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Yearbook Dutch Design Milan 2012 40 Years of Dutch Design in Milan p6

Ann Maes Didn’t Miss a Single Salone in 40 Years

Sjarel Ex Explains p28

The Lack of a Design Museum in The Netherlands

Connecting the Dots showcases all Dutch presentations at the Milan Design Week 2012

At Home with Joep van Lieshout p14 and Six More Designers

176 Dutch Designers in Milan p37

Track Them Down: with Detailed Maps, a Restaurant Guide and a Cocktail Schedule

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Foreword

Colophon

Contents

D e s i g n i s E ve r y t h i n g and Furniture Connecting the Dots Yearbook Dutch Design Milan 2012 Representing all Dutch presentations during the Milan Design Week 17 - 22 April 2012 Connecting the Dots magazine publishes Dutch designers and design-culture internationally during key design events and fairs. Connecting the Dots magazine Koningsstraat 43c 1011ET Amsterdam The Netherlands www.thedots.nl / connecting@thedots.nl +31 (0)208932886 Editor in Chief David Heldt david@thedots.nl Contributing editors Cécile Dornseiffen, Monique van Empel, Annemiek van Grondel, Maarten Veeger, Kees de Haan, Francine Mendelaar, Daniela De Lorenzo (intern) Translator Studio Mason & Egmond Graphic design Koehorst in ‘t Veld www.koehorstintveld.nl Contributing photographers Boudewijn Bollmann: twistedstreets.nl (photo reportage), Ilco Kemmere: ilcokemmere.nl, Eline Witteveen Printed by Habo DaCosta Communication & Press Luc Deleau luc@thedots.nl +31 (0)652472990 Advertising Luc Deleau & David Heldt +31 (0)208932886 Financially supported by The Netherlands Architecture Fund

© Connecting the Dots 2012 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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For a long time by now a furniture fair has not been about selling furniture, any more than design has been about developing products alone. The Milan Design Week in particular has developed over the last few years to become a bustling meeting place for politics, economy, ecology, city marketing and even nation branding, including Dutch Design. And design is like a new buzzword that covers new entrepreneurship, linking diverse sectors, and putting people first. Our future needs engineers who are enterprising, know how to link complex issues, and put people at the centre – in other words, designers. While most studies and professions are aimed at specialisation, designers have to be able to make connections across a very broad front.

knowledge with a unique experience of changing trends and the changing fair itself, especially in the last twenty years. Maes still remembers the salone clearly from the time when it did not contain a single Dutch presentation but was a purely Italian event. She is in a position to know how much the introduction of Dutch Design and other trends has changed the Milan Design Week. Maes, who is herself an industrial designer, takes a critical view of the developments, particularly of the Dutch presentations; beside an enormous wealth of ideas, she also perceives a spiritual impoverishment. Read the unique survey and interview with her on page 6.

The economic malaise in the furniture branch has, surprisingly enough, not If you want to know how these new led to a drop in the number of desigdesigners can make a whole region ners and companies at the Milan fair. prosper, turn to page 16. The city of There are more Dutch presentations Eindhoven has known for years that than ever. All the same, the time of designers have talents that can give a lavish spending is over. I pick up signals new impulse to the economy. During during my stay in Milan, there has been the 2008 Milan Design Week Tuttohard bargaining about the price of bene was already giving a guided tour exhibition spaces, and compromises to a delegation of local government have been reached. And that is not civil servants who wanted to know something that the Milanese like to do. everything about design and sustaina- Let us be thankful to Milan this year that bility in detail. And it was probably not we can present our designers, the their first visit there. Eindhoven, with its catalysts of the Dutch economy, to the world-famous Design Academy, world here, and at a sharply reduced University of Technology and important price. high tech industry, has also been organising the Dutch Design Week for A week is not enough to see everything. eleven years. The driving force behind Connecting the Dots helps you to make this event is Capital D, an organisation a selection and to plan your week well. that deploys design to stimulate the I take the liberty of making three recomeconomy in the Eindhoven region. And mendations: don’t skip unfamiliar with success. names on your tour, see which traditional brands are working with young This edition of Connecting the Dots also designers, and enjoy! includes a survey of the developments in Dutch Design in Milan during the past David Heldt Editor in Chief forty years by Ann Maes. She has not missed a single (fuori) salone in all those years. She is an incredible source of

Foreword

Column

Design is Everything and Furniture

Nostalgic Avant-garde

by David Heldt p4  —

by Kees de Haan p24  —

Interview

Article

From Trade Partner to Idea Generator Interview with Ann Maes by Cécile Dornseiffen p6  — Article

Capital D: Dutch Design in Bussiness by Monique van Empel p16  — Column

Not with Furniture by Maarten Veeger p20  —

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The Museum Lives by Annemiek van Grondel p28  — Article

Connecting the Dots with the Materiaalfonds by Francine Mendelaar p33  — Guide

Find Dutch Designers in FuoriSalone, Zona Tortona, Fiera and Zona Lambrate p36  —


She has not missed a Salone in Milan in forty years. Present at the most eye-catching shows, exhibitions, receptions and parties. First as a student, since 1977 as a freelance designer, and since 1980 as correspondent for various magazines, including Abitare. But now primarily as promoter, curator and design manager. If anyone has seen Dutch Design expand to become a world-famous export product, it is Ann Maes. But she considers that this reputation has also taken its toll. ‘For decades I have been opposing overproduction, useless products, and the waste of energy and materials.’ Interview: Cécile Dornseiffen

4 0 ye a r s o f D u t c h D e s i g n i n M i l a n

F ro m Tr a d e Pa r t n e r t o I d e a Generator — Ann Maes in her archives. Photo: Eline Witteveen

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She first passed through the turnstiles of the Milan furniture fair in 1971, on holiday in Italy with a friend. ‘I wanted to see the phenomenon Salone del Mobile with my own eyes and was immediately hooked. Since then I haven’t missed a single edition, not even as a mother of a three-week-old baby. My colleagues couldn’t understand it. But Milan, that’s something.’ Who were the earliest Dutch pioneers? ‘In the very beginning the Salone del Mobile was a pure furniture trade fair, later supplemented with Euroluce, Eurocucina and Eimu, for lighting, kitchens and office furniture. In 1970s and 1980s the only participants from the Benelux countries were the importers of leading brands: Horas, Kreymborg, Mobica, Polydes, Tradix. They introduced a Dutch designer here and there among their suppliers. These were designers from my generation, including Ed Annink, Ton Haas and Bruno Ninaber. Martijn Wegman and Frans van Nieuwenborg were given the opportunity to have their ‘glass fibre cloth’ lamp ‘Delight’ produced by Ingo Maurer. And thanks to introductions I found my way to Alessi, Ycami and Zeus. It was a real man’s world.’

Exhibiting in the city centre suddenly became more important than a trade fair presentation. What brought about this change?

When did the Dutch furniture manufacturers take the leap to Milan? ‘Looking back, I think that it wasn’t until the 1980s that they were prepared to risk further internationalisation, besides the commercial Möbelmesse in Cologne. But it was still a small and select group for a long time: Artifort, Castelijn, Montis, Rohé and Pastoe. And they were not yet in the spotlights, with visits from the occasional scout. That is how Gerard van den Berg was given an assignment by Minotti.’ ‘At that time the Salone del Mobile was still held in September on the old trade fair site near the city centre. There wasn’t an edition in 1990 because they had decided to switch to April. It was a messy mishmash, don’t suppose that it was full of design. Only Pavilion 30 had a reputation as the number one venue with brands like Arflex, Baleri, Boffi, Castelli, Cassina, Molteni, Kartell and Tecno. You had to wade through the kitsch to get there. “Rubbish downstairs, beauty upstairs”, we used to say. All the same, the fair organisation COSMIT did its very best to create cultural added value. I can still remember wonderful exhibitions on Colombo, Munari, Aalto, Castiglioni, Sottsass and Magistretti, for example…’

Top and bottom: Every Driade-party was a cultural happening. In 2011 Driade celebrated the introduction of the chair ‘Nemo’ in the form of a mask, designed by Fabio Novembre.

‘Waiters in tuxedo served champagne and intriguing ladies , read from Dante 

Top: Amsterdammer cupboards, designed by Aldo van den Nieuwelaar in 1973 and produced by Pastoe since 1978 Middle Top: Charly designed in 1980 by Gerard van den Berg for Montis Middle bottom: 2008 Kadrega wooden chair by Huub Ubbens for Montina Bottom: Delight glass fiber cloth lamp, designed in 1980 by Frans van Nieuwenborg en Martijn Wegman. Produced since 1987 by Ingo Maurer

L’Italia ricomincia da Zero bookcase by Carlo Poggio, founder of Zerodisegno

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1999 Sisters set of bowls in glass, ceramic and tin. Designed by Ed Annink for Driade Aleph

Zerodisegno prêt-à-porter furniture on the runway with Versace and Dolce & Gabbana, in the Superstudio in 1995

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‘The big Italian firms always used their Milan showroom to receive VIPs. The limited space available at the fair made those shows in the city more and more important. In 1987 Giulio Cappellini caused a stir in the Museo di Milano with a legendary exhibition focusing on the work of Shiro Kuramata. In 1995 Zerodisegno rented a photographic studio in the Via Tortona and organised a fashion show with eccentric furniture. A couple of years later Cappellini moved to the Fabbrica del Vapore, and later to the immense Superstudio in the industrial periphery that was still affordable at the time. It brought in masses of visitors, and other companies tried to take advantage of that flood of people too. That was the start of the success of the Zona Tortona’ ‘Pastoe also decided to move to the city centre in 1990 with a lyrical presentation in the Via Cerva, for which thousands of tulips were flown over from the Netherlands. Montis was presented above the French Cultural Centre in the heart of the fashion quarter. In no time it became a must to stage theatrical ‘fuori saloni’ events, preferably on exciting locations, from ancestral palazzi to abandoned industrial premises. The handy guides and exhibitions of magazines like Abitare and later Interni did a lot to institutionalise this show circuit.’

Legendary Parties ‘The 1980s were extravagant. The Italians in particular spared no expense when it came to branding. I can still vividly recall unforgettable moments. Paola Navone was in charge of the Driade cultural parties, Poltrona Frau brought in opera singers for the Sunday breakfast. Sisal Italia concluded a dinner with a 2 x 2 metre cake in a purple and pink design by Ettore Sottsass. Zeus-Noto had music specially composed for their night parties. I once had a surrealist metro ride with Castelli during which waiters in tuxedo served champagne and intriguing ladies read from Dante. An entire orchestra was playing at the first underground station, and at the last we were treated to a ballet with their famous Plia chairs. What a time that was.’

Below Top: Cappellini surprised many years the entire design world with its mayor exhibitions in the Superstudio. Show 2003. Below Bottom: Original catalogues of the legendary company Hidden, designed by Opera Graphic in 2000-2001-2002 and 2003.


What were the most stunning presentations?

And suddenly there were the collectives, led by Droog…

literally introduced colour to design, Droog Design introduced a shot of humour. Although I found a ‘After a colourful era of lot of the work premature, there Postmodernism of Memphis and were some brilliant ideas, such as more pragmatic industrial products the ”marble alley” with sliding from companies who embraced bucket seat, a fence with a foldable Philippe Starck and Jasper seesaw, wall carrier straps, and of Morrison, Gijs Bakker decided to course Tejo Remy’s Milk Bottle go in the opposite direction. He Lamp. As a generator of ideas, showed ‘dry’ (droog) Dutch design Droog Design certainly also made a by a number of young designers in point with its Slow Shows as an the basement of the Pastoe exhibi- alternative to overproduction and tion in 1993. Renny Ramakers, the ecological footprint.’ editor-in-chief of Items at the time, supported the initiative and Droog Design was launched. The Dutch Various group presentations contribution to the design debate were subsidised. What has the attracted increasing attention, influence of government policy partly because their pioneering been like? vision was soon published on a global scale. Droog Design marked ‘Strong, perhaps too strong. a turning point in product design: Although it took some time for the what was shown was predominantly Dutch government to become conceptual. As Memphis had aware of the value of design as a contemporary export product. Ministries and subsidised organisaBelow Top: Ton Matton eco-exhibition tions teamed up with the innovative in Stazione Garibaldi in 2010. thinkers: the money poured in from Below Middle: 2008 Tuttobene Milaan all sides. Of course, group presentations were a strategic PR instruBelow Bottom: Temporary shop and exhibition of Super Droog in Milan in ment that should not be 2011. underrated. But there is always the risk of the lax application of selection criteria. Very many designers would not have been heard of without these foaming flows of subsidies. On the other hand, it has also put the good designers on the map faster. Take Ineke Hans, Richard Hutten, Arnout Visser, Frederik Roijé, Scholten & Baijings and Geke Lensink…’

‘Too many to mention, surprised on all sides by ‘theatre’ with inspiring content and a high cultural level, from lyric individual shows and historical exhibitions, initiated by the ADI, the COSMIT, the Triennale and the City of Milan, to huge installations curated by Interni. The presentations by Pallucco in the late 1980s in the ruins of the abattoir ‘il mattatoio’ on the outskirts of Milan were legendary: flowing furniture sculptures in a white mist, illuminated by spotlights – there was no telling where reality ended and illusion began. The brand Dada rented cranes to float enormous platforms with their latest kitchens above the building sites of the metro. And since 1996, the poet of light Ingo Maurer turned the Spazio Krizia year after year into a mecca for the connoisseur.’ When did Milan become the prime breeding ground for Dutch freelance designers?

2008 exhibition in the Triennale di Milano, directed by Paola Navone. Spirits-flying-high Led Paper by Ingo Maurer. Show 2011 in Spazio Krizia Milano. Photo Tom Vack. Installation ‘Ablaze - Sentimento (s) travolgente’ by Ingo Maurer i.c.w. Axel Schmid, for the 2011 INTERNI-exhibition ‘Achittettura Mutante’ in the Università degli Studi. Showing the gradual transformation of a house burning down in slow-motion. Photo Tom Vack.

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‘The rise of the freelance designer in Milan had several causes: the promotional policy of the government, but above all the shortage of permanent employment. The Netherlands simply did not have enough design companies to absorb the growing group of graduates, so industrial designers started to produce themselves or went abroad. But at the same time the Dutch companies recruited foreign designers in a bid to catch up. I even played a role in that myself… Pastoe, for instance, went to work with Shiro Kuramata and later with Shigeru Uchida. It was the time of changing places. Dutch designers were discovered by Italian companies: Maarten Kusters and Jacco Bregonje were successful in the furniture industry, Driade Aleph welcomed Ed Annink and Roderick Vos. Huub Ubens was hired by Artemide and later Danese. Marcel Wanders was discovered and promoted by Cappellini. It was the start of Marcel’s remarkable career.’

Ghost Chair, designed by Studio Drift in 2007, seen in via Tortona Sand carpet in the street, created by Muurbloem in via Tortona in 2009

I n the first decade of the 21st century the Zona Tortona became the free port for young Dutch designers.

‘The magnetic attraction of top names made it busier and busier in the Zona Tortona. Dutch design brands such as Ahrend, Moooi, Linteloo, Royal Mosa, Goods and A second major PR instrument Van Esch joined in, with many was promotion by the Design young designers in their wake. It is Academy Eindhoven. the period of the rise of interesting designers as Studio Drift, Smool, ‘Another benchmark: design Raw Color... I’ve seen many crazy schools that put the global spotlight creative actions, especially by on their best graduate students. people with a limited budget. They They are green, lack any practical took their designs around on experience, and are still filled with delivery bikes, or showed their work wild ideas – just right to set the in caravans by the roadside. industry’s head spinning. Unlike Maarten Baas had cloned his studio the academies that presented at the in an empty garage. Studio Rolf.fr Salone Satellite, the Design sawed retro cupboards in the street. Academy Eindhoven (DAE) and Muurbloem sprinkled sand carpets the Royal College of Art landed in on the pavements. Sometimes it the city of Milan, at the focal point was just like street theatre. The of attention.’ press made it worse by interviewing anyone who showed his most extreme side. The commotion grew at the expense of quality…’

2001 Divina couch by Jacco Bregonje for Felicerossi Extruded grass seat. Concept from Jurgen Bey, presented by Droog Design in 1998 1966 Ribbon chair & hocker by Pierre Paulin for Artifort 2000 Agung easy chair designed by Roderick Vos for DRIADE Optic glass, designed in 1997 by Arnout Visser for Droog Design

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‘After a colourful era of Postmodernism of Memphis and more pragmatic industrial products (...), Gijs Bakker decided to go in the opposite , direction.


As an industrial designer in body and soul, what did you really make of the rise of art design? ‘Everything shows that many designers who produce for themselves actually have limited possibilities of production. So it is logical for them to make small series. But I consider what they create to be less and less functional or relevant: a pure waste of material and energy. Personally I find unaffordable limited editions even embarrassing. That whole ‘art design’ is a thorn in my side. Italians deploy architects and engineers as designers, not as artists. If you don’t see eye to eye with the industry, you can’t just pour a golden sauce over a design to make it more acceptable or wanted. These fake art trends take the wind out of the sails of the serious designers, and of the real artists at the same time.’

2008 Maarten Baas presentation in a garage. Photo Boudewijn Bollmann 2010 showcooking party (in via Forcella/ Zona Tortona) to promote the CuriosityKitchen by PeLiDesign, made with ARPA laminates.

Like a lounge party…

‘I gradually became ashamed of that annual Dutch rave. The hysterical happenings were often spurred on by drink sponsors. You could walk over people’s heads at the opening, whole streets were ‘I graduclosed off; two days later you could have fired a cannon there. It wasn’t ally became fun any more… and the Zona ashamed of Tortona blew itself up. Some moved that annual to another part of Milan, such as the Zona Porta Romana where the Dutch rave. eco-thinkers are located. Or to the The hysterical artistic Zona Ventura Lambrate happenings where Abitare has had its headwere often quarters from 2002 until spring 2012, flanked by old factories, new spurred on by , art galleries, architectural studios drink sponsors. and the Scuola Politecnica di Design. But that area is already in danger of becoming overcrowded too.’

What do you look for yourself at the Salone? ‘I visit less and less fairs. I follow the topicality via internet. I go to Milan in April and once every two years to ‘Interieur’ in Kortrijk, that keeps me completely up to date. In my own design career I have never shown in Milan. The time, energy and resources it takes are out of proportion. Besides, you can’t broaden your view if you stay put on your own square metres. I always wanted to absorb as much as possible of the atmosphere and meet producers, top designers and importers. You only develop a vision, slowly but surely, if you look around you and listen. Then you realise what there is still a need for and what not.’

And that is?

But isn’t human design on the way up at the moment?

‘Designers should rediscover their social responsibility: working for broad target groups, no longer for the happy few. The market for eccentric and hip items of furniture is saturated. I get the same feeling with all those reinterpretations of old forms and patterns with which some Dutch designers think they can find a new identity. But that is not the solution to our problems. Relevance and usefulness, thinking in human and social terms will help us a lot more. There certainly is still uncharted territory. Just think of the baby and the senior citizen market. But a well thought out, functional and attractive walking frame is apparently not mediagenic enough.’

Ann Maes: Biography

It’s called the working of the market. There is a demand, almost a hunger, for trendy design and styling.

Ann Maes (Bruges, Belgium, 1952) graduated from the Industrial Design Academy Eindhoven in 1977. She began her career as a product designer of technical products, a lot of lighting and the famous Mace-line fireplace tools. In 1980 she became correspondent for the Italian magazine Abitare. In the monographic , issues Abitare ‘Olanda (1985 and 2002) she gave many Dutch designers their first international publication.

‘Always those trends! Designers have become brands and been given star status. Honestly, Marcel Wanders is a good stylist. He stuck his neck out with those oversized ceramic clocks and those mega lamps, but it turned into a gimmick and went from bad to worse. To label almost every design with your face, it’s what I call ego tripping. The really great designers have usually kept their modesty.’ ‘Milan is increasingly more about the PR than about the product. The press is partly responsible for provoking that exhibitionist behaviour. Recording controversial novelties in artistic photographs seems to have become a must if you want to get into the glossies. Too much attention is paid to absurd products as a result, such as that famous horse with a lampshade on its head by Moooi: a black horse doesn’t emit any light, does it? The exorbitant kitsch creations for Swarovski are another example. For me they reflect the spiritual impoverishment of our society.’

‘Ecological, human and social design: new hypes? Italians like Ezio Manzini and Andrea Branzi have already been thinking and working on that for twenty years! The warnings issued by the Club of Rome have never been taken seriously, but if we had listened better at the time, we wouldn’t be in this mess now. There is the new danger that sustainability will be used as a marketing tool by opportunists, often with long-winded explanations to justify the product. Recycling and upcycling have become the buzz words. But what some people tend to forget is that recycling costs money too. You can better focus on producing less and of a higher quality to extend the lifetime of a product.’ You have been a state jury member for years. What is expected of the up and coming generation of designers? ‘A lot. A good number of their iconic predecessors have lost their way. Future generations will have to learn to deal with an expected shortage of raw materials, energy and funding. That calls for not only creativity but also a sense of reality. If those two meet, once again we will be offered products that are of use to the world.’

After ten years of freelance production and design, she entered the world of design management, working for Scopelight, Artifort, Lensvelt, Royal Mosa and others. Since 1997 she has also been independently organising trips, events and workshops for top architects with the support of the creative industry. Ann Maes has won various design awards. She lectures and is respected for her critical vision.

Top: 2001 Random Light Black by Bertjan Pot for Moooi

Marcel Wanders 2004 This Chair, designed by Richard Hutten for LENSVELT

2005. Marcel Wanders designed a striking presentation for Bisazza

Top Middle: TC stool, designed in 1990 by Ruud Jan Kokke for Museum Boymans van Beuningen. First produced by Designum, since 2004 by Goods. Top Bottom: BM set of self-made small boats, using disposables like champoo bottles. Designed by Floris Hovers. Presented in Milan in 2011. Bottom: Mug Domoor, designed by Richard Hutten in 2001. Now in the

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Joep van Lieshout— artist / designer— ateliervanlieshout.com— 33  p.45

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Merel Wicker en Kim Leemans— fashion designers— l-e-w.nl— 21  p. 41

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The cradle of Dutch design lies in Eindhoven, a city in the south of the Netherlands where design is omnipresent. Capital D is the Eindhovenbased organisation that deploys design and design thinking on a wide front to further the economic growth of the whole region and to put it internationally on the map. With success! By Monique van Empel

C a p i t a l D: Dutch Design in Business —

They have known for a long time in Eindhoven and environs that a dynamic design climate has prevailed there for years. After the acclaim of this Brainport region as ‘the most intelligent region in the world’ by the Intelligent Community Forum (ICF) in New York in 2011, people are now becoming aware both in the Netherlands and further afield that something special is going on in Eindhoven and the surrounding area. Hans Robertus, director Capital D and Dutch Design Week, explains exactly what that something is. ‘It’s in our DNA.’ Eindhoven ‘Brainport is a region of top technology and design. Many top-level technology firms, knowledge and research institutes are located within a roughly 40 kilometre radius of Eindhoven. They include Philips, DAF and ASML, TNO Industry and Technology, but also the Design Academy Eindhoven, the Eindhoven University of Technology and the High Tech Campus. The crafts and productive industry are also well represented here. Thanks to the short lines of communication, a good idea can soon be turned into an innovative product and successfully find its way to the (international) market. The role of design as the foundation of the creative sector is of essential importance in this respect’, according to Hans Robertus. Technology and Design Hans Robertus and Robert Jan Marringa are the directors of Capital D, a broad organisation in Eindhoven that promotes the deployment of design as a motor force for innovation, economic growth and sustainable development. Robert Jan Marringa: ‘The

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Dutch Design Awards, Exhibition at Brainport Greenhouse. Eindhoven, October 2011. Photo Boudewijn Bollman

word “Capital” refers both to Eindhoven as capital of the D for design and to the capital that design can generate for the world of industry and commerce. There is no denying its economic value and relevance. Design is everywhere. Capital D initiates and facilitates some twenty projects to bring enterprising and creative parties into contact with one another and thereby to create growth for all of the sectors involved. And it is successful: the creative sector is proportionally the fastest growing sector at the moment, not only here in the Brainport region, but also nationally and possibly even internationally. We see Dutch design as the catalyst for innovation and business at both the social, cultural and economic level. This even makes it one of the most important Dutch export products.’ Cooperation Capital D originated in the field. It is a cooperation with members from the design world, students, architects, productive industry, knowledge, government and educational institutions, museums and the local authority. ‘They are all parties who want to tackle design jointly. And to create work in that field’, says Hans Robertus. ‘That is why we shall shortly be starting a multidisciplinary Flexpool for creative entrepreneurs at a national level. For instance, for companies that are looking for a freelance designer, or for self-employed persons who want to contact potential clients. A Flexpool of this kind is a perfect fit for Capital D, because it is in the direct interest of our members and serves as a model for how we try to bring various groups together.’


International Podium for Designers Capital D has an average of twenty projects in its portfolio each year. It provides them with both strategic and executive backup to put the Eindhoven region on the (inter)national map. The best-known are the Dutch Design Week and the Dutch Design Awards, but the International Podium for Designers is also a large-scale project. Hanneke van den Nieuwenhof is Capital D head of project for this long-term investment programme. ‘To put it simply, we want to show the world how we deal with design and design thinking in the Netherlands and particularly in the Brainport region. We see these as the strongest cards to play for growth of the creative sector in the country and abroad. To that end we organise travelling exhibitions, trade missions, design trips, workshops, lectures, pitch sessions and other activities. So we literally offer designers a podium. On the one hand, the International Podium for Designers is aimed at positioning and profiling Dutch design. On the other hand, it is there to promote cooperation between designers and companies abroad.’

creativity and design proceed hand in hand. They are products with which designers have been involved from the very first stage of the developmental process. You can regard it as a visual plea for the conviction of Capital D that cooperation between designers and the world of industry and commerce really can help our region to make economic progress.’ Besides the exhibitions Made in Brainport (Istanbul, Munich, Helsinki) and Spring (Milan, Moscow, Helsinki), Connecting Concepts (Berlin, Istanbul) is also being shown internationally. This exhibition, a collaboration with the Netherlands Architecture Institute, has been curated by Ed van Hinte on the initiative of Premsela and is part of the DutchDFA programme. Hans Robertus: ‘I am convinced that design can make the world a good deal more beautiful, better and more sustainable. Brainport is at this moment the most intelligent region on the basis of the left side of the brain. My ambition is to develop this further in balance with the right side of our brains.’

Dutch Design Awards, MINI Young Designer Award-winner Bart Hess, presenter Hadassa de Boer and Director BMW Group The Netherlands Jan-Christiaan Koenders at the Awardshow Eindhoven, October 2011. Photo Bram Saeys

Dutch Design Week The Dutch Design Week in Eindhoven has grown in the course of ten years to become the largest design event in the Netherlands. By now the event is also on Klokgebouw during Dutch Design Week Eindhoven, October 2011. the international map. Photo Sjoerd Eickmans Eindhoven breathes design for nine days. The DDW is not a regional festival, but a national showcase of Dutch design. The whole city is bustling. Hundreds Made in Brainport of new talents from the Design Academy Eindhoven Hanneke van den Nieuwenhof tells us that this year’s and elsewhere, established designers and famous programme is concentrated on three exhibitions: agencies from all over the Netherlands show their work Made in Brainport, Spring, and Connecting on a number of locations. Eye-catching design taxis Concepts. The last two are organised in close collabo- drive back and forth between the main attractions: the ration with Premsela, the Netherlands Institute for Design Academy, the Klokgebouw and other indusDesign and Fashion. Spring, which can be seen during trial buildings on Strijp S, R and T, the Eindhoven ‘i saloni’ in Milan, is a triptych in which thirty University of Technology, the Design House and the well-known Dutch designers show work that has Brainport Greenhouse where the work of the finalists inspired them and promote young talent. Hanneke van and winners of the Dutch Design Awards are on show. den Nieuwenhof: ‘The exhibition Made in Brainport Last year the Dutch Design Week was opened by shows the results of successful forms of cooperation nobody less than Princess Máxima. from the Brainport region in which knowledge,

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Growth Diamonds Anyone who can remember the early years of the Zona Tortona and now also the Zona Lambrate in Milan can experience the same exhilarating, dynamic and inspiring atmosphere during the DDW in Eindhoven. The City of Light is also filled with old industrial premises and abandoned industrial sites with interesting design clusters of young designers and artists, such as the experimental hotbed Sectie C and the trendy Temporary Art Center (TAC). This is where a wide range of the growth diamonds of Dutch design are located. Because they all throw their doors wide open during the DDW, visitors are given a unique inside view of the kitchen of their conceptual and experimental work. What they show is a vision rather than the ready-made solutions and products that can be seen in Milan. In Eindhoven content counts for more than aesthetics. And that is precisely what makes the DDW popular less with buyers than with parties who are interested in new visions and concepts: journalists, manufacturers, the world of industry and commerce, the productive industry. Raffaela Vandermühlen, head of Communication & Marketing of the DDW: ‘We want to be the hotbed where designers and clients can meet one another and where follow-up assignments may emerge, in both the creative, culture and economic and the social field. Partly thanks to the presence of the Design Academy, we have an enormously tight-knit design community here in Eindhoven. In fact it is their week. Unlike the situation in other countries, the Dutch Design Week is organised from the bottom up. And as Capital D we build our programme around that. One result, for instance, is that you do not keep coming across the same names here that you already find everywhere else. In parallel we organise an international programme of workshops, lectures, congresses, exhibitions and network meetings on the distinctive capacity of design in business and vice versa extending over several days for our commercial visitors under the name DDW Business.’

Future The jubilee edition of the DDW in 2011 included no less than 360 activities and exhibitions on the programme at 85 different locations in the city, involving more than 1,800 young designers. We had a record number of visitors: 180,000, more than 10 per cent of them from abroad. It represented a doubling of the number of registered journalists, photographers and camera teams by comparison with the previous edition. According to Hans Robertus, the challenge for the future lies not in quantitative growth, but above all in bringing the right people together. ‘We gauge the success of the week to a large extent by the quality of the relations that are made there. We want to interest different parties in one another and eventually bring about a change in behaviour that will bring the creative sector and the world of industry and commerce, but also for example financial institutions, government bodies and legal experts into contact with one another and to harmonise better with one another’s interests.’ A new feature in 2012 is a ‘heavier’ evening programme with more opportunity for discussion and networking. Dutch Design Awards One of the highlights during the DDW is the annual presentation of the Dutch Design Awards, this year for the tenth time. It is a national competition for Dutch design in the categories Communication, Product, Design, and – new this year – Autonomous Design, for which designers from every discipline are eligible. Capital D is responsible for the organisation of the competition, the presentation of the awards, the (travelling) exhibition and the contents of the Dutch Design Yearbook (in collaboration with NAI Publishers). Head of PR Robert Jan Marringa, Director Dutch Design Awards: ‘This year we are putting even more emphasis on storytelling. We consider not only what designers make, but also the story behind a design and its social relevance.’ At the moment the organisation is engaged in research on the economic value of the Dutch Design Awards. What benefits do they bring to the winners? How do they themselves see the importance, the quality or the added value of the Awards? Architect and (light) artist Daan Roosegaarde, who won the Dutch Design Award for the best autonomous spatial design in 2009, claims to have gained a lot from his distinction. ‘Awards are the golden crumbs that help you to make the perfect bread. Thanks to the Dutch Design Awards, my work has attracted the interest of new parties and public projects, particularly in Asia. Recently our interactive light installation Dune even won the Chinese Most Successful Design Award.’ The 11th edition of the Dutch Design Week will be held from Saturday 20 to Sunday 28 October 2012, with the presentation of the Dutch Design Awards on 20 October. www.capitald.nl · www.ddw.nl · www.dutchdesignawards.nl

Princess Maxima opening Spring exhibition by Premsela and Capital D. Eindhoven, October 2011. Photo Job Janssen

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What must you do to get that spoilt editor of a design magazine to write about you?

Not with Furniture — It’s not original. But any self-respecting designer has to be in Milan during furniture week to present his furniture, lamps, kitchens or bathrooms. Being there and taking part as one of the 2,500 firms at the official trade fair and an estimated equal number scattered throughout the city is fine, but it’s not enough. You also have to be able to present something new, and that something new really has to be new. The deadline for completing the product is one day before the fair opens. Why? Because you increasingly have to attract the attention of the media to your product at that fair. There are surprisingly few buyers among the 300,000 visitors who file past the stands. They are fellow designers, journalists, enthusiasts, students, and with a bit of luck a few potential customers. While ten years ago many designers kept a list of how much they had sold in their exhibition space in Milan, nowadays it is more common for them to have to make do with a pile of business cards. Any sales you make do not even cover the stand rent, ticket and hotel. The hope is that a week at the fair will yield results in the following months, for instance because you were featured in a newspaper or magazine and potential customers can still remember you.

It’s not a very encouraging prospect, and on top of it all there is the crisis. The Italian furniture branch has never been hit so hard, especially the smaller firms that have concentrated on the domestic market. The big and more international ones are in a better position. They are at Milan as well to present themselves and to ensure that they are talked about. And no expense is spared in that quarter. So staying away from this week in Milan is not an option. But how are you to stand out in that forest of new or spruced up designs? What must you do to get that spoilt editor of a design magazine to write about you or to place a photo after he or she has been with the big boys? By not taking the fair too seriously. Wild. Something without furniture, lamps, kitchens or bathrooms, for instance. Two years ago Maarten Baas was in Milan but didn’t really have anything to report except an iPhone app of his earlier digital clock for 0,99 ct. If anyone was also interested in his furniture, he or she would have to make a phone call. It was up to them. Of course, every journalist had to tell that story. Maarten must have more than covered the expenses of being there and taking part. Maarten Veeger

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column


Laurens van Wieringen— interior designer— laurensvanwieringen.nl

O U T N OW !

WAVER Designed by Konstantin Grcic Developed by Vitra in Switzerland

Vitra (Nederland) B.V. De Oude Molen 2 ∙ 1184 VW Ouderkerk aan de Amstel Tel. 020 517 44 44 ∙ info@vitra.nl ∙ www.vitra.com ∙ Showroom geopend ma-vrij 9.00 – 17.00 uur

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I am becoming more inclined to write my letters. All around me I see young people joining knitting clubs.

Nostalgic Ava n t - g a r d e — Designers have to keep abreast of virtually every development that takes place in the world that surrounds them, and probably outside it as well. It is obvious enough that they have to be able to produce more efficiently, to react to prevailing demands or to predict trends. But for those who cherish the ambition of really being out in front or, if need be, wanting to change the world – and there is no shortage of them – it is perhaps advisable to keep out of the vanguard and to fall back on the dusty past. The first example of this phenomenon emerged in England in the mid-nineteenth century with a group of painters called the Pre-Raphaelites. As the name indicates, they wanted to return to the art of painting as it had been before the era of the Renaissance artist Raphael. They began to apply an old-fashioned method in a modernised setting. Curiously enough, this caused a sensation because of their ‘revolutionary’ behaviour. In fact, the movement is regarded as the first avant-garde. An even more noteworthy example is that of William Morris, another English artist, who turned his back on industrialisation at the end of the nineteenth century. While the invention of mass production was being widely embraced, Morris calmly sat down to embroider a curtain. Soon afterwards this became his popular Arts and Crafts Movement.

These cases show that nostalgia can be just as powerful a force of change as the belief in progress. Modernisation entails decline, so that the desire for something new will be bound to emerge eventually. The decision on whether to join in a development or not depends on whether it is regarded as positive or negative, but it seems that the same point is reached in the end. The stark contrast between craftsmanship as practised by William Morris and astonishment at the potential of technology is by no means so clear-cut any more. We can compare the industrialisation of that era with the enormous growth of the social media. The major source of happiness today offers a future because it makes everything easier and faster. Personally, I am becoming more inclined to write my letters. All around me I see young people joining knitting clubs. The hordes in the train with their eyes glued to their mobile phones are increasingly turning to books. We are on the eve of an avantgarde movement that is backward-looking but more militant than ever. Kees de Haan

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column


Mark van Iterson— manager design & concept at Heineken— heineken.com— 21  p. 41

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Massoud Hassani— product designer— massoudhassani.blogspot.com— 09  p.37

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Design plays a directing role in society, according to director Sjarel Ex and conservator of the city collection Annemartine van Kesteren of Museum Boijmans Van Beuningen. On the DNA of Dutch design and the added value of a museum to provoke social debate. by Annemiek van Grondel

Design Directions

The Museum Li ve s — Annemartine van Kesteren and Sjarel Ex. Photo Ilco Kemmere

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Why don’t we just put on something big called Dutch Design in The Netherlands?’

There is no doubt about it: no one in the Netherlands can turn a blind eye to design. Unlike many other European countries, however, the Netherlands lacks a museum devoted specifically to design in all its disciplines. Various design events are organised every year, of which the Dutch Design Week in Eindhoven is the best-known, and several cities claim the title design city. Breda has a museum of graphic design, Arnhem the Fashion Biennial, and many museums have design in their permanent collection. But which city can be called the design city of the Netherlands? And which museum plays the most important role in the discipline? The answer is probably to be found in Rotterdam in the museum with one of the oldest design collections in The Netherlands. Museum Boijmans Van Beuningen presents art from the Netherlands and the rest of Europe from the early Middle Ages to the 21st century, and reserves some 35 per cent of its programme for design presentations. Besides the permanent collection display and thematic design exhibitions, contemporary work is also shown during the biennial Rotterdam Design Prize, one of the most important awards for Dutch designers, with its multimedia promotional materials, including a series of short films on national television and Art Tube, its own video channel. When asked for his opinion, director Sjarel Ex is not tempted to claim the title of main player in the field of design: ‘We were already showing applied art from

Atelier Van Lieshout, Infernopolis, 2010

The idea that a city could be qualified as design city of the Netherlands in connection with city marketing par excellence is ‘nonsense’ in his opinion. ‘Design can be found everywhere in the Netherlands. There is much more reflection on all kinds of forms of design over a broad front. It would be truer to regard the Netherlands as design country of the world. In that case the city is irrelevant. The Netherlands is small: you can be where it’s happening in a flash.’ ‘There is regular consultation between conservators from various cities on collection building, acquisitions and the collection of design’, comments his colleague Annemartine van Kesteren, the museum’s city conservator design. ‘In Rotterdam we discuss the programming with the neighbouring museums such as the Kunsthal and the Netherlands Architecture Institute, occasionally organise joint exhibitions, and reflect on joint ticket sales.’ She regrets the fact that the design fairs and events are so spread out over the year. ‘September is design month in Amsterdam, October in Eindhoven, in February we travel to Object Rotterdam before going on to Utrecht and Arnhem. Why don’t we just put on something big called Dutch Design in the Netherlands?’

Buchen-wald, including smoking crematorium chimneys and barbed wire. A socially relevant addition to the work of Studio Job, or a publicity stunt, as the journalist Tracy Metz put it in a heated TV discussion on the controversy? The museum director: ‘In 2010 we showed Infernopolis, an installation by Atelier van Lieshout, in Submarine Wharf, the museum’s exhibition space in the Rotterdam docks. Joep van Lieshout made sinister, utopian models for a self-sufficient city, SlaveCity. This totalitarian worldview based on people themselves as the raw material was preceded by extensive research. His whole oeuvre is about devising solutions for the distorted relations in consumption that people have allowed themselves. Eventually you end up in a sort of concentration camp system. That’s terrible, of course, but it is based on research. It is very different from this work by Studio Job. There’s nothing wrong with strong opinions, but when someone gives the impression of having appropriated something just to appear interesting I quit.’

Exhibition New Energy in Design and Art, 2012

the late Middle Ages to the present before anyone had ever heard of Dutch design. We use the logo of the museum, that can be read as an example of Dutch design, primarily to bring the diverse collections together and to get them to interact with one another to create a Gesamtkunstwerk. You can see that as well in the design of the hall and the way in which design and art exhibitions overlap and succeed one another. As an encyclopaedic museum we present several disciplines from a number of centuries. We regularly supplement that. For instance, we acquired the prototype of the Futuro, the mobile holiday home from 1968 by the Finnish architect Matti Suuronen, an icon. Given the time at our disposal, we can record design, place it in the context of eternity, and reflect on it. Sometimes that makes us slow, but also very resolute.’

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Totalitarian Worldview Design reflects the time of its creation and is a symbol of current or recent socially relevant issues, but sometimes views differ on the relevance of a particular design. Take a recent work by Studio Job. The designs of this successful design collective of Eindhoven graduates (internationally discovered and purchased in 2002 by the Dilmos gallery in Milan and acclaimed by Wallpaper* as best breakthrough designers in 2005) are situated at the interface of design and art. They like to go to the limits of decency and good taste. They call their work a mixture of Albert Speer and Donald Duck. At the end of December last year, their design for a fence, intended for the house of an art collector, aroused widespread public indignation. It bore a strong affinity to the fence around

Dutch DNA The reputation of Dutch design has increased explosively since the 1990s. That was the decade in which the Droog Design label launched designers to worldwide fame. Van Kesteren: ‘The growth of prosperity was translated into a growing demand for design products. There was a pronounced focus on the individual: critical, expressive, self-willed. People wanted to show their own identity and did so mainly through such products.’ ‘In addition, that growth and prosperity brought out the limitations of a small country’, Ex adds. ‘Designers operate in the field of legal codes,

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regulations, jurisprudence, territories, plots, open and closed areas. The small size of the Netherlands calls for a specific creativity and solution-orientated approach. Japan also has a design culture of its own. This leads to a heightened awareness, almost a national DNA. It can be effective even in its ugliness. Take those ghastly mass housing estates. You know exactly where you are: in the Netherlands.’ Design is the DNA of society and plays a directing role, he is convinced of that. ‘Everything that has form is thought about beforehand: in decisions, products, results, cohesion and identity. Much is found in the design that is both solution and space, and in the end limitation too. For instance, the designs by the MVRDV firm of architects are special solutions for a shortage of space. Or they offer a social arrangement for a structure that was not visible from outside before. You run up against boundaries everywhere, there is an incredible mass of laws, regulations and practical conditions: on security, or how do deal with people as a mass, and what you want to regulate individually or not in that area. That puts the quality of the design to the test. It is an ongoing training through which you also become better.’ The economic recession is an inevitable call to wake up, and the design world is no exception. It does not necessarily imply less creativity. A new élan, a more engaged awareness, seem to have arisen. Van Kesteren: ‘The feeling is completely different from twenty years ago. It’s a DIY mentality and finds expression in reuse, redesign and restyling. Guerrillalike activities spring up, such as the creation of gardens for the neighbourhood, born of a desire to regain the city for the residents.’ ‘A sort of autarky’, Ex agrees. ‘The whole oeuvre of Joep van Lieshout, that is situated between art and design, is exemplary of that.’ After a visit to the latest Salone di Mobile, the Dutch designer Frank Tjepkema was surprised and dismayed by the small number of design reactions to the crisis. It prompted him to make the No Recession Chair, with a back support that has been all but sanded away. A cheap IKEA chair has been stripped so far that the organic skeleton is visible. It is a sneer at the cuts in government spending on the arts: the culture of endless paring away. You can’t sit down on this chair because, he argues, you can’t count on a crisisridden society. ‘I find it a poor example’, Van Kesteren responds. ‘The crisis sets other systems in motion. Take fashion designer Monique van Heist. She refuses to accept the laws of industry and commerce – a new collection every season – and works on a permanent collection to which she keeps adding new items. It is not just about the aesthetics of a crisis, but also about inventiveness, the creation of new systems that are relevant. That is typically Dutch. At the same time globalisation makes everything more uniform, as illustrated by the design of the big retail chains. The importance of locality emerges as a reaction. Designers go back to their roots. This results in interesting initiatives, such as the ceramic series based on the Waddenzee by Studio Maarten Kolk and Guus Kusters. Local fascinations, investigated and designed on the basis of the Dutch mentality: sober, dry and constructive.’

Simply putting design in an exhibition space is not enough.


‘We want to show that art and design can break open a discussion’

Broadening the view Simply putting design in an exhibition space is not enough, Van Kesteren finds. ‘You can explain the value of a design object better by placing it in connection with themes and knowledge from the past and the present. By showing connections with other pieces in the collection, a design is placed in a context.’ A new exhibition format called Design column, which will be launched in June, shows how designers, architects and artists investigate current themes of front page interest. Every two or three months the museum puts on a presentation in which a small group of designers makes stimulating statements on the basis of their newly developed concepts or products. Van Kesteren: ‘It may be fear of a new viral infection, the fight against obesity, the collapse of the Euro, or the value of an object. Take the Toaster Project by Thomas Thwaite. He made his own toaster from scratch after dismantling a cheap one. Like a modern alchemist, he ground and assembled materials in order to reconstruct an industrially manufactured product by hand. After much blood, sweat and tears, the result was a strange looking object that is indeed able to toast bread. It is interesting to see much time and effort it takes to make the product, but how low its retail price is in the shops.’ The column will be given the form of an exhibition in a permanent room of the museum. Objects, accompanied by quotations or other written material, will reflect on current issues. The social media can be brought in for this, such as putting visitors’ questions to the designer by webcam so that the latter can reply online the same evening. Designers construct society, devise fundamental systems and new products, launch debate and discussion. The museum claims a role in that. ‘The Design column is not a hermetic presentation or design theoretical reflection, but something about which everyone has an opinion’, Van Kesteren adds. ‘We want to show that art and design can break open a discussion at the very time when everything seems to have ground to a halt.’

The museum as a podium for engagement? ‘We are not waiting for Philips to lay an egg nor for how the stock exchange is behaving’, says Ex, ‘but we provide insight into what is being devised in laboratories and workshops. Collecting and showing form is as old as humanity. The way in which museums show art, designs and products in relation to one another is a form of communication that may be older than all other forms of communication together. Its essential story is so compelling that it will always continue to exist.’

Connecting the Dots with

The Materiaalfonds — www.materiaalfonds.nl www.doen-materiaalprijs.nl www.weightofcolour.com

The Materiaalfonds for Beeldende Kunst en Vormgeving (Loans for Visual Artists and Designers) celebrates its 40th anniversary. For four decades this independent foundation has offered artists and designers the opportunity of taking out a loan in order to produce new work. Artists in particular make use of this facility, perhaps because the scheme was originally set up for them. However, designers can benefit from this form of funding as well. Borrowing to make an investment may be a big leap forward in your career. For instance, the designers Gijs Bakker and Ineke Hans took out loans from the Materiaalfonds at the start of their careers.

Monique van Heist

The Materiaalfonds also likes to be able to offer artists and designers a showcase. A large number of works and designs that have been funded with a loan from the foundation will be presented on the new website that will be launched in April 2012.

There is more on the agenda: The DOEN | Materiaal Prize is being organised for the fourth time in cooperation with Stichting DOEN. The loans are intended for the This is a prize for sustainable and development, production and innovative use of materials in art presentation of new work. In spite and design. Entrants compete for a of the name, this need not be first prize of €15,000 and an confined to materials. Sometimes incentive prize of €5,000. Even if you need prior funding to impleyou are only nominated you are ment a plan or an idea, for still a prize-winner in a sense, instance to make an expensive because the nominated designs prototype, for the first production will be presented for ten days in of a new design, or to present the Van Abbemuseum during the your work at a fair like the one in Dutch Design Week in Eindhoven. Milan. Any artist or designer who And from 10 to 17 April the lives and works in the Netherlands Materiaalfonds will celebrate its can apply for a loan. anniversary with an international programme on colour with Lonneke Gordijn and Ralph Nauta lectures, master classes, film and from Design Drift received a loan art in the public domain: The to make the Ghostchair and to Weight of Colour. present it at the Salone del Mobile in Milan. Lotty Lindeman applied So there are plenty of reasons to for funding to make a prototype of keep an eye on the website(s). various lamps, which she first exhibited at the Dutch Design Francine Mendelaar Director Materiaalfonds Week in Eindhoven. Sjoerd Jonkers applied for a loan from the foundation for the first production of his hand-knotted carpet

No Recession Chair, Frank Tjepkema

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‘Tapis Noués’, which is produced along Fair Trade lines in Morocco. Sjoerd Vroonland and Arjan Vaandrager developed and implemented the first series of their saddle stools that have become popular by now.

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Lotty Lindeman, Tentlamps

Sjoerd Vroonland, Saddle Stool

Maarten Kolk & Guus Kusters, winnaars DOEN | Materiaalprijs 2011


Tessa Koot— furniture designer— tessakoot.nl— 22  p.42

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Chris Slutter— furniture designer— chrisslutter.nl— 19  p.40

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FuoriSalone

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04 Droog

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Presentation Colour One

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Address Università degli Studi di Milano via Festa del Perdono 7–Courtyard Cortile 700 20122 Milano

Contact Eva Postema Prinses Irenestraat 19, 1070WT Amsterdam, The Netherlands postema@premsela.org +31 (0)20 3449442 Online www.premsela.org www.capitald.nl

About Premsela dedicates itself to promoting the growth of Dutch design. Premsela organises lectures, debates, exhibitions and publications. Capital D aims to stimulate and connect creative initiatives that strengthen the region’s (inter-) national reputation in the field of top technology and design. Presentation Spring: Excellence, Talent and Inspiration in Design is featuring work by renowned Dutch designers, the greats who inspire them, and the young colleagues they admire.

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Designers Koert van Mensvoort

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Presentation FRAME Moooi Award 2012

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11  BCXSY  Rossana Orlandi Designers Boaz Cohen, Sayaka Yamamoto Presentation Original part III

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Contact Andrea Trimarchi Kronehoefstraat 1, 5612HK Eindhoven The Netherlands press@formafantasma.com +31 (0)6 16295171

Online www.formafantasma.com www.booo.nl

Contact Mario Minale Marconistraat 52, 3029 AK Rotterdam The Netherlands office@minale-maeda.com +31 (0)6 48167931

Online www.minale-maeda.com

Presentation 1 Mae West Presentation 2 Underworld / Quack / The Birth Presentation 3 Altdeutsche Möbel Paper Extensions

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Designers Mariandrea Zambrano Presentation FOLD by WET Address TOURBILLON Via Baldissera 4 corner Via Stoppani 2 20129 Milano

Address Museo Nazionale Della Scienza e della Tecnica Via Olona 6 20123 Milano

Address 1 Spazio Venini Museo Bagatti Valsecchi Via Santo Spirito 10 Address 2 Nodus / Chiostro Facoltà Teologica dell’Italia Settentrionale Piazza Paolo VI n. 6 Address 3 Moooi Showroom Via Tortona 37 see page 42, nr 20

Contact Lucy James 135-139 Curtain Road, EC2A 3BX London, United Kingdom lucyj@scp.co.uk press@inekehans.com +44 20 77391869

Contact Mariandrea Zambrato Via Altipiano 11, 21010 Porto Valtravaglia, Italy info@wet.co.it +39 347 9603022 +39 340 8494347

Online www.wet.co.it About WET has been remarked to have changed the bathroom into what it is today, introducing trend settings, highly colorful and illuminated PolyEthylene bathtubs and sinks. Presentation A shelf integrated wall-mounted faucet-line featuring a high quality full brass chromed MIXER.

Zona Tortona 16 Wrap Spaces

12 Studio Job Designer Job Smeets, Nynke Tynagel

About The Front Room: Colour and Geometry is a presentation of new objects for the front room by a group of up-and-coming designers. Each object is a fresh

Presentation A self-initiated show by Matylda Krzykowski from MATANDME and Marco Gabriele Lorusso from Made in Design Studio. It is hosted and supported by cultural association Ca’laghetto.

15 WET

11 Studio Minale-Maeda  Rossana Orlandi Designers Kuniko Maeda, Mario Minale

Designer Ineke Hans Presentation MOST

11 BOOO!  Rossana Orlandi Designers Formafantasma , Nacho Carbonell and Front

Online www.the-front-room.com www. calaghetto.org www. matandme.net www. mid-studio.eu www. okoloweb.cz

version of it’s predecessor, united by the ritualistic nature of sheer geometries and strikingly contemporary colour palettes, embracing purity with an element of playfulness. Four designs specially made for The Front Room will be unveiled on the first day of the show.

14 SCP

11 Edition in craft  Rossana Orlandi Designers Studio Formafantasma

Address Ca’ Laghetto [‘] Via Laghetto 9 20122 Milano

Contact Matylda Krzykowski matylda@matandme.net +31 628294572

Contact Maarten Statius Muller Studio Job Gallery Begijnenvest 8, 2000 Antwerpen Belgium press@studiojob.nl +32 (0)3 2322515

Online www.venini.it www.nodusrug.it www.studiojob.nl www.moooi.com

Designers Samer Chalfoun, Marcel Losekoot Address Via Tortona 12 20144 Milano Contact Wrap Spaces Achterstraat 5, 4115 RP Asch The Netherlands info@wrapspaces.com Online www.wrapspaces.com

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About Samer Chalfoun & Marcel Losekoot believe that current spatial design no longer fits in with today’s 24/7 lifestyle. You want your surroundings to adapt like a chameleon. Based on this, C&L develop innovative products that combine intuitive design, home automation and comfort. Presentation Wrap Spaces dares you to experience a place that is completely tailored to your 24/7 way of life. A life where boundaries between work and home blur. Where any separation between your kitchen, lounge, living and work space has gone. Wrap Spaces is breaking boundaries.

Online www.inekehans.com www.scp.co.uk


17 Officine della Torniera

Via Novi 5 20144 Milano

19 Gispen, NgispeN  Superstudio Più Designers Maarten Baas, Anke Bernotat, W.H. Gispen, Dick van Hoff, Richard Hutten, James Irvine, Iris Jansen, Fabio Novembre, Ontwerpers.nu, Jan Plechac, Gerrit Rietveld, Wim Rietveld, Jerszy Seymour, Studio Makkink & Bey, Wiro van Vilsteren, Michael Young, ZUS

17 De Vorm  Officine della Torniera Designers Benjamin Hubert, Sebastian Herkner, Steffen Kehrle

Address Officine della Torniera Via Novi 5 20144 Milano

Presentation Playing with Tradition Contact Roel Bielleman Industriestraat 9, 6827 BD Arnhem The Netherlands roel@devorm.nl +31 65 1320013

Online www.devorm.nl

17 New Duivendrecht  Officine della Torniera Designers Dave Keune, Frederik Roijé, Frederike Top, Kranen/Gille, Nieuwe Heren, Sjoerd Jonkers, Slim Ben Ameur Tweelink

Address Officine della Torniera Via Novi 5 20144 Milano

Presentation Dish of Desire

Address Officine della Torniera Via Novi 5 20144 Milano

Contact Victor le Noble Industrieweg 29, 1115 AD Duivendrecht, The Netherlands victor@newduivendrecht.com +31 (0)6 24668569

Online www.newduivendrecht.com

Presentation Weltevree & het Betere BoerenBed

Presentation Revolver shelving system at Pianoprimo Srl

19 Superstudio Più

Contact Birgit Calis Industrieweg 29, 1115 AD Duivendrecht, The Netherlands info@roije.com +31 (0)20 4165706

Online www.roije.com

Designers Marcel Wanders, Studio Job New photography concept by Marcel Wanders and Erwin Olaf

Contact Rita Giesbers Postbus 248, 6800 AE Arnhem The Netherlands rita@weltevree.nl +31 (0)6 26852124

Online www.weltevree.nl

Address Pianoprimo Srl Via Tolstoi 5 20146 Milano

Contact Henny van Nistelrooy Unit 9, 5 Fountayn Road N15 4QL London, United Kingdom info@studiohvn.nl +44 (0)77 91706088

Online www.studiohvn.com, www.pianoprimo.it

Temporary Museum for New Design Via Tortona 27 20144 Milano

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Contact Meerssenerweg 358, 6224 AL Maastricht, The Netherlands info@mosa.nl +31 (0) 43 368 9444

Online www.mosa.nl

Address Moooi Showroom Milan Via Tortona 37 20144 Milano

Contact Laura Ramos Bello - Kluit Minervum 7003, 4817 ZL Breda The Netherlands press@moooi.com +31 (0)7 65784444

Online www.moooi.com

Designers Adam Alexander, Lee Gibson, Michelle Wu, Sandra Garcia Pagola, Kirkland Summers, Emanuele Magini, Guiseppe Conca, Vincenzo Amendolagine, Gianluco Macaluso, Fabricio Lima, Daniele Colnaghi, Patrick Kampff, Andre Coelho, Brunno Jahara, Alastair Townsend, Yukihiro Shoda, Miku Sega

About Heineken is beer. Of course. But Heineken is more, always looking for new experiences and fresh conversations. Open Design Explorations is doing exactly that; experimental concepts beyond beer. Enjoy responsibly.

Presentation Heineken Open Design Explorations, edition 1: The Club

Presentation Heineken presents a progressive pop-up concept club, based on the theme of ‘ Changing Perspectives’ . The club is the conclusion of almost a year of discovery between the emerging designers, Heineken and input from clubbers that can now be experienced for four days only.

Address Plastik Via priv. Gaspare Bugatti 3 (ang. via Tortona) 20144 Milano Contact Marnie Kontovraki Stadhouderskade 79, 1072 AE Amsterdam, The Netherlands marnie.kontovraki@heineken.com +31 (0)20 5239355

19 Functionals  Superstudio Più Address Superstudio Più - Temporary Museum for New Design, Via Tortona 27, 20144 Milano , stand 15A

Address Superstudio Più - Temporary Museum for New Design stand 15A Via Tortona 27, 20144 Milano

21 Heineken

Address Officine della Torniera Via Novi 5 20144 Milano

Presentation Expect the unconventional

About NgispeN is a Dutch brand founded by Gispen, one of the oldest and largest office furniture companies from The Netherlands. Our collection is targeting the domestic market.

Presentation The Unexpected Welcome

Online www.heineken.com

Designers Mia Gammelgaard & Ehlén Johansson, Jan Habraken, Dick van Hoff, Kranen/ Gille, Alissia Melka-Teichroew, Serener, Chris Slutter, Claire Vos, Roderick Vos

Presentation During this years Salone del Mobile in Milan, Gispen and NgispeN will launch a variety of new products designed by well known international designers at the Temporary Museum For New Design in Superstudio Piu.

20 Moooi

18 Studio HVN Designer Henny van Nistelrooy

Designers Mosa Design Team Presentation Living Walls

17 Weltevree  Officine della Torniera Designers Dick van Hoff, Floris Schoonderbeek

Online www.gispen.com www.ngispen.com

The collection is designed under the art direction of Richard Hutten.

19 Mosa  Superstudio Più

17 Frederik Roijé  Officine della Torniera Designer Frederik Roijé

Address Superstudio Più - Temporary Museum for New Design space 16 Via Tortona 27, 20144 Milano

Contact Diane Van Veen Parallelweg West 23, 4104 AZ Culemborg, The Netherlands diane.van.veen@gispen.nl +31 (0)6 51002827

Contact Karin Edisonstraat 5 , 5051 DS Goirle The Netherlands karin@functionals.eu +31 (0)13 5300389

Online www.functionals.eu

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22 Via Voghera 11/b

22 Royal Academy of Art  Via Voghera 11/b

Via Voghera 11/b 20144 Milano

Designers Students and alumni from the departments of ArtScience, Fine Arts, Photography, Graphic Design, Interior Architecture & Furniture Design and Textile & Fashion Presentation The Royal Academy of Art: The Shepherds of Stuff

22 Tuttobene Milan 2012  Via Voghera 11/b Presentation The new Glint of Things/ De glans der Dingen Tuttobene will show excellent and innovative interior products, including tables, chairs, lighting and home accessories. With a focus on young talent Tuttobene has succeeded again to bring together 19 talents showing their newest designs in Tuttobene’s 9th Milan exhibition.

Contact Laura Schön Damrak 70, 1012 ML Amsterdam The Netherlands laura@tuttobene.nl +31 (0)6 10396774

Christian Kayser Wespienstraße 30, 52062 Aachen The Netherlands info@christiankayser.com +49 176 62461684 www.christiankayser.com

Online www.tuttobene.nl

David Derksen TT Neveritaweg 15K 17, 1033WB Maastricht, The Netherlands david@davidderksen.nl +31 (0)10 2447304 www. davidderksen.nl detailF / Franziska Wernicke Graaf Florisstraat 30a 3021 CH Rotterdam The Netherlands franziska@detailF.com +31 (0)6 81252245 www.detailF.com

Laurien Oversier Tongersestraat 76B, 6211 LR Maastricht, The Netherlands laurien@laurienoversier.nl +31 (0)6 52000894 www. laurienoversier.nl

Tiago Sá da Costa design Orthenstraat 282, 5211 SX ‘s-Hertogenbosch, The Netherlands tiago.sadacosta@gmail.com +31 (0)6 34460049 www.tiagosadacosta.eu

Lex Pott TT Neveritaweg 15K 17, 1033 WB Amsterdam, The Netherlands info@lexpott.nl +31 (0)6 55730426 www. lexpott.nl

VanJoost / Joost van Veldhuizen Rijksweg 78, 3781 LW Voorthuizen The Netherlands info@vanjoost.com +31 (0)6 52624462 www.vanjoost.com

Marco Iannicelli Zeppelinstrasse 34, 52068 Aachen Germany iannicelli.marco@gmail.com +49 (0)1 632 148 463 www.marcoiannicelli.com

Rianne Koens info@riannekoens.com +31 (0)6 27 37 44 68 www.riannekoens.com

Studio Thier&VanDaalen Tuttobene

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Studio Thier&VanDaalen / Ruben Thier Gagelstraat 6a, 5611 BH Eindhoven The Netherlands info@thiervandaalen.com +31 (0)6 42469286 www. thiervandaalen.com

Address Studio Iroko Via Voghera 11/b 20144 Milano Contact Marjolein Brouwer / Sonja Ammerlaan Prinsessegracht 4, 2514 AN The Hague The Netherlands pr@kabk.nl +31 (0)70 3154729º Online www.kabk.nl/milano

Presentation The Royal Academy of Art displays a selection of works that are the outcome of artistic research by its students. They demonstrate shifting attitudes towards the concept of nature in patterns of interaction with objects and processes. A fragile plant is given a robotic prosthesis to enable it to respond to humans in a new way and objects are fabricated through processes that are partly out of control.

Jian Kotalikova | ‘Growth’ wall tiles

Studio Rik ten Velden Caeciliastraat 77 A, 2312 XB Leiden The Netherlands info@riktenvelden.com +31 (0)6 10899449 www.riktenvelden.com Studio Tessa Koot Edisonstraat 161, 5621 HN Eindhoven, The Netherlands mail@tessakoot.nl +31 (0)6 14203718 www.tessakoot.nl

Studio Erwin Zwiers Anemonenveld 1, 1901 LP Castricum The Netherlands info@erwinzwiers.nl +31 (0)6 29506339 www. erwinzwiers.nl

Presentation CuratorCabinet Re-using objects and exhibiting them in a show-off cabinet, everybody can depict his or her own personality. In a light-footed way, we tried to emphasize the current trend of mass-consumption. By exhibiting existing objects and special memories, we hope the viewer will remember his hidden finds, somewhere in a drawer or wardrobe...

Studio Miya Kondo Jan Porcellisstraat 7A, 3021 TN Rotterdam, The Netherlands info@miyakondo.com +31 (0)6 27552663 www.miyakondo.com

Knapontwerp / Tjimkje de Boer Singel 93e, 1012 VG Amsterdam The Netherlands info@knapontwerp.nl +31 (0)6 14885614 www. knapontwerp.nl

Earnest Studio / Rachel Griffin Volmarijnstraat 111B, 3021XM Rotterdam, The Netherlands rachel@earnestly.org +31 (0)6 34292569 www. earnestly.org

About Studio Thier&VanDaalen was founded in June 2011. Both graduated at the Design Academy in Eindhoven. The studio develops new material applications and treatments, combined with design, use of color and styling, they create products that tell you a story.

Studio Jolanda van Goor Jolanda van Goor Weerelaan 149, 1705 EV Heerhugowaard, The Netherlands info@jolandavangoor.com +31 (0)6 25186671 www. jolandavangoor.com

About The Royal Academy of Art (The Hague, The Netherlands) 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 experimental and investigative attitude, strong commitment and an orientation towards the future.

Joine / Maarten Baptist Pisanostraat 126, 5623 CE Woensel The Netherlands i@joine.nl +31 40 2572258 www.joine.nl

Ivan Henriques | Jurema Action Plant

Fiera 23 Arflex Designers Carole Baijings, Stefan Scholten Presentation It’s a wrap

Address Salone Internazionale del Mobile Pavilion 7 stand D10

24 Arco Designers Jorre van Ast, Willem van Ast, Jonathan Prestwich, Burkhard Vogtherr, Arco Design Studio, Yael Mer & Shay Alkalay Address Salone Internazionale del Mobile Pavilion 16, Stand 51B Contact Tim Orriens Parallelweg 2, 7102 DE Winterswijk The Netherlands t.orriens@arco.nl +31 (0)6 39645164 Online www.arco.nl

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About The table, in all of its simplicity and versatility, is Arco’s strength and focus for the future. The ingenious combination of technical innovation, high quality design and skilled craftsmanship has made Arco one of the leading specialists in its field. Presentation A home without a table is almost inconceivable. The table is one of the most defining pieces of furniture in any home. It is also the centre of all kinds of activities, the most important being eating, drinking and socialising.

Contact Scholten & Baijings Westerdoksdijk 597, 1013 BX, Amsterdam, The Netherlands info@scholtenbaijings.com +31 (0)20 4208940

Online www.arflex.it www.scholtenbaijings.com


29 IN Residence / Design Dialogues  Via Ventura 6

25 Leolux Address Salone Internazionale del Mobile Pavilion 10, Stand A07

Contact Antal Nemeth Kazernestraat 15, 5928 NL, Venlo The Netherlands ane@leolux.nl +31 (0)77 3877297

Online www.leolux.nl

Contact Caroline Külsen Postbus 153, 5100 AD Dongen The Nederlands c.kulsen@montis.nl +31 (0)6 22993456

Online www.montis.nl

Presentation IN Residence. Design Dialogues / Another Terra. Home Away from Home

26 Montis Designers Gijs Papavoine, Simon Pengelly, Gert Batenburg, Niels Bendtsen, Geert Koster, Dick Spierenburg

Address Salone Internazionale del Mobile Pavilion 16/1, Stand F-30

27 Casalis Designers Liset van der Scheer, Aleksandra Gaca

Address Salone Internazionale del Mobile Pavilion 16, Stand F38

Address Salone Internazionale del Mobile Pavilion 20, Stand E18-E20

Contact Veronique Vanden Avenne Stasegemsesteenweg 72, 8500, Kortrijk, Belgium veronique@casalis.be +32 474 667719

Online www.casalis.be

Contact Margherita Sassone T. +39 347 4457067 Anita Donna Bianco +39 329 2593972 press@inresidence.it

Online www.bcxsy.com www.piekebergmans.com www.formafantasma.com www.pepeheykoop.nl www.tomaslibertiny.com www.minale-maeda.com www.jomeesters.nl www.ankeweiss.com

info@bcxsy.com info@piekebergmans.com press@formafantasma.com pepeheykoop@gmail.com info@studiolibertiny.com office@minale-maeda.com post@jomeesters.nl studio@ankeweiss.com

Contact Marika Andersson Grönhultsvägen 3B, 543 51, Tibro Sweden marika.andersson@offecct.se press@inekehans.com +46 504 41500

Designer Jack Brandsma Address Via Ventura 6 20134 Milano

Online www.inekehans.com www.offecct.se

Contact Jack Brandsma D. Triezenbergstraat 28, 9921 PG Stedum, The Netherlands jack@jackbrandsma.com +31 (0)6 14371031 Online www.jackbrandsma.com About Jack Brandsma is interior architect & industrial designer and known for the SpareSpace mobile office project that he presented on the construction site in Via Ventura in 2008. It was the first co-operation with Mariano Pichler, co-founder of Plusdesign.

Zona Lambrate 29 Via Ventura 6

Address Via Ventura 6 20134 Milano

29 Jack Brandsma  Via Ventura 6

28 OFFECCT Designer Ineke Hans

Designers BCXSY, Pieke Bergmans, FormaFantasma, Pepe Heykoop ,Tomá Gabzdil Libertiny,Minale-Maeda, Studio Jo Meesters, Anke Weiss,

Presentation In recent years Jack has been making a lot of light installations in public buildings, like hospitals, theaters, offices, etc. Last February he installed the first Major Tom Chandelier at CBW/ Mitex in Zeist, the second piece will be presented at Plusdesign Gallery.

Via Ventura 6 20134 Milano

29 Chi ha paura…?  Via Ventura 6 Designers Campana Brothers, Gijs Bakker, Dinie Besem, Brecht Duijf, Konstantin Grcic, Gina Hsu, Studio Job, Chris Kabel, Philipp Käfer, Susanne Klemm, Marc Newson, Iris Nieuwenburg,

Annelies Planteijdt, Mi-Ah Rödiger, Tjep., Marcel Wanders Address Via Ventura 6 20134 Milano

Contact Nora Morton Silodam 31, 1013 AL Amsterdam The Netherlands info@chihapaura.com +31 (0)6 54915196

Online www.chihapaura.com

29 HAN Gallery  Via Ventura 6 Designers Kevin Yu-Jui Chou, Tong Ho, Gina Hsu, Poching Liao, Rock Wang, Pili Wu and NENDO. Art direction by Gijs Bakker

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Address Via Ventura 6 20134 Milano

30 designlabel Vij5 Contact DC Han, 3rd Fl, No 21, Sec 1 Mingshen E Rd, Taipei, Taiwan han@han-gallery.com +886 922211810

Online www.HAN-Gallery.com

Designers Anieke Branderhorst, Arjan van Raadshooven, Breg Hanssen, Floris Hovers, Mieke Meijer

45

Presentation SOS: Supercycle Our Souls Address Via Ventura 3 20134 Milano

Contact Arjan van Raadshooven Debussystraat 2, 5654 SC Eindhoven, The Netherlands info@Vij5.nl +31 (0)6 24527531

Online www.vij5.com


31 Via Massimiano 6

Via Massimiano 6 20134 Milano

31 Maastricht Academy of Fine Arts and Design  Via Massimiano 6 Designers A selection of works by alumni and students of the departments Fashion & Textile Design and Jewellery & Product Design. Presentation TEA TIME

31 Social-Unit  Via Massimiano 6 Designer Wouter Kalis

Address Via Massimiano 6 20134 Milan

Contact Wouter Kalis Dusartstraat 11-2, 1072 HL Amsterdam, The Netherlands wouter@social-unit.com +31 (0)6 34024980

Online www.social-unit.com

31 HKU Design / Utrecht School of the Arts  Via Massimiano 6 Designers Merel Bekking, Lieke Jildou de Jong, Jesse Nortier, Pluc Plaatsman, Charlotte Wagemaker, Anouk Wipprecht Presentation Selfreflexity and redefining the self Address Via Massimiano 6 20134 Milano

Contact Sigrid van Willigen Ina Boudier-Bakkerlaan 50, 3582 VA, Utrecht, The Netherlands sigrid.vanwilligen@bkv.hku.nl +31 (0)3 025 203 34 Presentation With the blurring of the boundaries of disciplines, the need arises to search for the essence. Design is in a state of selfreflexity, which will necessarily lead to redefinition. What is a photo? Where does design start? What is the essence of communication? How do I relate to my design? The Utrecht School of the Arts presents a selection of alumni work titled: ‘Selfreflexity and redefining the

Presentation Koning Willelm 1 College Address Via Massimiano 6 20134 Milano Online www.kw1c.nl

Contact Josje Viehout Onderwijs Boulevard 3, 5223 DE s’ Hertogenbosch, The Netherlands j.vierhout@kv1c.nl +31 (0)7 36249643 About Koning Willem I College ‘s-Hertogenbosch, The Netherlands, is an innovative Community College with a wide variety of educational programs. One of these is Furniture Designer, where students are coached and trained in designing and manufacturing by experts from professional practice.

self’. With the blurring of the boundaries of disciplines, the need arises to search for the essence. Design is in a state of selfreflexity, which will necessarily lead to redefinition. What is a photo? Where does design start? What is the essence of communication? How do I relate to my design?

Presentation Gravity Stool Address Via Massimiano 6 20134 Milan Contact Jólan van der Wiel Nassaukade 369-2, 1054 AB Amsterdam, The Netherlands info@jolanvanderwiel.com +31 (0)6 33974751

Online www.hku.nl/hkudesign

Online www.jolanvanderwiel.com

Presentation FABRIKAAT Company Piet Zwart Institute Willem de Kooning Academy Rotterdam University / Master of Interior Architecture & Retail Design

Presentation Students Furniture Designer were challenged to design and manufacture a piece of furniture within the ‘Slow Design’ theme. In addition to local and recycled materials, they could also use existing designs or concepts. The six winners show their designs at the expo.

Designers Marlies van der Linden, Celine van Raamt, Inge Simonis, Barbara Vos, Raúl Wallaart, Geanne Welles, Tiddo de Ruiter

Presentation Evolution

46

Address Via Massimiano 6 20134 Milano

About I admire objects that manifest the experimental discovery where natural phenomena are translated into functional design. In my design studio the production process through which products are produced is investigated. This led to the development of new forms of craftmenship. Presentation The Gravity Stool thanks its unique shape to the collaboration between magnetic fields and the power of gravity. Live demonstrations will show a dialogue with a natural phenomenon. This project won the Interior Innovation Award for young talent 2012.

Presentation Stichting Haags Werk Address Via Massimiano 6 20134 Milano

31 WET  Via Massimiano 6

Address Via Massimiano 6 20134 Milano Online pzwart.wdka.nl

Contact Carmen de Groot Blaak 10, 30011 TA, Rotterdam The Netherlands c.m.f.w.de.groot@hr.nl +31 (0)10 7944790

Designers Jan Puylaert, Mariandrea Zambardo

Online www.wet.co.it

Presentation WET floor Address Via Massimiano 6 20134 Milano

About WET has been remarked to have changed the bathroom into what it is today, introducing trend settings, highly colorful and illuminated PolyEthylene bathtubs and sinks.

Contact Mariandrea Zambrano Via Altipiano 11, 21010 Porto Vatravaglia, Italy info@wet.co.it +39 347 9603022 +39 340 8494347

Presentation Re-shaping the past in a brand new pattern-design using ancient techniques in cement floor tiles, giving quality and importance to spaces and sub-spaces by framing their areas like with a carpet.

31 Studio ThoL  Via Massimiano 6 Designer Thomas Linssen

About The Maastricht Academy of Fine Arts and Design offers a general foundation course. The Bachelor Design offers a preparation in the major of their choice. The study program offers a wide range of courses. For more information check our website: www.zuyd.nl/abkmaastricht.

31 Haags Werk  Via Massimiano 6

31 Piet Zwart Institute Willem de Kooning Academy  Via Massimiano 6 Designers Anette Backe, Dominika Dyminska, Angelique Etman, Marie Gade-Lundlie, Mariann Hildal, Milda Liubinskaite, Micaela Nardella, Oana Tudose

Contact Chequita Nahar Herdenkingsplein 12, 6211 PW Maastricht, The Netherlands

Online www.abkmaastricht.nl

Contact Thomas Linssen Ottho heldringstraat 3, 1066 AZ Amsterdam, The Netherlands info@studiothol.nl +31 (0)6 43326443

Presentation TEA TIME shows a selection of works in which the interaction between producer and designer is of great relevance. Textile versus furniture-design and product versus textile-design. The interaction with the audience is, as in previous editions an important element within the presentation

31 Jólan van der Wiel  Via Massimiano 6

31 Koning Willelm 1 College  Via Massimiano 6 Designers Alexander van den Bosch, Lennart Bras, Lex van den Broek, Remi Gerritsen, Mohammed Mighiss, Niels Roosenbrand

Address Via Massimiano 6 20134 Milano

chequita.nahar@zuyd.nl +31 (0)43 3466390 +31 (0)43 3466383

Online www.studiothol.nl

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Contact Geanne Welles Saturnusstraat 89, 2516 AG The Hague, The Netherlands mail@haagswerk.nl +31 (0)6 22222958

Online www.haagswerk.nl


32 Via Privata Oslavia 8 20134 Milano

32 USUALS Get Inspired, Be Inspired  Via Privata Oslava 8 Designers Van Eijk & Van der Lubbe Presentation USUALS

32 rENs  Via Privata Oslava 8 Designer Renee Mennen & Stefanie van Keijsteren

Address Via Privata Oslavia 8 20134 Milano

Presentation ROOD by rENs

32 MU  Via Privata Oslava 8 Designers HEYHEYHEY, Lucas Maassen & Raw Color, Lucas Maassen & Sons, Raw Color, Studio MKGK Presentation Mu goes Milan Address Via Privata Oslavia 8 20134 Milano Contact Angelique Spaninks Emmasingel 20, 5611 AZ Eindhoven, The Netherlands press@mu.nl +31 (0)6 5336287

About MU goes Milan is the first presentation at the Salone del Mobile of this Eindhoven-based art space. MU operates as an adventurous guide on the outskirts of contemporary visual culture where art meets design, new media and pop culture. Presentation MU goes Milan will bring together seven projects, mostly commissioned by MU, by four different designers/collectives from Eindhoven: Lucas Maassen, Raw Color, Studio MKGK and HEYHEYHEY.

Online www.heyheyhey.nl www.d-struct.nl/shop www.lucasmaassen.nl www.mu.nl www.rawcolor.nl www.mkgk.nl

Address Via Privata Oslavia 8 20134 Milano Contact Alexander Pelikan Frankrijkstraat 110, 5622 AH Eindhoven, The Netherlands pelidesign@gmail.com +31 (0) 641403687

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Online www.usuals.nl

Contact Renee Mennen Van Beethovenlaan 31, 5654 EB Eindhoven, The Netherlands info@madebyrens.nl +31 (0) 6 330 56 924

Online www.madebyrens.nl

Designer Atelier Van Lieshout

Address Via priv. Oslavia 1 20134 Milano

Contact Giuseppina Flor Minervum 70003, 4817 NL Breda The Netherlands g.flor@lensvelt.nl +31 (0)6 12133114

Online www.lensvelt.nl

Presentation World War III

Contact Sue Bradburn Royal College of Art, SW7 2EU London, United Kingdom sue.brandburn@arca.ac.uk +44 (0)2075904274

Online paradise.rca.ac.uk www.marjanvanaubel.com www.immevanderhaak.nl

34 Royal Academy of Art Designers Among others: Marjan van Aubel, Imme van der Haak

Address Via Ventura 4 20134 Milano

Presentation The Royal College of Art Presents Paradise

35 Autofficina

Via Massimiano 23 20134 Milano

35 Bernotat&Co Design Studio  Autofficina Designers Anke Bernotat, Jan Jacob Borstlap Presentation Chair Wear

32 ARPA, PeLiDesign  Via Privata Oslava 8 Presentation KATABA

Contact Maureen van Dijk De Raadstraat 28K, 5666 EA Geldrop, The Netherlands info@usuals.nl +31 (0) 286 88 93

33 LENSVELT

Address Autofficina Via Massimiano 23 20134 Milano

Designer Alexander Pelikan

Address Via Privata Oslavia 8 20134 Milano

Online www.arpaindustriale.com www.pelidesign.com

Contact Anke Bernotat Wenslauerstraat 16/2, 1053 BA Amsterdam, The Netherlands info@bernotat.eu +31 (0)6 29037005 Online www.bernotat.eu

About The essence of Bernotat&Co’s work is to ponder the poetry of normalcy, to tease the rules and to discover exceptions: combining old, forgotten solutions with today’s needs to create surprising, poetic and useful objects. Presentation Why buy a new chair when you can dress up the one you have? In the exhibition Chair Wear, Bernotat&Co presents custom-made clothing for chairs, adding comfort, functionality and a touch of poetry to old, new and classic chairs.

35 Sander Mulder  Autofficina Presentation Opposites Attract.

Presentation PeLiDesign presents the KATABA table, made of ARPA HPL material and natural wood. This unconventional table enchants with a smart connecting system and a refined aesthetic. Also on show will be the J’Adoube chessboard, the CHRONOS time tool, the UnBearable champagne cooler and a Surprise

49

Address Autofficina via Massimiano 23 20134 Milano

Contact Sander Mulder Peter Zuidlaan 22, 5502 NH Veldhoven The Netherlands info@sandermulder.com +31 (0)6 44762062

Online www.sandermulder.com


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B Via Vi Via delle r ta S ig a Via da .d’Oge pio ta ion o MVoiadigVli.an gn zo MVS ola Via SV.d’Og gn Via Lombroso ia adei o d ol Via Calvairate Ber Via Lombroso Via Calvairate Vi ell Procopio n ne Ber zo Procopio nzo Via a es Vi a a S ia dei n a V zaga A ga n V i Vi V a Ar ie V e za g A a g V li Ar ie s e g Via r e i R a i el g li Ve ion rm arig Via m c PORTA GENOV ia S R i V tere VetereA ion am c PORTA GENOV A moel Strig Sim V V a Voghe a Via hide11 b— Via V n idee St ia dii Via h V i k i iondi n V ia o rc ch im on V k i o V V o ar rc ch ia O ru Piazza V ia R M V ia . Pr . d’O Piazza a P. Mar V . Pr le . d’O le ia R a Piazzale e lle i lle O Piazzale Tob obru Via P. e d ia ann o . T i e Vi d n z V ia a o i p . L V ia i e ta d n a V z ia g V a i per La rse V C.Ferrari erzio d lm V a a zia V g a rse C.Ferrari lma Piazza ata Via Via Tommei A.Cantore Via C. Piazza don Via Tommei ona zio Via C. Del Fan io cke zio A.Cantore Savon don nig priv io cke A rza Via Mer calli Tu obene M an 2012 ia ArzLENSVELT nig privbio Via Via Mer calli Win Del Fante Via Shcaiv te ViaBobb o Ron del ViaBRosario o Ron Piazza Sirte ob hci Piazza del Rosario i Win Sirte V Orti noc Cola V.Via Orti Via noc Cola delle Margh Via la V. GViani Bolivar Via Abetone V. GViani Bolivar vara Via V.FiAbetone erin eriteRoya Academy Via gherite vara Via V.Filip e n Com llodo lip. Piazza Com d ia ia arba d ia . Piazzale ia V eri arba tieri io A B d. o R V r V ia ti i Piazza n O B . d. Via A o R V r ia e rg o n V O V . V Sca Piazzale Scald rgani ani o V ia B Via Via S. Luca S i V elicV Piazza G.B. m ia Via Tommei Via S. Luca Be Via S ViaeliTcommei Via Via hera om ldas as nem o Via ole Via om V A ne hera ri V ia lari I. TitoP oia ole Via Va I.Libia TitoP Quadronno A. Quadronno A. Vog Libia alla at nati Vog ola ia ACreta a Via o Via n P i a i V o V P s M Rosanna O and — lo ie D i ia s M o o a S ier n D tru V an ai Sa a rL tru V V S ai Via A. S sign Via -ferrsso- V ati Via A. cci Via Loma -ferrssoati om Vic. cci iale Vic. ia U ato ia Via Cadibona ros L.go ato Cadibona ros L.go i ViaVia Via Etruschi Calusca P.za S. bVaia ia Sc Via Etruschi io Sc Vleia Piazzale Calusca P.za S. Via Piazzale rdo rin bard Cavalieri Via g o Via Viaco Via Burigo rin Scho en & Ba ngs Cir Cavalieri Via Via Via Eustorgio ambuco Via Burigozzo Cir Eustorgio ambu a Piazza eg o Piazza Via S. Martino lleg Stazione i zzo egg i a le di Malta ene Via S. Martino Piazza eg le t di Malta ell ona Piazza ene vonStazione Via S ia S e v a a arlin rlini V Via Monte eVlino n P i a a e Via Monte e V lino n Via S P.le C V Napoli P li e Vig Genova Via S P.le C e . V Napoli evano Vigevano Genova Via Crivelli ia Insubria V e PORTA TICINESE . r a Via Crivelli d ia ia V PORTA TICINESE Via me i Insubria a d i n VRoya meli apan a i n o n a in 1616 A a Academy o A C S o n o Med. d'Oro a d ia t C S i o Med. d'Oro a Via G. Gal L e . ia t EnnV. Guarino V a G Ga L e .V on VEnian Vi V. Guarino Piazza Tor dell Viaceall Sicil Via Piazza Tor Lat dell delle R Viaceall Sicil Fer Vi a io Lat ea zzo Piazzale Fer r io eaGor zo Piazzale Via Veronese r Via diPorta Via Veronese rini Vi a F tua Via diPorta Go Fo rini tua XXIV Maggio F. Fo XXIV Maggio o i ia Lodovica o Via da r i zia .d BCXSYVia A e Va da di Lodovica Viale hin V a e L.go Viale Col di Lana a hin a L.go na Sig Viale Col di a iB SigVia Via li Br o Stazione Via li o Turc spri Muratori Viale Filippetti zi espri S az one Via rton Corb orto Turc D’Este Lana arzia n ie M V a Piazza e V ia e F zi ppe Piazza Corb e Es o T r D i iz Beatrice arzia n u Isabella B ie u Piazza V ce Piazza l T i iz Bea ra V u Isabella B r n ia e l ia l to V V n POR TA LODOVICA i r n ri e Porta l V Gre s Via no PORTA LODOVICA i aa Pa Via Gre ia e s e Pin o e io d'Aragona POR TA VIGENTINA rio e P . Frattini V Ed ascon n c a POR TA VIGENTINA d'Aragona b Medaglie r V s a P . Frattini o in V Po a s n b Medaglie one V s V ia . l gna o c in sone Re y Vi ale ia .R e i ale Cuccya ia m el Cuccagna ia C m Via Tito M Viarza es Via Cas C sn Blign aC Piazzale Via d Blign a Tic d’Oro Piazzale Via Tdito V Via a T GcViorza Genova d’Oro Mura nat Vi urato Via ati y Gia Genova Gio y Gia Via i V ia tori i Por t ri Cuoco Viale Bligny V ia BOOO Po Viale Sabotino Cuoco Viale Bligny Via Viale Sabotino ona ona a di in C o Liv Sav ad ini coC o Via Monte Cimone Sav Via MonteLivioCimone ip p m l i l o m io el l ia R i ti s l c b el ia R ti V a s la b in V aro rs Via aa in Via rs Piazza Via C ara S Via Piazza ViaVC SS Largo ccaro Sala GiacLargo Zui ccAu S ud o M na e Maeda o c na — Cascina iaara Via lfa Giac Cascina Via lfa V. o V. o Via go Via ScalabriniZu Salgari go Colombè fan Salgari Via Scalabrini Colombè cco fani Piazza Via cco Via Piazza Ma aro Via V. Ma aro Ter i V. . Ro di Sopra P.le i . Ro Piazza Ter tu P.le Ve d. G dei cinSopra Piazza hi Via gi o Ve d. G tullia Arcole Bertacc hi Via Via arondi cc g o dei S.G Be noteag&Co A co Arcole Berta Via Co aroncin S.G no le Via C n Cascina ll ia l na g Via e tà i ia ia C ve delle ar na V o n tà s io i ll C ve delle o ar r.C V e Buozzi n G o sa llet St a Buozzi o Via VannucciStr.C Via Via Piazza Via Vannucci Viaetta Via Gio Garegnano Piazza ose ren Via Toniolo ose ta se Via Ttiloniolo Via A .da S e se .da Sc Via Vignola en Via Bo Milizieona Via Vignola Sraffa e R Des n za ino eR neMilizie Via A n za hio Marcido o in po tilino ViaP.za Gola ViaBon nfa Sraffa dell Via Lo gn S ud o Via chio Savona P.za Piace dell Via Gen Lo Piace Alzaia Via Lagran ippTic Via Gen ge fad Sav Alzaia Via Gola Via Lagran V ia Filip ge din aTc V ia Via Lo Largo Via Via L G. Romano Tito L. Caro Largo ini Te or tFila Via G. Romano Tito L. Caro o i Pesto a P ri i Via Pesto o i a P r Bellezza i . Via G Te a V Via rt Bellezza . G t Fatima a ul V Bach Via rt V d .S. V G ia d t Fatima ul liano Via Viale d SandeLargo Mudeide Cascina V ia d ia liano Largo dei Viale G.S. Bach Cascina ia Au ia Au i V tti i V rfa tti Colombè Gelsomini Via ia Sarfa Colombè Via Sa Gelsomini aia V Via d a ia a d a tr V di Sotto S V Trebbia Pa di Sotto L.go A. Str Via Trebbia Pa o L.go A. Via o in l la in l C hi ll lad Brahms Balestra Co Via Soave Viale e Balestra Via Soave dio Viale Brahms ell oel t Tabacc Via ghi Tabacchi Borsi Via io mb Via ghi el tta aal V. Pavia Via Sa Via r Borsi mb aal V. Pavia ta Via Sa Castiglioni ViaCastiglioni ile lia Via Gia r ile li L. S lia nn Gia Piazza li L. S Largo nn Via Piazza Largo Via Poeg S ac Tor Po g S ac Tor Via Viade tore io V.Boselli tore io d V.Boselli Piazzale Giambellino Trento Gran Piazzale Pas Giambellino Trento Gran zo Pas Via G.Verne Ison zo rdini Via Via G.Verne Ison rlo Via lo TantaLargo r ntardini Ta le Lodi Via Largo le a Lodi Via a Stazione di ip S az one d p atleli Via ia leli a at Via V ia R gn li t a V V t a R gn li ru t u V e Beethoven Toscan V. B et Beethoven Toscana Ap ial V. Bru ch Apu ch Porta Romana on Po a Romana Via on Via lli V.C e lli V.C Viale VLecViaacee Longanesi Via Longanesi Via Via la ce ce Scalo Merci Via deiCrolalan Lecce Sca o Me c V ia sola gio Via Via deiCroBlalan ussoza rri i g i rri za o Bus o e o Via Dar win d o r o o t Via Dar win l d r d ia T o l d ia V T o Porta RomanaV a P.za V Po a Romana n M en Via P.za on aiba of M b r o a i enh of i il i enh Zam il o m ia T Via Bibbiena L TV V o ri Via Zam Bibbiena r im ico acci acci Co Via Brun Mo Co ovic Via Brun Mo odov N Cas N Caatts V Brembo Brembo Piazza L Via no Lod tt Via erv no Via rso Piazza erveVia sala Via F Sulmona saiaaF. To va Sulmona Largo rs es Vi . Wa va G. W Via le e Largo Vi Via Via l Bologna Via Via . Tos ia hei a a o Bologna sa a Piazza hei V. V. G i a a o a s c Piazza i V. ta ern . i o i c ern Mad iV V Isarco Mad Via V V Via P Isarco niaVcerata Via i le .S Via P cera zi n le .S a n zi V S. Luigi to ie Piazza n P.le V.A. del M re V S. Luigi mento trasan ietras Piazza P.le V.A. del M e en Lo ne Lore m Lig n o an ino dino Lig Piazza Castagn o uri ta lia Piazza o n li a d Piazza Castagn o uri ta lia g Piazza a n ia li Negrelli a a Belfanti T V Negrelli P Via Belfanti Tag Via Pa Via hig via via Via acchig Bilbao in Via Bilbao Largo a Caduti d. acc Piazza Largo Filar g Via G. Spadolini Via C.D. Angeli a Caduti d. Piazza Filar g Via G. Spadolini Via C.D. Angeli onin B V. Gon sa o Piazza Pred Lavoro le B V. L sa o Piazza Pred Lavoro Ascari Via Tirana Ascari allar Viale Tirana Lno Via Via allar V. Valsoda on Via V. Valsoda a no Ohm erba on V. V Ohm V. V Verb gh ssi si ia V g s o V ia o ti V R he ti en E. Lo Pon E. R Largo Lo Pon Largo o Via Via io na ni a ngo leng n no d le Nuvolari re a to d V Vi o Nuvolari re t a B to c V V c Ao V i is ia Pis i Via Imperia ia a ia B Viaacc V re ia P Cot . Co ttore a Via Imperia V a Via Imperia o . in a Via Imperia .G d tt n S i A . a .G d E nto ia E B . ta S nt B. . S ntonia Via S. ia S Go n Pompanazz mpanazzi e ia Via S. ia V V Po r Via e ia n V V V r Via ia B ell V V B Vi ell Ro Kasman Vi Ro Kasman i a i Via Serio ia ViaV. d’Oglio Cascina a Via Serio ss d’Oglio V Via C.II il Salico ViaV. ss Bo le Via Via C.II il Salico Bo Sin. i le i Cascina Piazza ia S. ell e in Piazza ia e e V Ceresa b n n V b Piazza nc lli n i co o Piazza ldi Zum Ceresa io Zum aldi om R. Bongh Via Rimini Bonomelli mp R. Bongh ivi Via Rimini Bonomelli Via Rimini . Gira o Via Via Rimini V. Spaventa r Giò P onti riv Via V. Spaventa P. Gir Via i lli ro Giò P onti or a p V i e ia Via P ll o a o e V a o in g M gn M tin ni M Via i art a M gi V i agi n i i a s M a a n b V i o i i Via s i e Mar a i b s m V o Via o Via a V e tlOgli Piazzale Via ia r T V tl m Piazzale Ri ia r gl To V iu s mRm O e a i Via Rutilia V iu ss O e G Magliocco t O t a Via Rutilia i le i Biondelli G M Magliocco t a t a . i Biondelli M aVia a Cascina W V ia Corvetto Via loi W. Viale V ia Corvetto olo Via pi Via i Cascina Via M bo nSe V ia M d V ia alup e ia mb Si rtalu a C roc Broc ch e i


Opening Hours and Cocktail Parties

Tuesday 17 April 01

Wednesday 18 April

Locations

Thursday 19 April

Friday 20 April

Saturday 21 April

Designers

Sunday 22 April

Monday 16 April 14 - 16 hrs

01

Formafantasma

02

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02

Collective Paper Aesthetics

03

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03

Dutch Invertuals

04

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04

Droog

05

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05

Interface

06

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06

Scholten & Baijings, Karimoku New Standard

07

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07

Scholten & Baijings, MINI

08

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08

Emmanuel Babled

09

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09

Studio Zeta

10

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10

Moooi

11

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11

Rosanna Orlandi

12

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12

Studio Job

13

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13

MATANDME & Made in Design Studio

14

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14

SCP

15

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15

WET

16

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16

Wrap Spaces

17

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17

Officine della Torniera

18

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18

Studio HV

19

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19

Superstudio Più

20

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20

Moooi

21

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21

Heineken

22

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22

Via Voghera 11/b

23

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23

Arflex

24

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24

Arco

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25

Leolux

26

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26

Montis

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Casalis

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28

OFFECCT

29

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29

Via Ventura 6

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Designlabel Vij5

31

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31

Via Massimiano 6

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32

Via Privata Oslavia 8

33

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33

LENSVELT

34

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34

Royal Academy of Art

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35

Autofficina

cocktails - invitation only

cocktails - everybody welcome

54

Adam Alexander 21 Agata Karolina 13 Alastair Townsend 21 Aleksandra Gaca 27 Alexander Pelikan 32 Alexander van den Bosch 31 Alissia Melka-Teichroew 19 Andre Coelho 21 Anette Backe 31 Angelique Etman 31 Anieke Branderhorst 29 Anke Bernotat 19 35 Annelies Planteijdt 29 Anouk Wipprecht 31 Arco Design Studio 24 Arjan van Raadshooven 29 Atelier Van Lieshout 33 Barbara Vos 31 Benjamin Hubert 17 Boaz Cohen 11 Brecht Duijf 29 Breg Hanssen 29 Brunno Jahara 21 Burkhard Vogtherr 24 Campana Brothers 29 Carole Baijings, Stefan Scholten 06 07 09 11 23 Celine van Raamt 31 Charlotte Wagemaker 31 Chris Kabel 29 Chris Slutter 19 Christian Kayser 22 Claire Vos 19 Dana Cannam 13 Daniele Colnaghi 21 Daphna Laurens 13 Dave Keune 17 David Derksen 13 22 detailF / Franziska Wernicke 22 Dick Spierenburg 26 Dick van Hoff 17 19 Dinie Besem 29 Dirk van der Kooij 09 Dominika Dyminska 31 Droog Lab 04 Earnest Studio 13 22 Emanuele Magini 21 Emmanuel Babled 08 Fabian von Spreckelsen 13 Fabio Novembre 19 Fabricio Lima 21 Floris Hovers 29 Floris Schoonderbeek 17 Francesco Maria Bandini 05 Franziska Wernicke 13 Frederik Roijé 17 Frederike Top 17 Front 11 Geanne Welles 31 Geert Koster 26 Gerrit Rietveld 19 Gert Batenburg 26 Gianluco Macaluso 21 Gijs Bakker 29 Gijs Papavoine 26 Gina Hsu 29

Milan Breakfasts (design debats)

TimeTable

55

INdex

Graduates Design Academy Eindhoven 09 Guiseppe Conca 21 Henny van Nistelrooy 13 18 HEYHEYHEY 32 Imme van der Haak 34 Ineke Hans 14 28 Inge Simonis 31 Invertuals collective 03 Iris Jansen 19 Iris Nieuwenburg 29 Jack Brandsma 29 James Irvine 19 Jan Habraken 19 Jan Jacob Borstlap 35 Jan Plechac 19 Jan Puylaert 31 Jerszy Seymour 19 Jesse Nortier 31 Job Smeets 12 20 29 Joine / Maarten Baptist 22 Jólan van der Wiel 31 Jonathan Prestwich 24 Joost van Veldhuizen 22 Jorre van Ast 24 Kevin Yu-Jui Chou 29 Kirkland Summers 21 Knapontwerp / Tjimkje de Boer 22 Koert van Mensvoort 09 Konstantin Grcic 29 Kranen/Gille 17 19 Kuniko Maeda 11 Laurien Oversier 22 Lee Gibson 21 Lennart Bras 31 Lex Pott 09 13 22 Lex van den Broek 31 Lieke Jildou de Jong 31 Liset van der Scheer 27 Lotty Lindeman 09 Lucas Maassen & Raw Color 32 Lucas Maassen & Sons 32 Maarten Baas 09 19 Marc Newson 29 Marcel Losekoot 16 Marcel Wanders 20 29 Marco Iannicelli 22 Mariandrea Zambardo 31 Mariandrea Zambrano 15 Mariann Hildal 31 Marie Gade-Lundlie 31 Mario Minale 11 Marjan van Aubel 34 Marlies van der Linden 31 Merel Bekking 31 Mi-Ah Rödiger 29 Mia Gammelgaard & Ehlén Johansson 19 Micaela Nardella 31 Michael Young 19 Michelle Wu 21 Mieke Meijer 13 29 Miku Sega 21 Milda Liubinskaite 31 Miya Kondo 13 Mohammed Mighiss 31 Mosa Design Team 19 Nacho Carbonell 11

NENDO. 29 Niels Bendtsen 26 Niels Roosenbrand 31 Nieuwe Heren 17 Noa Haim 02 Nynke Tynagel 12 20 29 Oana Tudose 31 Ontwerpers.nu 19 OsΔoss 13 Patrick Kampff 21 Phil Cuttance 13 Philipp Käfer 29 Pili Wu 29 Pluc Plaatsman 31 Poching Liao 29 Rachel Griffin 13 22 Raúl Wallaart 31 Raw Color 32 Remi Gerritsen 31 Renee Mennen & Stefanie van Keijsteren 32 Rianne Koens 22 Richard Hutten 09 19 Rock Wang 29 Roderick Vos 19 Ruben Thier 22 Sabine Marcelis 13 Samer Chalfoun 16 Sander Mulder 35 Sandra Garcia Pagola 21 Sayaka Yamamoto 11 Sebastian Herkner 17 Serener 19 Simon Pengelly 26 Sjoerd Jonkers 17 Sjoerd Vroonland 09 Slim Ben Ameur Tweelink 17 Steffen Kehrle 17 Studio Erwin Zwiers 22 Studio Formafantasma 01 11 Studio Job 12 20 29 Studio Jolanda van Goor 22 Studio Makkink & Bey 09 19 Studio Miya Kondo 22 Studio MKGK 32 Studio Rik ten Velden 22 Studio Tessa Koot 22 Studio Thier&VanDaalen 22 Susanne Klemm 29 Thomas Linssen 31 Tiago Sá da Costa design 22 Tiddo de Ruiter 31 Tjep. 29 Tong Ho 29 Van Eijk & Van der Lubbe 32 VanJoost 22 Vincenzo Amendolagine 21 W.H. Gispen 19 Weltevree 17 Wieki Somers 09 Willem van Ast 24 Wim Rietveld 19 Wiro van Vilsteren 19 Wouter Kalis 31 Yael Mer & Shay Alkalay 24 Yukihiro Shoda 21 ZUS 19


Where to Eat A selection by Daniela De Lorenzo It is recommended to make a reservation in advance. Sometimes a pinch of luck is not enough.

A

‘A recommended choice for vegetarians is this unique “Meatballs place”’

B

E

Nisida

Al Porto

I

Via Porro Lambertenghi 19 Tel. +39 0297378447 MM Metro linea 3 Zara

Piazzale Cantore Tel: +39 028321481 MM. Pt. Genova

Via Lazzaro Palazzi 2 Tel. 0239464918 MM Porta Venezia

Here you can still find squared tablecloth but in a complete modern atmosphere. In this traditional Italian restaurant you can taste a real pizza: owners comes from Naples and offer you a wide selection of southern Italian dishes too. Hint: Even if you’re full, here you can’t renounce to the dessert.

Every Italian knows that to taste fresh fish you have to eat it in Milan. So take a seat in this restaurant and have a try by choosing between all the wide possible choices. Situated in a really unconventional location from 1966, this is almost an institution.

This small Turkish restaurant deserves to be mentioned, for its moderate Medioriental atmosphere and care of owners, aside for its cousine. Main courses are mostly meat-based (kebab) served along with vegetables and cous-cous . Much choice for vegetarians, too. Hint: if you’re tired of espresso, ask for a Turkish coffee.

Price range: €30/50 

Price Range: €10/30 

F Ciccilla

A recommended choice for vegetarians is this unique “Meatballs place”. Rissoles are not just made with meat, but also with fish, seasonal vegetables, cheese , tofu or seaweed. Aside you can also order a selection of pasta, soups and cooked vegetables. All ingredients are organic and served in biodegradables crockery.

Price Range: €20/30 

Bello e Buono

A small delicatessen place where you can have bits of Mediterranean food and wine. The menu is written on a chalkboard where you can see a list of main courses , simple but not dull. A nice place where to taste an authentic and genuine Italian home cooking.

J

K

Sometimes Italian cuisine might be heavy, so, we suggest a new place where everything on the menu is light and…steamed! Here a steaming oven is used which cooks the dish you choose in a few minutes. Have a try of vegetables, cous-cous and fish in the healthiest way possible. Hint: don’t worry about tiramisù: also here, it follows a normal cooking process.

‘Bread is home-made and water is filtered’

Trattoria 18/28 Via Lodovico Muratori, 19 Tel.+39 02 55180260 MM Porta Romana

Via Savona 10 20144 Milano Tel. +39 028322496 MM Porta Genova

The name of this cosy and modern restaurant comes from the prices it offers, which didn’t change in ten years of activity. You can dine here by choosing between menus of 18 or 28 euros, which include an appetizer, main course, dessert and a glass of wine. There are offers also at lunch time (7,50 —12 euros).

This homey restaurant it’s in the heart of Zona Tortona and it gives you the chance of trying an unconventional and experimental menu of both Italian and international cuisine. Bread is home-made and water is filtered. Price range: €20/30 

Price Range: €10/30 

D

Osteria del Binari Via Tortona 1 Tel. +39 02 89409428 MM Porta Genova Impression goes wrong if you look at it from the outside. It might seem a small cafè , but it’s an immense restaurant with a traditional Italian cuisine and an heavenly garden inside. Price Range: €10/30 

H

La Cappelletta Via Bertolazzi, 26 Tel. +39 02 2151456 MM Lambrate FS Here you can taste traditional Northern Italian cuisine especially from the region of Emilia Romagna. A ragù alla bolognese will be typical, but the menu offers a way lot more. If you get lost: the Gnocco fritto – a fried savory dough - served with a selection of cold cuts or cheeses, or the “Elephant ear” – typical Milanese schnitzel – might be a suggestion to escape uncertainty. Price Range: €15/30 

56

Restaurant Guide

That’s Vapore Viale Porta Vittoria 5, Tel +39 0276281437 MM Duomo or S. Babila

Price range: €10/20 

Ciriboga

Farmer Street Food The Tortona Design Week collaborates with local farmers serving healthy and ecologically sound meals in the Via Tortona.

Price range: €10/20 

G

‘If you’re tired of espresso, ask for a Turkish coffee’

Gastronomia Italiana

Viale sabotino 14 Tel. +39 0294553406 MM Porta Romana

Via Alessandro Volta, 7 Milano Tel. +39 02 6597816 MM Metro linea 2 Moscova

C

Imperator

‘Everything on the menu is light and… steamed’’

Price range: €10/15 

L

Mens@sana Via Lanzone Tel.+39 0239663631 MM S. Ambrogio Via Teodosio Tel. +39 0223951747 MM Lambrate FS The “Ealthy canteen” is a chain run by an ONLUS (ONG) which offers vegan food following a Mediterranian tradition. If you want to have a quick lunch, this is a perfect spot where to get something tasty and vegan. Price Range: €8/10 

‘If you want to have a quick lunch, this is a perfect spot where to get something tasty and vegan’


Connecting the Dots - Milan 2012