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The Faces of Design Awards 2011: a global, interdisciplinary design competition to help connect designers and industry.


Content

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Introduction

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The Judges The Winners

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Family News

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The Face of Design Academy

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Boisbuchet: Let Sustainable Innovation Grow

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IDSA & IDEA

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The Cooper-Hewitt, National Design Museum, New York

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The Vitra Design Museum, Weil am Rhein

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MUSCON Sherp

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Periscope Creative

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About Faces of Design : Great Designers Do not Grow on Trees

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Imprint

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Photo: Rainer Kurzeder; Location: The Weinmeister Berlin-Mitte, a member of the Design Hotels™ Group


Created to help designers of all disciplines gain visibility with potential clients around the world, the Faces of Design Awards are now in their second year of success and international acclaim. After celebrating student talent with the Faces of Design TALENT Awards in the summer of 2010, we were happy to welcome a greater number of professional participants to the Faces of Design Awards 2011: professional participation increased by 30% to 83% of the total; also, a total of three grants was awarded to young designers from developing economies. Indeed, once again, participants of the FoD Awards came from all around the globe. In particular, we managed to gain increased traction within the US. As Ignacio Ciocchini, one of this year's winners, puts it: »For designers based in

the US, it is not easy to gain visibility in the European and global markets. This awards program accomplishes that and much more.« In addition to the Faces of Design Awards, Faces of Design is gaining momentum in a range of complementary activities. After organising design workshops for a range of international clients for some time, we decided to launch our own educational branch, the Faces of Design Academy. After initially targeting mainly the design community, FoD is now helping non-designers and corporate clients gain an understanding of creative processes, to sharpen their competitive edge. The newly-founded Faces of Design Academy spotlights a range of different topics, from Open Design and Hybrid Thinking to Lean Development and Guerilla Marketing.

Held at exclusive locations and presented by leading thinkers and experts, the Faces of Design Academy helps companies and individuals alike develop new skills, placing them at the forefront of innovation and creative spirit. You can find additional information about our kick-off event on pages 68 to 71 of this publication. At the same time, our involvement in the international design scene has led to further cooperations with fantastic partners. We continue to support the well-known summer school programme at the Domaine de Boisbuchet in France, and 2010 saw the launch of a new B2B platform for museums around the world, MUSCON Sherp. We created MUSCON Sherp in close cooperation with the Vitra Design Museum, the Victoria and Albert Museum London, the Netherland Architecture Institute Rotterdam, and the Museum für Gestaltung Zürich. You can find additional information in the article on page 79. Going forward, we aim to open the Faces of Design Awards themselves to cooperation partners, to enrich the participants' experience and to help our partners gain additional recognition for their contribution to international design. But now, do not let us keep you longer; we hope that you will enjoy browsing the work and profiles of the winners of the Faces of Design Awards 2011! If you have any feedback, comments or tips, you can always reach me at anna.rojahn@facesofdesign.com.

With best regards from Berlin, Anna & Friedrich

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The Judges

Cara McCarty began her tenure as Curatorial Director of Cooper Hewitt, National Design Museum, Smithsonian Institution in 2007. In this role, McCarty directs the museum's curatorial vision, oversees its four curatorial departments, plans for collections management and acquisitions, and leads exhibition planning. A distinguished expert in the field of architecture, design and decorative arts, McCarty has served as a curator, lecturer and author for more than 25 years. Since 1992, McCarty was the curator and head of the department of decorative arts and design at the Saint Louis Art Museum, St. Louis, where she established the museum's 20th-and 21st-century design collection, while also strengthening holdings from the Renaissance to the present day; acquired more than 400 works for the collection; and organized major design exhibitions. McCarty was also actively involved in plans for the Saint Louis Art Museum's forthcoming expansion, designed by David Chipperfield. Recent exhibitions curated by McCarty include »National Design Triennial: Why Design Now?«, »Tata Nano: The People's Car«, »Currents 101: Patrick Jouin«, »Tadao Ando: Architect«,

»Structure and Surface: Contemporary Japanese Textiles« (co-curated with Matilda McQuaid), »Masks: Faces of Culture« and »Currents 69: Gaetano Pesce«. Prior to her tenure at the Saint Louis Art Museum, McCarty held several curatorial positions over a decade-long period in the department of architecture and design at The Museum of Modern Art, New York. At MoMA, McCarty conceived and curated numerous exhibitions and wrote the accompanying publications, including »Modern Masks and Helmets«, »Information Art: Diagramming Microchips«, »Designs for Independent Living« and »Mario Bellini: Designer«. McCarty has written several books and curated over 30 exhibitions during her career. She holds a bachelor's degree in art history from Stanford University, and did graduate studies in art history at Hunter College, New York. From 2004 to 2005, McCarty was a Loeb Fellow at Harvard University's Graduate School of Design, where she researched the role of museums in design education.

Roberto Feo and Rosario Hurtado are the Post Disciplinary studio EL ULTIMO GRITO. Founded in 1997, their studio is currently based in London and Berlin. El Ultimo Grito's work continuously researches our relationships with objects and culture, exploring them in a wide variety of projects for a broad mix of international clients, organizations and institutions such as Magis, Lavazza, Matadero Madrid (Sp), Marks & Spencer, Figueras, UNO, LABORAL, Museo Nacional de Arte Reina Sofia, British Airways, Claudio Buziol Foundation, the Sorrel Foundation, or the Victoria and Albert Museum. Their work is part of the permanent collections of museums such as the MoMA in New York, Stedlijk in Amsterdam, or the V&A in London. As part of their practice, they also find their contribution to education paramount. Both have been Senior Research Fellows at Kingston University since 2006, Roberto has been a lecturer at the Royal College of Art since 1999 and Rosario has been a lecturer at Goldsmiths University since 1999. In 2010, they were guest professors at the HfBK in Hamburg, and they are currently guest professors at the Haute Ecole d'Art et de Design Geneva.


British creative director Hugo Eccles has two decades of professional experience working with influential European, Asian, and American companies on projects ranging from furniture and interiors to consumer electronics and concept cars. Eccles studied at London's Royal College of Art under Pentagram's Daniel Weil and designer Ross Lovegrove, whom he later worked with on projects for Tag Heuer, Driade, Kartell and Alessi. Eccles joined the innovation consultancy IDEO in 1995 and won an IDEA Bronze Award for Design Exploration amongst others. After three years of working with IDEO and Ross Lovegrove, Eccles founded Baionik, a London-based design studio servicing an international clientele including Honda, Nike and the Ford Motor Company. In 2003 Eccles relocated to the United States to join Fitch Inc. as Director of Product Development, his team winning 9 awards in three years including an IDEA Gold, the consultancy's first in a decade. In 2007 Eccles was offered the position of Creative Director of Habitat, one of Europe's largest furniture retailers and a position previously held by design superstar Tom Dixon, but chose instead to lead the

Arnell Group's Innovation Lab in New York, working with Fortune 500 clients including The Home Depot and Johnson & Johnson. In 2009 Eccles returned to London as MD & Creative Director of Studio Conran, the product, packaging and branding agency and part of Sir Terence Conran's design empire which includes retail, hospitality and publishing. Eccles currently runs hugoeccles 速, an Anglo-American design office providing specialist design services to clients in London and New York.

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Pio Barone Lumaga is a cultural entrepreneur – a resourceful visionary, mobilizing ingenuity and creativity to ensure the sustainability of cultural and social enterprises. Since 2007, he has been the Editorin-chief of LOFT The Nordic BOOKAZINE, which he co-founded. A quarterly editorial event with Nordic roots and an international heart, LOFT explores the creative nurturing boundaries in Art, Architecture, and Design, between the Nordic societies and the global community. In 2003, Pio founded Morphic Productions – »Projects Worth Doing«, a consultancy firm that designs sustainable innovations to unleash creative potential and generate equality through social profit. Active in Europe and North America, the firm provides mentoring services to owners of family businesses and foundations in transition, thus enabling them to achieve their private and public objectives. In his many different roles – entrepreneur, CEO, creative director – Pio has led a variety of companies to success and recognition both in Europe and North America: Art and Technology, Kinnasand, Snowcrash in Sweden and Germany, Artek in Finland, Bruce Mau in Canada, Fondation Vodoz Danese in France, KohBarone Innovation in the USA, Studio De Lucchi, Produzione Privata, Danese, and EIS in Italy. As an innovator, Pio has consistently

enhanced the shaping of a new generation of services and products that have become, de facto, the new standard – from R&D to hybrid products development, from technology transfer to analysis of rapidly changing markets, from shoes to ultra-light catamarans, from concept cars to digital museums, from acoustic textiles to eco-efficient architectures. Pio has collaborated in various roles with, among others, Artemide, Cole Hahn, Deutsche Bank, Deutsche Bahn, European car manufacturers, Hermès, Mandarina Duck, MIT Multimedia Lab, Multimarine, Olivetti, Raichle, Umbra, and Vibram, and such cultural institutions as Centre G. Pompidou, Getty Museum, Kodomoshiro, Musée du Louvre, Réunion des Musée Nationaux, Triennale di Milano and Vitra Design Museum. He has been researching the structure of emotions and cognition during the process of change as well as environments that favor learning and is a frequent guest lecturer in Europe and North America. With post-graduate degrees in environmental engineering, Pio is fluent in English, Spanish, and French; basic in Swedish; Italian is his mother tongue. Currently, he lives in Stockholm, Sweden.

Alain Lardet initially worked with Francois Barre at the Musée des Arts Décoratifs (CCI), and founded his career on a passion for design in both its cultural and economic dimensions. Amongst other roles, Alain previously held the position of Managing Director at Poltrona Frau, France. Using the significant experience Alain gained working with some of the leading design brands and institutions in France and Italy, Alain currently works as a consultant, advising his clients on strategy and design-based development. Alain 's international network is sustained by his professional activities and associated responsibilities, which keep him in close contact with the creative world. Amongst other activities, Alain acts as a design curator for major exhibitions (currently: Michel Boyer and French Design for the Year of France in Brazil, and Michele De Lucchi in Paris this autumn). Furthermore, he presides over: – The Agora Design Awards (by the French Ministry of Culture and Hermès Foundation); – The Designer 's Days association, which has been organising a design week in Paris for the last ten years. Alain also frequently works in close cooperation with Sophie Rheims Ass., pooling their complementary competences. In particular, they jointly ensure the national and international development of Designer 's Days.


Since she switched from writing about design in »Elle Decoration« – which she introduced to the Polish market and chief-edited for seven years – to teaching and curating design exhibitions, Agnieszka Jacobson-Cielecka has become one of the chief promoters of young Polish and international designers. She lectures on current trends, publishes in design and life-style media, judges numerous contests, aiming at spreading the understanding of design and its functions. In cooperation with cultural institutions in Poland and abroad she organizes numerous design exhibitions all over the world. Her last long-term project is the Lodz Design Festival which she has curated in 2008 and 2009. In 2009 she prepared following exhibitions: Play& Joke (Lodz Design Festiwal 2008), Natural Sources of Polish Design (Regional Museum Stalowa Wola), UnPolished (in cooperation with Pawel Grobelny for Design September Festival in Brussels), Polska Folk (Tent London during the London Design Festival 2009), and Design Tales (for Lodz Design Festiwal 2009). Agnieszka Jacobson-Cielecka lives in Warsaw/Poland. She graduated in Painting at the Academy of Fine Arts in Gdansk, and she is the representative of Vitra Design Museum in Poland.

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GP designpartners GmbH

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Cyrielle Duprez

Spela Draslar

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Peter Scherer

Aaron Kurosu

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Samuel Accoceberry

Jurczyk Design

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Olivier Desrochers

MD-Design

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Inbal Strauss

Sanjay Puri

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Ignacio Ciocchini

Melanie Hammer

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Toni Kancilja

Janitha Banda

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Lara de Greef

Gerda Gavari

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Eivind Borgersen

Asia Wysoczynska

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Uli Budde

Maryam Nevisi

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böttcher+henssler

Amila Hrustic

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Mirca Maffi

Yolanda O´Leary

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The Winners x

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bĂśttcher+henssler

LUC - Prototype, 2010

Based in: Berlin, Germany Website: www.boettcher-henssler.de Email: mail@boettcher-henssler.de Telephone: +49 (0)30 41768989 Competencies: Product Design, Furniture Design, Interior Design

Moritz BĂśttcher and SĂśren Henssler founded their studio E|WWFKHUKHQVVOHULQ%HUOLQLQ%RWKZRUNLQWKHÂżHOGVRI product, interior and communication design for companies such as ANTA, BĂśwer, LoeweVonAppen and Scantex. During studies they received in 2005 the iF product design award and the red dot design award. The European Centre for Architecture Art Design and Urban Studies in Dublin awarded them as „this year’s most promising and emerging design talents in Europe“ with the Europe 40 Under 40 in 2010.

MANTIS - Prototype, 2010

Moritz BĂśttcher was born in 1978 and studied product design at the University of Applied Sciences and Arts in Hannover. During his studies he completed several internships including a semester at npk industrial design in the Netherlands. After his graduation project in cooperation with the company Dornbracht, he worked at npk industrial design in Hamburg, Barskidesign in Frankfurt, and from 2006 to 2008 for Werner Aisslinger in Berlin. NAMU - Manufactured by BĂśwer, 2010

SĂśren Henssler was born in 1974 and studied product design at the University of Applied Sciences and Arts in Hannover as well as at the Politecnico di Milano. His projects have been awarded with the red dot design award 2002, a special mention in the Lucky Strike Junior Designer Award 2005 and the iF concept award 2006. Since the completion of his degree in 2005, SĂśren works as a freelance designer in Berlin.

SLOT - Prototype, 2009


COEN - Manufactured by ANTA, 2009

Lighting & Interior Design, Product Design

http://facesofdesign.com/b-ttcherhenssler

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Uli Budde

Based in: Website: Email: Telephone:

Berlin, Germany www.ulibudde.com info@ulibudde.com 0049.(0)160.92781987

Competencies: Product Design, Furniture Design The work of Uli Budde investigates the well-known everyday object, transforming the familiar with new solutions, which are both thoughtful and functional. With a close relationship to familiar products, objects and situations, Buddes´designs take on an easy understanding and acceptance into daily life – a clever simplicity with an unobtrustive presence. Simple, formal interventions in the designs evoke the functional, aesthetic and poetic. Table Lamp Balloon is a table lamp, generating diffused, ambient lighting. The lamp owes elements of its forms to the typical antique oil lamps and candle holders with a reflector placed behind the flame to reflect and direct the light. Using energy-saving LED-technique as light source, I wanted to translate this familiar image into a contemporary but warm and ambient lamp. Light shines upwards and enlightens the reflector, which tilts forwards, re-directing and reflecting a diffused glimmer of light. Reading Tables A combination of the side table and magazine rack – a logical combination to resolve a problem in a simple and unobtrusive way. The central island is a practical surface for placing coffee, plates, sketchbook, or laptop. The area that wraps around is a storage space for books and magazines. The outside rim also serves as a bookmark when taking a break from reading. Reading Tables are ideal for the living room, bedroom or waiting room, and come in two sizes. Plant Pots A re-interpretation of the traditional combination of flowerpot and saucer. Simplifying the external watering through a simple formal intervention leading to an extension – while formally referring to a flowerpot with a saucer. A bigger amount of water can be poured into the outside opening of the pot, which can be absorbed by the plant whenever needed. Cups Perfectly stackable cups. The horizontal ring on the outside of the cups prevent stucking into each other and enable a safe, endless stacking. A simple formal intervention evokes a huge functional result.

Cups, 2009


http://facesofdesign.com/uli-budde

Table Lamp Balloon, Vertigo Bird, 2011

Plant Pots, 2009

Lighting & Interior Design, Product Design

Reading Tables, 2010

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Eivind Borgersen

Based in: Website: Email: Telephone:

Newcastle, Australia http://thisiseivind.com hello@thisiseivind.com +61 (0)438 613 345

Competencies: Graphic Design, Typography, Illustration, Web Design & Development

Hello, I’m Eivind! I’m originally from Norway, the place up north where it snows heaps in winter, we all live in igloos and wrestle polar bears for fun. ,œPFXUUHQWO\LQP\¿QDO\HDURIWKH%DFKHORURI Visual Communication Design at the University of Newcastle, Australia. After completing three years in the Media and Communications course at Horten Upper Secondary School in Norway, I pursued a freelance career WKURXJKP\RZQFRPSDQ\(LYLQG%RUJHUVHQ'HVLJQ Compagnie, working for clients like Accenture, Ventelo, Torpe Møbler and Abbon to name a few. Hungry for new challenges (and an adventure), I packed my bags in 2008 and left Norway for Australia to pursue a degree. I will be graduating in June 2011. The last few years my main focus has been on developing my portfolio engaging in a wide variety of projects both inside and outside of University. My love for traditional printmaking methods has gradually grown, and it’s one of my favourite areas to explore on my own time.

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http://facesofdesign.com/eivind-borgersen

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“Love Norwegian Design” ±6KRSSLQJ%DJ “The Popular Mechanicals” – Theatre Poster “Droste Cocoa 125” – Packaging Redesign ³7KH%UDYH7LQ6ROGLHU´±7KHDWUH3RVWHU “Quotes” – Hand Set Letterpress Cards “Fuck Trees” – Woodtype Poster “Edwards Solar Hot Water” – Logo Redesign

Corporate & Communication Design, Graphic Design & Illustration

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Lara de Greef


Lighting & Interior Design, Product Design

http://facesofdesign.com/lara-de-greef

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Toni Kancilja

Based in: Ljubljana, Slovenia Email: toni.kancilja@siol.net Telephone: 00 306 31 229 521 Competencies: Natura, Nature Design

Toni the designer’s designer’sunderstanding understanding Toni Kancilja’s Kancilja’s collection reflects reflects the of creation of of equilibrium. equilibrium.The Thecollection collectionisis of designing designing as the creation composed which perform perform their their pirouettes pirouettesad adinfi infinitum. composed of of mobiles mobiles which nitum. Originating they dance danceunstoppably, unstoppably,every every Originating in in pristine pristine motion, motion, they time the same same time timerecognizable recognizablerhythms. rhythms.The The time in in new new yet yet at at the principle of revolving around the axis is written as a code their principle of revolving around the axis is written as a code inintheir essence, since the tendency of rotation is unconditionally also essence, since the tendency of rotation is unconditionally also perceived in those at a standstill. Regardless of whatever perceived in those at a standstill. Regardless of whatever material is used, their shapes are finished to perfection. material is used, their shapes are finished to perfection. Originating in pristine shape, they are founded on clarity, Originating in pristine shape, they are founded on clarity, pureness and simplicity; nothing is left out and yet nothing pureness and simplicity; nothing is left out realizations and yet nothing superfluous remains. They are like living of the superfl uous remains. They are like living realizations of the creator’s thoughts and ideas, they radiate his energy, even creator’s thoughts ideas, they radiate his energy, even more - they are theand energy itself. more - they are the energy itself.

Key Chain Leaf, TPE; Wallhanger, wallnut wood; Hand Mirror, wallnut wood; Egg Cup, terracotta ceramics; Reflections Thumblers for Water, glass; Pope John Paul II Oil Lamp, silver, gold; Magnolia Pendant Lamp, mirror polished aluminium; Three legged Chair, mirror polished aluminium; Black Granite Table, granite


Lighting & Interior Design, Product Design

http://facesofdesign.com/toni-kancilja

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Ignacio Ciocchini Based in: New York, USA Website: www.trueeyedesign.com

Telephone: 1.347.515.3647 1.718.361.2407

Marco Castro

Email: ignacio@trueeyedesign.com

Competencies: Industrial design, urban design, street furniture, public space and park design, sign systems, environments, design strategy, branding, creative direction, and design management Ignacio Ciocchini is an industrial design consultant who works with corporations, government agencies, architecture firms, and real estate developers. He is also the Director of Design at Bryant Park Corporation, 34th Street Partnership, and Chelsea Improvement Company, three business improvement districts in New York City. He is responsible for the design and development of street furniture, and the creative direction for all architectural, landscape, environmental and graphic design projects. Ciocchini holds several patents in the United States and has received numerous awards from IDSA, SPARK, SEGD, ULI, IDA, the Office of the Mayor of NYC and the NYC Public Design Commission. His work was shown at the Municipal Art Society and the Copper Hewitt National Design Museum in New York, the Autodesk Design Gallery in San Francisco, and the Guangzhou Design Week in China. He was a design advisor to the City of New York for the Coordinated Street Furniture Franchise, and a juror for the UrbanCanvas Design Competition. A native of Argentina, Ciocchini holds a graduate degree in Industrial Design from the University of Buenos Aires. He lives in New York with his wife Andrea and his son Joaquín. Publications: The New York Times, The NY Post, The NY Sun, Crain’s NY , Business Week, Innovation (IDSA), Designet (Korea), Día Siete (Mexico) and Página 12 (Argentina).

Cityracks bikerack for New York

Information cart

Chelsea Streetscape Collection Tree guards

Litter receptacle

Newspaper vending machine


http://facesofdesign.com/ignacio-ciocchini

Bryant Park litter receptacle and recycling system

Lamps

This collection was inspired by old industrial buildings in West Chelsea, Chelsea Market, the High Line, the Meat Packing District and New York City. The products address the most common urban problems with simple but effective solutions. Parking sign system

Streetsigns

Architecture, Corporate & Communication Design, Lighting & Interior Design

New York bench

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Inbal Strauss

White Noise Machines Collection (“Fasciculus”) ("Fasciculus")

Based in: London, England Email: inbalstrauss@gmail.com Telephone: +44(0)7869074035 Competencies: Design Products

White Noise Machines Collection (“Rouleau”; “Discus”)

Skills: Adobe Creative Suite SolidWorks Crafts/Manual Languages: Hebrew (mothertongue), English (fluent), German (basic) Bio and General: B.Des from The Bezalel Academy of Art & Design in Jerusalem, Israel. Currently studying for MA degree in London, while taken on selected freelance design projects. I make unique contemporary designs and Design-Art pieces which aim to extend the creative boundries of the design language.

White Noise Machines Collection (“Bugle”)

White Noise Machines Collection (“Inflorescence”)


http://facesofdesign.com/inbal-strauss

“Co-llapsables”” (vantilator & heater)

Archeologist’s Tool Set (pickhammer, brush and trowel)

Scandinvian Pita Bread Toaster

Lighting & Interior Design, Product Design

“Plastic Vase”

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Olivier Desrochers

South Beach chair Inspired by the great North American classic Adirondack chair Materials: Pine, cedar, teak Dimensions: W. 76 x D. 114 x H. 76 cm

Based in: Montreal, Canada Website: www.od-design.com Email: info@od-design.com Telephone: (+1) 514.528.8936 Competencies Olivier Desrochers works are produced essentially for individuals and companies seeking custom furniture design; he creates with a particular emphasis on the analysis of form and the relationships among space, human being, and object. The result is pieces of furniture that are as aesthetically pleasing as they are ergonomic and comfortable. Skills 3D Studio Max photoshop, illustrator, indesign Autodesk AutoCAD 3D 3D hand made models Drawing/sketching prototyping, sketching, modeling Franรงais English


http://facesofdesign.com/olivier-desrochers

Husky chair Inspired by the dogsleds of the Canadian North Materials: Black walnut, oak, cherry wood, teak Dimensions: W. 73,5 x D. 73,5 x H. 73,5 cm

Ronron Rocking chair Named in honor of a grandmother, who purred as she dozed in her rocking chair in the evening Materials: Black walnut, oak, cherry wood, teak Dimensions: W. 69 x D. 73,5� x H. 76 cm

Lighting & Interior Design

Ronron SM dining chair The granddaughter of the Ronron rocking chair, was designed for dining in comfort and style Materials: Black walnut, oak, cherry wood, teak Dimensions: W. 58,5 x D. 65 x H. 80 cm

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Samuel Accoceberry

Based in: Paris, France Website: www.samuelaccoceberry.com Email: akozign@hotmail.com Telephone: +33 (0)6 67 38 24 03 Competencies: Product and Industrial Design, Furniture Design, Interior Design, Urban Design, Tableware Product Design.

After a long experience as designer and design manager with some design studios in Milan and Paris, Samuel created in 2006 his own studio in Paris. Actually he works for various clients in furniture and product design in France and in Europe. His projects try to be simples, with some simple process and natural materials, but dedicating a strong aesthetic value to the detail. This details are giving for him an intrinsic personality at the object that the user must discover, and create a particular interaction between them. And this could will give to the object something like a soul. For Samuel, the interactions between the objects and the people are important, as the relationship between the people. About this fact, Samuel works on some design projects with friends, like Jean-Louis Iratzoki or the design group UNIT. Xistera / armchair (design with Jean-Louis Iratzoki)

Infinity / polymorphic shelf system


http://facesofdesign.com/samuel-accoceberry

Anie / chair

Anie / chair

Landa / desk

Air chair / stackable chair

Cortex / fruit bowl

Lighting & Interior Design, Product Design

Aturri / long chair

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Peter Scherer

Based in: Website: Email: Telephone:

Berlin www.psascherer.com info@psascherer.com +49 (0) 176 27 77 77 75

2010 Aluminium Chair DMY Berlin 2010

The Aluminium Chair is comprised of open loops and sleek curves. The 8mm water-cut aluminum seating was constructed with the objective of folding the 2d cutout into a 3d shape. Its elegant, continuous form makes it hard to judge where the PDWHULDOVWDUWVDQGHQGV7KURXJKWKHH[SORUDWLRQRIIROGLQJVKDSHVWKHÂżQDODOXPLQXPFKDLULVLPSHFFDEO\VLPLODUWRWKDWRI LWVFDUGERDUGSURWRW\SH


http://facesofdesign.com/peter-scherer

2010 Aluminium Table & Coatstand Designers Fair 2011, Cologne

upcoming projects:

S tool

Industrial & Automotive Design, Lighting & Interior Design

Loop Chair

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Cyrielle Duprez

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Based in: Website: Email: Telephone:

Lyon, France http://cyrielleduprez.ultra-book.com cyrielle_duprez@yahoo.fr + 33 (0) 686 987 973

Competencies: Exhibition design, Interior design, Urban design, Trends and Textiles, Creative sculptures Emotion and details are central to Cyrielle’s work. Through a sensitive, poetic and plastic approach, she develops a thought and concepts about our relationship to the environment. She leads a research between the wild, art and space design. Her practice is often based on senses experience because she is especially interested in human beings’ interactions and their sense of well-being. Her work was exhibited in the fifth International Biennial of Design in Saint-Etienne in France. Languages: French (native), English (competent) IT: Adobe Creative Suite, Sketchup, AutoCad, Office Skills: Sketching, Technical drawing, 3D Visualization, Construction, Modeling, Scale models, Colors

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1. Street organic furniture made of metal mesh to rehabilitate urban voids 2. Malleable outdoor scalable platform made of ecological wood to modulate and retract furniture according to use


http://facesofdesign.com/cyrielle-duprez

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11. 3. Sculptures representing the microcosm - 4. Laser cut pattern of valances of a private maternity hospital, symbol of cocoon and nest (*photo : Régis Bouchu) 5. Exhibition design and styling space for a showroom - 6. Knitted fabric with bark texture - 7. Graphic wall decor for contemporary luxury hotel 8. Interior design for a private maternity hospital (*) - 9. Seasonal architecture to dress cafe terraces, metaphor of nature which create urban poetry spaces 10. Space planning and design custom furniture for 700m² of creation agency offices, in a building renovated by Wilmotte - 11. Space set design of interior home trend

Fashion & Textiles, Lighting & Interior Design, Other

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GP designpartners GmbH

Based in: Website: Email: Telephone:

Vienna, Austria http://gp.co.at design@gp.co.at +43 1 523 35 98 0

Competencies: Industrial Design Interaction Design Design Strategy Coaching Self-description: GP designpartners makes products unique. we provide industrial design and interaction design services. since 1992, GP designpartners has been creating industrially manufacturable products that stand out significantly against their respective competitors on the market. to GP, design is an effective, strategic tool of business and brand development. our combination of industrial design and interaction design provides solutions which meet the requirements of users and the market. as the linking force between research and development, marketing and distribution, management and customers, we generate synergies and facilitate innovation. through the proper use of design services we help our clients to increase value added and product sales, thus securing a decisive market advantage for its clients. our mission is to create unique, innovative and relevant products – efficiently and within the given technical and commercial framework.

Speechmike ‒ Philips Rubin ‒ Minerva ePen ‒ Siemens teether ‒ MAM boundary-layer-microphon ‒ Philips


Philips ‒ DPM HEI ‒ Champ Acamp ‒ Havanna Artweger ‒ Body+Soul Med Trust ‒ Wellion CALLA Doppelmayr ‒ UNI-G Tchibo ‒ home electronic series Vienna Acoustics ‒ Klimt series Artweger ‒ Twinline 2

Industrial & Automotive Design, Product Design

http://facesofdesign.com/gp-designpartners-gmbh

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Spela Draslar

Based in: Ljubljana, Slovenia Email: spela.draslar@siol.net Telephone: 00 386 31 879 711 Competencies: Graphic Design, Packaging, Logotype, Surface Pattern Design, Illustration, Graphic Art

Interpretation of Matrix code Guster & Gusterica, logotype for natural food brand Drage Drage, logotype for contemporary dance performance DudaKunda, logotype for dress maker Walking Hand, anniversary poster for the Academy of Fine Arts in Ljubljana Swan Lake, Petkovsek, Rusalka; posters for National Opera and Ballet Milk product packaging


Corporate & Communication Design, Graphic Design & Illustration

http://facesofdesign.com/spela-draslar

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Aaron Kurosu

Based in: Honolulu, Hawaii Website: www.aaronkurosu.com Email: me@aaronkurosu.com Telephone: +49 176 38475193; +1 808 541 7579 Competencies: Strategy, Design Research, & Industrial Design Born & raised in Honolulu, Hawaii, Aaron Kurosu moved to Ohio to study industrial design at the distinguished University of Cincinnati College of DAAP. On the opposing page you’ll see an example of some of the research put into Aaron’s designs. In this example, the rollator, you get a peak at the process behind the design. At the bottom of the opposing page you’ll see his focal point: researching perception. It might strike you odd to VHHVRPDQ\ZRUGVEXW$DURQ¿UPO\EHOLHYHVLWœVLPSRUWDQW that people understand him as a design researcher as well as a designer. Sometimes words can better communicate the true idea than what is seen in pictures.

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Additional work: 01 glowing chess set 02 portable fan 03 belt buckle


http://facesofdesign.com/aaron-kurosu

R ES E A RCH G LI M PSE

XVHU¿QGVQHHG for using a walker insurance covers the ¿UVW walker ¿UVWZDONHULVJHQHULF user understands their needs better

Empathy == Understanding Empathy With the thehelp helpofofthe theUniversity University With of Cincinnati’s Cincinnati’sNursing Nursing of Department,I Iparticipated participated Department, in aa disability disabilitysimulation simulation in workshop to try & empathize workshop to try & empathize what it’s like to be the user. r what it’s like to be the user. I then worked in a small I then worked in a small group to do ethnography group to do ethnography work on my target users: the work onin my targetcenters. users: the elderly senior elderly in senior centers.

Senior centers The amountofofelderly elderlyininsenior senior The amount centers is huge huge&&ititposses posses centers is great growthpotential. potential.Finding Finding great growth DQ\VSHFL¿FLQVLJKWFRXOGKHOS any specific insight could help many seniors into the future. many seniors into the future. When one person upgraded to When one person upgraded to this new walker, everyone there this new walker, everyone there quickly got one. It’s easy to see quickly got one. It’s easy to see how much better a new walker is how much better a new when the guy next doorwalker has it.is when the guy next door has it.

XVHUPRGL¿HV existing walker

Sequence of events Cost is not not always alwaysan anissue issue Cost is because mytarget targetusers usersaren’t aren’t because my always the purchasers. purchasers.Insurance Insurance always the ZLOOSD\IRUWKH¿UVWRQH LW¶V will pay for the first one & it’s usually the generic walker you’re usually the generic walker you’re probably familiar with. My potential probably familiar with. My potential point of sale is as the user’s point of sale is as the user’s second walker; the second walker second walker; the second walker was often found to be purchased wasmy often found to be purchased by target users’ children. by my target users’ children.

sturdy

The The emotional emotional side side There lot of of walkers walkersout out There are are aa lot there they do do aa lot lotof ofthings, things,but but there & & they they to forget forgetabout aboutthe the they all all seem seem to user’s side.Talking Talkingtoto user’s emotional emotional side. these people, they are more than these people, they are more than just their age-related problems. just their age-related problems. This lady was proud to show me This lady was proud to show me her cane. She gets asked all the her cane. She gets asked all the time where she got it. Seniors love time where she got Seniors having someone toit.talk to. love having someone to talk to.

agil agile

An overlapped pp surface appears pp to reinforce the surface above. Complexity & repetition can Com be per perceived to distribute force like forc ike a good knot.

Twisting sting surfaces through multiple dimensions dime of space will help the product duct look as nimble DJLOHDVD¿JXUHVND HVNDWHU

liightweight

Negative space betwe N een two narrrow su upport forms helps th he overa all object to be perceivab bly lighte ter th han a larger singular suppo h ort.

Perception of Safety The product must perceived to be sturdy and safe; that the rollator can support the users weight. Appearing sturdy begets the user trust & piece of mind. Conveying ‘sturdy’ while also convey the product is lightweight is tough. Appearing lightweight will allow the product to also appear agile. An agile rollator that can be maneuvered swiftly is important to avoid injury of the user. Communicating this product is very agile will help set the design farther apart from its predecessors in the mind of a consumer.

Industrial & Automotive Design, Product Design

user wants a new walker

— 43


Jurczyk Design


Graphic Design & Illustration, Packaging Design, Product Design

http://facesofdesign.com/jurczyk-design

— 45


MD-Design

Based in: Izhevsk, Russia Website: Based in:www.md-design.ru Izhevsk, Russia Email: office@md-design.ru Website: www.md-design.ru Telephone: 912 856 2949 Telefon: +7+7 912 856 2949

Competencies: Interior design, Furniture design. “MD - Design” is a design studio established in 2006 by designer Katya Labinskaya. Our favorite route leads us from environment to separate things and vice versa. When we create interior we try to work out all pieces of furniture and décor. When we design one thing we think about how it will behave in interiors. Our design is like a friend. People feel easy and freely with it. It jokes. It cares for. It talks about important things. It develops the best sides of personalities. Now we work in Russia and look for the partners in the other countries.

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Skills: IT ArchiCAD AutoCAD 3ds Max, Vray Adobe Photoshop CAD Modelling Corel Draw Microsoft Project Languages Russian English

From object to environment From EAZZY transformered object to design events, design people, design life. 5. EAZZY transformer object 6. Coffee table position (h. 44сm) 7. Table position (h. 63сm) 8. Table position №2 (h. 73cm) 9. Bar position (h. 89сm) 10. Solone Satellite Milan 2010 11. FERMA festival, Tarusa 12. Flower Lounge by Paola Navone. Moscow 2010 13. ArtGarageSale's lounge Moscow 2010 5


http://facesofdesign.com/md-design From environment to object. From study interior to thinking and feeling objects. 1. Study interior for barefooted and free-minded boss. 2. BECLOSE table. Sitting at this desk people are attracted with such power that the space is compressing. 3. TEAM table. The 4 different legs of it can stand only if they are joined to each other. With people it is just the same. Together we able to do more. 4. Bookcase BIKINI. It is hot thing.

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Industrial & Automotive Design, Lighting & Interior Design

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Sanjay Puri

Based in: Mumbai, India. Website: http://www.sanjaypuriarchitects.com Email: spuri@sanjaypuri.in Telephone: +91 22 24965840 Competencies: Architecture, Interior Design, Town Planing Self-description: Evolving innovative design solutions that are contextual and sustainable and creating spaces that are exhilarating to experience while being functional form the essence of the firm´s design philosophy. Founded in 1992, the repertoire of Sanjay Puri´s firm includes township, residential, retail, hospitality and institutional projects. The firm won the Future Projects Commercial Award for the project, "Offices´63" at the 3rd World Architecture Festival held in Barcelona in November 2010 alongwith six international awards in 2010 including two MIPIM Architectural Review Future Projects Awards Commendations in Cannes, France and two Asia Pacific Property Awards for Architecture in Hongkong and the Hospitality Design Award for the Best Mid-range Hotel worldwide in New York.


Architecture

http://facesofdesign.com/sanjay-puri

— 49


Melanie Hammer

2

DODRQDXWHQ &RQWDFWLQIRUPDWLRQ *HUPDQ\0XQLFK Based in: Germany, Munich ZHESDJHDOJRQDXWHQQHWHGHQODEQHW Website: algonauten.net / eden-lab.net ERWKXQGHUFRQVWUXFWLRQ  (both under construction) HPDLOPHOOPHURH#JRRJOHPDLOFRP Email: mellmeroe@googlemail.com WHOHSKRQH Telephone: 0049 172 8998031 Competencies: &RPSHWHQFLHV Architecture $UFKLWHFWXUH 'LSO,QJ XQLY

(Dipl.Ing. (univ.)) ,QWHULRU'HVLJQ Interior Design *UDSKLF'HVLJQ Graphic Design 7KHVXSSO\ZLWK UHQHZDEOHHQHUJ\D DQG ZDWHUIRRGVKRUWDJH H DVZHOODVWKHFOLPD DWH FKDQJHSDUWO\UHVXO WLQJIURPDKLJKUDWH H RI&2SURGXFWLRQD FHQWUDOWKHPHVRIR RXU VRFLHW\WRGD\5HJD DU GLQJWKHVHLPSRUWDQ QW DVSHFWVWKHLQWHQWLR RQ RIP\ZRUNLVWRJH HW DUFKLWHFWXUHLQDV\ \Q WKHVLVZLWKWKHQHH HGV RIWKHKXPDQEHHLQ QJ DVZHOODVWKRVHRIIWKH HQYLURQPHQWIROORZ ZLQJ WKHFLWDWLRQRI/H &RUEXVLHUCZHKDYH YH WRVWULYHWRFRPELQH QDWXUHEXLOGLQJVDQG SHRSOHWRDKLJKHU HQWLW\C

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http://facesofdesign.com/melanie-hammer

 

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Architecture

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— 51


Janitha Banda cl Od as woul I d prov the illu whit .. Pe si be – rh ca d sa tw arch or ides pala sion e bo .a we ap l ee x pe ex y th to n thitec ca s yo rh acce zzin s. In th hi ur tu n at ar ap bi at th ch em, re star s ss toa. It ot ti e wo it th he does on the fr exterk an ec and and t wi is r th ’s n’ om ca tu co e pa odd word t nt d ll re whet pain th ar to ns s sc the . th s, th la ou ti al So her ting se ar for tu zzin at a es pain at yothe me ch te th pain – wi a the situ any it nons mo of t pa ur way in it ec th de at th (r g ting th se pa tu illu e e rtic work you oo l. li re en lf, lazz ion pa ms ke needthe de . sion se , That rticle al esta pl re ex mb and ina that is pa oy hi s an lati le co t rt the les l th blis it bi ic an ’s that nstiis pr ti inte onsh le same them e wa hes . As d ‘s on ec tu s) it pa ther te is . s ar rmed ip ce th selv y to mult wellAnd e’ s th ely sc ch gl it ip es s al of it iary im That ing th as le th e , ca es ec is ps po this ex e wh e se wo is . tu in e ss sc pe te op of ul poss ich cond al rh this ib at re. or il 1960 nsio posi en es, aps yo d be ib th al Wh der it ur le en sati in th oddn l. ic y’ s hi n of te h to re su the , on co on te e po ess is rr in gh-r th of ou aim a gr agul that rms ss th no late te ise e ve nd t of ibil at rm an at in of di ry yo s gs th der e in coll bo it i fo re ur of av is y as sc to ec th of un bo ctly enue su exer ale largts on time tr d ex th be ch th ci ul it hi , cise (bui er di at it s as ff y ex ting un , : ap nd it eq to ldin its as eren te , pe . in nd ua ar gs we ge ce – in ll an y t yo , ci thenll as s an g rela ce su d the ti bj u to ties in th on si ec at .. te ze scal to st ) t . to ep as we is rms s – e. Th wh th ou th To in e fa is ts ll as at of th at th ct so ide, e mo serv e in is, th rt ab that e se of and re in es as teri ey nc yo e sh su e u ba if dd tima yourm of co ck t. en th uld ly tely to e ca pa also it tc wh la on h ce ich a on zzin take ce a ag drawas by ai wa as stoc n. s me s. th k an e of s he of rm the et it ic situ s cu as we ob at rv je io at ll ct n ur it e,

yes, I also believe that the palazzina is truly an ideal place for a sort of architecture without closure, one that is also not concerned with beginning and endi ing, for example, and which is quite explicitly a phase, without thereby implying any lack of precision. Thes se are problems frequently posed by exhibition spaces, where the hermetic quality of the rooms calls for an artistic statement.

g in gs like ly the r ’s of , fo thinrs, ment in it nd were ain othe stru ere ki th e ‌ i in a it certnot th bles an e g as Th es, ca , alin and ch ce it vi reve sw de

Based in: Website: Email: Telephone:

Hamburg, Germany www.banda.de info@banda.de +49 171 600 00 08

. er ov tres me

50

... A perception device th hat has helped to come up with a certain way of observing t the exterior – rather than the other way round, providing a backbone for the park. The fact th hat this perception apparatus had rendered any view of the outside impossible means, of course, that the device has b been blinded.

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at th es ti ei an lt mu si : rk and urs. wo ur ifts to yo yo sh r ng vi and mila . ? ei e size ll rc gles e si ur we pe ar ct her re for d an as pi tu a anot an ng ec , ki it tool es on in ti om of t . arch y scal se th ri .. nd ur onis t pa r ro co is a ha tes is ap Th on of lusi si ar othe es crea h il lu id it e culi an ic iil ov pl wh y or pr use am a pe t to by it w. ex ge ca an il r be me ib ane fo It’s to ss lyy ouu as om. ugh yo po tl c ct , at of trraac rk e ro thro wh e st wo ac ab at ur er th walk sp e th yo ac n is is in -ent ca th e pl u s re ly att th re tion you at yo th te ti s th en solu ich an crea me e also le wh t to er tt ugh u th are li yo l thro ws ca lo ti ure al ac pr pict lyy alll e tu th ac so a al e ac sp ed

rv cu ct fa ly very d an in al t actu ose ye th ’s it

s ap rh pe h rt ea an of d de th to un mo insi vel, e le ent, As th the om next pres n. ai g fr e at ag on e al to th is er am sc it d ov ich t ed en wh . er tendd, as an , .. er lf ff ng di is exmoun ov se ti a it ew gh e in ale the an zzo li is n ta nt om at e scthat io pala ta pr a at d ns a tu the ul en th ce is Co co wh an e si an t, d e? no un is ac nt instp th th e? mo is nnot on. sp me ac e What us mo for gras ably sp th it th ed l g it ca good . ll ri e. and ry on ra in ro ve d be to va boss as atur tu ke th nt e r, re ec ma me co th coul need more is h curv we it so po H ly ic o d At it the r ÀQ arch te wh the al . wh an , fo e. le GH r om e it to ly ow id mp X fo by ment ro th ands kn en ts co \R e nu to ed ou hindll as op you a G us a st ac g mo om e XO ca an br th e be we more let ZR ro Be zzin me em evin is as Z om u om +R la er fr gh-r g, ined to Yo pa th achi fr in ag es hi ts ra e open im serv t from if th dr be bu g is st e gs , in ed ts it on ud to tha mu thin ct as cl je even of in l, zzin her es re e , pr iv ot t ac gs modepala ct no ze sp in si rspe is nd this the is ‌ ou it a’s pe th re rr : fo as su st to zzo, re zzin of be s ty tu ll it s be pala to ec pala ci we n li it nd the as io ch the ip po nt lt ar t, es of te si rr l or that mu at an co de is ri y tr mo te fact th an a in is id e the ence th pa th t ri d ou is pe of ha a ex t ng r, in one en ti y. zz on weve to in la le mp po ilit pa h no co g, ho ib t ib e ss ou ss th whic in po ab po , st of y re s it ll an ed up te ia pl in make nt a turn se ly me es al ti now re is me has ss sa ne e si th bu at e t ol ye wh d e an th

sa me no t dire ob ma st ke ctio be re ac it n th th les ou a as at pr re my ght. ra ev bu al th io il it pain It er us di y ng in ting is in ly fe ar , ma ex af th , li e te wh ter e ci no ny rn di ic to w al th al me h pr us no in ns wo l a wo od of io rk so lo gs rl uc pr s lu ng th d espe es su n in ex op comp ti er at is ci pp sp on li whicplic er st aris im mi wo ally ac ed wi po gh rk es mean it on th rt in t . si by h it ly ep in th So t to th ant have g it nc thus an wi at an e d e in yo migh th the be co sp at be s wa now , ne ot ot al en . t pe the dire uld y he a wh li l, pe in the r rh wo pe gh wo ite ap rl ctio rh ts like rcei to rd d s ap th ‌ mi s cube ap of n of s fo ved e yo pe be ght . r th il u ar At in as an ge . e im lusi reth at st an wi you th d t Be I and an th d nd ca .. a co go th e mo in we thin ca agin onis ough leas ce po leap n ow en nt . th sh e us sa t re qu . if ss e atio t ar t, yo alwa me mean k A ct inue roug you ar feel ment this wh u or pr sy ts, ibil You alit an e ys th at n or chit ev ovid or mm le gula on h th wa ing , ho sp sp in the ex alwa se et tempitie poin ativ it ft lk it ea g is is po ec en e r th : in that weve ace, k wh e ti ys see wh t or s, re ss ture wh poin ri ry, an do roug ho g of en ng al in ou fe ib er gh ic on yo r, it whic da d th orwa h wh le, sp rs il , al h ts t- by me sh te t so at e th e yo rk ac illu you is u wa ’s h ha y, go to ity, mo must at an if rm e, si ro ere in the e ot u’ve ma lk ju of st a nd an s of ts s of many ca om an on g is and is yb an sp n but th to same her e abou st a cour co sc of d i ist an you in ac d le va d gi . I be do e 7 en me th ca al ot e ve sp a me t 50 sortse en me es e time d of fr of ft-h riou es es s cove her lookfact sp ea tr nt in ot ur th om ti s re k ac me po es al of cr he in po th . de as ss and ly re e ap d th litt up r ss e of wi tres wa rely edib ns in ib ve en diff e bu When ib de il wing itie th rs pear e wh le doto yo d, in ll, take le il . er il it e e it an nu ol ur an en dingyou on one y s of s y. ce mb pa of lu ce e or, t d e co whos th in la th mo . Thlook I di whic ntre er mp zz minoof da in lead th me ca re le e po e pa the of ou in nt e n ct h ha st te si rk g in ing ac ere’ a st s. arch t th io ly tent lazz wi ty. li il n, s voage cess s an da to I cl it e in th if a an ac l re was ec ea ial a: ou And ght rk d lume th orie ti r. tu t pa is th vi cogn just re an thatin th in at , an is iss ma ty y t, iz al dee . e ou at e th d th lo ts ther whit whic my e id se the ws yo pa us e e is e sp h lf th on th lig as e u to yo ac a e u a end, ex br ht ‌ room e. pa Th ig rt no peri ht wher fo e ne r of w I’ ence ss e da me th m ‌ rk in is ne ss this ra di a

Competencies: Fashion, accessoires, textile and graphic design. Colour and material selection, technical drawing, styling, illustration, moodboards and concepts. Book, catalogue and editorial design and typography. Applications: Illustrator, ,QGHVLJQ3KRWRVKRS0LFURVRIW2I¿FH. I have always wanted to do more than simply create beautiful things – my artistic vision is to link thought processes to a visual representation that surprises DVZHOODVVDWLV¿HV,VWULYHWRDFKLHYHD balance of conceptual and applied creativity: The purpose of the conceptual part and documentation of my work is to generate expectations as well as provide answers on multiple levels. Working with words, images and fabrics, my objective is to translate these concepts into thought-provoking and visually attractive creative outputs. Science and urban culture are key sources of inspiration for my work. In order to continue to convey my ideas effectively and push boundaries, I am always adapting the mix of traditional and digital media as well as working with other creatives.

Clockwis wise from top: Posterr ‚Type‘; Bird brooch; Poste ter ‚Record Release Party‘; Silkk screen print ‚Absolutely Fab abulous‘; Fashion collection ‚D Diesseits‘: Design,moodboard, ffabric and colour selection, sketches; Brooch ‚Diesseits‘; Fashion collection ‚Tarnen & Täuschen‘: Design, technical drawings, illustration, layout, bookdesign; Buttons ‚Tarnen & Täuschen‘; Badges


Fashion & Textiles, Graphic Design & Illustration

http://facesofdesign.com/janitha-banda

— 53


Gerda Gavari

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Based in Website Email Telephone

Vienna, Austria gavaridesign.com info@gavaridesign.com +43 699 17115492

Competencies Industrialdesign & Product Sujets, Interior Design, Fashion & Furniture Products Skills 3D Modelling Visualisation Model building

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01 / Foto by Gavari

02 / Stress Watch

03 / Toy

04 / Violin, Foto by Maurizio Maier

05 / Portable Coffemachine

06 / Airplane Seat Economy Class

Industrial & Automotive Design, Lighting & Interior Design, Product Design

http://facesofdesign.com/gerda-gavari

— 55


Based in: Website: Email: Telephone:

Warsaw, Poland www.wysoczynska.asia aw@asiawysoczynska.pl +48.693.071.471

Competencies: Fashion Design, Styling, Creative Training, Project Management Asia Wysoczynska graduated graduated with distinction from from International International School School of Costume Costume and and Fashion FashionDesign Designinin2010, 2010, completing her Master’s Master’s degree degree in Psychology Psychology of of Creativity Creativity and andArt Art before, which gave her deeper which gave her deeperlook look on Fashion Fashion Design. Design. Her personal style is is based based on onarchitectonic architectonicshapes shapes and longing for for beautiful beautiful simplicity simplicity with with is strongly reflected in her designs: a twist. ItWhich is strongly reÀected in her designs: structural, poetic and and dynamic dynamic at atthe thesame sametime. time. She uncovers uncovers the the beauty beauty of ofthe thefabric fabric by manipulating manipulating with with the the cut cutand andvolume, volume, richness of fabrics and and simplicity simplicity of of design design that leads leads to tounexpected unexpectedcontrasts. contrasts.Her Her aim is to aim is to design clothes clothes meaningful meaningfulfor forthe thepeople peoplewearing wearing them. It is all all about about emotions emotionsininthe theend, end,isn’t isn’tit? it?

Photo: Joanna Szproch / Tomasz Jedrszczyk

Asia Wysoczynska


Fashion & Textiles

http://facesofdesign.com/asia-wysoczynska

— 57


Maryam Nevisi

¦ Experimental Black ¦ Wool and leather ¦

Based in: Website: Email: Telephone:

Berlin, Germany www.maryamnevisi.de susan@maryamnevisi.de +49 (0) 30-47 595 834

Competencies: Fashion Design 0$5<$01(9,6,²Æ&#x17D;)DVKLRQLVIUHHGRPÆ&#x17D; This thought inspired Susan Maryam Haberlandt-Nevisi WRIRXQGWKHIDVKLRQODEHO0$5<$01(9,6,LQ 6KHFRQVFLRXVO\FKRVHWKH3HUVLDQSDUWRIKHUQDPH%RUQ LQ0XQLFKVKHVSHQWPRVWRIKHUFKLOGKRRGLQ7HKUDQ ,UDQ$WWKHDJHRIVL[WHHQVKHUHWXUQHGWR*HUPDQ\+DYLQJ H[SHULHQFHGWKH,VODPLF5HYROXWLRQVKHLVGULYHQE\WKH GHVLUHWRFUHDWLYHO\H[SUHVVKHUUHJDLQHGIUHHGRP Æ&#x17D;,KDYHQRWIRXQGDQ\ZKHUHWKHFORWKHVWKDW,ZDQWHGIRUPH 7KDW¶VZK\,EHJDQWRGHVLJQIRUP\VHOI,¶PIDVFLQDWHGE\ wool as a medium. Iâ&#x20AC;&#x2122;m tempted by the challenge to consider LWDVDIDEULF7RSOD\ZLWKLWDQGWU\RXWKRZFRORUVPDWHULDOV DQGQHZLGHDVFRPHWRJHWKHUÆ&#x17D; $FFRUGLQJO\KHUILUVWFROOHFWLRQLVLQQRYDWLYHDQGP\VWHULRXV The details break the rules, the patterns are organic, each piece is created by hand. This haptic processâ&#x20AC;&#x201D;in contact with WKHPDWHULDO²DOORZVURRPIRULQVSLUDWLRQ 7KHFUHDWLRQVFHOHEUDWHWKHLQGLYLGXDOLW\DQGEHDXW\RIZRPHQ 7KHYDULHW\RIGHVLJQVWKHSOD\RIFRORUVDQGPDWHULDOVDUH H[SUHVVHGZLWKHOHJDQFHDQGVHQVXDOLW\7KH\DUHSXUH SOD\IXODQG²LQDJHQWOHZD\²VH[\

¦ Zarif ¦


http://facesofdesign.com/susan-maryam-haberlandt-nevisi

¦ Azadeh¦

¦ Experimental Gold ¦ Sculpting wool ¦

¦ Mocca ¦

Fashion & Textiles

¦ Shirin¦

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Amila Hrustic

1

Based in: Website: Email: Telephone:

Sarajevo, Bosnia and Herzegovina www.amila.ba info@amila.ba +387 61 758821

2

Competencies: Product design, Graphical design, VJing Amila Hrusti端 graduated Product Design department on Academy of Fine arts, University of Sarajevo.

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CD cover

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W - hanger Hanger for clothes

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Easttable Wooden table-chair for dining on the floor

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Doodle Plate Collection Collection of 4 glass plates

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Plato’s Collection 5 unique dresses handcrafted from a combination of paper and textiles Photo: Irfan Redžoviü

Fashion & Textiles, Product Design

http://facesofdesign.com/amila-hrustic

— 61


Mirca Maffi

Based in: Website: Email: Telephone:

Zurich, Switzerland www.mircamaffi.com info@mircamaffi.com +41 78 880 14 00

Competencies: Jewellery Design, Silverware Design MAS: 2009 Master of Advanced Studies in “design | art + innovation”, FHNW Basel, Switzerland

1

Skills: Design and Create Jewellery, Prototyping, Silversmithing Office, Adobe Creative Suite, Rhinoceros Basics Project Coordination, Project Management German, Italian, English, French Self-description My collections include two lines: Fine Jewellery, exclusive handcrafted pieces from precious metals combined with wood, stones, horn, diamonds and others. In every piece lies simplicity, strength and a strong approach to high quality. 2009 I introduced a Fashion Jewellery line offering a range of colourful ready-to-wear pieces in various dimensions and exceptional combinations. All materials are personally selected, focused on exclusivity. Besides realizing my own collections I create customer jewellery for the personal taste of women and men. Wherever I travel my hunting instinct keeps my eyes and mind open for anything I can transform into a piece of Jewellery. Alongside with my creative passion, I’m also specialized in communications and project management. Having different working experiences I earned many skills regarding design, development, production, presentation, sale and consulting.

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http://facesofdesign.com/mirca-maffi Description: 1 Bracelet in yellow gold 750, collection “endless”, 2009 2 Necklace in silver 925, collection “mare”, 2008 3 Cuff links in silver 925 and wood, collection “men”, 2006 4 Ring in yellow gold 750 with marble and brilliant, collection “carrara”, 2008 5 Ring in silver 925 and ebony, “MADONNAmadonna” 2004 6 Ring set in silver 925, collection “mm”, 2001/2008 7 necklace with horn, pearls, pink moonstone, pink quartz and smoky quartz, collection “hunt”, 2009 8 Collier “Regina” with embroidery and velvet, collection “imperial”, 2010

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Jewellery Design & Metalwork

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— 63


Yolanda O'Leary

Based in: London, United Kingdom Website: www.yolandaoleary.com Email: yolanda@yolandaoleary.com Telephone: +447896413550 Competencies: Textile Design, Womenswear Design, Accessory Design Graduating last year from The London College of Fashion with first class honours, from a surface textiles and womenswear design course; learning the disciplines of: print, embroidery, knit, weave, leather work and patterncutting. Since gaining valuable experience at design studios in London, such as Alexander McQueen and Burberry; Yolanda is currently working as a freelance textile designer, focusing on using innovative techniques for the luxury market. With aspirations to work internationally and collaborate within other fields of design such as interiors and product design.


Womenswear Resort â&#x20AC;&#x2DC;12 capsule collection: A luxury collection using sustainable materials incorporated into contemporary and innovative styled garments. Materials used are Bio-resin, cotton cord, bamboo fabric and 100% silk jacquard; silk yarns dyed with plant/vegetable dye.

Fashion & Textiles

http://facesofdesign.com/yolanda-oleary

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Family News

We firmly believe in exchange and an open dialogue. You can find an introduction to some of our friends, partners and joint projects on the next few pages.

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Photos: Rainer Kurzeder


The Faces of Design Academy

In January 2011, Faces of Design hosted the first of a new series of events: an intensive one-day workshop in the heart of Berlin, titled ÂťSocial Media Identity: Creating Your Virtual Self with Design ThinkingÂŤ. The workshop offered the participants an exploration of designing identities on the social web. The emergence of the social web has been mindblowing, but in some ways it has also been a pain. As each website becomes social in some way, we gather many different identities, create different social circles and need to remember and manage countless networks. A Google search merges these various identities into one and sheds light on our public persona in ways that were not possible before. Using the Design Thinking method as developed at Stanford University and practiced by design leaders such as Apple, the participants were invited

to discover their own social media identities and develop new ideas and concepts.

topics you find particularly relevant, or book the entire curriculum. Of course, we will gladly assist with your choice.

Documented by Berlin-based photographer Rainer Kurzeder, whose clients include Audi and the German Green Party as well as celebrities and fashion labels, the kick-off event of the newly founded Faces of Design Academy proved highly successful with the participants.

All our workshops are designed for professionals from diverse backgrounds, as we believe in the power of multi-disciplinary teams and the synergies of diversity. We connect individuals from diverse career tracks to collectively inspire innovation on a new scale. By opening the Faces of Design Academy to diverse disciplines, we can provide you with relevant insight beyond your usual mindset and thereby provoke profound innovative insight.

Taking its cues from this initial event, the Faces of Design Academy explores areas that are crucial to succeeding in today's business environment, from Lean Development methods to marketing trends and Innovation Masterclasses. The Faces of Design Academy is created as a modular system: depending on your specific interests, you can either pick one single workshop, create your personal compilation of

If your company would like to benefit from this experience, please do not hesitate to check out the Corporate Services we offer on our website. We can easily create a tailor-made programme tailored to your specific needs. Contact us at info@facesofdesign.com

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Photos: Rainer Kurzeder


Boisbuchet: Let Sustainable Innovation Grow

For 20 years the Domaine de Boisbuchet – parc d'architecture et de design in Mid-west France has been fostering sustainable growth in the creative industry. The idyllic country estate is a meeting point for international visionaries and uncoventional thinkers, coming together to discuss ideas from design, architecture and economy. Source of this interdisciplinary creativity are the well-known Summer Workshops held every year on the premises. During the summer months, participants from over 40 countries enjoy the conceptual and geographic freedom of the vast area. Surrounded by the river, meadows and forests, they meet experts from all kinds of different disciplines. Something they have in common is a keen will to challenge known ideas and to quickly discover new learnings: creation and discussion start with the break of dawn. Most days at Boisbuchet end around the big dinner table, enjoying good food in great company and hearing many different languages blend into one. If the results of these meetings turn out to be suitably functional or instructive,

they remain on the premises to help develop their respective discipline. These stimulating constructions include, amongst others, the first buildings by Columbian architect Simón Velez – internationally known for his EXPO 2000 »ZERI Pavilion – zero emission research initiative«. There are also prototype buildings by Japanese architect Shigeru Ban, by architects Brückner & Brückner and by Jörg Schlaich, as well as a Japanese Pavilion dating from 1864, which was given to the Domaine de Boisbuchet by the Shimane Prefecture. For many years different organizations like the Centre Georges Pompidou, the Ecole Nationale Supérieure d'Art in Limoges, the Corning Museum of Glass in the USA and the Vitra Design Museum have been supporting the Summer Workshops as an important cultural facilitator. Renowned universities such as the Pratt Institute in New York, the Keio University in Tokio, and the two universities UNAM and UAM in Mexico City are frequently involved in the exchange.

Alexander von Vegesack, founding director of the Vitra Design Museums und director of Boisbuchet, realized early that creative professionals are a vital factor for the knowledge-based economy. Sensitivity, hard work and his personal contacts are what helped him create a format that shows the holistic potential of the creative industries in the middle of the French countryside. Many international companies such as IKEA, Procter & Gamble, Faurecia Paris, Legrand Limoges, Daimler Chrylser and also Burkhard Leitner of Messebau Stuttgart successfully use the unique atmosphere at Boisbuchet for corporate and other value added workshops. They know that ideas can prosper especially well in this dreamlike setting of paddocks, knee-high grass and the distant sound of the river. www.boisbuchet.org


IDSA & IDEA

Slingbox 700U

The Industrial Designers Society of America’s (IDSA) International Design Excellence Awards (IDEA®) program fosters business and public understanding about the impact of industrial design excellence on the quality of life and the economy. Industrial designers determine the form, use features and interaction qualities of manufactured products, packaging and digital media systems. They study people at work, at home and in motion to create satisfying experiences with products from the kitchen and the office to the hospital and the warehouse, shaping these to fit their customers and to make effective use of industrial processes. In this way, industrial designers have a quiet but profound presence in almost everything people encounter during the day. IDEA entries are evaluated by a panel of world-renowned designers and design thinkers. The jury conducts the first round of judging online, followed by two-and-a-half days of intense, face-to-face evaluation and debate. Judging criteria focuses on seven areas of industrial design excellence: design innovation; benefit to the user; responsibility; benefit to the client / business; appropriate aesthetics and appeal; usability testing; rigor and reliability (Design Research category);

and internal factors and methods, implementation (Design Strategy category). IDEA entries are submitted to the following categories: Commercial & Industrial Products, Communication Tools, Computer Equipment, Design Strategy, Entertainment, Environments, Home Living, Interactive Product Experiences, Leisure & Recreation, Medical & Scientific Products, Office & Productivity, Packaging & Graphics, Personal Accessories, Research, Service Design, Student Designs, and Transportation. IDEA winners are considered outstanding examples of design excellence and innovation that again this year The Henry Ford deems them an integral part in telling the story of American innovation and has chosen to include IDEA award winners in its permanent collection.

»Professionally, it provided external international validation of the quality and value in the market for the research work we had submitted. This was valuable personally as the fourth Gold IDEA award I received beginning in 1983, 1991, 1999 and 2009. Internally to the organization, it validated the quality and standing of the research as a best practice for our department.« Stuart Morgan, IDSA Director of Industrial Design Ethicon Endo-Surgery Inc.

»It was a great first step into landing my first job out of grad school, and is still one of the highlights on my resume.« Luisa Fernanda Ruge Steelcase Inc. For more information about IDEA, please visit: http://www.idsa.org/ awards or contact idea@idsa.org.

»Winning the most IDEAs in 2010 meant that we got to celebrate our hard work with the entire team«, said Yves Béhar, the founder of fuseproject.

»It also provided a great story about the power of design to discuss with potential clients.« Yves Béhar, IDSA Founder, fuseproject

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The Cooper-Hewitt, National Design Museum, New York

The Cooper-Hewitt, National Design Museum, Smithsonian Institution is the only museum in the United States devoted exclusively to historic and contemporary design. The museum presents compelling perspectives on the impact of design on daily life through active educational programmes, exhibitions and publications. Founded in 1897, the Cooper-Hewitt, National Design Museum is housed in the Andrew Carnegie Mansion on Fifth Avenue in New York City, and has been part of the Smithsonian since 1967. The museum's collections are organized in four curatorial departments: Product Design and Decorative Arts; Drawings, Prints and Graphic Design; Textiles; wall coverings; and are supported by design archives and a reference library with more than 70,000 volumes, including 5,000 rare books. International in scope and possessing one of the most diverse and comprehensive collections of design

works in existence, the museum's rich holdings range from the Han Dynasty (200 B.C.) to the present day and total more than 200,000 objects. Currently, the museum is undergoing a $64 million programme to nearly double exhibition space, enhance educational services, accommodate growth of its permanent collection and boost its endowment to support operating costs. The museum´s educational initiatives encompass programmes targeted to youth and adults, including lectures, seminars, symposia, workshops, family events and guided exhibition tours. Museum education programmes explore the role of design in everyday life, engage larger, more diverse audiences and fulfil the mission of the Hewitt sisters to serve as a catalyst for design education, nationally and internationally.

A centre for scholarly and applied research, the museum provides professional development and museum training to students through a graduate-level program in the history of decorative arts conducted in partnership with The Parsons New School for Design. The programme, based at Cooper-Hewitt, emphasizes object-based teaching, using the museum's collections. The exhibition programming for 2011 includes: »Set in Style: The Jewelry of Van Cleef & Arpels«, Feb. 18 – June 5, 2011 »Color Moves: Art and Fashion by Sonia Delaunay«, March 18 – June 5, 2011 »Design With the Other 90%: Cities«, Fall 2011


The Vitra Design Museum,

Vitra Design Museum 2010 in Weil am Rhein © Vitra Design Museum; Photo: Bettina Matthiessen

Weil am Rhein

The Vitra Design Museum ranks among the most important museums of design worldwide. It is housed in a remarkable building by the Californian architect Frank Gehry, where the museum stages two to three exhibitions each year on historical and current developments in design. These exhibitions provide visitors with detailed insights into the diversity and significance of design by vividly presenting the inspirations, background information and processes of design while also incorporating related fields such as architecture, art and other cultures. The work of the Vitra Design Museum is informed and guided by its extensive collection of furniture, lighting objects and industrial design, which is one of the largest of its kind. The collection concentrates on industrially manufactured objects, and covers the period

from 1850 up to the present. Nearly all exhibitions are conceived as travelling exhibitions that are subsequently shown at other leading international institutions. At the Vitra Campus, the museum's exhibitions are complemented by a wide-ranging programme of events, guided tours and workshops. Daily guided architectural tours of the Vitra Campus allow visitors to view the various buildings by world-renowned architects. From March 26th to October 3rd, 2011, the Vitra Design Museum will show the exhibition »Zoom. Italian Design and the Photography of Aldo and Marirosa Ballo«: In the second half of the 20th century, Italian design attained worldwide recognition. The Milanese photographers

Aldo Ballo and Marirosa Toscani Ballo played an important part in this success: by communicating the beauty and function of objects as well as their cultural message, the Ballos' photographs contributed significantly to the mythological status that surrounds Italian design until today. With its presentation of outstanding design objects, numerous books, magazines and posters as well as a large number of photographs from the Ballo archive, the exhibition »Zoom« portrays a new view of this era. The exhibition was curated by Mathias Schwartz-Clauss in close collaboration with Marirosa Toscani Ballo. After its presentation at the Vitra Design Museum, the exhibition will tour internationally.

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MUSCON Sherp

MUSCON Sherp (www.muscon.org) is an online portal exclusive to museums and curators, bringing unprecedented transparency and convenience to the growing market for travelling exhibitions. On MUSCON Sherp (short for MUSeum CONference SHort term Exhibition Replacement Platform), museums have the opportunity to present their travelling exhibitions to a global community of curators and cultural institutions. At the same time, the platform presents ideal grounds for fostering new bonds and collaborations between museums. The idea for the online platform

MUSCON Sherp was born during the European Museum Conference MUSCON, initiated by the Vitra Design Museum in 1996. These annual conferences in Europe, Asia and America offer a unique platform for museums with a focus on design, architecture and contemporary art. Launched in April 2010, MUSCON Sherp was initiated by the Vitra Design Museum in collaboration with the V&A London, the Museum of Design Zurich, and the Netherlands Architecture Institute in Rotterdam. The platform was executed and is run in partnership with Faces of Design.

As a non-profit initiative, MUSCON Sherp facilitates a closer cooperation between museums around the world, helping museums cater for their increasingly international target groups. Companies and other institutions that wish to become involved in travelling exhibitions or museum collaborations are cordially invited to contact the MUSCON Sherp team for additional information and a personal introduction. You can reach the MUSCON Sherp team at info@muscon.org


Periscope Creative

Berlin based Periscope Creative is proud to represent some of the world's leading photographers and illustrators. Established in 2007 by Luke Lalor and Tim Rhodes, Periscope Creative's raison d'êtr is to provide both artists and clients alike with the highest possible standards in consultation. Periscope's client services also include moving image: the agency produces digital viral videos for major clients, as well as TV commercials. Periscope's clients include, among others, Deutsche Telekom, Clariden Leu, Hornbach, Triumph, Louis Vuitton, Johnny Walker, GQ, Vogue, Aston

Martin, Renault, and BMW. They enjoy access to a global network, providing them with the best possible oversight on productions almost anywhere in the world. The recently published Periscope Magazine is the first of an annual inhouse client magazine profiling the works of selected artists represented by Periscope Creative. It was created and developed by the Munich design house Melville Brand Design to create a rich experience that showcases each individual photographer's creative cosmos. The magazine's cover is Gmund's »Bee Brilliant«, which is an

experience in its own right – a sensory plus that will help you find the magazine even on an overcrowded desk by simply following your fingertips. If you would like to receive a complimentary copy of Periscope Magazine, or if you are interested in Periscope Creative's services, please do not hesitate to contact Luke Lalor at luke@periscope-creative.com

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About Faces of Design: Great Designers Do not Grow on Trees

Faces of Design is an information portal and career platform for designers. Interdisciplinary and intercultural in nature, we help designers raise their game by providing them with inspirational and informative content, and by building connections with industry players. To companies, we offer tailor-made programmes to help them achieve and sustain a competitive edge: we redefine your organisation's creative potential by helping you identify, attract and develop creative talent.

Talent Spotting and Selection of Designers

Workshops

Research shows that design is one of the most important success factors in achieving a competitive edge. At the same time, hiring design talent has never been more challenging â&#x20AC;&#x201C; the growing global market for design talent is becoming increasingly complex and demanding. No matter if you are looking to hire a designer or to retain an agency, we make sure you find the right people for the job: based on our experience, network and analytic tools, we can recommend the most suitable candidates for your specific requirements.

Teaching creative techniques and design management skills help manage market challenges and transform them into practical strategic directions. Using our global network, we can help inspire your team and build competitive edge through tailor-made creative workshops taught by leading designers, thinkers and innovators.

Design Competitions We create concepts for competitions, and either help you execute them or run them for you entirely. Design competitions are a great way of generating fresh ideas and innovative approaches whilst fostering young design talent at the same time.

Think Tanks & Focus Groups Based on your specific challenges, we create online and offline formats through which you can tap into the fresh innovative energy of a global network of creative talent. We help you select a group of creatives best suited to your needs and facilitate your dialogue with them. If your are interested in any of the services we offer, please do not hesitate to get in touch with Anna at anna.rojahn@facesofdesign.com

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Imprint

Faces of Design GmbH Melanchthonstr. 23 10557 Berlin

Faces of Design was founded by brother and sister team Anna and Friedrich Rojahn in 2007. Anna worked as a Product Manager in the fashion and luxury goods industry before founding Faces of Design. She holds an undergraduate degree in Jewellery Design, and an MA in Design and Brand Management; today, Anna acts as a career coach for a number of design students and creative professionals. She has experience in recruiting designers, and frequently advises clients on design strategy and design management. Please feel free to contact Anna at anna.rojahn@facesofdesign.com Friedrich has five years experience as a strategy consultant and holds an MBA from INSEAD. Prior to devoting his life to entrepreneurship he spent the last two years working as a senior Strategy Manager for a leading international corporate. You can reach Friedrich at friedrich.rojahn@facesofdesign.com Drawing on their extensive international network, Friedrich and Anna help organisations redefine their creative and strategic potential.

Phone: +49 (0) 30 664 00 657 Fax: +49 (0) 30 6920 522 12 Email: info@facesofdesign.com Registered in the commercial register of the Charlottenburg Magistrate's Court [Handelsregister des Amtsgerichts Charlottenburg] Registration number: HRB 112 863 VAT No. DE 259410774 Tax No. 29/451/00291 Managing Directors: Anna Rojahn, Friedrich Rojahn

Design und Layout: Lena & Andrea Appenzeller lenaappenzeller@hotmail.com / a.appenzeller@web.de Printing: freiburger graphische betriebe GmbH & Co. KG Š 2011 All rights of the presented works lie with the respective designers; Faces of Design does not accept liability for copyright disputes with regards to the designers' work or the images displayed.

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The Faces of Design Awards 2011  
The Faces of Design Awards 2011  

We are extremely happy and proud to be presenting the winners of the Faces of Design Awards 2011 to the public in this stunning display of i...

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