extraordinary products. With our team we are ready to embark on your projects! Apart from serving our clients we initiate design research projects. PeLiDesign is about truth: we love to show the inner beauty of things.

Location • Autofficina Presentation • De Vorm & Laurens van Wieringen Designer • Laurens van Wieringen www.laurensvanwieringen.nl Contact • Laurens van Wieringen Graaf Florisstraat 1A, 1091 TD Amsterdam The Netherlands

Presentation  Alexander Pelikan created a series of 3D printed door handles from stainless steel, by 3D-scanning handles and exploiting the  , errors of the scan-file, as if the scanner s perception was severely impaired or altered. This research was done in cooperation with TNO Eindhoven, Studio Ludens and i.materialise.

e • info@laurensvanwieringen.nl t • +31 (0)6 558 865 11

ZL02 • New Times New Heroes • Via Privata Oslavia 8

 , About  ‘New Times, New Heroes is a celebration of open and collaborative design, initiated by House of Contemporary Art Z33, a group of Dutch and Belgian designers who come together to present their critical views on contemporary design and culture.  , Presentation  ‘New Times, New Heroes  , introduces ‘OpenStructures , a modular construction model. A group of multi-disciplinary designers and design organizations, build off this framework to produce a series of parts, projects and platforms. Projects include a street-side digital fabrication kiosk and a digitally hacked View-Master.

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Location • Overlite Via Privata Oslavia 8, 20134 Milano Presentation • New Times New Heroes Designers • Brecht Duif, Claire Warnier, Jon Stam www.commonplace.nl Contact • Jon Stam Delistraat 5C, 1094 CS Amsterdam The Netherlands e • jonstam@gmail.com t • +31 (0)6 134 829 93

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Photography • Bas Berends Location • Collective Location Presentation • A Machine’s Perception - door handles Designer • PeLi (Alexander Pelikan) www.pelidesign.com Contact • Alexander Pelikan Sint Gerardusplein 17, 5644 NG Eindhoven, The Netherlands e • peli@pelidesign.com t • +31 (0)6 414 036 87


ZL04 • Academy Fine Arts Maastricht • Collective Location

ZL04 • Studio Dave Keune • Collective Location About  Making aesthetics function: the spatial design of Studio Dave Keune enhances usability and durability in the fields of interior, exhibition and product design.  , Keune s creation operates through layers of research, development and production. By applying skilled craftsmanship to the production process, he delivers high-quality results in design, function and durability. Presentation  Standard Primitives, a new collection of modular furniture-objects by Dave Keune, consists of different bright and pure, interchangeable elements. , Standard Primitives  , doesn  t prescribe how things ‘should be , but allows for a plural

 , and personal ‘could be . On show are several examples of personalised combinations of these pure and primitive elements. Location • Collective Location Presentation • Standard Primitives Designer • Dave Keune www.davekeune.com Contact • Dave Keune Krelis Louwenstraat 1 B29, 1055 KA Amsterdam The Netherlands e • info@davekeune.com t • +31 (0)6 198 645 73

ZL05 • Kevin van Braak • Via Ventura 3 About  Kevin van Braak works as an independent artist whose main interest lies in the confrontation of contemporary culture with itself. He feels challenged by politically and ideologically problematic subjects. His works often seem harmless at first, but upon closer look a series of less comfortable realisations and associations unfold.

for millions of people, as signed on these desks by their owners.

Presentation  Kevin van Braak presents detailed copies of office desks of controversial former world leaders. The desks have the original proportions, but are realised in a different material. In this new appearance, they resist being literally inscribed with decisions of life and death

Contact • Kevin van Braak Postbus 1009, 1001 EB Amsterdam The Netherlands

Location • PrometeoGallery Via Ventura 3, 20134 Milano Presentation • Kevin van Braak Designer • Kevin van Braak www.kevinvanbraak.com

e • kevinvanbraak@gmail.com t • +31 (0)6 245 243 30

ZL06 • Location Light Space • Via Privata Oslavia 3 Via Privata Oslavia 3, 20134 Milano 5 Presentations • Annelou van Griensven • detailF • Doreen Westphal Design BV • Lambert Kamps • Particles Gallery

About  Jewellery Design: Body Related Products focuses on Contemporary Jewellery, the student develops his own independent vision and researches the limits of wearability and function. Product Design: within the abkm gives the student insight into the aspects of the autonomous as well as the industrial side of designing. Presentation  Works from our Alumni of the last 5 years within the Theme WE-YOU, where the focus lies on the interaction between the designer and the consumer. The  , designer is not only a conceptual ‘artist , he is also the builder and contractor of the project.

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Location • Collective Location, Via Massimiano 6, 20134 Milan, Italy Presentation • WE-YOU: WE tell YOU stories, WE act YOU react, WE make YOU dream… Designers • Malu Berbers, Luc Daamen, Anne van der Donk, Fien de Graaf, Kaspar Hamacher, Hansen Hoepner, Robin van Hontem, Marco Iannicelli, Albertine van Iterson, Morgane Kerbrat, Matylda Krzykowski, Christiaan Lebens, Valentin Loellmann, Sarah Mesritz, Fabian Sänger, Dik Scheepers, Fabian van Spreckelsen, Joyce Souren, Heike Tittes

ZL06 • Annelou van Griensven • Light Space

www.abkmaastricht.nl Contact • Chequita Nahar/Jo Sijen Herdenkingsplein 12, 6211 PW, Maastricht The Netherlands e • c.nahar@hszuyd.nl t • +31 (0)4 334 663 9 0

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About  Annelou van Griensven is  ,fascinated by everyday ‘invisible  , realities . She visualises modern society s rough edges, which leads to an understanding of these situations. Photography and design play a key role in the visualisation of her topics. Within this project, she collaborates with her brother and furniture designer Joep van Griensven.

piece remains unchanged and preserves its artisan authenticity.

Presentation  This 18th century tea table was found during research  , for the project/ book ‘Between two lives and is one of the five pieces in the collection. The starting point is furniture from the past. A modern, functional piece of furniture is added. The

Contact • Annelou van Griensven Gabriëlstraat 69 -4, 6813 KN Arnhem The Netherlands

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Location • Light Space Presentation • Annelou van Griensven Designers • Annelou van Griensven, Joep van Griensven www.annelouvangriensven.nl www.betweentwolives.blogspot.com

e • info@annelouvangriensven.nl t • +31 (0)6 446 880 94


ZL06 • detailF • Light Space

ZL07 • Location Undai About  DetailF is the design studio of independent designer Franziska Wernicke. The studio is constantly developing new products to extend its own collection. A passion for traditional craftsmanship, experimentation and innovation is present in the design process and in the final product. The resulting products are simultaneously elegant and edgy. Presentation The room moments c1 carpet is made out of 100% pure New Zealand wool and is manufactured entirely in the Netherlands using exclusive hightech tufting techniques and traditional

craftsmanship. The subtle and smooth colour gradient effect gives the impression of a change of dimension in the carpet. Location • Light Space Presentation • room moments c1 Designer • Franziska Wernicke www.detailF.com Contact • Franziska Wernicke Graaf Florisstraat 30A, 3021 CH Rotterdam The Netherlands e • franziska@detailf.com t • +31 (0)6 812 522 45

Presentation  This year, Doreen Westphal Studio and G.tecz will present the fruits of their two-year collaboration. This cooperation proves that social responsibility is neither obvious nor simple and that it requires strong partnerships between industry, sci-

5 Presentations • Ahrend • Emmanuel Babled Studio • The Dutch Standard • Van Eijk & Van der Lubbe • Weltevree

ZL07 • Ahrend • Undai

ZL06 • Doreen Westphal Design • Light Space About  The work of Doreen Westphal is critical, effective and beautiful. Inspired by architecture and science, she is committed to making products that help envision another, better future. Each step from base material, to production process, to consumption should be considered a contribution to a world that is fair and lasting.

Via Ventura 6, 20134 Milano

ence and design. Only then can we produce products that are not only beautiful, but also ethical.

About  Ahrend is a cradle-to-cradle company that creates products and shapes sustainable working, learning and living environments that stimulate people who operate or live within them.

Location • Light Space Presentation • Concrete Ceramics Designer • Doreen Westphal

Presentation  Ahrend 380 by Ineke Hans and Ahrend XXXX_Stool by Yuya Ushida show that Ahrend is intrigued by recycled and recyclable materials and by solutions that give the illusion of space.

www.doreenwestphal.com Contact • Doreen Westphal Pioenroosstraat 83, 5644 CB Eindhoven The Netherlands

www.ahrend.com www.inekehans.com www.yuyavsdesign.com Contact • Remon van Rijn Laarderhoogtweg 12, 1101 AE Amsterdam The Netherlands e • rvrijn@ahrend.com t • +31 (0)2 043 078 44 m• +31 (0)6 126 844 23

ZL07 • Emmanuel Babled Studio • Undai About  Lambert Kamps is an artist and designer based in Groningen. Lambert studied fashion and design before attending the school of fine arts in Groningen. His work, which is widely exhibited in galleries, at art fairs and in site-specific installations or happenings, is known for blurring boundaries between art, architecture and design. Presentation  Pillow: an inflatable tent made of airbags. In order to create this tent, the individual inflated bags were simply sewn together like bricks. The tent can be used for exhibitions, festivals or cozy

parties. Inside is a presentation of Fat Furniture, furniture with shapes inspired by the problem of obesity.

Profile  After 22 successful years in Paris and Milan, EBS landed in Amsterdam. EB (France 1967) masterly crafts the industrial design of objects in glass, marble, wood and composites. In limited editions and for mass consumption. EBS works as an adviser in product design, graphics and art direction. EB goes where no one has gone before, combining exploration, innovation and skills.

Location • Light Space Presentation • Pillow tent Designer • Lambert Kamps www.lambertkamps.com Contact • Lambert Kamps Postbus 1157, 9701 BD Groningen The Netherlands

Presentation  Emmanuel Babled, who has been able to give the Murano glass a more sexy,and playfull appeal, will present ‘Rien de 9 , with recent work in limited editions. Babled continues elaborate on specific local traditions, extending his activity from

e • info@lambertkamps.com t • +31 (0)6 482 733 16 Quark - Coffee table - American walnut - Photo: Carlo Lavatori

ZL06 • Particles Gallery • Light Space

glass objects to textile, marble, plexiglass and ceramics. Location • Undai Presentation • Rien de 9 Designers • Emmanuel Babled, Mauro Martinuzzi www.babled.net Contact • Emmanuel Babled Wenslauerstraat 314, 1053 BB Amsterdam The Netherlands e • info@babled.net t • +31 (0)2 033 164 62

ZL07 • The Dutch Standard • Undai About  Particles Gallery is an Amsterdam based pop-up gallery for contemporary design, which promotes exclusive functional objects in temporary international locations and works with both established and , emerging international artists. Particles objects, when treated with care, will last for generations. Presentation  Presenting various new designs in wood, by a selection of international artists. Showcasing an exiting variety of views on the use of wood in contemporary design.

Index

Presentation • Space Tricks & Material Treats Designers • Ineke Hans, Yuya Ushida

e • contact@doreenwestphal.com t • +31 (0)6 242 409 89

ZL06 • Lambert Kamps • Light Space

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Location • Undai

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Location • Light Space Photography • Erik and Petra Hesmerg Presentation • Into the woods Designers • Aldo Bakker, Dana Cannam, Leonard Kadid, Lenneke Langenhuijsen, Oscar Narud, Emilie Pallard www.particlesgallery.com Contact • Wilpert Dreesmann Damrak 70, 1012 LM Amsterdam The Netherlands e • info@particlesgallery.com t • +31 (0)6 481 196 16

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About  The Dutch Standard, design office & high-end luxury brand. Its soul was born in 2005, the company established in 2009. Its DNA originates in the building of luxury yachts: a world of detail and flawless quality. The Dutch Standard is using  , this year s Milan Design Week to introduce a new breed, a new class, a new standard.

Location • Undai

Presentation  Back to square one... anything but square. A collaboration between emotion and aesthetics: taking wood beyond its physical limits. From a cubic way of thinking into a spherical one. Presenting GICE & MOON, high-end bespoke creations,  ,our concept of ‘sculpture versus seating .

e • press@thedutchstandard.com t • +31 (0)6 193 480 00

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Presentation • Back to square one! Designers • Eddy Schoonfeld, Koert Klaren, Wouter Kock www.thedutchstandard.com Contact • Koert Klaren Houtenend 38, 3317 MK Dordrecht The Netherlands


ZL07 • Van Eijk & Van der Lubbe • Undai About  The designs of Van Eijk & Van der Lubbe raise questions; they work with forms and products we all know, they add benefits to them to make contemporary products without loosing their own characteristics. They make you change your perspective on things and challenge you to look at the world around you in another way. Presentation  Van Eijk & Van der Lubbe present the M-collection. Commissioned by concert hall Muziekgebouw Eindhoven. Including M-furniture for Lensvelt

Location • Undai Presentation • Van Eijk & Van der Lubbe present the M-collection, commissioned by concert hall Muziekgebouw Eindhoven, including M-furniture for Lensvelt Designers • Niels van Eijk, Miriam van der Lubbe www.ons-adres.nl

Fiera

Contact • Maureen van Dijk De Raadstraat 28K, 5666 EA Geldrop The Netherlands e • maureen@ons-adres.nl t • +31 (0)4 028 686 36

F01 • Arco • Pavillion 16, Stand B31

ZL07 • Weltevree • Undai About  The product label Weltevree is a combination of the creative forces of Dutch designers Floris Schoonderbeek and Dick van Hoff. In their studio in Arnhem, they develop and produce their own work and that of others. In this process, it is not the product itself, but the experience that takes centre stage. Weltevree want to provoke, confuse and create through designs with which the world can be rediscovered and can be moulded to suit each individual.

Location • Undai

Presentation  During the Salone del Mobile, Weltevree will present a range of products, which strengthen the opportunities and possibilities of the current collection.

Press • Joris Montens e • joris@weltevree.nl m • +31 (0)6 215 780 45

About  Over the past few years, the company has gradually gone over from one generation to the next. Jorre van Ast represents the 4th generation in this familyowned business, which has been based in the eastern part of The Netherlands for more than a hundred years. The collection consists of furniture pieces that all share the same identity based on distinct design, careful detailing and functionality.

Presentation • Weltevree, a worldwide local... Designers • Dick van Hoff, Rogier Martens, Floris Schoonderbeek www.weltevree.nl Contact • RIta Giesbers Westervoortsedijk 73, 6827 AV Arnhem The Netherlands e • info@weltevree.nl t • +31 (0)2 644 283 34 m • +31 (0)6 268 521 24

Presentation  Arco shows “The cafe chair”, a modern translation of the tradi , tional café chair; ‘FAT a real no-nonsense table, which is lightweight, made of sus-

tainable materials and can be completely dismantled; and “Pivot desk”, an unusually practical and also highly distinctive workstation. Presentation • The table as a living space Designers • Shay Akalay, Bertjan Pot, Jonathan Prestwich www.arco.nl Contact • Agerta Bokking Parallelweg 2/III, 7102 DE Winterswijk The Netherlands e • a.bokking@arco.nl t • +31 (0)5 435 465 70

F02 • Magis • Pavillion 20, Stand C01-D02 About  Magis is the brand that has given a novel twist to domestic design, building its identity on incorporating leading edge technology into mass production. It is an international design laboratory that constantly puts itself to the test, seeking for technological sophistication. Ineke Hans shows her first work for Magis. Presentation  Modular shelving system. The group of components, creating chests of drawers, small writing desks, or open shelves, can be used together or seperate and build up in two different heights, depending on the choise of wooden poles. For domestic and contract environments, for children or adults.

Location • Salone Internazionale del mobile Pavillion 20, Stand C01-D02 Presentation • Ineke Hans Designer • Ineke Hans www.inekehans.com www.magisdesign.com Contact • Cristiana Bernardini Via Triestina, Accesso E, ZI Ponte Tezze 30020 Torre di Mosto (VE), Italy e • cristiana.bernardini@magisdesign.com t • +39 042 131 9658

F03 • Montis B.V. • Pavilion 16, Stand F30 About  Montis, 35 years of design and quality "made in Holland". The Montis collection consists of modern designs that are characterised by clear and refined shapes. Montis is always looking for new materials and techniques that can be used for new models, so the furniture meets the highest standards of quality and comfort. Presentation  Montis shows her younger and surprising side. New designs like the lively Fox couch and the Tor portable side table fit perfectly in the living rooms of young families. The leather Olav couch with its classic style and the elegant XY table are a great addition to the more mature collection.

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fiera

Presentation • Montis B.V. Designers • Karel de Boer, Lambie & Van Hengel, Christophe Marchand, Gijs Papavoine, Dick Spierenburg www.montis.nl Contact • Caroline Külsen, Steenstraat 2, 5107 NE Dongen, The Netherlands e • ckulsen@montis.nl t • +31 (0)6 229 934 56


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Bronze fragments, found in Emmen, −1200~−800

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NOTES


Rip, Fold & Carry Rip & Fold your own Dutch Design Guide to take along with you into Milan during the Design Week. Rip out the Party Schedule, the Restaurant Guide and the Map. Use the folded Map to put the other two inside.


Presentations

FuoriSalone p69  — FS01 Mat&Me and Made in Design Studio — p69 FS02 Yii — p69 FS03 Max Lipsey — p69 FS04 Nodus — p70 • Studio Formafantasma • Studio Job

Zona Tortona p80  — ZT01 BRAND VAN EGMOND — p80 ZT02 Moooi — p81 ZT03 Via Tortona 12 — p81 • Pieke Bergmans • Tristan Frencken • YLdesign

FS05 Studio Job — p70 FS06 Dilmos — p71 • Kranen/Gille • Studio Formafantasma

ZT04 Functionals — p82 ZT05 NgispeN / Gispen — p82 ZT06 Iconic Indoors — p83 ZT07 Royal Academy of Art — p83

FS07 Pastoe — p71 FS08 Tuttobene — p72 • Barbara Vos • Hendrik • Studio Jacob de Baan • Jolanda van Goor Architectural Designer • Laurien Oversier • Louise Cohen • Melle Koot Design Studio • Collective Paper Aesthetics • Melt interieur • Studio Sjoerd Jonkers • Tanja Soeter • Temporary collective Teun & Floris • Vormstudio • Willem Matthijs Schilder

Zona Lambrate p84  — ZL01 Autofficina — p84 • Studio Roel Huisman • De Vorm • Designlabel Vij5 & Mieke Meijer • Floris Hovers • Galerie Judy Straten • Studio Schneemann • Studio Laurens van Wieringen

FS09 Stortplaats van Dromen — p76 FS10 ag22 — p76 • Droog • Lensvelt FS11 Spazio Rossana Orlandi — p77 • BCXSY • Jack Brandsma • Studio Formafantasma FS12 WET — p78 FS13 Design Academy Eindhoven — p78 FS14 aMAZElab — p78 FS15 Cascina Cuccagna — p79 • Gitte Nygaard • Jair Straschnow • Wouter Nieuwendijk & Jair Straschnow

Fiera p93  — F01 Arco — p93 F02 Magis — p93 F03 Montis B.V — p93

ZL02 New Times, New Heroes — p86 ZL03 Studio DRIFT — p87 ZL04 Collective Location — p87 • PeLi Design • Academy Fine Arts Maastricht • Studio Dave Keune ZL05 Kevin van Braak — p88 ZL06 Light Space — p88 • Annelou van Griensven • detailF • Doreen Westphal Design BV • Lambert Kamps • Particles Gallery ZL07 Undai — p91 • Ahrend • Emmanuel Babled Studio • The Dutch Standard • Van Eijk & Van der Lubbe • Weltevree


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• FS12

Porta Venezia

Palestro Montenapoleone San Bablia

Dante Cordusio

Sant’Ambrogio

Primaticcio Inganni

Turati

Conciliazione

Gambara

Loreto

Caiazzo

Repubblica

Lanza Brera Piccolo Teatro

Amendola Fiera

Udine

Pasteur

FIERA

 FS10 •• FS14 FS09 FS08  •  •  FS07 •FS03 ••  FS04  FS06 FS02  • • • FS05 • FS11 • FS01

Sondrio

Lampugnano

Duomo

Italia Missori

Sant’Agostino

•••• ••

ZT07   ZT03   ZT06    ZT04 ZT05 Genova FS  Porta ZT02 ZT01

Crocetta

FS13 Porta Romana    FS15 Lodi TIBB FS Brenta Corvetto

Famagosta

Porto di Mare

Abbiategrasso Chiesa Rossa

Rogoredo F.S.

M3 San Donato

METRO

M2

Romolo


Restaurants selected by Diletta Toniolo www.designpuntodoc.com We recommend to make a reservation by telephone in advance.

R01a • Antica trattoria della Pesa Viale Pasubio 10 tel. +39 02 6555741

R01b • Da Alessandro Bistrot della Pesa Via Pietro Maroncelli 1 tel. +39 02 6592880

R04 • Innocenti Evasioni

Via Privata della Bindellina 2 tel. +39 02 33001882 Here you can get away from the famous bustle of FuoriSalone and immerse yourself in a haven of pleasure, in this more isolated area. The beautiful enclosed garden will make you forget the Design Week chaos all around. Refined cuisine and creative wine and food combinations.

These two restaurants, located within walking distance of each other, share one long family history. The Sassi family has run the historic restaurant for tram 14/1 many years; the bistro is run by one € 60/70  of the two sons. Typical cuisine from Milan and an atmosphere that is just as Milanese. Metro linea 2 — Garibaldi € 50/65  and €40/45 

Corso Garibaldi 127 tel. +39 02 6570651

Via Giacomo Piccini 1 tel. +39 02 875579

In this 1970s style restaurant, everything still looks the same as it did then and that includes the waiters. Service is fast and they have an amazing elephant-ear shaped cutlet. It’s perfect for after a night at the theatre (it is located just next to Teatro Dal Verme) or after the Salone: you can eat till late.

This is a very small restaurant (best to make a reservation), but the atmosphere is perfect for relaxing, away from the glamour of the Salone del Metro linea 1 — Cairoli Mobile. Italian cuisine with some ethnic €30/40 influences. For lovers of ale, try the homemade beer. Metro linea 2 — Garibaldi/Moscova € 20/30

R06 • Tagiura

Via Tagiura, 5 tel. +39 02 48950613

A rustic and homey atmosphere, ideal for discovering tasty Calabrian cooking. For lovers of spices: the Italian region of Calabria is known for using the best and the most spices. Reservation required.

This restaurant is situated in an anonymous district (not too far from the Zona Tortona), off the beaten track. Once inside you’ll be pleasantly surprised: the warm, pleasant atmosphere and refined food and wines are all thanks to Tullia, who personally selects all her ingredients. The restaurant is open for lunch all week and for dinner from Thursday to Saturday. Closed on Sundays.

Metro linea 3 — Porta Romana bus 62/77/200 € 30/40

Metro linea 1 — Gambara Bus 90/91 €20/40

R03 • Dongiò

Via Bernardino Corio 3 tel. +39 02 5511372

RESTAURANTS

R02 • L’Incoronata

R05 • Da Rita e Antonio


R07 • Arci Bellezza

R10 • Giulio Pane e Ojo

This is a club, so you need to become a member of it to get in (€13) but it is worth it, especially if the weather is nice and you get to eat in the courtyard. This family-run establishment offers simple food for a fair price. More than the food itself, it is the atmosphere that enhances the space: here you can meet students from nearby universities, architects who prefer to avoid “architecturally correct” places, some elderly people from the neighbourhood and singles and couples of any age.

Rome has come to Milan: this small tavern serves typical dishes from the capital, prepared in a robust and pure cooking style. The casual and friendly atmosphere make you feel like staying for a long time. Difficulty in finding an available table is the only drawback; reservations are necessary.

Via Bellezza 16 tel. +39 02 58319492

Metro linea 3 — Porta Romana Tram 9/24 €20

R08 • Trattoria Milanese Via Santa Marta 11 tel. +39 02 86451991

Metro linea 1 — Cordusio/Duomo €30/60

Metro linea 3 — Porta Romana Tram 9 €20/40

R11 • Spontini

Viale Papiniano 43 tel. +39 02 83660098 A simple atmosphere with rough-andready service, but the pizza with mozzarella, anchovies and tomato baked in the wood stove is one of the best of the city: thick and soft, but with a crispy base. Only two choices here: with or without mozzarella. It’s a stone’s throw away from the Tortona District and open till late. Metro linea 2 — Sant’Agostino €7/10 •

R09 • Convivio

Viale Sabotino 2 tel. +39 02 58307424 At last, here it is: a wine shop with no design aspirations, where you can taste excellent wines – red, white, sparkling, dry and fruity – served with cold meats and cheese. At lunchtime, they also offer cold dishes, but the many bottles of wines covering most of the restaurant walls are always the main attraction. And there is always jazz music in the air. Metro linea 3 — Porta Romana Tram 9/24

This guide does not guarantee prices or opening times. The guide was created without the collaboration of the restaurants.

RESTAURANTS

A typical Milanese trattoria where you get to taste real saffron rice and other Lombardic specialities. The restaurant is located in a romantic, period setting in the city centre of Milan. Here you will discover genuine, traditional tastes – so much for food design!

Via Muratori 10 tel. +39 02 5456189


Tuesday 12 April

Wednesday 13 April

Thursday 14 April

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

FUORI SALONE

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

ZONA TORTONA —   ZT01 — ZT01  Brand van Egmond —   ZT02 — ZT02 Moooi —   ZT03 — ZT03  YL Design —   ZT03 — ZT03  Pieke Bergmans —   ZT03 — ZT03  Tristan Frencken —   ZT04 — ZT04 Functionals —   ZT05 — ZT05 Gispen —   ZT06 — ZT06  Iconic Indoors ZT07  —   ZT07  — ZT07  Royal Academy of Art

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

DRINKS

ZT01  ZT02  ZT03  ZT03  ZT03  ZT04  ZT05  ZT06 

OPENING  HOURS

FS01  —   FS01 — FS01 Mat&Me FS02  —   FS02 — FS02 Yii FS03  —   FS03 — FS03 Max Lipsey FS04  —   FS04  — FS04  Studio Formafantasma FS04  —   FS04  — FS04 Studio Job FS05  —   FS05 — FS05 Studio Job FS06  —   FS06  — FS06 Kranen/Gille FS06  —   FS06 — FS06 Studio Formafantasma  FS07  —   FS07 — FS07 Pastoe FS08  —   FS08 — FS08 Tuttobene FS09  —   FS09 — FS09  Stortplaats van Dromen FS10  —   FS10 Droog  FS10  —   FS10 Lensvelt  FS11  —   FS11 — FS11 Spazio Rossana Orlandi  FS12  —   FS12  — FS12 WET FS13  —   FS13 Design Academy FS14  —   FS14 — FS14 aMAZElab FS15  —   FS15 — FS15 Gitte Nygaard FS15  —   FS15 — FS15 Jair Straschnow FS15  —   FS15  — FS15 Straschnow&Nieuwendijk P01 Opening at the new housing of the Dutch Consulat in Milan and official launch of new edition of Connecting the Dots

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

ZONA LAMBRATE ZL01  —   ZL01 — ZL01 Autofficina ZL02  —   ZL02 — ZL02  New Times, New Heroes ZL03  —   ZL03 — ZL03  Studio Drift ZL04  —   ZL04 — ZL04  Collective Location ZL05  —   ZL05 — ZL05  Kevin van Braak ZL06  —   ZL06 — ZL06  Light Space ZL07  —   ZL07 — ZL07 Undai

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

FIERA

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

*Open Cocktail hours and Teatimes are marked in Yellow *Cocktails and Parties that are invitation-only are marked in Blue

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

PARTIES

F01  —   F01 — F01 Arco F02  —   F02 —   F02 Magis F03  —   F03 — F03 Montis


Friday 15 April

Saturday 16 April

Sunday 17 April

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

FUORI SALONE

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

ZONA TORTONA

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

DRINKS

ZT01  —   ZT01 — ZT01  Brand van Egmond ZT02  —   ZT02 — ZT02 Moooi ZT03  —   ZT03 — ZT03  YL Design ZT03  —   ZT03 — ZT03  Pieke Bergmans ZT03  —   ZT03 — ZT03  Tristan Frencken ZT04  —   ZT04 — ZT04 Functionals ZT05  —   ZT05 — ZT05 Gispen ZT06  —   ZT06 — ZT06  Iconic Indoors ZT07  —   ZT07 — ZT07  Royal Academy

OPENING  HOURS

FS01  —   FS01 — FS01 Mat&Me FS02  —   FS02 — FS02 Yii FS03  —   FS03 — FS03 Max Lipsey FS04  —   FS04  — FS04  Studio Formafantasma FS04  —   FS04  — FS04 Studio Job FS05  —   FS05 — FS05 Studio Job FS06  —   FS06  — FS06 Kranen/Gille FS06  —   FS06 — FS06 Studio Formafantasma  FS07  —   FS07 — FS07 Pastoe 9 FS08  —   FS08 — 20 21 22 + 9 FS08  20 21 22 + 9 Tuttobene 18 19 20 21 22 + FS09  —   FS09 — FS09  Stortplaats van Dromen FS10 —   FS10 — FS10  Droog FS10 —   FS10 — FS10  Lensvelt FS11  —   FS11 — FS11 Spazio Rossana Orlandi  FS12  —   FS12 WET   FS13  —   FS13 — FS13  Design Academy FS14  —   FS14 — FS14 aMAZElab FS15  —   FS15 — FS15  Gitte Nygaard FS15  —   FS15 — FS15  Jair Straschnow FS15  —   FS15 — FS15 Straschnow&Nieuwendijk

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

ZONA LAMBRATE ZL01  —   ZL01 — ZL01 Autofficina ZL02  —   ZL02 — ZL02  New Times, New Heroes ZL03  —   ZL03 — ZL03  Studio Drift ZL04  —   ZL04 — ZL04  Collective Location ZL05  —   ZL05 — ZL05  Kevin van Braak ZL06  —   ZL06 — ZL06  Light Space ZL07  —   ZL07 — ZL07 Undai

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

FIERA

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

*Open Cocktail hours and Teatimes are marked in Yellow *Cocktails and Parties that are invitation-only are marked in Blue

9 10 11 12 13 14 15 16 17 18 19 20 21 22 +

PARTIES

F01  —   F01 — F01 Arco F02  —   F02 —   F02 Magis F03  —   F03 — F03 Montis


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Connecting the Dots - Milan 2011  

#2 Milan 2011, distributed during the Milan Design Week 2011