The Dots #7 - Milan Design Week 2013

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Bob Noorda’s graphics still alive in Italy’s society p. 10 portraits

Shoe designer Jan Jansen shows his wife’s wedding shoes + 7 other portraits & interviews with 50+ designers p. 18 interview

Dutch ministers Ploumen and Bussemaker explain how design helps completing their political goals

the dots Connecting the Dots showcases all Dutch presentations at the Milan Design Week 2013

p. 20 – 21 interview

Ann Goldstein and Ingeborg De Roode from Stedelijk Museum Amsterdam about art, design, and the new building p. 26 guide

Again a record: 217 Dutch designers in Milan p. 37

#7 April 2013 Milan


Lounge Chair Produced by Vitra since 1956, Design: Charles & Ray Eames

Alleen bij erkende Vitra dealers: Vitra (Nederland) B.V. De Oude Molen 2 ∙ 1184 VW Ouderkerk aan de Amstel ∙ T. 020 517 44 44 ∙ ∙ Showroom geopend ma-vrij 09.00 – 17.00

Photo: Ilse Koudijs/Stichting DOEN Photo’s: Merel Karhof

The DOEN Foundation supports a green, creative and sociallyinclusive society. DOEN promotes cultural pioneers with revenues from the Dutch BankGiro Lottery. For example The Wind Knitting Factory of Studio Merel Karhof. This project shows how classic craftsmanship makes current textile manufacturing more sustainable. DOEN is always looking for pioneering inspiring artistic ideas and creative initiatives. So share your creativity. Together we can develop ideas into action.




Where sectors overlap • David Heldt

Design punches far above its weight • Minister Lilianne Ploumen interviewed by David Heldt

Du tch De si g n M i l an 201 3

4 portrait ‘Beauty that makes an artist of a viewer’ • Maria Blaisse interviewed by Annemiek van Grondel

6 portrait ‘Good d esign should excite and delight’ • Peter Krouwel interviewed by Annemiek van Grondel

8 interview

A life of pas s ion fo r de s ign wit h Bob N oorda

37 M et ro M i l a n


‘Good design must contribute to the community’ • Wolfram Peters interviewed by Annemiek van Grondel


38 Fi e ra •


portrait ‘I’d rather listen to my heart than be trendy’ • Frans van Nieuwenborg interviewed by Annemiek van Grondel


Ve ntu ra L am b rate •

41 – 46 Fu o r i Sal o ne

46 – 50


‘ De si g n i s ar t ’

• Ornella Noorda interviewed by Giorgia Zuccari

• Ann Goldstein and Ingeborg De Roode interviewed by Gabrielle Kennedy





‘Not everyone understood this was a global revolution’ • Frans de la Haye interviewed by Annemiek van Grondel

‘The design discipline has lost much of its disciplin’ • Ann Maes interviewed by Annemiek van Grondel





‘Hands do have other senses than brains’ • Jan Jansen interviewed by Annemiek van Grondel

‘Less is not possible, more is not necessary’ • Bruno Ninaber interviewed by Annemiek van Grondel





Design is much more than design in itself • Minister Jet Bussemaker interviewed by Martha Hawley

Design Ratatouille • Mark van Iterson, Global Head of Design Heineken




Zo na To r to na

51 – 56



the dots #7

Connecting the Dots Yearbook Dutch Design Milan 2013 Representing all Dutch presentations during the Milan Design Week 9 – 14 April 2013

Partners Connecting the Dots · Milan 2013

Connecting the Dots publishes and presents Dutch designers and design-culture internationally during key design events and fairs.

Connecting the Dots magazine Koningsstraat 43c · 1011 ET Amsterdam The Netherlands · t +31 (0)20 8932886 · Editor in Chief David Heldt Contributing editiors Annemiek van Grondel, interviews 8 designers Martha Hawley, interview Jet Bussemaker Mark van Iterson, column Gabrielle Kennedy, interview Stedelijk Museum Ann Maes, selection 8 designers Giorgia Zuccari, interview Ornella Noorda Translation Studio Mason & Egmond (Peter Mason) Mason & Associates (Hannah Mason) Bureau Kennedy, Graphic design Haller Brun Cover Teun Fleskens for RiZZ, Cover photo Lisa Klappe Contributing photographers Daphne Kuilman, portraits 8 designers Ilco Kemmere, Stedelijk Museum Daniele Tamagni, Ornella Noorda Printed by Habo DaCosta Communication & Press Luc Deleau · t +31 (0)6 52472990 Advertising David Heldt t +31 (0)20 8932886 Project Assistant Georgia Zuccari Financially supported by Creative Industries Fund

© Connecting the Dots 2013 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.

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W h ere s ecto rs ove r l a p

‘Design is art’, says the director of the Stedelijk Museum Ann Goldstein on page 26 in the interview that Connecting the Dots had with her and design curator Ingeborg De Roode. Goldstein adds that the difference between the two disciplines is primarily important for the sectors themselves, not for the museum or the public. I am a member of the sector too and do find it important to keep the disciplines separate. I see an artist as someone who looks for the best medium to get through to the mind and to inspire or influence it. The designer looks for the best solution to solve problems and to help people to function optimally. Body and mind are connected, it is true, but they are not the same thing. Still, this does mean that there is an area of overlap where design and art meet. That area has been strongly developed and expanded in the last twenty years. The Milan Design Week is the number one podium to put yourself on the map as a designer and to distinguish yourself from the rest: it is not selling products that counts most here. It is a podium where precisely a lot of design from this area of overlap is shown. So products cannot always be evaluated just in terms of their functionality, user friendliness or beauty. The concept, the idea and the experiment are elements that are so important here, with the risk that publicity and not the quality of the products becomes the aim. Prototypes, graduation work and less well thought-out items of furniture easily find their way to the global podium here. Does that matter? No. It keeps the sector moving. New ideas are presented to a large public and initiate innovation and discussion. All the same, as a viewer you have to remain critical: you must regularly ask yourself on the basis of which value you are supposed to evaluate something. Young designers have received considerable coverage in the last decades, which is why Connecting the Dots thought the time had come to let an older generation of designers speak for themselves and to see what we can probably still learn from them. Scattered through the magazine you will find portraits of eight 50+ designers by photographer Daphne Kuilman. They represent a generation that was trained in the discipline before the computer entered the professional world, before the design of products sometimes solely for the museum, and before the Salone had expanded to its present form. The portraits of these designers from whom we have so much to learn are accompanied by lively interviews by Annemiek van Grondel. If you take the metro, go shopping in the COOP or fill up your petrol tank at Eni in Milan, you will probably not realise that here too a Dutch designer has been at work. Graphic designer Bob Noorda († 2010), who is regarded as one of the best graphic designers in the world, lived and worked in Milan. We visited his widow Ornella Noorda in her Milanese apartment and had long conversations with her (p. 10). The Netherlands is putting on a high-profile presentation this year with not just a record number of presentations but also interesting forms of collaboration and much new work. The New Institute, the result of a merger of the sectoral institutes for fashion and design (Premsela), new media (Virtual Platform) and architecture (Netherlands Architecture Institute) is cautiously taking its first steps in the field and presenting itself in Milan at the annual reception of the Netherlands Consulate in Milan (see p. 48). A year of exciting things to experience and to see. David Heldt Editor in Chief



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Maria Blaisse (1944) worked in New York and did research on textile techniques in South America before moving back to Amsterdam. For 17 years, she taught design at t he s a m e a r t s c h o o l w h e re s h e wa s e d u cate d : t h e Ge r r i t Rietveld Academy. Today, she still designs a lot and works as an international visiting professor. In her work, in which s h e c ros s es m u lt i p le d i s c i p l i n es – a r t , d es i g n , tex t i les and fashion –, she questions the dynamics of flu­i d­i ty. Her designs have won several awards and have been exhibited in many galleries and museums worldwide. Which of your designs is seen in the photo? This bamboo form is like a buddy of mine. He jumps a little, breathes a bit. Is stubborn, but resilient and flexible. However often you bend the bamboo, whatever you do with it, it always produces a beautiful shape. The thickness of the material and the gaps in between are designed in a way that all proportions are just right. I let the form evolve from the material: always look for a structure and dive as deep as it takes before finally creating a form that is so free that you can practically do every­ thing with it. This leaves the way open to infinity. The person who plays with the form experiences this, too. It is intuitive and interactive, as was shown last year with dancers in my exhibition Moving Meshes at Domaine de Boisbuchet, in France. I call it ‘counter engineering’. You only need a small element to focus on, out of which you can create something with endless possibilities. For my upcoming exhibition in May at de Ketelfactory Schiedam, the flexible bamboo structures will breathe by themselves; their shadows will cause moving spaces.

How would you describe yourself as a designer? To create beauty that makes an artist of a viewer, that’s one of my goals. I started out making hats from the inner tubes of tyres. I invented numerous forms: you can flip it and turn it inside out, for instance. I like to use flexible materials like foam, felt, bamboo, cork. But glass and silver have many possibilities, too. For me, looking into various disciplines helps me find the real connection. Just as in nature, everything is intertwined. If you dive deep into the material, you can use all of it. No need to create waste. I research intensively, in order to find an opening from which to go on and move further. It creates flowing forms, dynamics and energy. Flow causes a flow. Form forms forms. You can read it all in my book The Emergence of Form, which will be published in April.

‘Beauty that makes an artist of a viewer’

Interview: Annemiek van Grondel Photography: Daphne Kuilman

What do you consider the biggest changes in your profession? The virtual world has, besides its advantages, proven to be a major handicap. There is little contact with the earth. People are less aware of commodities. There is too much information, so much to choose from. Less information helps you filter. At school one should teach children that. Structure, select and restrict, be more to the point. The computer is a smart tool, but must be consciously used. Children of today are primarily visual, experience fewer things. I hope they find a balance between knowledge and experience.

What advice could you give young designers? Develop your talents and slowly but surely create a base. At school everything goes fast: you have to follow so many courses. Stick to your own qualities. Be open to things that are really meant for you. Use your antenna and trust your intuition.


maria blaisse

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In 1978, Peter Krouwel (1952) was one of the founders of npk design, a Dutch design agency that he left 25 years later to start an agency of his own: Streetlife. This agency, with studios in Leiden (NL) and Malmö (SE), supplies building elements for landscape or urban plans in mainly Nor thern and Western Europe. How would you describe yourself as a designer? I am designer-entrepreneur. I grew from an industrial designer who makes autonomous objects into someone who creates much more spatial shapes. By working with architects and landscape architects I have learned to look differently. In the outdoor area there are totally different rules. Taking the landscape as a starting point, I create restrained elements, with respect for the environment. You try to emphasize the landscape lines and bring functionality to another level.

Streetlife works for many international clients. Recent examples? In the oldest park in Stockholm, we placed the Rough & Ready Circular Bench – with a diameter of 8 m – around an ancient chestnut tree. The entrance of the new building Carpe Diem in business district La Défense in Paris will soon be adorned with Big Green Benches. Place Darcy in Dijon received Giant Flowerpots of 2.5 meters in diameter, made of biocomposite with hemp fibre. In collaboration with LDA Design, we designed the Olympic Wave Bench and delivered three different benches for the Olympic Parklands in London.

‘Good design should excite and delight’

Interview: Annemiek van Grondel Photography: Daphne Kuilman

Is innovation an important criterion of good design? Not only in terms of materials and construction, especially in terms of aesthetics. It’s a combination. Innovation is not an end in itself. Good design should excite and delight. Streetlife works as much as possible with sustainable materials like biocomposite with natural fibres, FSC-certified wood and CorTen steel. Sustainable design is a one of our core competencies.

What do you think has been the most important step in your career? At npk you had to deal with many different opinions, from colleagues to clients. After 25 years, the synergy was gone. As a co-owner I envied workers who flocked to other jobs. In 2004, it was time for me to move on. The qualities of a designer are usually determined by the client. His willingness to dare and experiment is usually not recognized. I recommend everyone start building his own collection. The decision of being my own client has been a liberating experience. What advice could you give young designers? Pick your clients carefully. Easier said than done, but it can determine all your assignments and respect in this profession. The ability to communicate clearly and sometimes stubbornly is an essential quality of a good designer.

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peter krouwel


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A l i fe o f pas si o n for de s i g n w i t h Bo b N oo rda

Ornella Noorda’s apartment in Milan. The first thing that catches my eye is a painting by Fontana. Every square centimetre exudes art. Ornella gives me a warm welcome on the top floor, a spacious and light penthouse. She shows me her plants, proudly displayed in the atrium behind large glass panes. We immediately start up an enjoyable conversation that lasts until late in the afternoon. Talking with Ornella, I forget her reputation as a product designer, and the fact that she is the widow of Bob Noorda (1927 – 2010), the father of Italian graphic design. Bob Noorda was born in the Netherlands, but moved to Italy early in his career. His designs are still visible everywhere in Italy: the logo of Eni, Italy’s largest energy provider; the signage of the metro in Milan; the logo of Italy’s main supermarket chain COOP, and so much more. His presence can still be felt in Ornella’s house. She is a char­ismatic and lively woman who loves all forms of art and, above all, nature. During her life she worked on elaborate projects and she loves experimentation and assembly. Plastic and glas remain her favourite materials because of their transparency and because they are difficult to mould. Interview: Giorgia Zuccari Photography: Daniele Tamagni

Ornella Noorda’s family portrait which Bob imitated the pose.


ornella noorda

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The first thing I was curious to know was about Ornella’s job and that’s how the interview began. Giorgia Zuccari   ·  What

does being a designer mean to you, and how would you describe your work? Ornella Noorda   ·  If I had to say what I do, I would reply: every­thing. I like to devote myself to any kind of work in which I can express my imagination and creativity. I’m an all-round designer and every time I am presented with the oppor­tunity to experiment with a new material or to develop a project that I have never done before, I am always very enthusiastic. Even if it means being ‘the wife of Bob Noorda’ my whole life, like Zelda Fitzgerald. GZ · Which

collaborations do you remember particularly? ON · I remember with great pleasure when Nazareno Gabrielli (founder of the famous Italian brand of leather goods and clothes) asked me to find him an alternative material to leather for a series of shoes and bags. So I designed the fishbone motif for the silkscreened plastic surface. My idea went down very well and the line was a great success. That was the start of a collaboration that lasted ten years. Another commission for Gabrielli was the design and renovation of the shop in Via Montenapoleone. The floor space was very limited. I treated it like a stage set: I organised it diagonally and placed a large mirror at the back of the corridor to

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emphasise the length of the corridor optically. I placed a number of triangular wings on the sides that functioned as niches in which the shoes and bags were displayed, while Gabrielli suggested displaying the line of silver that I had designed for him on a long glass table in the centre of the corridor. While talking Ornella kept walking around taking out pictures and books and showing me her works. GZ · Which

of the products you have designed or projects you have done would you consider your favourite? ON · There is more than one; certainly, Rinascente marked an important period in my life. I was very young when I started to work for Natale Idea and had the opportunity to experiment in a variety of sectors and materials: from the furniture to the office floor, from the kids line to the hunting floor, from wood to plastic. Another project that I will not forget for its heterogeneity was the design of the Sporting Club of Milano Due. Claudio Dini designed the streets and buildings, while I designed the Sporting Club, including the swimming pool, routing, the basic furniture – divans, lamps – that I had made by Venini, the changing rooms, the bath attendants’ uniforms, the nursery.

B iog rap hy Bo b N oo rd a *Amsterdam 1927 – †Milan 2010

Bob Noorda attended the Instituut voor Kunstnijverheids­onder­wijs (now the Gerrit Rietveld Academie) and graduated in 1950. 1954 Moved to Milan. 1961 Art director at Pirelli, in Milan. 1963 – 1964 Consultant for Rinascente and Upim, in Milan. 1965 Bob and Vignelli founded Unimark Inter­national (international corporate image planning company). 1960s Designing for the Milan, New York and Sao Paolo subways. 1996 – 2001 Professor of visual communi­ cation at Politenico of Milan. Bob Noorda is associated with many Italian and international brands, including: Coop, Agip, Eni, Touring Club Italiano, Feltrinelli, Mondadori, Regione Lombardia, Banca Commerciale Italiana, Banca Popolare di Milano, Brionvega, Dreher, Max Meyer, Richard Ginori, Stella Artois, Total, Ermenegildo Zegna, Mitsubishi and Moak. During his career, he designed the corporate image and identity of more than 150 brands. Awards 4 Compassi d’Oro 2 Bodoni award for publishing 1 gold medal at Biennale of Milan In 2007, he became honorary member of AIAP (Italian design association for visual communication)

GZ · Which

prizes and tokens of recognition have you appreciated most? ON · I was awarded first prize for sculpture in Rome when I was barely eighteen by the



Coop, corporate identity

New York Subway, corporate Identity

Agip, corporate identity

Mondadori, logo design

Catalog of Bob Noorda’s monographic exhibition, held in Ferrara 2005. Title: Bob Noorda Design. Publishing: MusArc Milan Subway, corporate Identity


ornella noorda

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of showing him some of my designs. Afterwards, I got to know him better during a trip to Yugoslavia organised by mutual friends.

Th e process of id eas ca n’t be explain e d . I ca n o n ly say t hat i t’s a slow, i n d ivid ual , c reat in g a n d reach in g p ro c es s to fin d t he u n­c on dition al sy nt h es is . Th at’s di fficult. Bob Noorda

GZ · What

was Bob Noorda like? was neither sweet nor smiling: he was an introverted Dutchman, unlike me. We were different and at the same time complemented one another. He was rigorous, elegant and never tried to please people. His char­ acter had probably hardened in the period spent in the Dutch colony on Sumatra during the Second World War, where he had fought in the jungle and where he later managed to work for a local newspaper and as a medical assistant. He caught typhus and was left deaf in one ear from the use of an experimental drug. When he returned to the Netherlands, he had to hide from the Nazis and devised a trapdoor with a ladder hidden in the ceiling of the house where he spent days in the company of his brother. ON · Bob

GZ · What

then-President of the Republic Segni and sculptor Marino Marini. Then they called me to present me with the Città di Milano award but I was unable to receive it because getting married to Bob had changed my nationality. I was very sorry about that. When I went to Tokyo, I was pleasantly surprised to find that a floor of the Takashimaya department store was exhibiting my articles. This wasn’t exactly a prize, but I regarded it as a grand token of recognition.

because he claimed that the computer did not help the consistency of the ideas and led people to forget the importance of design by hand.

GZ · How

ON · We were often invited to lunches, dinners and lectures. I always attended the Saloni, not only in Milan but also in Northern Europe: France, the Netherlands, and Germany. I feel nostalgic when I think back to the Saloni of the old Lotto Fiera in Milan and it affects me to see everything empty now. I recall with great joy the trip that the Dutch government organised in 2006 in honour of my husband, to highlight the roots of Dutch graphic culture. We set out for Amsterdam and also visited The Hague and Rotterdam. It was a wonderful demonstration of affection and recog­nition on the part of the Netherlands in relation to Bob, who left his mark on the history of graphic design on an international scale.

do you remember your teaching period? ON · I taught for many years at the Istituto Europeo di Design (IED) in Milan and decided to stop after the death of my son and successive commissions from Tokyo. I taught various courses – packaging, product design, and also publishing for children. I taught my students to abandon fixed frameworks and release their creativity to create something unexpected and surprising. GZ · What

is your relationship with (digital) technology, and how have you experienced the change? ON · It took a lot of effort to use graphic programmes, but thanks to the patience of my assistant, Paolo Vitti, I can now get by with Photoshop. I like it a lot because I can mix all the memories that I have in my mind and create new ones with great facility. Technology fascinates me. I remember that there was a time when I designed every project by hand. My husband, on the other hand, was irritated

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GZ · Did

you take part in cultural events? Was there one that you particularly remember?

was your husband’s experience of teaching like? ON · He taught visual communications for a period at the IED and afterwards for many years at the Politecnico di Milano. Bob used to say, ‘The process of ideas can’t be explained. I can only say that it’s a slow, individual, creating and reaching process to find the unconditional synthesis. That’s dif­fi cult.’ This was also the most important thing he wanted to teach his students. They used to tell me that he did not give them an easy time and rarely complemented them. He was flattered by teaching at the Politecnico. I remember the day they gave him an honorary degree. It was very moving. As we were leaving the hall, we heard interminable rounds of applause and the students stood up when we passed by. GZ · What did being international mean to him?

Soon after my question Ornella showed me some pictures of her journeys with Bob. She was moved remembering how they shared their big passion.

GZ · How

did you meet your husband? met Bob for the first time at the birthday of Arnold Maker, to which we had both been invited. I immediately spotted a man who attracted me, sitting at a table with a girl. Four days after the first meeting I went to Firm Italia to see him again on the pretext ON · I


ON · Bob worked for important international firms, including Pirelli, Biennale, the Milan, New York and Sao Paolo subways, Agip, Mondadori, Feltrinelli, Barilla, Enel and Cassina & Busnelli, until he and his partner, Vignelli, opened Unimark branches abroad. We travelled a lot; I mainly accompanied Bob on trips to New York and Chicago. I did not like New York very much because of its very tall skyscrapers, which took away space from the sky. I preferred Chicago, which, with its huge lake, gave nature more room and breathing space. I have never liked the mania of the Americans for size and height. GZ · How

did you experience the differences between Italy and Holland? O N · The first thing, I think, is the beauty of the Dutch panoramas, their capacity to preserve and emphasise nature. I love the canals, the broad sky that overhangs the low-rise homes; it is different from Italy, which has not managed to give the right importance to civic green zones. The Netherlands is very organised with traffic signs and public transport. Austerity dominates, even if the Dutch have always shown themselves to be cheerful and friendly. I greatly appreciate the cycle tracks and, when I was in Amsterdam, it seemed


extraordinary to be able to rent a bike at any moment (Milan only learnt how to do so recently). It’s as if the Dutch had done every­ thing before and better than the Italians. GZ · Did

you exchange opinions on the projects you were working on? ON · We worked on completely different things. While I experimented with every project and created in three dimensions, Bob was the mas­ ter of graphic art and of the line. He was very consistent and strict with his own work and never said anything about mine. We worked together for Bellato. I designed the whole image, from the lorry to the cassette for the catalogues, and Bob designed the logo. But even when we were working on the same project we worked individually. We gave one another advice, but Bob refused to be influenced. I did round the corners of some aspects of his character and his tastes, but never his work. Bob have an influence on the fur­ nishing of the apartment? Which object in the apartment reminds you of him most? ON · As soon as I saw this house, I immediately started to work on it because when I have ideas I can’t stop them. Every time I asked Bob for his opinion, his advice came months later when I had already resolved the question. I designed and furnished the house we lived in and Bob liked it a lot. When architect friends complimented us on the house, Bob responded as though he had taken an active part. It made me laugh and irritated me at the same time. I have a fond memory of that big painting on the wall that used to belong to my family, with Bob imitating the pose to have his photograph taken.

create small tables or panels of transparent plastic. I recreate the suggestion of a recollection inside them through photographs that I have taken in those places and a threedimensional natural object. These creations can be placed on a bookcase but also transformed into a transparent side table. India has stolen my heart and I recall my journey in Gujarat in one of the panels. The humani­sa­tion of the fish is another subject of the series of boxes. I have told a story. The idea of boxing nature arose from the statement of the master Abbado (a famous Italian conductor and former music director of La Scala), who promised not to return to the Scala unless Milan had planted a thousand trees. I thought that was great and to show him my appreci­ation, I ded­ i­cated the first of my little square tables to him, in which I put miniature trees and placed a blackbird. I added a dedication: ‘Thanks to the thousand trees, more blackbirds will return to sing their melodious song in our city.’

GZ · Did

At the end Ornella asked me to write about her gratitude for the touching and heartfelt speech by Nora Stehouwer at Bob’s funeral in 2010. She would also like to thank her assistant, Paolo Vitti, who has helped her in the research and production of the series of boxes. She wanted to mention that Paolo Vitti is an excellent person who has always made himself available whatever his commitments.

After showing me her family painting on the wall, Ornella invited me outside to the atrium to have a look at her flowering plants. GZ · Have

you passed on the passion for design to your children? ON · Both of my two children studied archi­ tecture. Helbert studied architecture, but was irritated by the frequent questions of the teachers regarding his surname. His real passion was photography. He worked for Vogue, Armani, Dior and other big names in the fash­ion world. He always used to say to me: ‘Mamma, finally they appreciate me and no one asks me whether I am Noorda’s son’. It’s been 7 years since he died. My daughter, Catharin, started out in her father’s studio, as did her brother, and now she is an architect and she runs a successful studio together with her husband.

Near the end of the interview Ornella suddenly stood up to enjoy the stunning red sunlight over Milan. From her penthouse, the view was breathtaking and we could see the Monte Rosa. Nature granted us a moment of rest and nostalgia. GZ · What

are you working on at the moment? most recent works are unica, in which I try to box up all my emotions and travel memories. Based on this, I have decided to ON · My


ornella noorda

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Frans de la Haye (1943) was one of the founding fathers of the product design faculty of the Technical University in Eindhoven and worked in the same city as a professor a n d ad v i s o r at t h e Des i g n Acad e my. Betwe e n 1 9 7 4 a n d 1981 he was par tner of Tel Design. Since 1982, his agency De La Haye Design, located in The Hague, works on a wide variety of projects, from architecture to consumer goods, for different clients in Europe, Asia and the US. Which of your designs is seen in the photo? Next to me, you see a model of the first petrol station with all liquid fuels. The pump is part of a complete gas station I designed and developed spontaneously and it accidentally ended up at Shell Netherlands. The first petrol station according to that design was installed in 1985 in Rotterdam, named Shell Station 2000. The efficiency of gas stations rose on average by 30% because car drivers could refuel on every free filling position. Finding the right free pump was over. Today, almost everywhere one finds pumps where all fuels can be tanked. In short, a global revolution in gas stations, but not everyone has understood this.

What do you consider the biggest changes in your profession? 3D software (Rapid Prototyping, 3D printing) is the biggest change. It greatly increases a designer’s production capacity. He can achieve a lot without having to depend on outside support. But beware of a footnote: there is a danger in that the design of many current products betrays the software with which they were created. For example, it is obvious that many car bodies are being designed in Alias. Everything starts to look alike. Products are given (too much) shape, but become soulless if the designer loses control over the software. Then software becomes the designer. The sense of material seems to disappear, too.

‘Not everyone understood this was a global revolution’

Interview: Annemiek van Grondel Photography: Daphne Kuilman

What kind of designer are you? Probably one could define me as ‘omni-directional’: looking everywhere for new ground. Once something is created in relation to a producer or distributor, I hope for a continued cooperation. There are many very long lasting relationships with my clients, such as Auping. I’m not someone who likes to ‘propagate’. If, after many years, a user still doesn’t hate my design, I am most satisfied. A product that is durable is much better than a product that can be recycled. The latter depends ever more on the recycler rather than on the cradle-to-cradle-philosophy. Besides, my designs were cradle-to-cradle even before this was a branding tool in the marketing mix.

Which projects are you involved with at the moment? After two years of relatively simple tasks, this year I commissioned myself to realize a new building technique, with high-end materials, great energy efficiency and fantastic design options. I am looking ahead as to where I will ‘drop a building’ first. What advice could you give young designers? Do your best. Assume nothing and begin with nothing. No detail is unimportant.


frans de la haye

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Jan Jansen (1941) is Holland’s most famous shoe designer, creating two collections a year. He is praised for his elegant, playful and imaginative work, often with an a r t i st i c, d i st i n ct i ve t w i st a n d g reat at te nt i o n to d eta i l . His work is widely sold, has frequently been awarded and is shown in museums all over the world. He lives and works in Amsterdam. Where was this picture taken? Which of your designs is seen in the photo and why? In my studio. These are my wife’s wedding shoes. They are handmade by me, in 1964, and are of the same fabric as the dress: crêpe Georgette. Beforehand, Berry Brun, the designer of the wedding dress, revealed to me that it would have folds. So I knew what to do: make folds in the shoes, as well. They are displayed on a ‘leg table’, which I designed, too. The table is called Hommage à Rubens.

What feeling or thought do you convey with your work? I want someone who puts on my shoes to get the feeling that he or she is wearing something special, something to enjoy. Don’t put your foot into a black hole that solely serves as foot protection. It must have both beautiful looks and an inside that is as comfortable as possible. I am now designing for Spring/Summer 2014. Is innovation an important criterion of good design? The experiment is a crucial factor. Do not linger in one thing. Stay curious and playful. Like Picasso: he managed to keep renewing himself over and over again.

‘Hands do have other senses than brains’

Interview: Annemiek van Grondel Photography: Daphne Kuilman

What do you consider the biggest changes in your profession? The biggest changes are primarily the results of new techniques in sports shoes, such as air sole shoes. And 3D printing has endless possibilities for the future. My shoes sometimes resemble works of art. Now some 3D artworks resemble shoes! Working directly by hand may sound old school, but it still beats working with machines. The quality of the shoes is so much better when made directly by hand. You have to really feel the material and shape in order to get it perfectly right. Hands do have other senses than brains. I think and work exactly like in the sixties: using my intuition and my own hands. In creating shoe-lasts and heels and silhouettes, I’m still as free as before.

With what projects are you currently involved? I look forward to my memoirs. For two reasons: firstly, it would be interesting to show young designers and students what not to do, and by doing so make their hair stand on end. Secondly, I would write in order for me to get it off my chest. Furthermore, I look forward to the realization of a very subtle technical change on the basis of a high heel, which makes the foot seem more elegant. I have showed a prototype of the shoe-last to Gucci. I look to the future with great confidence. What advice would you give young designers? Close your eyes and think about what you would most like to do, even if it seems unreal. Then open your eyes and try to get as close as possible to that dream, that wish. Find a business partner that understands your dreams. It is not unthinkable that they will come true. Oh yes: and read my memoirs, as soon as they are published.

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jan jansen


De s i g n i s m u c h m ore th an d es i g n i n i tse l f

Minister Jet Bussemaker for Education, Culture and Science Interview: Martha Hawley

MH · Another

marriage of Dutch tradition and new tech­ nologies which will also be on offer in Milan: the ‘Rijks Studio’, a collaborative effort by the ‘Rijksmuseum’ and Droog Design. JB · The Rijksmuseum – THE museum of the Netherlands – is reopening on April 13th after a long period of renovation, and in Milan the new website will be presented with digital access to about 125-thousand objects in their collection. This will encourage cultural participation all over the world. Virtual experiences encourage people to make the physical journey to see art, increasing tourism. But most important is the copyright-free emission of all these pictures: free for everybody’s own purposes. And here Droog Design comes in. In Milan at the Rijks-Studio Droog shows new products by Dutch designers fro m downloads of the Rijkscollection-website. MH · For

years Dutch designers are present in Milan from established names to unknown newcomers. For Minister Bussemaker, it’s important that all generations be repre­ sented. The well-known pull in the crowds, and enterprising, younger designers deserve the chance to be seen. Milan’s enormous reputation means that the Netherlands must be there. But Minister Bussemaker knows that while Milan should receive full attention, other irons should be kept in the fire. JB · Milan is not the only way to support the creative sector. Last November we organized a very interesting trade mission to Brazil, in the company of Prince Willem-Alexander and Princess Maxima. Business and science were central to the trip, and so was the creative industry. There was an important delegation of Dutch architects to meet their counterparts in Brazil, both strong players in this field. This is just one example of how the creative industry and trade can work together. In short, design is much more than design in itself. It is also used to help solve a number of complex social problems. It’s a smart way to combine scientific, social and aesthetic products in a innovative way.

MH · As

the new Dutch Minister of Education, Culture and Science, Jet Bussemaker champions the interests of many in government plans to back the thriving creative industry. Identified as one of the nine ‘Top Sectors’ which could help boost the national economy, current schemes reflect Bussemaker’s vision of harmo­nising economic and cultural policies, of combining the profit motive with beautiful ideas and products that are both functional and pleasing to the eye. JB · Our aim is to create links in the creative industry between the development of ideas and their translation into products, services and social solutions. In order to do that we have to start by making sure that people are properly trained. That’s where education in the arts, architecture and design comes in, as well as research on the Dutch design tradition. In the vocational training sector we have designated two creative industry ‘Centres of Expertise’, at the Universities of Applied Sciences in Amsterdam and Utrecht. All of this contributes to the profile and development of the creative industry: we do it with money, we do it through education and we do it by bringing people together. A nice example from the world of fashion is G-Star, a company in Amsterdam that works with new material and new techniques. The name is in English and hardly anyone knows that it’s a Dutch company. Another example: a good number of Dutch architects have been doing very well in Asia. Then there is the old Tichelaar factory that used to make tiles for house decoration. Now they’ve gone in a completely new creative direction, applying the old techniques in modern and innovative ways.‘

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jet bussemaker


De s i g n p u n c h es f a r above i ts wei g ht

Minister Lilianne Ploumen for Foreign Trade and Development Cooperation Interview: David Heldt

small-scale trade in developing countries by designing in cooperation with the local population and with materials that are available locally. Do you think that Dutch designers can play a constructive role in this? LP · Absolutely. Developing countries have a wealth of creativity and artistic potential to offer as well as skills and materials that are not mainstream in our design culture. We have seen local craftwork such as fashion turn into profitable business models with the support of the entrepreneurship of Dutch designers. Moreover, the expertise of Dutch planners, architects and designers can be valuable in helping developing countries to accommodate the challenges of urbanization and make their growth sustainable. In both our trade missions and development programmes, we look for such opportunities and win-win formulas. MH · The

DH · In

your career you have considerable working experi­ ence and have fulfilled administrative functions with organisations that provide development aid such as Foster Parents Plan, Mama Cash, Cordaid. What role do you see for them in your strategy for trade and aid? LP · The world has changed since I started my career. Many of what used to be developing countries are now rapidly growing economies offering ample business opportunities. At the same time, there is general agreement that corpo­ rations have a social responsibility beyond the interests of shareholders. These changes call for closer cooperation between business and civil society. The private sector increasingly recognises NGOs as partners rather than adversaries, but further cooperation is necessary. Businesses can make better use of the expertise that NGOs have to offer and civil society can learn from the effectiveness of business approaches. In March I went on a mission to Bangladesh, accom­ panied by both businesses and NGOs that are active in the textile sector, in a joint effort to improve working conditions in sweat shops. Such collaboration shows the synergy between aid and trade and benefits both business and the objectives of civil society.

creative industry, including product and furniture design, has been designated by the government as one of the nine top sectors that must provide the Dutch economy with an impulse. How do you want to deploy this sector to that end? LP · The creative industry is a crucial sector in our economy. While it constitutes just 2% of our total exports, it punches far above its weight in terms of contributing to our economy. Creative processes are part and parcel of many of our other industries. Moreover, Dutch Design is a strong part of the Holland brand. Because of its importance and as part of the top-sector policy business, science and government cooperate to tackle issues such as research and innovation, export promotion, finance and human capital. DH · The design sector is partly about trade and partly about

culture; design is probably a synergy of the two elements. Which of these two elements can mean the most to the Dutch economy? And which element should receive the most support from the government? LP · There are strong synergies between the artistic and eco­nomic aspects of the creative industries. Our trade strategy aims to make full use of this. The familiarity with Dutch creativity abroad and ultimately how well Dutch creativity sells, is co-dependent on how our country, our culture and Dutch design are perceived. This is one of the reasons why it is so important to showcase what the Netherlands stands for in all its dimensions.

DH · Microfinance

has proven to be a successful formula to give people in developing countries a livelihood and responsibility of their own. Do you think that the government can play a role in this? LP · Microfinance has indeed proven to be a powerful instrument for improving the lives of people at “the bottom of the pyramid”, particularly women. Products like microcredit, savings accounts, insurance and leasing enable them to become financially independent and self-reliant. There is close public-private cooperation in this field. Governments and NGOs have played a crucial role in introducing and scaling up the microcredit system and now private microfinance institutions, insurance companies and banks increasingly offer microfinance products. Still there is, and always will be, a role for government in furthering inclusive finance, for example by promoting regulation and responsible finance principles to ensure transparency and accountability in the system. This is crucial for building trust and protecting clients, especially now that private participation has increased. DH · There

have been various initiatives, and they are still active, in which designers are deployed to create


lilianne ploumen

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Wolfram Peters (1952) studied industrial design at the Technical University in Delft. In 1978, he was co-founder of npk design, a successful design agency with about 4 0 e m p loye es i n st u d i os i n Le i d e n a n d H a m b u rg . n p k i s involved in all aspects of product development and has won many design awards in industrial, public and graphic design. Which of your designs is seen in the photo and why? I have chosen a selection from a new series of more than 20 LED luminaries, the LED made easy armature FLOW², intended for high-end use and developed in co-operation with Ledeshi, from China. We identify new applications for durable and energy-saving LED lighting and Ledeshi produces them. They are different than many other Chinese companies; they stay away from copying and want to deliver great products.

How would you describe yourself as a designer? I am a designer at heart; always motivated to solve problems with an open mind. What is the essence of a problem? The challenge is to make the world around us more comfortable, convenient and enjoyable. By designing user-friendly products and excellent services that bring added value to the user, not only functional and convenient, but pleasurable, surprising and inspiring. Many designers today put themselves in the market as ‘brands’. I prefer to design products and services that are successful for the brand of my client. How do you feel about designing nowadays? We have always kept our distance from disposable products and shortterm. A product should preferably last at least 10 to 15 years. I am annoyed about all the crap that is being designed. In the Netherlands, you have many chain stores that all look alike and sell poorly-made products. In Paris or Antwerp, my heart beats faster. Even at a department store like Printemps you’ll find a whole floor full of beautifully made toys. In Holland, big DIY stores sell bikes for 119 euro. Not surprising that they are corroded in no time.

‘Good design must contribute to the community’

Interview: Annemiek van Grondel Photography: Daphne Kuilman

Is innovation an important criterion of good design? Innovation is not a purpose in itself. There must be a genuine reason for a certain design direction. Let your brainpan crack and identify and analyse the problem to the bone! Then you can start building the solution. Good design for me is the end result in all facets; it must actually contribute to the community. It should be useful, functional, timesaving and sometimes time- and fun-prolonging. Take a sledge or a mountain bike. Optimizing the handling and potential speed means more fun and it is being used more.

What do you consider the biggest changes in your profession? Design has matured, has become wider, more complex and capacious. It went from drawing board to 2D and 3D; from handmade to computer controlled. From handmade prototyping and model building to 3D model­ ling and printing. Today you can customize and print special solutions for people with disabilities. Web and other mobile applications caused a landslide. And we are just at the beginning. More products have integrated services, such as apps and interfaces. Compare the old Nokia, on which the first text message appeared, with the iPhone and all its possibilities. Today, the service often is the carrier of the idea and no longer the hardware product.


wolfram peters

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Frans van Nieuwenborg (1941) was educated at the Academie Industriële Vormgeving Eindhoven (now: Design Academy) and lived and worked in Denmark for seven years before returning to the Netherlands to start his own design agency in Leiden. In his work, seen in museums around the world, the focus is on making various light objects. Which of your designs is seen in the photo and why? The picture was taken in my studio and living space that is part of an abandoned school that I rented 40 years ago with some artists. In the background, you see the Santa Maria della Luce in a new, bigger size than the original Delight, which my former colleague Martijn Wegman and I designed back in 1979: 1.20 m instead of 80 cm. The new version of this dimmable wall lamp, also designed for and produced by Ingo Maurer, I created in 2007. The detachable white fibreglass cloth is reminiscent of a headscarf for the Holy Madonna. The Delight version is stubbornly called ‘dish towel’ by colleague designer and friend Gijs Bakker.

How would you describe your identity as a designer? I consider myself to be a no nonsense-designer. Less is more. Being trendy is not my aspiration. I like craftsmanship and knowledge but have a keen eye for the market. Whenever something is finished I invite friends and relatives to come over and comment on my design. And I encourage them to be frank! On the other hand, I have a poetic side. It shows for instance in the names of some of my designs: Supernova, Canto Chiaro, Delight, Saint. With a special laser technique I wrote strophes from different poets in the Canto Chiaro, and with the lamp comes a book of poems. But I make jewellery, as well, lyrical pieces of their own.

‘I’d rather listen to my heart than be trendy’

Interview: Annemiek van Grondel Photography: Daphne Kuilman

What do you consider the biggest changes in your profession? In Denmark, I worked for architects and in the royal porcelain factory. Design over there was cross-linked into all societies, high and lower. Architects like Mogens Koch and Arne Jacobsen gave design some thorough thought, used good, smartly invented and well-made materials, in a minimalist tradition. Designers translated design to smart aes­ thetics and were excellent craftsmen themselves. They honoured the principle apprentice, journeyman, master. You made your designs by hand like they came out of the machine. Today, you push wood planks through a thicknesser and in Holland they call you a craftsman. New materials now provide many more opportunities. Also, techniques have been improved. Our society has become more consumptive. We used to do a lifetime with a light, have it repaired if necessary. The lamps now are made in the Orient, are different, cheaper and faster. The current click clack connections are fragile. If you open up a lamp, they can break easily. Previously screws were used. I do not welcome fashion trends and rapid developments. At each design fair, Ingo Maurer is expected to show two or three new products. The rapid consumption market requires new fads and trends. I prefer to make things that are sustainable and timeless.

What advice could you give young designers? Listen to your heart. Try to respond sincerely. We so often see lavish things nowadays, like at Droog Design. There are too many unnecessary products, provided with woolly formulations. I’d say: go back to basics.

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frans van nieuwenborg


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Ingeborg De Roode, curator design, and Ann Goldstein, artistic director, at Stedelijk Museum Amsterdam


‘De s i g n i s a r t ’

When director Ann Goldstein first arrived in Amsterdam taxis didn’t know where the Stedelijk Museum was and nor was it mentioned on maps. The nine year closure had had an effect. “The Van Gogh, the Rijks and the Concertgebouw were all clearly marked, but the Stedelijk had literally dropped off the map,” she says. Interview: Gabrielle Kennedy Photography: Ilco Kemmere

The museum’s non-identity coincided with a particularly rough patch for Dutch design. Plans for the proposed design museum had been axed and cultural funding had been slashed across the board. The reopening, therefore, had added grav­ i­tas for design. Plans for the current pres­en­ tation started back in 2005 for the scheduled 2008 reopening. “Almost everything we have now in the design galleries was based on then director Gijs van Tuyl’s vision,” admits Ingeborg De Roode, curator of industrial design. The 14 design galleries straddle disciplines from graphic design, to industrial design, jewelry and small sculptures in glass and porcelain. “A lot was already decided with regards to the concepts and themes of the galleries and from the very start everyone agreed that design needed a good amount of space and attention.” Goldstein – an American with a strict visual arts background – arrived and was immediately supportive of the plan. “I love design, particularly graphic design” she says, “and it plays an integral role in Dutch culture. What blew my mind from the start was the mere volume of material – it represents the majority of our complete collection. In the Netherlands design is art.” Inspired by what she saw in storage, Goldstein decided to add to the opening plans by canceling a design timeline installation and instead including what is now known as the Depot – a cross section of a storage unit showing how the museum warehouses its


design collection. Running with this is a film revealing much about design, process as well as selling using and storing objects. “Before the more formal circuits I thought it would be so interesting for visitors to see how design lives,” Goldstein says, “and how pragmatic the system is – with things divided up according to materials and size.” For the most part the design collection is presented in loose chronological and thematic order. Clearly the curators are playing to their strengths rather than just mimicking what exists in collections elsewhere. Dutch superstars like Rietveld and Sandberg get a disproportionately large space, which makes good sense given their overwhelming impact on international design and the spread of modernist ideas. “Bauhaus and the influence of Bauhaus in the Netherlands is also a big part of the collection,” says De Roode. So we opened with a special presentation on that.” Design has played a core role at the Stedelijk Museum since the 1930s. “The collection officially started in 1934, but even as early as the late 19th century the museum hosted exhibitions on subjects relating to applied arts and design,” says De Roode. In the early 20th century, the Netherlands did have a museum for applied arts located in Haarlem. It shut down in the mid 20s. “That was probably an extra reason for the Stedelijk to start its own collection,” says De Roode who admits that while a design museum would be nice, she doesn’t see it as essential.

stedelijk museum

“I think outfits like Platform 21 that can do exhibitions outside a more traditional museum’s domain are really interesting,” she says. “People often asked if I was threatened by its existence. Of course I was not – their programming was something I could not do here and it strengthened general design awareness, which was good.” Platform 21 was the incubator for the planned Dutch design museum, but lost its funding in 2009 and had to shut its doors. The Netherland’s’ hopes of having its own design museum shut with it. The advantage of showing design within a contem­porary art setting is that connections can be drawn and visitors can look at the fuller creative world in an integrated context. “And over time I have seen how artists have become more interested in certain aspects of design and can move back and forth,” says Goldstein. “If you think about it, photography not so long ago was not considered art. I can definitely see doing more combined exhibitions in the future.” “Even just within the design disciplines,” adds De Roode, it may sound logical to present graphic work with industrial design, but in fact it is hardly ever done and it is what we will do more and more of. So I keep on working closely with my colleagues Marjan Boot, curator of applied arts and design, and Carolien Glazenburg, curator of graphic design, with whom I made the design col­ lection presentation.” This sort of interconnectedness makes big sense if one considers the reach of

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I love desig n , pa r t ic ul a rly gra phi c d es i g n a n d i t p l ays a n i nte g ral ro le i n D u tc h c u lt u re. W h at b lew my m i n d from th e star t was t h e me re volu m e of material – it represents the majority of our complete c o l le ct io n . In t he Neth er lan ds d es ign is a r t . Ann Goldstein

movements like De Stijl, Bauhaus, Pop Art and even post-modernism. “The boarders between art and design are getting less clear,” says De Roode. “We have small objects and even textiles from the 60s that could prob­ ably fall into either art or design. I think the distinction is often more important to the designer or the artists than to us. Let’s just call it an administrative distinction.” Textile “artist/designer” Loes van der Horst, for example, is currently included in an art presentation. Now the post-opening congratulations have simmered down, Goldstein has to set about reestablishing the Stedelijk Museum and Amsterdam as an important and relevant art and design hub. It needs to not just make it back onto the city’s tourists maps, but back into the forefront of the international contemporary art and design scene. “It became apparent to me soon after arriving in Amsterdam just how hysterical people were about the closure of their museum,” Goldstein says. “It was too long.” “It was very bad for us that it took so long to reopen,” admits De Roode. “Of course as a curator it is frustrating because my job is about connecting with the public and even though we had temporary solutions, the reach was never the same.” But De Roode also stresses that the museum’s inter­national colleagues did not forgot about them. “The MOMA in New York, the Centre Pompidou in Paris, the Pinako­thek der Moderne in Munich were in constant touch,” she says, “and we were already work-

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ing together on upcoming projects. They never lost faith in us.” De Roode’s plan for the future is to focus more on contemporary issues that are driving the industry. These as well as more recent design hits are a noticeable gap in the current presentation, but planned for 2014 is a Marcel Wanders exhibition (his first in Europe in over ten years), and a presentation of furniture from the Amsterdam School, an architecture and design movement from the beginning of the 20th Century, which is well known for its expressive forms. Dirk van der Kooij is just one of the young Dutch designers De Roode has selected to pursue. She also wants to keep an eye on designers with a social core like Design Academy Eindhoven graduate Massoud Hassani whose landmine detonator “Mine Kafon” has become a media sensation. Interestingly, just days after this interview professor of Design Cultures at the VU (Vrije University Amsterdam), Timo de Rijk wrote a damning op ed in the leading Dutch daily, NRC Handelsblad. He picked out Hassani’s Kafon as the perfect example of where Dutch design is going completely wrong – too conceptual, completely imprac­tical, and good for little more than exhibiting in a museum. “Mine Kafon”, needless to say, looks amazing and possesses an impressive social agenda, but in its current state, it cannot work. “Besides that I am always interested in new materials, new techniques and what sort of opportunities these offer designers,” De Roode says. “I like seeing how experiments


with ultra-light materials, for example, are being developed and what designers will do with that. I am also interested in how big organizations like disaster relief agencies can learn to make better use of designers.” The main challenge for the Stedelijk now is to stay relevant and to keep ahead of the curve. Back in the 70s design was simpler to exhibit. For one, the ties to the art world were stronger. Everything was more visual. “Especially in jewelry design,” says De Roode. “Look at Gijs Bakker and Emmy van Leersum.” But also in the 80s there were not that many venues exhibiting. “Now there are so many more opportunities for designers and artists,” says De Roode. “There are many of galleries showing the cutting edge and that makes it harder for us, but we definitely want to play a role in this … We want to play an integral role in what is happening in design around the world.” Complicating this further is the question of how to exhibit design at a time when research, experimenting with materials and new production processes have become the focus. Right now design is very much about social improvement and discovering ways that design can play a bigger role in the world. “It is important to point out that showing and collecting are two different things,” De Roode says. “We can always use smaller galleries to show temporary exhibits.” Thus far the museum and its design collection have been favourably received. In one now-famous New York Times piece the architecture critic, Michael Kimmelman bluntly queried, “Why is this museum shaped like a tub?” His own proffered answer was not complimentary. Proposals for the revamp of the old building first came from Venturi and later from Portugese architect Alvaro Siza who proposed a vision of sculptural light. In the end the museum went with Benthem Crouwel’s bathtub proposal. Kimmelman claims the structure is out of synch with the times, claiming iconic architecture that sits uneasily in its surrounds characterizes a very different more finically flamboyant era. He writes: “Benthem Crouwel’s gonzo design suggests a kind of desperation in Amsterdam’s reaction to Bilbao.” Goldstein disagrees: “Given what the Stedelijk is, I think the iconic nature of this extension is very appropriate. I think the building is spectacular. It is like one open statement from the outside to the inside, transparent, aesthetically beautiful and functionally effectively. But I also think the way the building is photographed is quite different to how it actually is. It looks like plastic, but up close and inside it really does have a more porcelain feel to it. I love the texture.” “To me [Kimmelman’s] criticism is very old-fashioned,” says De Roode. “It read like he was just against change and he does not understand the structure because the whole form is very functional. Crouwel didn’t want to just make a nice form, he wanted to make spaces which work well for the museum. His idea that the old museum must always be


Yellow chair: Jens Fager, Raw, 2008. Red table: Maarten Baas, Clay Table with Drawer from series Clay Furnitures, 2006. Posters (from left to right): Anette Lenz, 2008, Philippe Apeloig, 2004, Pierre Di Sciullo, 2008, Michael Quarez (dates from left to right), 1999, 2005, 1996, 1999.


stedelijk museum

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Th e boarders b etwe e n a r t a n d des i g n a re gettin g les s c lea r, […] I t hi nk the distinction is often more important to the designer or the artists than to u s. Let’s just cal l it a n ad min ist rat i ve di stin ction . Ingeborg De Roode

visible lead to a floating and a subterraneous space. It is as logical as that.” Mels Crouwel’s was the only proposal that flipped the museum, turning the back into the entrance and thus utilizing the awkward public space – Museum Plein. He also avoided building on the ground floor to preserve views of the old building and instead put the largest space underground. “It is great because you do not get the feeling that this extension is a huge structure,” says De Roode “most of it is hidden underground.” What definitely does not work is the ugly black truck tower that seems to randomly rise into the air ultimately blocking any real connection with Museum Plein. The tower looks temporary and like it might belong to the nearby supermarket rather than the museum. “It was the only way to get truck access and to house the climatization system,” says De Roode. De Roode also points out that during the building-stage many people criticized the plan, but once it was opened and people used the space as a museum they came to better understand and appreciate it. So heading towards the end of its first six months the Stedelijk Museum seems to be very much on track. They have even managed to overcome the early announcement that their funding would be slashed forcing some employees to be let go. “We need to look for new funding now,” says Goldstein who emphasizes that although she is used to less funding in the United States, the tax structure and philanthropy there is completely different. “What works there, does not necessarily work here,” she says. “I do not want to sound arrogant but we are off to a fantastic start,” says Goldstein. “We will not model ourselves on anyone else. We have an amazing collection, a rich history, and a community that I am quite sure will combine to quickly reestablish the Stedelijk one of the most important cultural institutions in the world.” “Design can enhance lives,” concludes De Roode. “It is not just about making the world more beautiful. I am curious about how people develop relationships with objects that they use – it is why we want to do the Marcel Wanders exhibition because he thinks a lot about this. People often see design as little more than consumerism, but if it is done well and people become attached to their objects, it can also be very sustainable. Design which addresses social issues can really influence people’s lives.”

Rocking chair: Ineke Hans, Saturday from the series Seven chairs in Seven Days, 1993 Red chair + stool: Wieki Somers, Chinese Stools – Made in China, copied by the Dutch, 2009 Suitcase behind rocking chair: Ted Noten, A Split Second before Imploding from the series The Physical Impossibility of Wealth in the Mind of Someone, 2007 Lamp behind red chair: Konstantin Grcic, Mayday, 1999 Hanging lamp made of milk bottles: Tejo Remy, Milk Bottle Lamp, 1991 (production 1993) Gray chair: Niels van Eijk, Cow Chair, 1997

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Hello Milan, this is

#001 EarChair by Jurgen Bey, Studio Makkink & Bey

#006 SideSeat by Studio Makkink & Bey

#005 SitTable by Ben van Berkel, UNStudio

PROOFF launches new products and PROOFFlab presents new ideas @ Tortona Design Week Milan 9 - 14 April 2013 PROOFF’s presentation during Salone del Mobile Milan can be found in the Emporio building, Opificio Courtyard, Via Tortona 31 - 20144 Milan. Free admission. For more information please contact us at +31 10 211 00 80 or

Ann Maes (1952) founded her own agency in 1980, after being educated at the AIVE (now Design Academy Eindhoven). With Ann Maes Design she proved to be an innovative and award-winning industrial designer, but s h e h a s al s o m ad e h e r m a r k a s a d es i g n c o n su lta nt , producer, lecturer, curator, author, editor, promoter and initiator of various events for architects and designers. Where was this picture taken? Which of your designs is seen in the photo? The picture was taken at the Materia Inspiration Center in Amsterdam. I am wearing one of my watch designs, and the blowpipe I am holding is part of my Mace-Line fire irons. I designed these tools in 1977. The fire irons have become a design classic, with more than 30,000 sets sold. This allowed me to define my place amongst my male colleagues in the profession, and to always deliberately invest in innovative designs.

How would you describe your identity as a designer? I have always been a minimalist, a modernist and a functionalist, but also a strong proponent of sustainable thinking and doing. ‘Less always produces more’ is my motto. It is a pity that few people understand the richness of minimalism. ‘Less is more’ should be everyone’s paradigm. It would save us many a crisis. We now must try to get more out of ‘less’. It’s the only way to make progress. Is innovation an important criterion of good design? Innovation and ‘improvement’ are the most important criteria to justify the use of energy and materials. Things that are relevant and needed are those I devote time to. If designers and suppliers would think more seriously about the necessity and footprint of products, we would enjoy a very different society. On the other hand, affordability of design for both industry and user is important as well.

‘The design discipline has lost much of its disciplin’

Interview: Annemiek van Grondel Photography: Daphne Kuilman

What do you consider the biggest changes in your profession? In many cases, designers and manufacturers have grown apart. The industrial design profession has been diluted to superficial conceptual thinking about everything that needs designing. It has become a noncommitted occupation, leading to – with some excellent exceptions – innumerable useless products that increasingly add to our waste moun­ tain. The design ‘discipline’ increasingly seems like a fleeting expression of applied art for the individual, rather than a service to industry allowing for the production in series of products that are affordable and accessible to many. Society would benefit greatly if the design profession and its principles were redefined and if the many windbags in the field were no longer subsidised with public funds. It presents the wrong image for our profession and its more earnest members. I miss the solidity, depth and service vs. the volatility and superficiality of today. The typical ‘service’ character of the old school method presumes a much humbler approach than the ‘intrusiveness’ of the star designer. A rich society is a wasteful society. Take a critical look around, and you realise society has lost its way, has derailed. Andrea Branzi said in the seventies, ‘We must return to basics in order to get out of the jungle.’ I’m afraid we are still living in a jungle.

What advice could you give young designers? Think first: does the product or service you are designing really contribute something to society? Then consider that the smaller the footprint, the better it will be for nature. And we need nature to survive.


ann maes

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Bruno Ninaber van Eyben (1950) is known for many designs, for instance that of the Dutch guilder and the euro coins. In 1979, he was the first to receive the prestigious Kho Liang Ie Prize for industrial design. Many awards have followed. He was co-founder of npk design, and star ted a new agency in 1997. Studio Ninaber is located in Delft and in Verl, Germany. Which of your designs is seen in the photo and why? This photo shows a mortar and pestle, commissioned by Randstad, an employment agency, to present to their employees as a gift in 2000. The mortar has a simple, geometric shape and is made of cast iron. The pestle is made of maple wood. The mortar looks like it is floating. It is portable: you can hook your fingers under the edge and take it to the stove. Cast iron is not usually considered a friendly substance but I think this mortar has a quite pleasant look and feel to it.

How would you describe yourself as a designer? I’m a multi-tasker: always busy doing many things at once. The female element in me, I guess. But there is focus! ‘Less is not possible, more is not necessary’ is one of my mottos. I look for purity in design. I do not hide things behind decoration, but at the same time try to make something that is not merely ‘functional’: something that is pleasant exudes care and attention to detail and evokes surprise. I have designed a candlestick that functions like a clip that easily grips and releases the candle and that is elegant at the same time. A design should be as beautiful as it is smart.

‘Less is not possible, more is not necessary’

Interview: Annemiek van Grondel Photography: Daphne Kuilman

What do you consider the biggest changes in your profession? With increasing globalization, the regular industry as we know it is growing tremendously. This creates niches. In terms of distribution, there are great new opportunities. Today it is possible to easily deliver anything without needing stores, by directly selling products to the consumer. By using the Internet and social media – which means such things as crowd funding – you are able to quickly find a spot on an international platform, a real boost for starting designers. With many new technologies, such as 3D printing, laser cutting, weaving and printing on demand, a product can be made without having to use mass production machines. I think that’s wonderful. People don’t simply want a standard mass-produced product but rather a designed product they can cherish. They love to have something that tells a story. With all these new techniques a much more personal form of design is possible.

What advice could you give young designers? Design things and make sure that they are available to the general public. Do not stop at the concept. Designing is only 5% of a product until it is sellable.

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bruno ninaber


De s i g n Rat ato u il l e

Mark van Iterson Global Head of Design Heineken

Three years ago, volcano ashes kept all aircraft on the ground. I was in Milan, I had booked two days to see a series of exhibitions during the Salone. But thanks to the volcano my stay was extended to four days. Brilliant! Time to really explore, to stroll through the city, to climb up tiny staircases only to end up in an apartment and see a couple of young designers with their wooden carved products. I didn’t really like the strange, in my opinion ugly, products, but I loved their energy, their drive to experiment with new shapes was fascinating. Design is about creating the new. It’s about the drive to not stand still, to move forward, to create hope that the future will be more beautiful, safe, comfortable, sustainable or fun. During the Salone, Milan is full of this creative drive to progress. Of course it is. But what makes Milan Design Week different is it’s extremely open character. What started as a fair for furniture professionals grew organically into an uncontrolled guerilla hodgepodge of all kinds of creative expressions. Some arty, some commercial, some poor, some brilliant. Brazilian, Korean, Turkish, Scandinavian, Dutch, worldly design. Everything mixed, through the entire city, topped off with a bit of Italian furor. This is the key to this unique week in Milan, because it is exactly how progress is made. Unexpected impulses, fearless or naive young talents, cross fertili­zation, mashing cultures, being pushed out of your comfort zone, all together in a one-week pressure cooker. Being a Dutchman makes you a bit proud in Milan. Dutch Design is famous and successful. It challenged the norm. With a wink of the eye, it was fresh and irreverent. Was, because through its own fame, it automatically lost its challenger role and itself became the establishment. All the more reason to remain sharp and to embrace the spicy and weird parts of the Milanese ratatouille of ideas, people and passions. In the meantime, don’t forget to have some good fun; often it sparks the most exciting creativity. Around aperitivo hour, come to Heineken Open Design Explorations at The Magazzini di Porta Genova, for a mix of design, art, debate, dance, music, beer, and fun. Till late. Cheers.

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Dutc h Desi gn M i la n 2 01 3

010 – 020 · 08 p.41


aMAZElab · 26 p.46 Slim Ben Ameur · 59 p.55 Architects studio architecten de vylder · 49 p.52 Arco · 05 p.40 Arocca · 45 p.51 Rogier Arents · 39 p.50 ArtEZ · 52 p.52 Artifort · 02 p.40 Aart van Asseldonk · 07 p.41 Atelier van Asseldonk · 07 p.41 Jorre van Ast · 05 p.40 Marjan van Aubel · 67 p.56 Axia Design · 49 p.52


Bo Baalman · 18 p.44 Jacob de Baan · 54, 56 p.52, 53 Maarten Baas · 64 p.56 Emmanuel Babled · 09 p.41 Aldo Bakker · 13 p.43 Steven Banken · 39 p.50 BCXSY · 36, 41 p.49, 50 Niels Bendtsen · 47 p.51 Ben van Berkel · 50 p.52 Lisa Berkert Wallard · 54 p.52 Anke Bernotat · 64 p.56 Giulia Berra · 39 p.50 Dinie Besems · 53 p.52 Jurgen Bey · 48 p.51 Fabio Biavaschi · 54 p.52 Big Bloom · 68 p.56 Joost van Bleiswijk · 46, 51 p.51, 52


Maartje Boer · 19 p.44 Roel de Boer · 22, 39 p.45, 50 Sander Bokkinga · 51 p.52 Wiebe Boonstra · 61 p.55 Renée Boute · 20 p.44 Lorenza Bozzoli · 46 p.51 William Brand · 03 p.40 Bregonjedesign · 31 p.48 Jacco Bregonje · 02, 31 p.40, 48 Robert Bronwasser · 11 p.42



Dana Cannam · 53 p.52 Agata Carolina · 53 p.52 Illia Chidzey · 29 p.47 Joanne Choueiri · 18 p.44 Boaz Cohen · 41 p.50 Maarten Collignon · 08 p.41 Connecting Items · 48 p.51 Connecting the Dots · 48 p.51 Consulate General of the Netherlands · 35, 48 p.48, 51 Coolhunting · 55 p.52 Giulia Cosenza · 18 p.44 Domitilla Dardi · 48 p.51 Joshua Davis · 55 p.52 Carmine Deganello · 53 p.52 De Kers bv · 29 p.47 David Derksen · 08 p.41 Design Academy Eindhoven · 12, 14 p.43 Designersblock · 55 p.52 Faas van Dijk · 47 p.51 Rob van Dijk · 66 p.56 Tom Dissel · 45 p.51 Droog 20+ · 28 p.47 Dum · 61 p.55 Dutch Invertuals · 27 p.47 DYDELL · 65 p.56


Annet van Egmond · 03 p.40 Brand Van Egmond · 03 p.40 Eindhoven Avant-Garde ‘WE ARE WELCOME!’ · 22 p.45 Kiki van Eijk · 51 p.52 Mae Engelgeer · 08 p.41 eQ+ · 57 p.54


Simone Farresin · 32, 36, 43 p.48, 49, 50 Feed The Planet, Energy For Life · 52 p.52 Teun Fleskens · 23 p.45 Fontana Arte · 01 p.40 Framed · 70 p.56 Lizan Freijsen · 51 p.52




Maddalena Gioglio · 18 p.44 Gispen · 64 p.56 W.H. Gispen · 64 p.56 Robert Glas · 20 p.44 Akko Goldenbeld · 39 p.50 Sebastian Goldschmidtböing · 54 p.52 Jolanda van Goor · 51 p.52 Lonneke Gordijn · 01 p.40 Go West Project · 34 p.48 Rachel Griffin · 08 p.41 Charlie Guda · 68 p.56 Jan Gunneweg · 26 p.46 Joost Haas · 20 p.44 HAN Gallery · 15 p.43 Geoffrey D. Harcourt · 02 p.40 HAY · 42 p.50 Sit & Heat · 51 p.52 Niek van der Heijden · 22 p.45 Heineken · 55 p.52 Hendrik’ · 37 p.50 Pepe Heykoop · 53 p.52 HKU Design, Utrecht School of the Arts · 20 p.44 Dick van Hoff · 64 p.56 Martijn Hoogendijk · 61 p.55 Hôtel Droog · 28 p.47 Floris Hovers · 51 p.52 Roel Huisman · 53 p.52 Martine van’t Hul · 31 p.48 Michiel Hulshof · 34 p.48 Jan Wout Hulstein · 45 p.51 Richard Hutten · 64 p.56 Ineke Otte Design · 51 p.52 In Flagranti · 06 p.41 Rolf Indermuhle · 46 p.51 Istituto Europeo di Design (IED) · 52 p.52 James Irvine · 64 p.56 Items · 48 p.51 it’s about RoMi · 66 p.56


Iris Jansen · 64 p.56 Laura Lynn Jansen · 38 p.50 Hella Jongerius · 04 p.40 Sjoerd Jonkers · 53, 59 p.52, 55 Just Blocks Furniture · 51 p.52


Lambert Kamps · 53 p.52 Karimoku New Standard · 42 p.50 Pieter Kers · 29 p.47 Dave Keune · 51, 59 p.52, 55 Fransje Killaars · 61 p.55 Lisa Klappe · 22 p.45 Kobbe – Pas · 65 p.56 Maarten Kolk · 26, 49 p.46, 52 Martijn Koomen · 39 p.50 Tessa Koot · 22 p.45 Tristan Kopp · 40 p.50 Anna Korshun · 06 p.41 Kranen/Gille · 51, 59 p.52, 55 Aliki van der Kruijs · 51 p.52 Klaas Kuiken · 06 p.41 Guus Kusters · 49 p.52


Lotta Lampa · 54 p.52 Lenneke Langenhuijsen · 36 p.49 Basten Leijh · 54 p.52 Geke Lensink · 57, 62 p.54, 55 Lensvelt Contract BV · 33 p.48 Wendy Legro · 08 p.41 Jeroen van Leur · 08 p.41 LINTELOO · 47 p.51 Max Lipsey · 26 p.46 Antonio Luchinelli · 53 p.52 Xavier Lust · 64 p.56


Maastricht Academy of Fine Arts and Design · 16 p.43 Minale Maeda · 36 p.49 Ilias Markolefas · 18 p.44 Michiel Martens · 22, 39 p.45, 50 Nathalia Martinez Saavedra · 18 p.44 Mauro Martinuzzi · 70 p.56 Rianne Mast · 20 p.44 Alissia Melka-Teichroew · 51 p.52 Mensch Made · 44 p.50 Matthias Mohr · 46 p.51 Moooi · 46 p.51 Moooi Works/Bart Schilder · 46 p.51 Matt Moor · 55 p.52 Mosa · 63 p.55 Most of Mulder · 69 p.56 Roland de Mul · 51 p.52 Pascal Mulder · 06 p.41 Sander Mulder · 69 p.56


Ralph Nauta · 01 p.40 Paola Navone · 47 p.51 Marc van Nederpelt · 61 p.55 Werner Neumann · 21 p.44 NgispeN · 65 p.56 Nendo · 15 p.43 Neri & Hu · 46 p.51 New Duivendrecht · 59 p.55 Nieuwe Heren · 59 p.55 Nuy van Noort · 51 p.52 Kirstie van Noort · 39 p.50 Anders Nørgaard · 47 p.51 Fabio Novembre · 64 p.56

O · 64 p.56 Ontwerpstudio BOMM · 51 p.52 Alexis Oskam · 31 p.48 OUR HOUSE · 39 p.50


Dennis Parren · 51 p.52 Pierre Paulin · 02 p.40 PechaKucha · 55 p.52 Philips LED · 28 p.47 Annebet Philips · 51 p.52 Mickey Philips · 20 p.44 Piet Zwart Institute · 18 p.44 Wendy Plomp · 48 p.51 Bertjan Pot · 05, 46 p.40, 51 Lex Pott · 08 p.41 Jonathan Prestwich · 05 p.40 Phil Procter · 08 p.41 PROOFF · 49 p.52 Raimond Puts · 46 p.51 Jan Puylaert · 29, 30 p.47


Quasar Holland · 65 p.56 Yellow Quince · 31 p.48


Povilas Raskevicius · 18 p.44 Re-Do Studio ltd · 40 p.50


Charley Reijnders · 06 p.41 Winde Rienstra · 20 p.44 Corina Rietveld · 31 p.48 Gerrit Rietveld · 64 p.56 Wim Rietveld · 64 p.56 Thijs Rijkers · 51 p.52 Rijksmuseum · 28 p.47 RiZZ · 23 p.45 Daan Roggeveen · 34 p.48 Frederik Roijé · 51, 59, 60 p.52, 55 Ingeborg De Roode · 48 p.51 Royal Academy of Art, The Hague · 24 p.45


Siba Sahabi · 51 p.52 Lee Sanghyeok · 54 p.52 Dik Scheepers · 53 p.52 Maarten Schenkeveld · 25 p.46 Diederik Schneemann · 17 p.44 Scholten & Baijings · 42 p.50 Floris Schoonderbeek · 51 p.52 Lieske Schreuder · 20 p.44 Jerszy Seymour · 64 p.56 SMOOL · 11 p.42 Kine Solberg · 18 p.44 Rico Souren · 45 p.51 Wouter Strietman · 39 p.50 STRIKKS · 19 p.44 Studio DRIFT · 01 p.40 Studio Formafantasma · 32, 36, 43 p.48, 49, 50 Studio Ineke van der Werff · 51 p.52 Studio Job · 33, 46 p.48, 51 Studio Makkink & Bey · 49, 64 p.52, 56


Jorrit Taekema · 53 p.52 tailleu · 49 p.52 TextielMuseum · 36 p.49 The book is back · 29 p.47 The Cottage Industry · 68 p.56 The Milan Breakfasts · 12 p.43 The New Institute · 12 p.43 The Wood Ceramic Furniture · 51 p.52 Gaspard Tiné-Béres · 40 p.50 Tjep. · 10 p.41 Frank Tjepkema · 10 p.41 Frederike Top · 59 p.55 Andrea Trimarchi · 32, 36, 43 p.48, 49, 50 Egle Tuleikyt TUTTIBOOKS · 29 p.47 Tuttobene · 51, 54, 55 p.52 Tweelink


UNStudio · 49, 50 p.52


Vaessen · 19 p.44 Thomas Vailly · 38 p.50 Wouter Valkenier · 54 p.52 Van Aubel & Shaw · 51 p.52 VanJoost · 51 p.52 Van Riet Ontwerpers · 37 p.50 Weleer Vergeer · 51 p.52 Wiro van Vilsteren · 64 p.56 vinck · 49 p.52 Arnout Visser · 53 p.52 Jesse Visser · 57, 58 p.54, 55 Jetske Visser Vitra · 04 p.40 Edward van Vliet · 46 p.51 Judith van Vliet · 20 p.44 Ine Voets · 31 p.48 Burkhard Vogtherr · 05 p.40 Dieter Volkers · 06 p.41 Bart Vos · 47 p.51 Renate Vos · 51 p.52 Roderick Vos · 47, 59 p.51, 55


Jeroen Wand · 53 p.52 Marcel Wanders · 46 p.51 Sander Wassink · 53 p.52 Doreen Westphal · 44 p.50 WET Srl · 30 p.47 Jòlan van der Wiel · 53 p.52 Willem de Kooning Academy Rotterdam University · 18 p.44 Marcel Wolterinck · 47 p.51 Work van Aubel & Shaw · 67 p.56


Sayaka Yamamoto · 41 p.50 Michael Young · 64 p.56


Mariandrea Zambrano · 29, 30 p.47 ZMIK · 46 p.51 Nika Zupanc · 46 p.51 Christof Zürn · 31 p.48 ZUS · 64 p.56

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Fiera Ventura Lambrate Fuori Salone

M1 01 02 03 04 05

Rho Fiera TAV Studio DRIFT for Fontana Arte Artifort Brand Van Egmond Vitra Arco

M2 Lambrate FS 06 In Flagranti 07 Atelier van Asseldonk 08 010 – 020 09 Emmanuel Babled 10 Tjep. 11 SMOOL by Robert Bronwasser 12 The Milan Breakfasts: Design Debates with the New Institute and Design Academy Eindhoven 13 Aldo Bakker 14 Design Acadamy Eindhoven 15 HAN Gallery 16 Maastricht Academy of Fine Arts and Design 17 Diederik Schneemann Piet Zwart Institute, Willem de Kooning Academy 18 Rotterdam University 19 STRIKKS: Designer knits 20 HKU Design, Utrecht School of the Arts 21 Werner Neumann 22 Eindhoven Avant-Garde ‘WE ARE WELCOME!’ 23 RiZZ 24 Royal Academy of Art, The Hague 25 Maarten Schenkeveld 67 Work van Aubel & Shaw 68 Big Bloom M2 Porta Garibaldi 26 aMAZElab, Art, Cultures, Landscape 27 Dutch Invertuals M3 Repubblica 28 Droog 20+ Up to a beautiful future! M1 Porta Venezia 29 The book is back 30 WET Srl TOURBILLON spazio Adriana Morandi Fashion 31 M1 Cadorna FNM-Triennale 32 Studio Formafantasma M2 Sant’Ambrogio 33 Lensvelt Contract BV 69 Most of Mulder 70 Framed M1 Duomo 34 Go West Project M1 San Babila 35 Consulate General of the Netherlands and The New Institute 36 TextielMuseum M3 Porta Romana 37 Hendrik’ 38 Laura Lynn Jansen & Thomas Vailly 39 OUR HOUSE 40 Re-Do Studio ltd

Zona Tortona

M1 Conciliazione 41 BCXSY 42 Scholten & Baijings 43 Studio Formafantasma 44 Mensch Made M2 Porta Genova FS 45 Arocca 46 Moooi 47 LINTELOO 48 Connecting Items 49 PROOFF 50 UNStudio 51 Tuttobene 52 Feed The Planet, Energy For Life 53 Carmine Deganello & Antonio Luchinelli 54 Tuttobene Work/Shop 55 Heineken Open Design Explorations 56 Jacob de Baan 57 eQ+ 58 Jesse Visser designprojects 59 New Duivendrecht 60 Frederik Roijé 61 Dum 62 Geke Lensink 63 Mosa 64 Gispen 65 DYDELL, NgispeN, Quasar Holland 66 it’s about RoMi

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metro milan



metro milan

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Studio DRIFT for Fontana Arte


Location Milan Fairground, Hall 16 – F30 Strada Statale del Sempione 33, 28 20145 Rho, Milan

Location Milan Fairgrounds, Pavillion 16 Strada Statale del Sempione 33, 28 20145 Rho, Milan

Designers Ralph Nauta, Lonneke Gordijn

Designers Jacco Bregonje, Geoffrey D. Harcourt, Pierre Paulin

Contact Marjolein van Zanten Jan Evertsenstraat 337 NL - 1061 XT Amsterdam t +31 (0)20 840 69 93 Opening time Daily 9:30 – 18:30




Brand Van Egmond



Location Milan Fairgrounds, Hall 9 – B06 Strada Statale del Sempione 33, 28 20145 Rho, Milan

Location Milan Fairgrounds, Hall 20 – C05/D04 Strada Statale del Sempione 33, 28 20145 Rho Milan

Designers William Brand, Annet van Egmond

Designer Hella Jongerius

Location Milan Fairgrounds, Hall 16 – D51 Strada Statale del Sempione 33, 28 20145 Rho, Milan

Contact Paul van HuisstedNikkelstraat 41 NL - 1411 AH Naarden t +31 (0)35 692 12 59

Contact Muriel de Lang De Oude Molen 2 NL - 1184 VW Ouderkerk aan de Amstel t +31 (0)6 227 975 55

Press contact Rosa Mathijssen t +31 (0)35 692 12 59 Opening time Daily 9:30 – 18:30

Press contact Marianne van Dodewaard t +31 (0)6 553 788 83 Opening time Daily 9:30 – 18:30

Designers Jorre van Ast, Bertjan Pot, Jonathan Prestwich, Burkhard Vogtherr Contact Agerta Bokking Parallelweg 2-II NL - 7102 DE Winterswijk t +31 (0)54 354 65 70

Contact Marloes Bomer Van Leeuwenhoekweg 20 NL - 5482 TK Schijndel t +31 (0)73 658 00 51 Opening time Daily 9:30 – 18:30

About To Arco playing to your strengths means: making tables. A table is often the focal point of a room, and we make tables for any time of the day, for all imaginable purposes: from handy side tables to robust furniture with impressive dimensions. Tables to eat, to work or to celebrate at, for your home, office, restaurant or public buildings. Additionally, we make chairs, cabinets and small furniture to match our tables. Presentation We present our latest tables like the Base (by Jorre van Ast), a tough and solid table with a concrete base and a top made of local wood, and the Utensils: playful tables in various heights and forms cleverly designed interior tools for all sorts of purposes like a laptop table by the sofa or a compact bistro table. Draw up to our tables in the new Buzz chair (by Bertjan Pot) or the Ease.

Press contact Kathlijn de Booij t +31 (0)54 354 65 70 Opening time 9:30 – 18:30

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Ventura Lambrate



In Flagranti

Atelier van Asseldonk Modern Times

Location Position L Via Gaetano Crespi 24 20134 Milan

Location Via Gaetano Crespi 24 20134 Milan

Designers Anna Korshun, Charley Reijnders, Dieter Volkers, Klaas Kuiken, Pascal Mulder

Designer Aart van Asseldonk

Contacts Schouwburgring 545, NL - 5038TW Tilburg t +31 (0)62 674 11 85

Contact Aart van Asseldonk Hintelstraat 17 NL - 5464 RE Mariaheide t +31 (0)61 426 68 66 Prinsengracht 735, NL - 1017JX Amsterdam t +31 (0)64 188 87 84 Postbus 2104, NL - 6802 CC Arnhem t +31 (0)64 638 37 75

Opening time Daily 10:00 – 20:00 Sun 10:00 – 18:00 Opening party: Wed 20:00 – 22:00 Troelstrastraat 84, NL - 6882 HG Velp t +31 (0)61 590 40 98 Van Nesstraat 63, NL - 6826 JN Arnhem t +31 (0)62 484 99 98 Opening time Daily 10.00 – 20.00 Sun 10.00 – 18.00 Opening party: Wed 20.00 – 22.00




010 – 020 David Derksen Design, Earnest Studio, Jeroen van Leur, Lex Pott, Mae Engelgeer, Phil Procter, Studio WM

Emmanuel Babled Osmosi

Tjep. Future nostalgia

Location Plusdesign gallery Via Ventura 6 20134 Milan

Location Plusdesign gallery Via Ventura 6 20134 Milan

Contact Emmanuel Babled Wenslauerstraat 314 NL - 1053 BB Amsterdam t +31 (0)64 422 58 19

Designer Frank Tjepkema

Location Via Ventura 3 20134 Milan Designers Maarten Collignon & Wendy Legro, David Derksen, Mae Engelgeer, Rachel Griffin, Jeroen van Leur, Lex Pott, Phil Procter Contact Wendy Legro Coolhaven-Terras 4C NL - 3024 AT Rotterdam t +31 (0)64 578 40 65 Opening time Tue – Sat 10:00 – 20:00 Sun 10:00 – 18:00 Opening party: Wed 20:00 – 22:00


Contact Frank Tjepkema Veembroederhof 204 NL - 1019 HC Amsterdam t +31 (0)62 128 26 62

Press contact Fredrika Lokholm t +31 (0)64 422 58 19 Opening time Daily 11:00 – 20:00 Opening party: Wed 20:00 – 24:00

Press contact Brant Emery t +31 (0)68 185 77 12

About Amsterdam based Tjep. seek to infuse Milan with some of their ‘tjepology’. Founded in 2001 by prominent Dutch designer Frank Tjepkema, the studio has garnered a reputation for icono­ clastic work across a broad field of expertise that includes award-winning interior, architectural, product, furniture, and jewelry design. Presentation Countering globalized uniformity, Tjep. design for those who seek to rediscover individualism. Presented at the fair will be the new timeless furniture range, Hendrick’s Collection, inspired by one man’s reflection on Dutch yesteryear; the standalone Il Treno, bringing the romance of a classic dining carriage into your home; the exclusive launch of body graffiti, a partnership with one of the world’s most secretive street artists, and the expression of individuality with furniture designed from your own DNA for Dutch DNA.

Opening time Tue – Sat 10:00 – 20:00 Sun 10:00 – 18:00 Opening party: Wed 20:00 – 22:00

ventura lambrate

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11 SMOOL by Robert Bronwasser Enjoy everyday design Location Via Ventura 6 20134 Milan Designer Robert Bronwasser Contact Robert Bronwasser Paul van Vlissingenstraat 6a NL - 1096 BK Amsterdam t +31 (0)20 636 08 04 Opening time Tue – Sat 10:00 – 20:00 Sun 10:00 – 18:00 Opening party: Wed 20:00 – 22:00

About Industrial designer Robert Bronwasser (1968) upcycles the use, form and aesthetics of ordinary products to an extra­ ordinary next gen cool. He designs innovative products that are recognizable, pleasurable and tangible. With SMOOL, his studio in Amsterdam, Bronwasser has been designing successful products for both multinationals and smaller design driven companies. His designs have been awarded with the IF Award, the Red Dot Award, GIO Awards, the Dutch Design Selection and he was ambassador of the Dutch Design Week 2012. Presentation Making the ordinary extraordinary. This mission has inspired Robert Bronwasser into rethinking everyday products. At Ventura Lambrate 2013 SMOOL by Robert Bronwasser launches new iconic products fit for everyday use. Amongst them a homy tele­ vision, a collection of kitchen accessories and a urban electric scooter for Qwic. These signature designs will be shown alongside commissioned work for Cascando, Goods, Palau, Gispen, Geesa and Leff. Enjoyable expressions of Bronwasser’s heart and mind, it will surely put a smile on your face.

Ceramic kitchen, visual by SMOOL

Furnished television, visual by SMOOL

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Electic scooter for Qwic, visual by SMOOL

ventura lambrate


12 The Milan Breakfasts: Design Debates with the New Institute and Design Academy Eindhoven The New Institute, Design Academy Eindhoven Location LAP Via Privata Cletto Arrighi 19 20134 Milan Contact Renske Brinkman The New Institute Museumpark 25 NL - 3015 CB Rotterdam t +31 (0)10 440 12 00 t +31 (0)62 150 63 27 Press contact Michel Langendijk t +31 (0)64 096 30 10 m.langendijk@thenew Opening time Wed – Fri 10:00 – 11:00 Breakfast is served from 9:30

Events Start your day in Milan with quality conversation on design and free coffee and croissants. Dutch and international designers and design professionals will join the conversation at each Milan Breakfast. The Milan Breakfasts are moderated by arts journalist and author Tracy Metz. Wednesday 10th April: Creativity, Solutions and Morality Thursday 11th April: Text as Product, Product as Text Friday 12th April: Linking Process About The Milan Breakfasts are a coproduction of the New Institute and the Design Academy Eindhoven. The New Institute brings together architecture, design and e-culture. It unifies the activities of three previously existing organisations: the Netherlands Architecture Institute; Premsela, the Netherlands Institute for Design and Fashion; and Virtueel Platform, the e-culture knowledge institute. The location of The Milan Breakfasts is the Design Academy Eindhoven’s exhibition space in the LAP (Lambretto Art Project) building, the design hub for visitors to Ventura Lambrate. Six parties will exhibit projects at LAP: the Design Academy Eindhoven, Z33 House for Contemporary Art, Han Gallery, Chi Ha Paura...?, the Valerie Traan gallery and Aldo Bakker.





Aldo Bakker It is happening at LAP!

Design Acadamy Eindhoven Linking Process curated by Miriam van der Lubbe

HAN Gallery Bamboo Steel Family by Nendo

Maastricht Academy of Fine Arts and Design PROJECT 013

Location LAP Via Privata Cletto Arrighi 19 20134 Milan Designer Aldo Bakker Contact Aldo Bakker Nieuwe Uilenburgerstraat 62 NL - 1011 LV Amsterdam t +31 (0)62 255 71 99 Opening time Tue 10:00 – 20:00 Wed 10:00 – 22:00 Thu – Sat 10:00 – 20:00 Sun 10:00 – 18:00 Opening party: Wed 20:00 – 22:00

Location LAP Via Privata Cletto Arrighi 19 20134 Milan Designers Recently graduated bachelor and master students design academy Eindhoven Contact Tessa Lantinga Emmasingel 14 NL - 5600 CC Eindhoven t +31 (0)40 239 39 39 Press contact Didie Schackman Opening time Tue 10:00 – 20:00 Wed 10:00 – 22:00 Thu – Sat 10:00 – 20:00 Sun 10:00 – 18:00 Opening party: Wed 20:00 – 22:00 Milan breakfast: Wed – Fri 9:30 – 11:00 Fast selection day masters: Thu 13:00 – 15:00


Location LAP Via Privata Cletto Arrighi 19 20134 Milan Designers Nendo Contact Dechang Han 3rd Floor, 21 Section 1 Minsheng East Road Taipei 104 Taiwan t +88 692 221 18 10 Opening time Tue 10:00 – 20:00 Wed 10:00 – 22:00 Thu – Sat 10:00 – 20:00 Sun 10:00 – 18:00 Opening party: Wed 20:00 – 22:00

ventura lambrate

Location Via Massimiano 6 20134 Milan Designers A selection of works by alumni and students of the departments Fashion & Textile Design and Jewellery & Product Design Contact Chequita Nahar Herdenkingsplein 12 NL - 6211 PW Maastricht t +31 (0)43 346 63 90 Opening time Daily 10:00 – 20:00

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Diederik Schneemann Mash-up

Piet Zwart Institute, Willem de Kooning Academy Rotterdam University ALTERED.APPLIANCES

STRIKKS: Designer knits

Location Via Privata Oslavia 7 20134 Milan

Designers Maartje Boer, Suzanne Vaessen

Location Via Massimiano 23 20134 Milan Designer Diederik Schneemann Contact Diederik Schneemann Hugomolenaarstraat 49a NL - 3022 NP Rotterdam t +31 (0)61 506 66 53 Opening time Tue – sat 10:00 – 20:00 Sun 10:00 – 18:00 Opening party Wed 20:00 – 22:00

About Studio Schneemann is a 3D design studio in the broadest sense of the word. I am driven by curiosity. Looking beyond the physical appearance of a product for that something that makes you wonder. Sometimes struck by an event or an encounter I linger by a fleeting idea and before I know it... Something is taking shape. Presentation I steal, copy, compose and print. A Mash-up collection by Diederik Schneemann. Schneemann’s Mash Up’s are raising questions on the copyright issues that are emerging alongside the fast growing 3D printinindustry. What impact will this new production method really have on us as a consumer, designer, or producer? By using cutting edge 3D printing techniques to copy and mash-up established icons Diederik created “new” controversial objects. A tribute to a few of his favourite designers.

Designers Bo Baalman, Joanne Choueiri, Giulia Cosenza, Maddalena Gioglio Ilias Markolefas, Nathalia Martinez Saavedra, Povilas Raskevicius, Kine Solberg, Egle Tuleikyt Contact Vanessa Tuitel, Piet Zwart Institute Postbus 1272 NL - 3000 BG Rotterdam t +31 (0)10 794 47 16

Location Via Privata Oslavia 19 20134 Milan

Contact Maartje Boer Beckerswei 5 NL - 6301 AX Valkenburg t +31 (0)62 355 10 63 Opening time Daily 10:00 – 20:00

Press contact Carmen de Groot t +31 (0)10 794 47 90 Opening time Opening hours Ventura Lambrate



HKU Design, Utrecht School of the Arts New connections, surprising solutions

Werner Neumann Colored sofas

Location Via Privata Oslavia 19 20134 Milan

Location Via Privata Oslavia 8 20134 Milan

Designers Renée Boute, Robert Glas, Joost Haas, Rianne Mast, Mickey Philips, Winde Rienstra, Lieske Schreuder, Judith van Vliet Contact Stephanie Mariën Ina Boudier-Bakkerlaan 50 NL - 3582 VA Utrecht t +31 (0)65 105 82 77 Press contact Marjolein van Bokhorst marjolein.vanbokhorst@ t +31 (0)62 228 69 20

About The HKU Design course trains established designers who are forging new connections and exploring new applications both within and outside their discipline. It is not individual discipline solutions that social issues demand, but innovative, applicable solutions. As such, the HKU design course is in the midst of society. Fashion design, graphic design, illustration, photography, product design and spatial design are the traditional disciplines that present barriers to transcend. Presentation HKU Design exhibits post-graduate work that surpasses tra­ ditional disciplines. The curious, dedicated and enterprising approach of the designers is crystallised in unusual material uses. Joost Haas, for example, takes you on his quest to make cardboard seaworthy, Winde Rienstra links traditional crafts with contemporary individualism, Lieske Schreuder demonstrates how snails-excrements is not waste, but a raw material, Robert Glas handles tealeaves as if they were gold and Mickey Philips presents info graphics in ceramics.

Designer Werner Neumann Contact Werner Neumann Gagelstraat 88 NL - 5616 RS Eindhoven t +31 (0)65 246 03 37 Opening time Daily 10:00 – 20:00

Opening time Tue – Sat 10:00 – 20:00 Sun 10:00 – 18:00 Opening party: Wed 20:00 – 22:00

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Eindhoven Avant-Garde ‘WE ARE WELCOME!’

RiZZ RiZZ, Teun Fleskens

Location Via Privata Oslavia 8 20134 Milan

About Occasional Collective, ‘Eindhoven Avant-garde’ and featuring designers presenting: ‘WE ARE WELCOME!’

Designers Niek van der Heijden, Lisa Klappe, Tessa Koot, Michiel Martens & Roel de Boer

Presentation Out of the ashes of ‘what once was’ rises new elite to lay down the law. Metal, Glits&Glam, Tropical Dreams, Cutting Edges, Old-fashioned Craftsmanship and other darling beautifuls. The South of Holland is coming to heat things up! For all you, treasure-hunting design-lovers, move along. This is no design. This is pure LOVE!

Contact Tessa Koot Edisonstraat 161 NL - 5621 HN Eindhoven t +31 (0)61 420 37 18

Location Light Space Deposito Via Privata Oslavia 8 20134 Milan Contact Sebastiaan Zuiddam Ambachtsstraat 11 NL - 3861 RH Nijkerk t +31 (0)64 674 37 46

Opening time Daily 10:00 – 20:00

About RiZZ is all about products that define the entrance; the central space that accommodates many daily functions and where you make your first impression. We created a design philosophy to improve all the different functions one can think of, outside and inside, while maintaining a strict and timeless design language. The entrance makes the difference. Presentation We believe in timeless pieces that you will want to keep with you, no matter how many times you redecorate your house or how often you move to another place. Therefore, we make products that can withstand time and even fit in different styles and locations. Indulging you in luxury while keeping a clear conscience. With RiZZ that’s possible; each product was designed to minimise its environmental footprint. Go see for yourself.

Photo: Lisa Klappe

Opening time Tue 10:00 – 20:00 Wed 10:00 – 22:00 Thu – Sat 10:00 – 20:00 Sun 10:00 – 18:00 Opening party: Wed 20:00 – 22:00

24 Royal Academy of Art, The Hague Make My Day Location Via Privata Oslavia 17 20134 Milan Designers Students and alumni from the departments ArtScience, Graphic Design, Interior Architecture & Furniture Design and Textile and Fashion Contact Wieneke Mulder Prinsessegracht 4 NL - 2514 AN The Hague t +31 (0)70 315 47 29

About The Royal Academy of Art, The Hague in The Netherlands (KABK) prepares its students to become self-aware artists and designers, able to make a significant contribution to their discipline and to society. Our work is guided by an experi­ mental and investigative attitude, strong commitment and an orientation towards the future. Presentation Works by the current generation of students and recent graduates of the Royal Academy of Art in The Hague can be distinguished by their optimistic and uninhibited character. This character stems from an experimental and investigative work process. During the Salone the Royal Academy of Art will show experiments in materials, forms and techniques within the setting of a Live Factory, where students and alumni from diverse disciplines will do their research, as well as design and produce. A series of extraordinary projects will push the boundaries of manufacturability, defy gravity and redefine the notion of ‘design’. Make My Day!

Opening time Tue – Sat 10:00 – 20.00 Sun 10:00 – 18:00 Opening party: Wed 20:00 – 22:00


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25 Maarten Schenkeveld Location Via Privata Oslavia 17 20134 Milan Designers Maarten Schenkeveld Contact Maarten Schenkeveld Lange Poten 21A NL - 2511 CM The Hague t +31 (0)61 545 14 90

About Maarten’s work is about restrictions and freedom. This can be found in time material and techniques, together these restrictions form the Objects. 
At the moment of creation all parts come together, it’s this moment where all the pieces get their own different kind of shapes to find these kind of identity’s, Maarten wants to make as less concession as possible. Presentation At the presentation Make My Day of the Royal Academy of Art, Maarten will be showing a part of his graduation project One Piece A Day. A collection of furniture objects that resembles a diary. A fascinating intensive process, were restrictions such as time, techniques and material are becoming his freedom. Next to this Maarten will be part of an experimental presentation called LIVE FACTORY, a part of the presentation of the Royal Academy of Art at the salon.

Opening time Tue – Sat 10:00 – 20.00 Sun 10:00 – 18:00 Opening party: Wed 18:00 – 22:00

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26 aMAZElab, Art, Cultures, Landscape Green Bike: The Dutch Way Location Via G. Pepe 12 Piazza della Vetra 21 Corso Garibaldi 71 20100 Milan Designers Jan Gunneweg, Max Lipsey, Maarten Kolk

About Green Bike is a project which combines slow mobility with the concept of green urban space. The idea is to show, through the example of the Dutch ‘best practice’, a new urban style more sustainable. The program will present conferences, workshops and a selection of production by Dutch designers, installed in green corners, on 3 Bike Stores in the city. The project will also provide special Bike Tours created for the Milano Design Week.

Contact Claudia Zanfi Via Cola Montano 8 20159 Milan t +39 (0)260 716 23 Opening time Daily 10:00 – 20:00 Opening cocktails: Olmo, Piazza della Vetra 21: Tue 18:00 Equilibrio Urbano, via G.Pepe, 12: Wed 18:00 Rossignoli, Corso Garibaldi, 71: Thu 18:00 h

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Dutch Invertuals

Droog 20+ Up to a beautiful future! Droog, Hôtel Droog, Philips LED, Rijksmuseum

The book is back Pieter Kers, De Kers bv, TUTTIBOOKS

Location Via Pastrengo 12 20159 Milan Designers Dutch Invertuals is a collective of individual designers who are always in search of the limits of their profession. They present new pieces in which their contemporary viewpoints are expressed in images, objects, materials, insights and stories. Contact Wendy Plomp Fuutlaan 12b NL - 5613 AB Eindhoven t +31 (0)64 155 58 83 Opening time Daily 10:30  – 20:00

Location Via San Gregorio 32 20124 Milan

Location TOURBILLON spazio Adriana Morandi Fashion Via Antonio Baldissera 4 20129 Milan Designers Illia Chidzey, Pieter Kers, Jan Puylaert, Mariandrea Zambrano

Contact Sophie van der Heijden Staalstraat 7A/B NL - 1011 JJ Amsterdam t +31 (0)20 523 50 50 t +31 (0)61 517 93 97

Contact Mariandrea Zambrano Via Altipiano 21010 Porto Valtravaglia (VA), Lago Maggiore t +39 340 849 43 47 Opening time Tue – Sat 11:00 – 20:00 Sun 11:00 – 19:00

About TUTTIBOOKS® is a Dutch book packager and publisher that develops and produces quality (children)books. Nothing is more beautiful than to develop the books you dream of and that tickle your imagination through stories ànd images. Exactly that is the power of a good and beautiful book. TUTTIBOOKS® uses all the creativite and innovative technical possibilities to meet the highest standards of a demanding reader. Presentation THE BOOK IS BACK: is a most curious story ‘wrapped’ in a true vintage-like book. A book as a unique and remarkable product, diagonally opposite to any nowadays e-book, put together by book specialist Pieter Kers and showcased with the strange objects that appear in this crazy book is written by Jan Puylaert & Ilia Chidzey

Opening time Daily 10:00 – 19:00 Party: Fri 18:00 – 22:00

30 WET Srl I crown me Location TOURBILLON spazio Adriana Morandi Fashion Via Antonio Baldissera 4 20129 Milan Designers Jan Puylaert, Mariandrea Zambrano Contact Mariandrea Zambrano Via Altipiano 11 21010 Porto Valtravaglia (VA), Lago Maggiore t + 39 347 960 30 22

About WET® is being perceived as one of most trendsetting brands that has changed the bathroom setting into what it is today, featuring a line of crown-enriched* design products that remind youhow special your life can be adding color and illumination to an everyday setting – Great News. In 2013 WET will open its first WETstore. Incentive to create WET’s newest & remarkable Icrownme®-line, so opening its horizon towards “any” design area, also outside the bathroom. Presentation Icrownme® is a line of diversified products, specifically designed to obtain that beautiful feeling given by being special. Products restyled to send out messages that make us feel identified with our deepest narcissistic origin. Opening time Daily 10:00 – 18:00 Press cocktail: Fri 18:00 – 22:00


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TOURBILLON spazio Adriana Morandi Fashion Yellow Quince, Alexis Oskam, Bregonjedesign, Corina Rietveld, Jewelery design, Martine van’t Hul, Christof Zürn

Studio Formafantasma Cucina Sambonet

Lensvelt Contract BV Job Office

Go West Project Afrofuture

Location Triennale Design Museum Via Emilio Alegmagna 6 20121 Milan

Location Sala Cenacolo at MOST – Museo Nazionale della Scienza e della Tecnologia Via Olona 6 20123 Milan

Location La Rinascente The Design Supermarket Via Santa Radegonda, 3 20121 Milan

Location TOURBILLON spazio Adriana Morandi Fashion Via Antonio Baldissera 4 20129 Milan

Designers Andrea Trimarchi, Simone Farresin

Designer Studio Job

Designers Michiel Hulshof, Daan Roggeveen

Contact Giuseppina Flor Minervum 7003 NL - 4817 ZI Breda t +31 (0)61 213 31 14

Contact Daan Roggeveen 568 Julu Lu Bldg 2, Rm 9C 200040 Shanghai China t +86 138 173 428 01

Designers Ine Voets, Christof Zürn, Alexis Oskam, Jacco Bregonje,Corina Rietveld, Martine van’t Hul Contact Mariandrea Zambrano Via Altipiano 11 21010 Porto Valtravaglia, VA t +39 347 960 30 22

Contact Andrea Trimarchi Akkerstraat 30 NL - 5615 HR Eindhoven t +31 (0)61 629 51 71 Opening time Daily 10:30 – 20:30

Opening time Tue 10.00 – 21:00 Thu – Sat 10:00 – 21:00 Wed /Sun 10:00 – 18:00 Cocktail party: Wed 19:00 – 21:00 (invites only)

Opening time Daily 10:00 – 22:00 Press lunch: Tue 12:00 Presentation ‘Chinese Cities in Africa’: Fri 17:00 – 19:00

Opening time Daily 10:00 – 18:00 Cocktail party: Fri 18:00 – 22:00

35 Consulate General of the Netherlands and The New Institute Third Dutch Design Event Location Consulate General of the Netherlands Via Gaetano Donizetti, 20 20122 Milan Contact Laura Sciotti Via Gaetano Donizetti, 20 20122 Milan t +39 (0)24 855 84 26 Opening time Drinks reception: Mon 8th April, 19:30 – 23:00 (invites only)

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Event Drinks reception at the Dutch consulate General. Introduction highlights exhibition Turkish red & more and presentation first copy of Yearbook TextielLab 2012 by TextielMuseum, The Netherlands. Workshop Presentation ArtEZ and IED (Istituto Europeo di Design) Feeding the Planet Energy for Life. Presentation 7th edition Connecting the Dots. About The Dutch Design Event is organized by the Dutch Consulate General in collaboration with The New Institute. The New Institute brings together architecture, design and e-culture. It unifies the activities of three previously existing organisations: the Netherlands Architecture Institute; Premsela, the Netherlands Institute for Design and Fashion; and Virtueel Platform, the e-culture knowledge institute.

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36 TextielMuseum Highlights of the Dutch exhibition “Turkish red & more – Designers and the museum collection” Location Consulate General of the Netherlands Via Gaetano Donizetti, 20 20122 Milan Designers BCXSY, Lenneke Langenhuijsen, Minale Maeda, Studio Formafantasma Contact TextielMuseum Goirkestraat 96 NL - 5046 GN Tilburg t +31 (0)13 536 74 75 Press contact Floor Westerburgen floor.westerburgen@ t +31 (0)61 338 42 65

About The TextielLab of the TextielMuseum in the Netherlands is a unique knowledge centre that is both a highly specialised workshop as well as an open atelier where innovation can take centre stage. National and international designers, architects, artists and promising students are coached by product developers and technical experts to discover the endless opportu­ nities in the field, from yarns, to computer-controlled techniques and handicrafts. The extensive library, the museum collection and the temporary exhibitions are an excellent research and inspiration resource for all who make use of the TextielLab. Presentation TextielMuseum presents a few highlights of the exhibition Turkish red & more. Designers and the museum collection, now on show in the Netherlands. Young designers were invited to develop a number of products using the museum collection as a source of inspiration. The TextielLab offered full use of its resources. The exhibition shows how delving into the past can lead to new designs. These talents include: BCXSY, Lenneke Langenhuijsen, Minale Maeda and Studio Formafantasma.

Opening time Tue – Fri 9:00 – 17:00

Studio Formafantasma

Lenneke Langenhuijsen



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Hendrik’ Inspired by cultural heritage in Dutch Design

Laura Lynn Jansen & Thomas Vailly Inner Fashion a fast fashion production line


Re-Do Studio ltd

Location Cascina Cuccagna Via Cuccagna 2 20135 Milan

Location Cascina Cuccagna Via Cuccagna 2 20135 Milan

Designers Rogier Arents, Steven Banken, Giulia Berra, Roel de Boer, Akko Goldenbeld, Martijn Koomen, Michiel Martens, Kirstie van Noort, Wouter Strietman, Jetske Visser

Designers Tristan Kopp, Gaspard Tiné-Béres

Location Cascina Cuccagna Via Cuccagna 2 20135 Milan Designers Van Riet Ontwerpers Contact Antoinette Klawer t +31 (0)64 148 98 91 Press contact Nicole de Boer t +31 (0)62 480 89 28 Opening time Tue – Fri 10:00 – 22:00 Sat – Sun 11:00 – 23:00 Press preview: Mon 10.00

Location Cascina Cuccagna Via Cuccagna 2 20135 Milan Designers Laura Lynn Jansen, Thomas Vailly

Contact Antoinette Klawer t +31 (0)64 148 98 91

Contact Antoinette Klawer t +31 (0)64 148 98 91 Press contact Nicole de Boer t +31 (0)62 480 89 28 Opening time Tue – Fri 10:00 – 22:00 Sat – Sun 11:00 – 23:00 Press preview: Mon 10.00

Contact Antoinette Klawer t +31 (0)64 148 98 91 Press contact Nicole de Boer t +31 (0)62 480 89 28 Opening time Tue – Fri 10:00 – 22:00 Sat – Sun 11:00 – 23:00 Press preview: Mon 10.00

Press contact Nicole de Boer t +31 (0)62 480 89 28 Opening time Tue – Fri 10:00 – 22:00 Sat – Sun 11:00 – 23:00 Press preview: Mon 10.00





BCXSY #1 Origin part IV #2 In Between

Scholten & Baijings #1 Tea with Georg by Scholten & Baijings #2 New Work by Scholten & Baijings for Karimoku New Standard #3 Scholten & Baijings for HAY

Studio Formafantasma Table Tools

Mensch Made Tube Table Lamp

Location Spazio Rossana Orlandi Via Matteo Bandello, 14/16 20123 Milan

Address Spazio Rossana Orlandi Via Matteo Bandello, 14/16 20123 Milan

Designers Andrea Trimarchi, Simone Farresin

Designer Doreen Westphal

Contact Andrea Trimarchi Akkerstraat 30 NL - 5615 HR Eindhoven t + 31 (0)61 629 51 71

Contact Doreen Westphal Pioenroosstraat 83 NL - 5644 CB Eindhoven t +31 (0)62 424 09 89

Opening time Daily 10:30 – 20:30

Press contact Doreen Westphal

Location Spazio Rossana Orlandi Via Matteo Bandello 14/16 20123 Milan Designers Boaz Cohen, Sayaka Yamamoto Contact Boaz Cohen Sint Bavostraat 30 NL - 5643 MB Eindhoven t +31 (0)64 716 24 10 Opening time Daily 9:00 – 20.00

Location Spazio Rossana Orlandi Via Matteo Bandello 14/16 20123 Milan Designers Carole Baijings, Stefan Scholten Contact Scholten & Baijings Westerdoksdijk 597 NL - 1013 BX Amsterdam t +31 (0)20 420 89 40

Opening time Daily 11:00 – 19:00 Opening time Daily 9:00 – 20:00

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Zona Tortona



Arocca #1 The Lodge Living #2 Dutsh

Moooi Find your way home to Moooi’s unexpected welcome

Location Via Savona 45 20144 Milan

Location Area 56 Via Savona 56 20144 Milan

Designers Tom Dissel, Rico Souren, Jan Wout Hulstein Contact Tim van Binsbergen Laan van de Ram 10 NL - 7324 BV Apeldoorn t +31 (0)64 621 09 86 t +31 (0)64 263 59 33 Press contact Samara Verharen Opening time Daily 10:00 – 21:00

Designers Marcel Wanders, Studio Job, Joost van Bleiswijk, Edward van Vliet, Neri & Hu, Nika Zupanc, Moooi Works/Bart Schilder, Bertjan Pot, Raimond Puts, Lorenza Bozzoli, ZMIK (Matthias Mohr & Rolf Indermuhle) Contact Laura Ramos Bello – Kluit Minervum 7003 NL - 4817 ZL Breda t +31 (0)76 578 00 98 Opening time Mon 15:00 – 19:00 Tue – Sat 10:00 – 21:00 Sun 10:00 – 17:00 Press preview: Mon 15:00 – 19:00 FRAME Moooi Award 2013 Ceremony & VIP Cocktail: Wed 10 20.00 – 23.00 FRAME Moooi Award 2013 Panel Discussion: Thu 13.00 – 14.00 FRAME Moooi Award 2013 finalists exhibition: 8th – 14th April




Connecting Items Connecting the Dots, Items, Dutch Embassy and Consul General

Location LINTELOO showroom Via Tortona 37 20144 Milan Designers Paola Navone, Niels Bendtsen, Anders Nørgaard, Roderick Vos, Marcel Wolterinck, Bart Vos, Faas van Dijk Contact Lars Nikolajsen Johannes Postlaan 6 NL - 3705 LN Zeist t +31 (0)30 212 21 10 Press contact Valerie Hemelaar t +31 (0)30 212 21 10 Opening time Daily 10:00 – 21:00

About From the headquarters in Zeist, in the centre of The Netherlands, LINTELOO is bringing international designers and European craftsmen together to create contemporary furniture that lasts. The collection is exclusively designed for LINTELOO and for sale through an international network of authorized dealers. Presentation During the design week in Milan 2013 we are showing a new indoor/outdoor lounge collection by Paola Navone. New designs for LINTELOO by Anders Nørgaard, Niels Bendtsen and Roderick Vos. On the Mezzanine level a new presentation of the Verden Collection with designs by Marcel Wolterinck, Faas van Dijk and Bart Vos.

Location Connecting Items guests @ PROOFF & UNStudio Via Tortona 31 20144 Milan Designers Domitilla Dardi, Ingeborg De Roode, Jurgen Bey, Wendy Plomp Contact David Heldt Koningsstraat 43c NL - 1011 ET Amsterdam t +31 (0)20 893 28 86 t +39 366 418 06 18,

About Items, the leading magazine on Dutch design, together with Connecting the Dots magazine, join forces in two debates with leading figures from the scene. Entrance by invitation only. Presentation Wed. 10th April To Curate, or not to Curate How does design finds its way to the market? What design belongs in a museum? And how can a country best promote its designers on an international podium such as the Milan Design Week? With Domitilla Dardi – curator design at the MAXXI Museum (Rome), Ingeborg De Roode – curator design at the Stedelijk Museum (Amsterdam), and Jurgen Bey – designer at Studio Makkink & Bey. Host: David Heldt, Editor in Chief at Connecting the Dots. Thu. 11th April Fluid Collaborations Dutch designers, from starters to stars, team up in ever changing combinations, producing an ever-expanding array of projects. Collaborative design seems to be the new unique selling point of Dutch design. We invite a panel of seasoned and fresh Dutch Designers to discuss the phenomenon. Host: Max Bruinsma, Editor in Chief at Items magazine.

Press contact Luc Deleau +31 (0)6 52472990 Opening time Wed – Thu 18:30 – 19:15 Cocktail till 21:00 (invites only)


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PROOFF PROOFF@Tortona Design Week 2013


Tuttobene Retro/Perspective: 10 years Tuttobene

Feed The Planet, Energy For Life Istituto Europeo di Design (IED), ArtEZ

Location Emporio Opificio courtyard Via Tortona 31 20144 Milan Designers Architects studio architecten de vylder, vinck, tailleu, Axia Design, Maarten Kolk & Guus Kusters, Studio Makkink & Bey, UNStudio Contact Antoinette Veneman p.o. box 34095 NL - 3005 GB Rotterdam t +31 (0)10 211 00 80 Opening time Daily 10:00 – 21:00

Location Emporio Opificio courtyard Via Tortona 31 20144 Milan

Location Arsenale Via Tortona 31 20144 Milan

Designers UNStudio, Ben van Berkel

Designers Aliki van der Kruijs, Annebet Philips, Alissia Melka-Teichroew, Dennis Parren, Floris Hovers, Floris Schoonderbeek, Ineke Otte Design, Joost van Bleiswijk, Just Blocks Furniture, Kiki van Eijk, Kranen/Gille, Ontwerpstudio BOMM and Sit & Heat, Renate Vos, Roland de Mul, Sander Bokkinga, Siba Sahabi, Studio Dave Keune, Studio Frederik Roijé, Studio Ineke van der Werff, Studio Jolanda van Goor, Studio Lizan Freijsen, studio Nuy van Noort, Studio Thijs Rijkers, The Wood Ceramic Furniture, Van Aubel & Shaw, VanJoost, Weleer Vergeer

Contact Machteld Kors Stadhouderskade 113 NL - 1073 AX Amsterdam t +31 (0)20 570 20 40 Press contact Karen Murphy Opening time Daily 10:00 – 21:00

Contact Rosanna van Gent Damrak 70 NL - 1012 LM Amsterdam t +31 (0)62 955 19 60

Location Spazio A – Ex Ansaldo Via Tortona 54 20144 Milan Designers Workshop and presentation by students of the IED and ArtEZ Contact Arend Roelink Via Francesco Reina 31 IT - 20133 Milano t +39 345 598 88 76 Opening time Daily 10:00 – 19:00

Press contact Maurice Jansen Opening time Daily 10:00 – 21:00




Carmine Deganello & Antonio Luchinelli Ricette in resina naturale

Tuttobene Work/Shop

Heineken Open Design Explorations Heineken, Designersblock, Tuttobene, Coolhunting, PechaKucha, Joshua Davis, Matt Moore

Location Officine Creative Ansaldo (O.C.A.) Via Tortona 54 20144 Milan Designers Dinie Besems, Dana Cannam & Agata Carolina, Carmine Deganello, Pepe Heykoop, Roel Huisman, Sjoerd Jonkers, Lambert Kamps, Dik Scheepers, Jorrit Taekema, Arnout Visser, Jeroen Wand, Sander Wassink, Jòlan van der Wiel Contact Carmine Deganello Via Tiepolo 30b 20129 Milan t +39 (0)27 000 93 24 Press contact Peter Van Kester t +31 06-55932310

Location Magazzini di Porta Genova Via Valenza 2 20144 Milan Designers Some of them are Jacob de Baan, Wouter Valkenier, Lee Sanghyeok, Sebastian Goldschmidtböing, Lisa Berkert Wallard, Lotta Lampa, Basten Leijh, Fabio Biavaschi Contact Ivana Tumbarello Damrak 70 NL - 1012 LM Amsterdam t +31 (0)64 550 82 22 Press contact Maurice Jansen t +31 (0)62 955 19 60 Opening time Daily 14:00 – 21:00 Opening party: Tue 20:00 – 02:00

Location Magazzini di Porta Genova Via Valenza 2 20144 Milan Designers Heineken Global Design Team Contact Caroline van Hoff t +31 (0)20 523 92 39 Press contact Marnie Kontovraki + 31 (0)61 088 15 72 Opening time Daily 14:00 – 02:00

Opening time Daily

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56 Jacob de Baan RAW COLLECTION – coconut timber lamps Location Magazzini di Porta Genova Via Valenza 2 20144 Milan Designers Jacob de Baan Collaboration Contact Jacob de Baan Nieuwevaart 128 NL - 1018 ZM Amsterdam t +31 (0)62 816 76 87

About Jacob de Baan is a Dutch creative and communication professional with more than 25 years of experience in design, design management and art direction. Among his clients are Van Gogh Museum, Philips, and DARK. His work has been exhibited around the world and has been purchased by the Stedelijk Museum Amsterdam. Presentation The RAW COLLECTION is a range of lighting fixtures made of coconut timber used for the first time in larger sheets. Palm wood, performs at equal to or even better than conventional hardwoods, coconut timber represents a viable substitute for endangered hardwoods from an ecologically sound source. The design of the collection is timeless and will withstand the ravages of time. The RAW COLLECTION is based on state of the art -led light sources as well as on the flickering light of candles.

Opening time Daily 15:00 – 21:00 Opening party: Tue 14:00 – 02:00





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57 eQ+ Location Officine della Torneria Via Novi 5 20144 Milan Designers Geke Lensink, Jesse Visser Contact eQ+ P.O. Box 2154 NL - 5001 CD Tilburg t +31(0)65 354 21 71

About eQ+ says hello! eQ+; a label with emotional intelligence. By satisfying the demand for beautiful, functional furniture and using innovative and sustainable materials, eQ+ tries to be refreshing. Together with a wide range of talented designers we create a collection that embodies our vision and endows businesses and institutions with ways to distinguish themselves and create comfortable atmospheres. After representing itself at 100% design and the Dutch Design Week, eQ+ says hello to Milan! Presentation At the Salone, location Zona Tortona, eQ+ proudly presents their new collection furniture, designed by Geke Lensink and Jesse Visser.

Opening time Tue – Sat 10:00 – 20:00 Sun 10:00 – 18:00 Party: Thu 19:00 – 22:00 (invites only)

Tube table

Connect chair

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l.a.f. chair

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Jesse Visser designprojects Jesse Visser

New Duivendrecht

Frederik Roijé Smoke

Location Officine della Torneria Via Novi 5 20144 Milan Designer Jesse Visser Contact Jesse Visser Westerdoksdijk 213 NL - 1013 AD Amsterdam t +31 (0)62 616 84 56 Opening time Tue – Sat 10:00 – 20:00 Sun 10:00 – 18:00 Party: Thu 19:00 – 22:00 (invites only)

About From his Amsterdam based studio, established in 2000, Jesse Visser works on a variety of projects. Like furniture, lighting and product-design as well as interiordesign. He produces both, independent work presented in galleries, and commissioned work for the more commercial market. By investigating the surrounding world from a fresh perspective Jesse Visser creates clear designs which challenges the perception of the user. Careful detailing and original use of materials and production techniques encourages the senses. Presentation At Zona Tortona, Jesse visser presents an interesting mixture of independent work and furniture designs commissioned by eQ+ (, a new dutch label.
Remarkably fresh and clear is the new cupboard ‘Harold’ made from expanded metal, the chair ‘Woody’ and a new furniture collection developed for eQ+.

Location Officine della Torneria Via Novi 5 20144 Milan Designers Dave Keune, Frederik Roijé, Frederike Top, Kranen/Gille, Nieuwe Heren, Roderick Vos, Sjoerd Jonkers, Slim Ben Ameur, Tweelink Contact Victor le Noble Industrieweg 29 NL - 1115 AD Duivendrecht t +31 (0)20 302 00 99 Opening time Tue – Sat 10:00 – 20:00 Sun 10:00 – 18:00 Party: Thu 19:00 – 22:00 (invites only)

Location Officine della Torneria Via Novi 5 20144 Milan Designer Frederik Roijé Contact Birgit Calis Industrieweg 29 NL - 1115 AD Amsterdam t +31(0)20 416 57 06 Press contact Birgit Calis Opening time Tue – Sat 10:00 – 20:00 Sun 10:00 – 18:00 Party: Thu 19:00 – 22:00 (invites only)




Dum Stars on stripes

Geke Lensink

Mosa The Mosa Theatre of Patterns

Location Officine della Torneria Via Novi 5 20144 Milan Designers Fransje Killaars, Marc van Nederpelt, Wiebe Boonstra, Martijn Hoogendijk Contact Marc van Nederpelt Prinsengracht 486 C NL - 1017 KG Amsterdam t +31 (0)62 465 50 38 Opening time Tue – Sat 10:00 – 20:00 Sun 10:00 – 18:00 Party: Thu 19:00 – 22:00 (invites only)


Location Officine della Torneria Via Novi 5 20144 Milan Designer Geke Lensink Contact Geke Lensink Zamenhofstraat 150-310 NL - 1022 AG Amsterdam t +31 (0)65 020 74 39

About Forward to basic is not just a name, it is the essence of my way of thinking. Wether it concerns the porcelain crockery, the commercial mass produced furniture or my autonomous col­ lection of limited editions. Presentation The exhibition in Milan shows an overview of the designs of Geke Lensink. In addition to an expansion of the limited edition collection Forward to Basic, two new objects have been added. Besides her own poetic stories Geke Lensink shows several new commercial designs ready for the market and ready for production some of which designed in collaboration with Jesse Visser. Other recent designs will be shown in the collection of eQ+.

Opening time Tue – Sat 10:00 – 20:00 Sun 10:00 – 18:00 Party: Thu 19:00 – 22:00 (invites only)

Location Superstudio Più Via Tortona, 27 20144 Milan Designers Mosa Design Team Contact P.O. Box 1026 NL - 6201 BA Maastricht t +31 (0)43 368 92 29 Press contact Opening time Tue – Thu 10:00 – 23:00 Sun 10:00 – 18:30 Press preview: Mon 15:00 – 18:00

zona tortona

the dots #7




DYDELL, NgispeN, Quasar Holland DYDELL innovative & interactive LED light experience

Location Superstudio Più, Space 8A Via Tortona, 27 20144 Milan Designers Maarten Baas, Anke Bernotat, W.H. Gispen, Dick van Hoff, Richard Hutten, James Irvine, Iris Jansen, Xavier Lust, Fabio Novembre, Ontwerpers. nu, Gerrit Rietveld, Wim Rietveld, Jerszy Seymour, Studio Makkink & Bey, Wiro van Vilsteren, Michael Young, ZUS

About Gispen is one of the largest and oldest Dutch furniture com­ panies. Our collection is targeting the project- and home market. Gispen creates the best environments imaginable where people work, learn and are cared for. Be at your best. Gispen Presentation Gispen presents in cooperation with NgispeN new series of furniture, lighting and accessories for home and project market. Designs from Michael Young, Richard Hutten, Xavier Lust, Fabio Novembre and many more.

Contact Diane van Veen Parallelweg West 23 NL - 4104 AZ Culemborg t +31 (0)65 100 28 27

Location Superstudio Più Via Tortona, 27 20144 Milan Designers Kobbe – Pas Contact Carolien Voorhuis Spaarne 55 NL - 2011 CE Haarlem t +31 (0)62 481 92 99 Opening time Daily 9:30 – 18:30

Opening time Tue – Thu 10:00 – 23:00 Sun 10:00 – 18:30 Press preview: Mon 15:00 – 18:00


About The innovative concept in lighting, introduced by DYDELL, consists of a stylish and durable light bulb, without using the traditional light bulb fitting. Advanced technology ensures the light can be operated by an exclusively developed smartphone application. The stylish LED light can be easily integrated with designer luminaries, even if they were originally designed for a traditional fitting and light bulb. This means traditional luminaries can now be used in a more versatile way, offering more than just lighting. Besides a powerful but atmospheric light source, DYDELL offers a broad range of functionality options via the smartphone app such as colour therapy, energy usage charts and a light management module. Presentation Get inspired and join in the interactive LED-light experience by DYDELL! In partnership with leading Dutch design labels Quasar Holland and NgispEn, Dydell presents their innovative LED-light concept during Salondel Mobile 2013. The Dydell LED bulb consists of two half spheres with warm white LEDs (2700K) and coloured RGB LED lights, which can be controlled independ­ ently of each other. Advanced technology ensures the LEDbulb can be operated by an exclusively developed smartphone application. Visit thNgispEn or Quasar Holland stands for an unmatched user experience.



Work van Aubel & Shaw Marjan van Aubel

Most of Mulder Studio Sander Mulder

Location Superstudio Più Via Tortona, 27 20144 Milan

Location Ventura Lambrate Intersection of Via Dei Canzi and Via Gaetano Crespi

Contact Michiel van Mierlo Herengracht 516 NL - 1017 CC Amsterdam t +31 (0)20 330 58 70

Contact 70 County Street, UK -SE1 4AD London +44 (0)777 544 89 67

Location Fuori Salone Underground / MOST 2013 Museo Nazionale della Scienza e della Tecnologia, Via Olona 6B 20123 Milano

it’s about RoMi Rob van Dijk

Press contact Michiel van Mierlo t +31 (0)20 330 58 70 Opening time Daily 10:00 – 18:00

the dots #7

Last minute applicants

Opening time Tue – Sat 10:00 – 20:00, Sun 10:00 – 18:00 Opening party: Wed 20:00 – 22:00

68 Big Bloom Charlie Guda for The Cottage Industry

Contact Peter Zuidlaan 22, NL - 5502 NH Veldhoven t +31 (0)6 44762062, Opening time Tue, Thu, Sat 10.00 – 21.00, Wed, Sun 10.00 – 18.00

70 Framed Mauro Martinuzzi Studio

Location Ventura Lambrate Ventura Press Desk Via Ventura 5 20134 Milan

Location Fuori Salone Galleria Jean Blanchaert Piazza Sant’Ambrogio 4 20123 Milano

Contact Burg. Meineszlaan 109A, NL - 3022 BE Rotterdam t +31 (0)65 063 33 39

Contact Tweede Oosterparkstraat 184, NL - 1092 BT Amsterdam t +31 (0)6 25418766

Opening times Tue – Sat 10:00­20:00, Sun 10:00 – 18:00 Opening party: Wed 20:00 – 22:00

Opening time Tue – Sun 10:00 – 19:00 Opening party: Thu 18:00 – 23:00

zona tortona


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