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Autumn 2012

DANISH DESIGN

V E RS I O N 2.0

A GREEN FUTU R E

KEA students’ ideas on new Danish design classics

Sustainability is on the agenda at KEA

EMPIRE CAMPUS The new heart of KEA is emerging from the rubble

ZEITGEIST The world is changing at the speed of light. What demands does this place on KEA’s degree programmes?

A N Y W HO

“One of the most important investments in your future is to take your internship seriously and find a good placement” Design technicians, construction managers and a multimedia designer on KEA as a springboard to career success. – C O P E N H A G E N S C H O O L O F D E S I G N A N D T E C H N O LO G Y –


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Autumn 2012

Contents 012

Intro – KEA’s market manager Jørgen Ravnsbæk Andersen and knowledge manager Pernille Berg welcome you to this first edition of KEA Quarterly.

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What is KEA? – Here you can find the answers to all of your questions.

018

Inside – Miscellaneous notes.

026

Driven by sustainability – Interview with Vigga Svensson, founder of the childrenswear brand Katvig, who values sustainable production above all else and knows KEA from the inside.

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014

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The new heart of Nørrebro – KEA’s new campus is under construction.

033

KEA Confessions – Meet eleven students who talk about the pros and cons of signing up to a course at KEA.

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044

The sofa is alive – Sustainability sets the agenda at KEA.

048

Square metre – Light, space and life at KEA.

058

Zeitgeist – The world is changing rapidly as opposing trends exist side by side, impacting the labour market of the future and placing new demands on modern education.

062

Jan Johansson – One of the many inspiring teachers you can meet at KEA.

068

Sustainable Summer – Report from KEA’s summer school, Innovating Sustainable Fashion.

074

Business forum – The industry and KEA exchanges experiences.

076

So Talented – Designers of the future show off their skills.

082

Design in the genes – The Danish design classics cannot be ignored when learning about design, but what is more important: form or function?

086

On their own two feet – Meet five KEA graduates who have become their own bosses.

096

Course information – Programmes, addresses, requirements and other useful information.

Front cover: Stephanie Gundelach, creative manager at B56 and blogger and Elise Born, designer and blogger. Read more about them on page 86. Photography Rasmus Skousen

*Platinkort, studerende –009–


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Intro

K E A Q u a r t e r ly

Intro Welcome to this magazine about the Copenhagen School of Design and Technology, KEA. Students here get more than just classroom learning in their field of study – they get hands-on experience and knowledge that permeates through everything they do and say. Their philosophy is that a job is not just something you get, but rather something that you create. Close cooperation with companies and industries is at the core of every one of KEA’s programmes, from design and media to IT, production, health and communication. KEA’s trademark is its close contact with the business world. All of our students do internships. And we make a dedicated effort to ensure that the internship is beneficial for both the student and the company – and for KEA too, because KEA’s teachers also gain knowledge from the students’ internships. We have the best teachers because they constantly keep abreast of the latest challenges and demands in the business world. In this way, we ensure that KEA programmes always meet the needs of companies, and that graduates are able to generate value for companies from their very first day on the job. The number of enrolled students grows every semester. We are proud of the rapid growth KEA has experienced in just four years. And we will continue creating growth in the Danish business world and beyond. At a time when society is crying out for solutions to numerous complex crises, it is heartening to see the number of solutions presented every week by KEA students to companies entering our learning universe. In this magazine we share a few of the wonderful stories found at the Copenhagen School of Design and Technology. We have spoken with the students and many successful KEA entrepreneurs, highlighting the many different aspects of life at KEA: the meeting of students and companies, and the strong personalities who contribute to creating a dynamic learning environment marked by a broad spectrum of professional diversity.

Pernille Berg

knowledge manager

Jørgen Ravnsbæk Andersen Ma r ke T Ma n a g e r

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PHOTOGR APHY Jan Søndergaard

We hope that you will enjoy the stories, experiences, impressions, sentiments, dreams and ambitions.

Piet et pos voluptas everi remperio ma dolorem si quasped que dolecat hariorem que perum eossum est, adipsam, secus et endi occulpa riatium estibust, quis auta nimus, conemolore nihil minctem volupieture, odita volo consend igendel iquisciur? Experum facerep reribusciet el inctota quid que culpa pariores quae conem quiam, alique verchil itibus et lic tem re, consed que pore prae vellaut ligende mporume nducia cus a core consed quo tem quasseq uaest, eum nis rernam idist este quam iur aliatur, consed quam nonse pore simpor ad mint fuga. Sum quibus eum volo inciusam aditiam quosam sinctum ipicid qui deligen totate offici ne rem amust, sit fugitio nsequas alis aut eos audit quis maiorio im suntur sim nus alignihic tem earchicta qui ium ipsam as dellore ea quo eumquibus ellaborem ea prerchi litatati dolum et eribus, omnihicilit doluptatur aut re, totaturem. Rererum eum, ut quae laut voluptae dolorupti inveniet fugit, consequatem. Et mosti doluptaquias ratem iderorr oreribus. Arunt laborer epraerferum, in ea qui occus que pori rehentem reperibus, ipicia volupta sum facerit et est fuga. Itat pliquid elent, si corerum hiliciunt. Ibustotaquo volorrum, omnis untur, omni voloria tureperro tem es quatias niminvenes denisquis doluptas sitiis quossim pediae nimus eum et eosam, ut perferat ipsam nus, in excest quam nihicabores dolores assi sedit lam re porae. Dae doluptae. Fici corepe quiae alia simporio. Et eum acea posandis velland anderci istiis di di officius doluptatquo vero quam non pres et omnis sin consece ptaqui apis eniminctoria nate nonet et, samusda conseque et, quossi aut utem facia sunt am, con ped modi core dolor restiisquae. Sa volore apelent endant et lacest landitium voloreperum harchic ipsande llaccum, utemperum faccae porporro est voluptat. Con pero vel imi, aute eosa vitatus eosaperia venecte mporiat ariorpo reptati tem aut aut prera nis eles volorem vendi autendi cus mos doluptur, sit aut voluptae ius essim quam que si reicipsanto ius.Olentur, officitatem sinvel iliaectatem fugit qui blam re maiosam aut endus, ipid enturiam fuga. Lore laut et eicae is apitaestorro consequunt venture mporit, aut idiciusam ut alit pro omnimus es doluptiumqui nes delliqui conem rernatus, quam, soluptatiunt lat que simos quibust, ius nimusdae endi des eicilit laut veliqui bla inciisin ped qui sunt que prem utatum sum est, conserum quias voluptaturem et faciaspera conserundi accae nes expella nectorro doluptatio. Ut etur? Qui reperis alicit facerum ipsam cus core siti accatio nsequi consect emporis eos doluptates sumqui dolor assime et fugit, voluptu ristiosam que asimaximusae deres sam nossequi ipsundipita ex explam experro omnimus apiciaerit ut quamus apiciam quibus explanihil iliquo exceperum dis eius accum id magnihitiae eum faccatur? Mo consenderion cus mossedicae ratios mod et exces dolenet enimolutet min pedit dolla nis aliciamendus maxim ad que nat ipsam hit quia cusae labo. Ut aute dendigenient a voluptur, nonesed eveless imusam, quassi dolorer essitiunt. Paria aliquo blacim cumquam ducidebit magnis nis nes expella nectorro doluptatio. Ut etur?

Piet et pos voluptas everi remperio ma dolorem si quasped que dolecat hariorem que perum eossum est, adipsam, secus et endi occulpa riatium estibust, quis auta nimus, conemolore nihil minctem volupieture, odita volo consend igendel iquisciur? Experum facerep reribusciet el inctota quid que culpa pariores quae conem quiam, alique verchil itibus et lic tem re, consed que pore prae vellaut ligende mporume nducia cus a core consed quo tem quasseq uaest, eum nis rernam idist este quam iur aliatur, consed quam nonse pore simpor ad mint fuga. Sum quibus eum volo inciusam aditiam quosam sinctum ipicid qui deligen totate offici ne rem amust, sit fugitio nsequas alis aut eos audit quis maiorio im suntur sim nus alignihic tem earchicta qui ium ipsam as dellore ea quo eumquibus ellaborem ea prerchi litatati dolum et eribus, omnihicilit doluptatur aut re, totaturem. Rererum eum, ut quae laut voluptae dolorupti inveniet fugit, consequatem. Et mosti doluptaquias ratem iderorr oreribus. Arunt laborer epraerferum, in ea qui occus que pori rehentem reperibus, ipicia volupta sum facerit et est fuga. Itat pliquid elent, si corerum hiliciunt. Ibustotaquo volorrum, omnis untur, omni voloria tureperro tem es quatias niminvenes denisquis doluptas sitiis quossim pediae nimus eum et eosam, ut perferat ipsam nus, in excest quam nihicabores dolores assi sedit lam re porae. Dae doluptae. Fici corepe quiae alia simporio. Et eum acea posandis velland anderci istiis di di officius doluptatquo vero quam non pres et omnis sin consece ptaqui apis eniminctoria nate nonet et, samusda conseque et, quossi aut utem facia sunt am, con ped modi core dolor restiisquae. Sa volore apelent endant et lacest landitium voloreperum harchic ipsande llaccum, utemperum faccae porporro est voluptat. Con pero vel imi, aute eosa vitatus eosaperia venecte mporiat ariorpo reptati tem aut aut prera nis eles volorem vendi autendi cus mos doluptur, sit aut voluptae ius essim quam que si reicipsanto ius. Olentur, officitatem sinvel iliaectatem fugit qui blam re maiosam aut endus, ipid enturiam fuga. Lore laut et eicae is apitaestorro consequunt venture mporit, aut idiciusam ut alit pro omnimus es doluptiumqui nes delliqui conem rernatus, quam, soluptatiunt lat que simos quibust, ius nimusdae endi des eicilit laut veliqui bla inciisin ped qui sunt que prem utatum sum est, conserum quias voluptaturem et faciaspera conserundi accae nes expella nectorro doluptatio. Ut etur? Qui reperis alicit facerum ipsam cus core siti accatio nsequi consect emporis eos doluptates sumqui dolor assime et fugit, voluptu ristiosam que asimaximusae deres sam nossequi ipsundipita ex explam experro omnimus apiciaerit ut quamus apiciam quibus explanihil iliquo exceperum dis eius accum id magnihitiae eum faccatur? Mo consenderion cus mossedicae ratios mod et exces dolenet enimolutet min pedit dolla nis aliciamendus maxim ad que nat ipsam hit quia cusae labo. Ut aute dendigenient a voluptur, nonesed eveless imusam, quassi dolorer essitiunt. Paria aliquo blacim cumquam ducidebit magnis nis

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K E A Q u a r t e r ly

F AQ

KEA in brief

directly into a job, or you can continue your studies for 1½ years to obtain a professional bachelor’s degree. KEA also has full professional bachelor’s programmes that last 3½ years.

W

hat is a business academy? KEA is short for Københavns Erhvervsakademi, which, translated directly, means Copenhagen’s Business Academy. A business academy offers short higher education programmes and professional bachelor’s programmes in a wide range of professional fields. The business academies have existed since 2009 and stem from the Danish business schools (business colleges, technical schools etc). The academies predominantly educate students for work in the private sector. KEA is the largest of the nine business academies in Denmark.

technology and health. Design assistant, marketing coordinator, surveying technician, multimedia designer, sanitary plumber, energy technologist, architectural technology and contruction management, and web developer are just some of the professions that KEA’s studies are designed for. New programmes of study are constantly being added to the list, as KEA works with the business world, adapting its programmes to meet the qualifications companies are looking for. KEA also offers a wide range of part-time programmes as continuing education opportunities. Applicants with a professional bachelor’s degree are eligible for the diploma and master’s programmes.

What can you study at KEA? KEA offers 30 different full-time programmes in the fields of design, IT and media, construction, manufacturing,

How long are KEA’s programmes of study? KEA has both short- and long-term programmes. For example, you can take a two-year higher education and then move

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PHOTOGR APHY Jan Søndergaard

Leap straight into the job market after two years or carry on studying for a professional bachelor’s degree or master’s? KEA offers a wide range of opportunities for those seeking a business-oriented education. Here you can find answers to all of your questions about KEA.

ies from programme to programme. Students find their own internships but KEA has a wealth of experience and many partners to draw on. Many students go on to get jobs or student jobs in the company where they did their internship; others obtain useful contacts that can help them in their job search following graduating.

How is a bachelor’s programme at KEA different from a university education? KEA is a part of the Danish education system with Can you study abroad if you a special focus on business. enrol in KEA? This means that KEA’s bachKEA, Prinsesse Charlottes Gade. elor programmes are tailored One out of ten KEA stuto a specific kind of job. Thus, dents either studies or does a bachelor’s degree from a business academy is a professional their internship abroad. KEA has exchange agreements with more bachelor’s degree. If you take a bachelor’s degree at a university, than 40 international universities, since international experience it is not specially tailored to the business world and you will not is sought by companies. Good opportunities exist to obtain grants necessarily have an internship or any form of interaction with to help pay for the costs of studying abroad. Many of KEA’s prothe business world during your studies. Most of those who at- grammes also feature a Danish and international line, where course tend university continue on to post-graduate level after complet- instruction is in English and fellow students come from around the ing their bachelor’s degree. Most people who earn a professional world. The international programmes provide expanded networkbachelor’s degree are ready to enter the job market. The profes- ing opportunities and important experience in cooperating and sional bachelor’s programmes also qualify students for admis- communicating across linguistic and cultural borders. sion to a master’s programme of study at university. What about the study environment? What does it mean that the programmes are business-oriented? Friday-night bar or summer school? At KEA, the study enThis means that the programmes focus on the compe- vironment is not dictated from above, but rather created at the tencies and skills required by companies. Assignments are various KEA locations by KEA and involved students. So there based on real problems and current cases from the busi- is not one standard formula for the study environment – KEA ness world. Instruction is project-oriented and you learn to regularly assesses the various programmes, including the study consider budgets and deadlines, as well as the requirements environment. KEA’s programmes are spread across Copenhagen. and preferences of actual and fictitious customers. The busi- At kea.dk, you can read more and see photos from the different loness orientation of the programmes also means that KEA cations. KEA also holds open day events or you can drop by for an has a strong cooperation with Danish and foreign companies informal visit if you want to experience the atmosphere first-hand. regarding internships, special project assignments, guest teachers and the development of programme content. This How do KEA graduates use their education? also means that KEA provides the framework and opportuKEA’s study programmes cover a broad range of fields, nity for enterprising students to develop ideas and dreams of so the answer to this question is equally broad. But nine out setting up their own company through the school’s lines of of ten students from KEA are employed or continuing their study, guidance and personal development. studies one year after graduating. See how some KEA students have used their education in our entrepreneur article Are internships mandatory? on page 86. And read more about how students from the An internship is a mandatory part of all of KEA’s pro- various KEA programmes view their school in our portfolio grammes to ensure good synergy between theory and practice of students on page 33.   and to give all students the opportunity to establish a network in their industry. The timing and length of the internship var- See page 96 for additional information about the programmes.

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K E A Q u a r t e r ly

Inside

INSIDE News , forthcoming events and strokes of genius from the students’ own hands.

In short: all things great and small from the KEA universe .

in the name of a good cause – DESIGN Irritating knots in earphone cables are a thing of the past

Good vibrations – KEABRATION – STUDent life The dancefloor will be packed to the rafters,

people will be jostling to get served at the bar and the place will be bursting with exuberant students when KEABRATION, this year’s big party event for KEA students, kicks off. Last year’s party went down a storm, with performances by Lucy Love and others. This year will feature apperances by Pato from White Pony, Pelle from P6 Beat, Christel from PiffPaff, Eloq and Emil Lange from Cheff Records as well as Eagger & Stunn among others. Make a date in your calendar for the 26th October when the party will be held at CPH Volume at Enghavevej. Keep yourself updated on facebook.com/keabration

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PHOTOGR APHY Nicolas Dalby, Christina Hauschildt

with Ásla Nikolajsen’s cord controller. However, Ásla’s design has a far wider impact, since it is also helping in the fight against cancer. Half of the profits from sales of the cord controller – shaped as the logo of the Danish Cancer Society – will go towards potentially life-saving research. To date, they’ve raised DKK 250,000 for this good cause. Find out more at komindikampen.nu

beans with style – visionary It’s not unusual for KEA students’ ideas to become a reality. Growers Cup is a totally unique coffee product whereby the packet is transformed into a disposable French press when boiling water is poured onto the ground coffee in the bag. Ben Eshel and his student colleagues on the Multimedia Designer programme set out to

raise awareness of the product with the online magazine Growers Today. The customer was so enthusiastic about it that they have asked them to develop the digital marketing of the product. Learn more at growerscup.com

– 019 –


Inside

The parking fine of tomorrow – application The parking attendant’s job just got a whole lot easier thanks to the development of the innovative application, optiPark. It’s a simple piece of software for Android mobiles which in only a couple of clicks lets parking attendants register, document and print out a ticket for offending drivers who won’t be able to claim, to the same extent as before, that their fine was not handed out in the correct manner.

Learn more at optipark.dk

OPTOMETRY – degree Progr amme On the Optometry degree pro-

gramme, attention is focussed on all imaginable aspects of sight and the spectacle lens. Discover a degree programme that combines interest in fashion, physiology of the eye and sight-testing, and correcting the vision of clients. Besides the vocational elements, the programme also introduces students to specialist know-how and the understanding of the fascinating technical equipment that is to be found in the optician’s backroom. Learn more about the degree programme at kea.dk

KUNSTHÅNDVÆRKERPRISEN – award of distinction Created in 1879, the Danish Ap-

plied Arts Prize has clocked up a few decades. For nearly 133 years, the prestigious arts prize has been awarded to hopeful artisans at a convivial ceremony at Copenhagen Town Hall in the presence of Her Majesty Queen Margrethe. Previously, it was administered by Copenhagen Technical College, but that honour has now been passed on to KEA. In its day, the first medal was

awarded to architect Gustav Friedrich Hetsch at the request of a number of Copenhagen artisans. The jury is made up of other artists and sculptor and professor Bjørn Nørgaard, who rose to national prominence in 1970 when he slaughtered a horse in protest at the Vietnam War at the Tabernakel exhibition in Louisiana. Learn more at danskekunsthaandvaerkere.dk

– 020 –

PHOTOGR APHY Polfoto, Christina Hauschildt

Around the world – Exc hange progr amme Thanks to KEA, the world has suddenly got smaller. And, without a doubt, that is in the students’ favour when they can take advantage of the School’s exchange agreements with around 40 universities in the USA, Canada, Australia, Germany, France, Italy, Spain, the Netherlands, the UK, Ireland, Poland, Lithuania, Finland, Norway and Sweden. Naturally, interest in this global exchange goes both ways. So if you spend your days in the classrooms and corridors of KEA in Copenhagen, you can converse with international students from every corner of the planet and forge friendships that will connect you with the rest of the world.

Learn more at kea.dk

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K E A Q u a r t e r ly

Inside

look for a job anywhere – application martphones have become a ubiquitous part of everyday life, and the days when the mobile phone was only used for text messaging and conversations are long gone. When the job portal Jobindex decided to jump on the bandwagon in order to be able to offer jobseekers an optimal service, irrespective of where they were, it was a perfect challenge for KEA students who eagerly threw themselves into the development of the new application for Android mobiles. Yet another great example of KEA solving the kinds of challenges that the students will face when they join the real world of employment.

Learn more at kea.dk and jobindex.dk

world-class design – ProjeCt Fine crocheted collars, necklaces and hand-embroidered cushions: these are just some of the accessories on offer with the I tråd med verden project. The project is a social-economic undertaking organised by KEA whereby refugee and immigrant women all over Denmark meet the Danish design industry and, in close partnership, develop design products. Among other things, I tråd med verden has collaborated with recognised designers such as Anne Sofie Madsen, Pil Bredahl for MENU and Stine Ladefoged. Furthermore, the project’s beautiful embroidery has been exhibited at Designmuseum Danmark and Galleri Martin Asbæk.

PHOTOGR APHY Lucas Wyzx, Christina Hauschildt

Learn more at itraadmedverden.dk

the stars of tomorrow – student life KEA Connect is as one-day mini fair where students on KEA’s degree programmes present the projects they are currently working on. It’s where the world of business and other interested parties can take a look at all the talent at KEA. Prospective students are also welcome to drop in at the open house.

KEA Connect will take place on November 8th at Kødbyen, building 55. Learn more at kea.dk

– 022 –

new ideas pushing trolley design – cooper ation Teamwork and reality are keywords for a team comprising Peter Nielsen and Rasmus Hansen, who are both students in KEA’s production technology faculty. When a TV programme revealed the numerous problems DSB’s catering trolleys caused to employees, the two students immediately saw an opportunity and threw themselves into the

task of designing a new catering trolley for trains that takes account of real-life situations and the challenges they present. Together they have developed a trolley which, with its customised drawers, brakes and coffee pots, glides effortlessly through the narrow aisles. Safe, practical and workable in the real world.   

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the Codes above CaN be used uNtIl NoveMber 7th 2012. after that the offer wIll be avaIlable oN Cover.dk

the Codes above CaN be used uNtIl NoveMber 7th 2012. after that the offer wIll be avaIlable oN Cover.dk

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K E A Q u a r t e r ly

Interview

Driven by sustainability “I wish I’d had the knowledge then that students at KEA have now,” says Vigga Svensson, the owner of childrenswear brand Katvig who takes pride in sustainable production.

text Sofia Halprin photography Thomas Skou

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K E A Q u a r t e r ly

V

igga Svensson’s face lights up the cheapest T-shirt in the store. Today the fashion industry as she talks about her company, is largely built on losers. I find that irresponsible and oldKatvig, on a warm and clear fashioned. I want to build my company on winners. Right day at home in Taarbæk. from the people who make the clothes to the environment, It all started in 2003 when the children who wear the clothes, and future generations.” she was expecting her second Svensson was well aware that making Katvig a sustainachild. Together with her friend ble childrenswear brand would not be easy. Her ambition Katrine Collette, who like her was to pave the way and show that it is possible to be a part was also on maternity leave, of the fashion industry without losing out at any stage of the they began sewing clothes for process, from production to the finished product. At the same their children. They lacked alternatives to the usual beige time, her business partner was diagnosed with breast cancer polo shirts and dresses covered in princess prints. The plan and died shortly after. So from the spring of 2006, Vigga was to sell the clothes from a cosy little shop, but a business- stood alone with all of the decisions. “It was an expensive oriented uncle guided the two women towards mass produ- strategy because nobody could help us. We had to create evection, and the ambition of actually making money on rything from scratch and find the information on our own.” By late summer 2008, the financial crisis had also begun childrenswear took hold. Katvig was born. And things quickly took off. Everyone wanted to get their to affect Katvig. Although a change in course to something hands on the colourful stripes and the apple-printed child- semi-sustainable might have been the smartest thing to do renswear. Katvig’s retro-inspired clothing coincided perfect- from an economic perspective, the company never even considered such a move. Doing things by half measures is not ly with the early stages of the economic boom. in Svensson’s nature. “If we “We wanted lots of cohad only been interested lours and patterns. We heartened to see in making a profit, Katvig thought that the clothes on could have easily produced the market were too delicate sustainability clothes much more cheaply. and didn’t reflect the imagiBut we care about decent nation, energy and everyday working conditions at the lives of children very well. – Vigga Svensson talking about KEA classes. factories, waste-water syIt seems a bit crazy to put a very active child with a vivid imagination into beige clothes. stems that collect hazardous chemicals before they end up So we thought that we would just make the clothes ourselves. in rivers, degradable packaging and clothes without poison etc. You have to look at the bigger picture, and here it is Our attitude was: how hard can it be?” Vigga runs her fingers through her short blonde hair and important to stress that the cheapest T-shirt is the one that laughs as she talks about their lack of business plans and leaves the most expensive bill – for the consumer, the produmarket research, vital building blocks for most other compa- cer countries, the environment and, ultimately, the future.” Two years later, in 2010, the company’s business turned nies. And she says that they were two bright-eyed amateurs, but very ambitious nonetheless. Their great ambition led to around and became profitable once again. All of the start400 per cent growth each year for the first three years of up difficulties were now under control. And the company’s Katvig’s existence. As the company grew, the women gained finances were suddenly sound once again. Today Katvig works to raise awareness of sustainability knowledge of the textiles industry and discovered that there is not much to be proud of. Their new knowledge about the in general. Vigga’s great ambition is to generate as much atindustry, one of the most damaging in the world, led to a tention for ethically produced clothing as there is for organic total restructuring of production to make Katvig 100 per lotions and foods. And to this end, Vigga has used rather unconventional methods. cent sustainable. “I teach at our very own sustainability school where we “After I realised what a dirty industry I was a part of, there train people to think in a more environmentally friendly way. was no other choice than to restructure our production pro- Most people don’t know that an ordinary T-shirt can contain cesses. I didn’t want to create a business by destroying Chi- up to 8,000 different chemicals and that it has to be washed nese workers’ lives, ruining the environment and climate, 20 times before all of the substances are removed. I provide and putting consumers’ health at risk just to be able to sell a basic introduction to the world of textiles, its drawbacks,

“I am that KEA has placed so firmly on the agenda”

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Vigga Svensson and her familie are very aware of living a sustainable lifestyle and not waste any ressources unnecessary.

and what people can do to avoid harming their children, the environment and the people who make the products.” The plan is to create a form of sustainability activism so that participants leave the Katvig seminar and spread the message – and start a movement to raise the general public’s awareness. In addition to the sustainability school, Katvig hosts clothes exchange events so that items that children have outgrown do not end up in the attic or, even worse, in the rubbish. “The longer you use a piece of clothing, the more sustainable it becomes. If you only use the clothes a couple of times, it is a total waste of resources. It is really difficult with children’s clothes because children grow so fast. Therefore, we came up with something we call swap parties. Basically, people bring all of the Katvig clothes that no longer fit their children to our event. And then people swap their clothes for used clothes in other sizes. This ensures a longer life cycle. And it is also in our own interest, because people will hopefully want to spend an extra DKK 20 on a sustainably produced body stocking because it can be traded later.” The fact that Svensson is a busy woman cannot come as a surprise to many. In addition to her work at Katvig, she is the voice of the television station TV2 Zulu. Every week, she sits down in one of Katvig’s bathrooms which has been transformed into a sound studio and records all the voiceovers for the station. Each year she also acts as an external examiner for KEA’s sustainability programme. “I am heartened to see that KEA has placed sustainability so firmly on the agenda and teaches students to incorporate it into all business processes,” she says. “I wish I’d had the knowledge that students have now, when Katvig decided to become a 100 per cent sustainable company.”  

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K E A Q u a r t e r ly

Fe a t u r e

t h e n ew h ea rt o f n ø r r e b ro “At the new Empire Campus , students are

co-creators of the experience . When you

Myriad lives and stories, flexible walls and high-tech auditoria: all part of the ambitious vision for KEA’s new campus, which students are helping to shape.

text Marlene Toldbod Jakobsen photography Anne Mie Dreves

S

omething big is happening between Nørrebrogade and Guldbergsgade in an old, red industrial building sandwiched between Assistens Cemetery’s yellow wall on one side and the ‘Coming Soon’ posters of the Empire Cinema on the other. It is not visible from the outside, but the dust begins to tickle your nostrils as soon as you begin climbing the stairs to the first floor. Off-white debris covers the normally black concrete floor, where clear footprints cross in all directions between isolated piles of stone wool. Rows of large windows stand against the walls, waiting to be installed, and bulky silver ventilation

systems lined with cables hang from the ceiling. The smokestack here at number 29 once funnelled the machine factory’s smoke out over the streets of Nørrebro; it is one of Copenhagen’s historic landmarks and must therefore be preserved. But nearly everything else will have been rebuilt by the time KEA’s new campus is completed in late 2013. The creative forces behind the project are dreaming of a small revolution on Nørrebro’s busy streets. “At the new Empire Campus, students are co-creators of the experience,” says Patrick Coard, a Architectural Technology and Construction Management graduate from KEA and

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enter the campus, you encounter a changing environment that invites students and citizens of all ages to participate actively” – Patrick Coard talking about the new KEA Campus.

now creative consultant on the project. “When you enter the campus, you encounter a changing environment that invites students and citizens of all ages to participate actively.” The new KEA Empire Campus will also mean more than just new facilities. It represents the dream of breaking the traditional boundaries of what an educational institution is. “We don’t want an authoritarian institution that decides what everything looks like in advance and where the buildings are empty after two o’ clock in the afternoon,” says KEA communications consultant Louise Grane. “We want to be a part of Nørrebro and help to create a good framework, and experiences

for students and the local population.” This was the very mindset of resource director Jesper Rasmussen when he fell for the deserted industrial buildings. Even though space is somewhat cramped, the decision to create a new campus felt right. “Students and teachers will be able to decide how best to use the space,” he says. “For example, there will be flexible walls for optimising the use of space depending on the need for large or small rooms. The bustling everyday activity of the KEA Empire Campus will epitomise its identity.” KEA’s students have been involved throughout the project’s process, especially students in the Architectural Technology and Construction Management programmes and the energy technologist students, who all wrote term papers about the new campus. “We chose this project for the students because it seemed obvious that they should be a part of developing solutions for the buildings they will soon be using,” says Charlotte Møller, head of studies for the Architectural Technology and Construction Management programme. Many of the students subsequently

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chose to dedicate their summer holiday to become more involved in the creation of the new campus and leave a mark on their future place of study. Just as with the external surroundings, the facilities reflect openness, creativity and variability. Students will be able to immerse themselves in Scandinavia’s largest materials library, Material Connexion, supplied by the company of the same name whose headquarters are in New York. Other features of the campus include a high-tech auditorium with 3D projection capabilities, various design studios, model workshops, industrial rooms and a wide range of workspaces. It is every bit as ambitious as it sounds. Even though many aspects of the project could change between now and its scheduled completion in late 2013, Jesper Rasmussen says that the scope of ambition for it will remain high. “The new Empire Campus will be KEA’s centre of excellence. Here we will gather all of our programmes, making the campus a hub for KEA as a whole and for our many partners in the business community. When it all comes together, the result will hopefully be ‘outside the box’ – just the way we want it.”  


PICASSO BASQUIAT SCHIELE KAHLO NOLDE DALĺ KOONS MIRÓ... P o r t fo l i o

KEA Confessions Why should you choose to study at KEA ? How can you use what you learn at KEA? And what is the best thing about attending KEA? We asked ten students from different programmes why they have chosen a KEA education.

text Michael Schmidt photography Jonas Bie

Med støtte fra

Hovedsponsor for Louisiana

14.09 2012 13.01 2013 Egon Schiele: Selvportræt med påfuglevest, 1911. Gouache. Ernst Ploil, Wien


K E A Q u a r t e r ly

Sarah Deloughery

25 years old

Sustainable Fashion

Ronnie Markussen 28 years old

Architectural Technology and Construction Management

Why did you choose KEA? I am a qualified carpenter, but I suffered a back injury that forced me to think of career alternatives. It was tough abandoning my love of building things so I was looking for a programme that combined good professional opportunities and the practical elements I enjoy. I found all of this at KEA. Why Architectural Technology and Construction Management? I’m very interested in architecture, particularly the early phases of construction, where you have the greatest opportunity to influence the final result. It is especially important for someone like me who is interested in the sustainable development of the industry to understand the different construction stages and the underlying processes. What have your studies given you? The programme has fundamentally

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changed my view of buildings and the spatial understanding that architecture demands. Of course I’ve also learned a lot about legal requirements, preparing tenders, managing a construction project and a wide range of planning formalities. What projects are you working on besides your studies? A lot of different things! I built my own furniture from old floorboards, I’m collecting materials for a biological air purification system and I spend a lot of time on sustainable construction, which is also the focus of my thesis. I am also doing a project with an architect friend of mine involving a new way of building that is sustainable, healthier and cheaper. What advice would you give to new students? Hang in there, even when the going gets tough! The satisfaction you’ll get from reaching your goals is indescribable.

Why did you choose KEA? For me, it’s important that there is a market for my product. Otherwise, I can’t make a living. KEA’s design technologist programme lends equal weight to creativity and business. And that’s perfect for me. Why Sustainable Fashion? I’m fascinated by fashion, but the fact is that the fashion industry is the second-most polluting industry in the world. Factory workers are exposed to toxic chemicals and for many the living conditions are terrible. I chose to study Sustainable Fashion because I want to make the fashion industry better in terms of the environment and working conditions. What have you got out of your studies at KEA? A lot of people probably think that sustainability is dull and boring, but it’s both an innovative and essential way of

thinking and working. The programme spends a lot of time analysing companies and working out solutions that show how each company can become more sustainable. And, of course, there’s also a range of specific aspects. We work with zero-waste design, a reverse design process where the pattern is based on the measurements of the fabric roll so the entire roll can be used without zero waste. What is the best thing about studying at KEA? Our internships, where we get the chance to go out and discover that the knowledge we have gained is really useful and applicable. Right now, I’m doing an internship at I Tråd Med Verden, a social-economic company where creativity and design provide enhanced quality of life and employment for refugees and immigrant women in Denmark. It is really exciting and I’m doing both design and PR tasks, which I also find fun.

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P o r t fo l i o

Morten Ensted 28 years old

Electronic Technology

Maria Marjorie 24 years old

Design, Technology and business

Why did you choose KEA? I chose KEA because it offered exactly the education I wanted. Why Electronic Technology? First of all, I can use a lot of the things from the electrician programme and I really enjoy the international programme, where you can meet people from all over the world. What’s the best thing you’ve got out of the programme? I think I've learned a lot. Besides learning a lot about electronics and programming, I have also learned to work in groups – something I didn’t used to be so good at. And I’ve really improved my English since all of the teaching and written assignments are in English.

What is the best thing about studying at KEA? Their approach to learning! It’s not so much about reading loads of thick books and then believing you know everything about a given subject, but more about a hands-on approach. Learning by doing. What projects are you working on besides your studies? I’ve always got lots of projects going on. Lately I’ve been working on getting a CNC machine up and running. And I bought a little toy called Raspberry Pi. It’s an incredibly powerful computer the size of a credit card, with several inputs and outputs for controlling various electronic things. What advice would you give to a new KEA student? Think very carefully about whether it is the right thing for you. Be goal-oriented when choosing your line of study!

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Why did you choose KEA? I knew that I wanted to work in fashion and KEA offers the academy profession degree programme in Design, Technology and Business, where you can take the design, sourcing or marketing lines. What have you got out of your studies? At KEA, you share your knowledge and learn from each other, so it’s an incredibly inspiring learning environment. I have learned a lot from presenting my work to my fellow students and teachers. What projects are you working on besides your studies? I work at Weekday, a shop located in central Copenhagen. And I work as a design assistant for the fashion label DANSK and blog at MariaMarjoriesblog.com. I’ve also written for other blogs that cover fashion, street style and my great passion – shoes!

How do you put the things you’ve learned in school into practice? I’ve used so many of the practical skills we learn at school in the real world. I use Illustrator almost every day when working at DANSK with drawings of clothing and collections. During your internship you really get the chance to test your knowledge. I have developed CSR programmes and even conducted workshops on CSR to bring other employees up to speed. What makes KEA stand out from other schools? KEA teaches you to use your existing experience and competencies in a new way. At the same time, the school contributes a lot of new knowledge and puts the industry in a new perspective.

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K E A Q u a r t e r ly

Nicolai Qvindbjerg 29 years old

Brand design

Peter Mortensen

26 years old

Architectural Technology and Construction Management

Why did you choose KEA? I wanted to get a tangible result from my work and what can be more tangible than constructing buildings? I therefore opted for the bachelor's degree programme in Architectural Technology and Construction Management and KEA is one of the few schools that offers an international line, so I am now studying with people from around the world, which is fantastic! What was it like to start at KEA? I was a little worried about taking up academic study again after a long hiatus, but I’m totally hooked on it now. What projects are you working on besides your studies? I am working on a project with an engineering student and IDA (the Engineers Association) called Building Futures. The project aims to improve cooperation between educational institutions in the

field of construction through integrated projects involving students from DTU, the Royal Danish Academy of Fine Arts, Copenhagen University College of Engineering and KEA, who work together on a construction project. The ultimate goal is for these projects to become a part of the schools’ curriculum. What is the social environment like at KEA? I ended up with the coolest group of fellow students and I’ve made a lot of friends despite the rather big age differences. There isn’t much interaction across departments and classes, since the facilities don’t really provide for this, but I know efforts are being made to change this. What advice would you give to new students? Share your knowledge with others. If you can promote this culture in your class, it makes for a fantastic atmosphere.

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Why did you choose KEA? My first choice was the Danish School of Media and Journalism, but when I didn’t get in I looked into KEA and the school seemed like a good stepping stone for studying somewhere else afterwards. I've since discovered that KEA is the perfect school for me. It’s a place where you can try out a lot of things and it offers a lot of different areas of specialisation. Why Brand Design? Initially it was because the programme was the closest to graphic design, which is my area of specialisation. It’s not enough to make a cool product – you also have to master the marketing behind it. I find this incredibly fascinating and inspiring. What is the best thing about studying at KEA? That the studies are so close to the real world.

What projects are you working on besides your studies? My company, The New Black, is a design agency focused on graphic and web design. It takes up most of my time, but I also make time for my band, Far Away From Fiji. What is the social environment like at KEA? The good thing about KEA and the school’s social environment is that there are so many creative and inspiring people. You can really learn a lot from each other if you take advantage of the opportunities and network. What advice would you give to new KEA students? Network, network, network. It’s probably one of the best things you can do for yourself in this industry. Other than that, it is a good idea to specialise right from the start so that you know what you are working towards.

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P o r t fo l i o

Tikkie and Mads 27 years old

Communication Design & Ideation

Maria Patell 41 years old

institute of precious metal

Why did you choose KEA? Tikkie : I actually started out studying to become a graphic artist, but as I sat doing the layout for fashion magazines, I realised that I was more interested in the content. So when I heard about KEA I took a chance and applied. Mads : I chose KEA because it is a vocationally oriented school where the programmes are adaptable to your skills and interests. What programmes are you enrolled in? Mads : I am enrolled in the Ideation programme, mostly because of the entrepreneur component, which is my main focus at the moment. We run the webshop Adélie together. Tikkie : I am taking my bachelor’s degree in Communication Design, which builds on my specialisation in trend and design strategy. I am fascinated by the dynamics of fashion: what is a trend, when and how does it arise and can you sys-

tematise it all? KEA has given me good practical tools for working with these interests. My bachelor’s degree has also equipped me with good communication skills that I can use in our company. So for me it’s a perfect mix. What is your dream for the future? Tikkie and Mads : We are very privileged and are actually living our dream right now. Over the long term, we hope to continue developing our store, both physically and online. And we have lots of other ideas, but they will remain secret for the time being. What advice would you give to new students? Tikkie and Mads : Take your internship seriously, as it is just about the most important part of your studies. You can learn a lot in school, but if you don’t know how things work in the real world, you will find yourself at the end of the job queue.

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Why did you choose KEA? I chose KEA because it offers so many possibilities. It keeps up with the times, creating new programmes of study that match society today. Why jewellery designer? I worked for an Italian jewellery designer in India and fell in love with the process of creating jewellery. I realised that I had to develop my craft as a jewellery designer at home in Denmark. What is the most important thing your studies have given you? More than anything, I learned why I do what I do. I have developed my craft tremendously while also learning to be true to myself. What projects are you working on besides your studies? Right now I am working on an in-

ternational art project called I Tråd Med Verden, where I exhibit my jewellery at the fashion fair in Copenhagen. Until recently I also had a gallery called Saturday Gallery, which hosted exhibitions, sold jewellery and rented workshop spaces to other jewellery designers. How do you combine school and the outside world in your daily life? The school introduces students to so many of the real-life challenges we will have to face when it’s time for us to go out into the world and make it on our own. So there is a really good balance between school and the real world. What is your dream for the future? My dream is to make a living from my passion for jewellery design.

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K E A Q u a r t e r ly

Ben Eshel 27 years old

E-concept development

Maria Foerlev 36 years old

Comm u nication design

Why did you choose KEA? KEA is a modern, democratic educational institution that values its students and actually encourages its students to get involved. Why Communication Design? I am passionate about all forms of communication and if you want to work in this field you have to have an overview and understanding of the many communication interfaces that exist today. For me, the programme has been perfect because I get to use the skills I acquire in school in my own business, Pleas Wait To Be Seated. What is the best thing about the programme? The school has taught me to think more holistically and sharpen my focus so my communication is more creative and targeted.

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What is the best thing about KEA? The way that theory and practice are linked together. We perform tasks for Vero Moda, Radio 24/7, Fashion Forum, MUUSE and many others. We also have visits from inspiring speakers, filmmakers, artists, writers, opera singers and publishers. In this way, KEA introduces students as early as possible to the world that waits outside the school’s walls. How do you use the things you’ve learned? I have actually put everything I have learned in my studies into practice. I have prepared a communication strategy for my own design company, written newsletters, blogged, made short films and prepared presentations.

Why did you choose KEA? There were relatively few requirements for admission and it seemed like KEA had a lot to offer academically. I was very unsure whether to start studying since I am already a freelance graphic designer, but after a month I really started to get into the courses and when we started the first project I had no doubts that I would complete the programme. Why E-concept Development? It’s an exciting area of specialisation with a focus on managing a creative process. It’s something I feel I need to improve on in my chosen area of work. What have your studies given you? A greater sense of management and organising a creative process. The E-concept Development programme is based on various cases students have to solve. A company comes in

and presents a given problem and then we have three weeks to find a solution. It’s a very intense and educational process and the group work is a delicate balance between chaos and control. But every aspect is something you can use in the business world. What projects are you working on besides your studies? I still have my company, Eshelart, where I’m doing graphic design. And I just started up Guerrilla Café with a friend. It’s a mobile café that sells coffee and healthy snacks from a cargo bike. What is your dream for the future? In the short term, it’s getting Guerilla Café up and running. I also want to continue working as a graphic designer, since it is a wonderfully varying line of work. Over the long term, I would like to be able to make a living from my art.  

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Fe a t u r e

The sofa is alive Sustainability is more than an old-fashioned political buzzword in our modern consumer society. Students at KEA incorporate the concept into all facets of production, preparing for the labour market of tomorrow. Meet Tobias, who designed a sustainable sofa complete with fish and plants.

text Boline Skovly

I

magine coming home from a long day at work and easing into your soft, comfy sofa. But instead of a conventional wood-framed sofa upholstered in wool, you stretch out on a living, organic system where freshwater fish swim around and cucumbers and tomatoes grow wild. At first this may sound rather bizarre. Nonetheless, the idea formed the core of Eco-Home, KEA designer Tobias Juul Brøgger-Jensen’s final project in February this year. He is one of those people who see opportunities instead of limitations when it comes to our future. “I applied a food production science called aquaponics, where plants grow in water rather than soil,” says the 28-yearold graduate. “The sofa is a closed greenhouse system made from biodegradable plastics, the production process is as green as possible and the fish feed on the nutrients from the plant remains. The plants feed on the waste products from the fish, which in turn cleanse the water. There are no added pesticides or nitrates, so you can eat your own organic fish from the sofa.” Brøgger-Jensen holds a professional bachelor’s degree in Design and Business from KEA, specialising in Ideation. Students in this programme work on idea generation, product development, processes and transforming trendspotting into sustainable commercial solutions. During his studies, Brøgger-Jensen worked extensively with the concept of sustainability, but he finds it difficult to explain precisely when and how the idea of Eco-Home arose. At some point he was sitting at home in his apartment in Amager looking at his own coffee table.

“I liked the idea of something living and I was very interested in urban gardening, which involves citizens in cities and urban areas making communal vegetable gardens,” he says. “Even though I live in an apartment and don’t have the same access to growing vegetables as people who live in the countryside, I thought that my coffee table could become a living organism.” He also had in mind the prediction that 80 per cent of the global population will be living in cities and urban areas by 2050 – by which time the total global population is expected to grow by three billion. “If these predictions hold true, we would need a whole new area of land the size of Brazil to feed the world’s population, assuming we maintain current agricultural practices,” he says. “The problem is that we are already using 80 per cent of the land that is suitable for agriculture today.” Brøgger-Jensen therefore found himself asking questions such as “How can I integrate products that are designed for people in cities?” and “How can I design interiors that are innovative and self-sufficient while featuring unique design?” “I would love to say that I used all kinds of fancy product development theories,” he says, “but the truth is that the idea just came to me at home in my living room, as I sat looking at my coffee table. In fact, my process was a little bit like a musician’s. You know, you whistle some random tune, then take out your guitar and suddenly there’s a song.” Of course, Brøgger-Jensen is not the only KEA student who has created innovative and sustainable products. As part of

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K E A Q u a r t e r ly

Cotton processing in America, 1956. We have improved our clothing production since then, but there is still room for improvements.

Urban gardening. Vegetable garden at Nørrebro.

– Fac t box – S u s t a i n ab i l i t y

Media and companies talk about “sustainable development” to ensure that we have access to healthy food, clean water and clean air without destroying resources and the possibilities for future generations. Ne w N o r d i c L i v i n g

One of the initiatives for raising awareness and knowledge about sustainability is ECOWEEK in Copenhagen, to be held in May 2013. KEA is hosting ECOWEEK in Denmark; ECOWEEK originated in Greece in 2005. The week-long event is based on dialogue, where students, teachers and professional experts exchange experiences. The overall goal of ECOWEEK is to raise awareness and inspire professionals such as construction managers, designers and energy technologists to make environmentally friendly decisions. It is the first time that ECOWEEK will be held in Scandinavia. Find out what is in store and read more about ECOWEEK – New Nordic Living at www.kea.dk.

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my view, it is not just the students’ responsibility to figure out how they want to use their education – we want to be a part of the process.” This ensures that students are prepared for the real world following their studies at KEA. “We expose students to reality,” she says, “making it easy for them to envision themselves as working professionals. We are in close contact with the business world and we see that they are concerned with environmental and economic sustainability.” But what is sustainability really, and what skills does it demand of students? Head consultant Eva Valcke also works with sustainability at Knowledge Centre 3.0 and stresses that KEA students – and society as a whole – must first and foremost find out what sustainability means before establishing some degree of focus. “It’s a very difficult concept to define and frame,” she says, “so our primary task is to cultivate increased awareness of the concept. There is an ongoing debate in Denmark and around the world, so our task is to determine how to use it in relation to the programmes.” Knowledge manager Pernille Berg goes on to explain that attention must focus on an awareness that it does make a difference how you produce a sweater or a house. “The concept of sustainability is very politically charged and we are not trying to be holier-than-thou,” she says. “To me, sustainability is about making the right decision at the right time for the right reasons. It may sound fluffy, but it’s about knowing what you are doing.” If a construction manager chooses to build a house and wants to ensure that it’s sustainable, he has to know about all

the individual components in the construction process. This requires niche knowledge: “From insight into the various wood types, to where the tree was grown, whether production conditions involve excess energy consumption and so on. The objective is to ensure we are aware of the consequences of our choices in order to prevent them from negatively impacting many generations to come,” she adds. A new initiative at KEA is the opening of a materials library this October. Here, students will be able to acquire even more specific knowledge. “The fashion industry is one of the most polluting industries,” says Berg. “We must therefore be extremely knowledgeable about materials and materials technology, subjects students can learn about at KEA’s materials library. What do various types of cotton quality mean and what are the environmental impacts of dyeing textiles? This is the type of knowledge we and our students must possess.” Tobias Juul Brøgger-Jensen has thought through all elements

“The objective is to ensure we are aware of the consequences of our choices in order to prevent them from negatively impacting

many generations to come”

– Pernille Berg talking about the objective for KEA's materials library.

PHOTOGR APHY Polfoto

KEA’s strategy, sustainability awareness permeates the majority of the roughly 30 full-time programmes offered at the Copenhagen School of Design and Technology. For example, clothing designers in the Sustainable Fashion programme have incorporated the philosophy of Zero Waste, which involves minimising waste generation by using all the fabric in the production of clothes; while construction management students have created an IT system to reduce the waste of raw materials on construction sites. Pernille Berg, knowledge manager at KEA’s Knowledge Centre 3.0, is responsible for supporting the development of KEA’s programmes. She does this by collecting and sharing information about sustainability, materials technology and design. “The characteristic feature of KEA programmes is that they are all product-oriented,” she says, emphasising that the concept is not just about marketing KEA’s programmes as politically correct. “It is extremely important that our graduates can incorporate the best possible solution when designing a lamp, jewellery or an electrical installation, for example.” According to Berg, KEA cannot avoid incorporating the concept into all the school’s programmes. “We are facing scarcity of resources and a growing elderly population – issues that stretch beyond national borders and professions. We have a responsibility as an educational institution and must consciously design our programmes to ensure consideration of these issues. But having said that, we also have a responsibility for ensuring that the programmes reflect the real world as much as possible. In

of the sofa production process. The fish and plants need light, so it is equipped with LED lighting, the most energy-efficient option on the market, and the water pipes are made of biodegradable recycled plastic. The designer is currently completing the prototype and is looking for partners who want to produce the furniture line, which also includes a bed and a shelving unit. But according to Brøgger-Jensen, the biggest barrier will be getting ordinary people to eat the fish that swam around in their sofa for six months – fish they might even have given names to. “In Denmark, out relationship with animals is very petoriented,” he says, “and even though self-sufficiency is an element of my project, a number of cultural conditions would have to be in place before it could succeed. Normally, people go down to the store to buy fish that are already filleted, so it may be something of a challenge. I may be wrong, but I think that most people don’t actually know how to fillet a fish.”  

Aquaponics – the inspiration for Tobias' living sofa.

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K E A Q u a r t e r ly

Living

2

square metre If walls could talk … Join us on a tour of the various buildings across Copenhagen

belonging to KEA.

photography Jan Søndergaard

Corridor, KEA Prinsesse Charlottes Gade 38 – 55°41'40.01"N 12°33'3.03"E.

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K E A Q u a r t e r ly

Living

Optometry equipment, KEA Nordre Fasanvej 27 – 55°40'55.03"N 12°31'21.45"E.

Mannequins, KEA Frederikkevej 8-10 – 55°43'50.35"N 12°34'42.10"E.

Garden area, KEA Lygten 16 – 55°42'22.94"N 12°32'20.87"E.

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K E A Q u a r t e r ly

Living

Workbench, KEA Rosenvængets Allé 20B – 55°41'57.56"N 12°34'54.60"E.

Facade, KEA Prinsesse Charlottes Gade 38 – 55°41'40.01"N 12°33'3.03"E.

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K E A Q u a r t e r ly

Living

Ruler, KEA Frederikkevej 8-10 – 55°43'50.35"N 12°34'42.10"E.

Measuring equipment, KEA Lygten 37 – 55°42'14.21"N 12°32'14.97"E.

Glass door, KEA Bispevej 5 – 55°42'25.12"N 12°31'47.25"E.

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K E A Q u a r t e r ly

Te n d e n c y

Zeitgeist The biggest megatrends of our time relate to sustainability, proximity and authenticity, as well as the ability to engage in a global cycle where

we seamlessly enter and exit ever changing contexts . How do you translate these often contradictory trends into knowledge about the labour market

of the future?

text Signe Løntoft

O

ne day you’ve had enough. You’re tired of being a slave to your smartphone and begin making rules for how often you can check Facebook and your email, or you take a week offline and delete your social media profiles. At the same time, you become interested in environmentally friendly living. You stop buying take-away coffee in paper cups, start baking your own organic bread and perhaps even grind your own flour in a small electric grinder. You plant tomato plants on your balcony and talk some of the other people in your building into keeping chickens in the courtyard. You invite your network to clothes swaps instead of going out and buying

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new clothes. You want to live a life rooted in the local community. The simple life. The authentic life. The sustainable life. Even though it is something of a lie, because you still have to do your job, which involves monthly flights to overseas destinations such as Sao Paulo, New York and Mumbai. Soon, the smartphone is back in your pocket and you cannot live without your calendar because, although you still grind your own flour, you still have to meet your deadlines, attract new customers and be visible at the most important industry conferences and receptions. You have to tend to yourself, your partner and your friends. Maybe move into a bigger or better home, work out, plan a hen party, visit friends in Berlin, buy a new telephone... The world is moving and it’s not a train that you can just jump on and off of. Current megatrends point in many different directions. On one hand, they are marked by high speed and uncondi-

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K E A Q u a r t e r ly

Oppenheimer is an authority. Until last autumn, she was tional flexibility. On the other hand, there are just as many opposing trends that relate to a desire for slowness and sim- the CEO of Barclays UK Retail Banking and Europe Retail plicity. You must not allow these to confuse you, because in and Business Banking. Today she is a part of the managea complex world emerging trends will always give rise to op- ment of Tesco Bank and she is considered one of the financial posing trends. But while researchers once had an idea that world’s most influential people. The radically flexible dream employee that Deanna Optrends replaced each other at some form of interval, the period between intervals is now so short that different and appar- penheimer outlines in the quote above is familiar to futurently incompatible trends co-exist. This is true not only in ologist Jesper Bo Jensen of Fremforsk, the Centre for Future society and culture at large, but also within individuals. We Studies in Aarhus. He has written numerous books about the are skilled at holding down a fast-track career while simul- companies of the future and consumer behaviour, and he has worked extensively with their impact on the labour market taneously going offline in our free time at a remote Swedish getaway, going on silent retreats to India, or making all our and education sector. One of the reasons that personal qualifications will be so food from scratch. vital in the future is the acceleration of megatrends, which “Many trends are conflicting, but only by being honest about this conflict can you generate progress,” says Pernille can best be illustrated with an example. When the telephone Berg, knowledge manager at KEA’s Knowledge Center. She is was invented, it took 38 years before it was in use by 10 milused to decoding megatrends to ensure the constant develop- lion users. When the fax machine was invented, it took 22 ment of KEA’s programmes in relation to the business world’s years before it was just as widely used. It only took nine years for mobile phones, and the current and future needs. internet was just as preva“You cannot bluff or act as lent after just two years! In if all of the arrows are pointother words, the world is ing in the same direction, changing at an ever growbecause this is clearly untrue highly specialised ing pace, which makes great and may result in a form of demands on our brains. The apathy. Both companies and technical experts brain is a flexible organ deeducational institutions must market for the true specialists signed to adapt, but perhaps seek out new paths and a not as quickly as required at brand new paradigm. When present. Therefore, more and it comes to the programmes – Futurologist Jesper Bo Jensen talking about growth. more people are falling vicwe offer at KEA, it is importim to stress or experiencing tant that we are tapped into the global Zeitgeist. If Denmark is to survive as more than other adverse reactions to the high requirements for flexibila museum of history, the young generation must be able to ity and concentration. And so personal skills relating to the respond to demand instead of supply. In a time of crisis this ability to manoeuvre under these conditions will be attractive may seem daunting, and the media is currently filled with an qualifications in the job market of the future. However, Jesper Bo Jensen emphasises that this is not tanarray of doomsday scenarios. However, these will take you nowhere. Instead, we attempt to take a positive and construc- tamount to the demise of the specialised labour market. “For some years people believed that there would no longer tive approach to the transformation society must undergo. For an educational institution, it is basically a matter of creating be any need for highly specialised technical experts, but it a culture where students know that they must create jobs in- looks like the market for the true specialists is also growing. And here, personal qualifications don’t mean as much. If a stead of taking jobs.” company needs a specialist in underwater oil drilling in areas “In the future, companies will seek multicultural, multi- with unstable meteorological conditions, then they need the gendered, multilingual employees with a range of different person who knows about that, even if he is difficult to work skills,” said American-born businesswoman Deanna Oppen- with.” Like Deanna Oppenheimer, Jesper Bo Jensen stresses that heimer in a speech at last year’s Global Meeting for Society and Economy. “They want open-minded employees who can it will be important for employees of the future to think bethink outside the box and create solutions that relate to the yond their professional field, industry, company and culture. Although this approach to knowledge and problem-solving real world outside of the company.”

“For some years people believed that there would no longer be any need for , but it looks like the is also growing”

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Te n d e n c y

cultural and political movements. But although the development work is based on feedback, reports and academic papers, there is always an element of personal interpretation involved. Ultimately, it is a question of what you find most credible and worth betting on. Is green growth utopian or a realistic future scenario? Will we continue to gather in big cities in the future, or will there be a counter-movement revitalising the countryside? Will the European crisis cause us to patch up our trousers and repair our clocks again, instead of buying cheap new disposable products? Will we continue demanding preventative initiatives and investing in safety equipment for children and cars, or will there be a live-lifedangerously counter-movement? These are some of the many questions you can ask yourself when trying to predict the demands of the future. At the KEA Knowledge Centre, the lofty reflections about the future are converted into concrete measures to ensure educational programmes tailored to today’s needs, says Berg. “We are in constant dialogue about how to structure is to survive our programmes to match today’s needs. It is an inspiring process that forces us to consider some important questions. How can our prorespond to When Pernille Berg attempts grammes deliver solutions to demand to bring the spirit of the future needs? Can we do it in times to KEA’s programmes, a cool, clever and fun way that – Knowledge manager Pernille Berg talking about she focuses first and foremost others cannot? What paramthe future of Denmark. on expanding the range of eters can we compete on?” methodological options. One of the things that “Because of the many conflicting directions in today’s makes it difficult to develop the educational field is that politimegatrends, it is important to create space for this complex- cians have very little patience. They want to be able to quanity instead of fearing it. So one of our mottos is that we must tify and document the impact of new measures quickly, but never think in terms of either-or, but rather embrace the that is not always possible and so affects the level of trust. whole. There must be space to flexibly change between dif“It is important that the transition we all have to go ferent parallel processes within your field, and this requires through in the coming years takes place in a spirit of opa great deal. Just because a task is best carried out using a timism and leaves room for trust,” says Berg. “Some of the certain method, it is not certain that you can use the same most innovative solutions were found by people researchmethod uncritically for the next task. There are so many fac- ing something completely different. That is also why it is so tors – cultural, economic and human – that must be consid- difficult to plan ways of creating more innovation – you’re ered, so it is vital that students in all programmes learn to looking for something, but you don’t know what it is. Pronavigate in an open field, where they have an open-minded gress often comes by chance. So it will be disastrous to focus approach to every new task.” on measurable outcomes so much that there is no room for KEA’s Knowledge Centre focuses strongly on the devel- chance. This does not mean that we shouldn’t assess goals opment of KEA’s 20-plus programmes in the fields of de- and spending, or that you don’t have to be able to document sign, IT and media, construction and health. Specifically, the process. But it is a matter of creating a culture of trust this means that the programmes are constantly attuned to where it is also possible to focus on something without knowfeedback from the business community and more general ing what the result will be in advance.”   should be developed at educational institutions, far from all of these institutions are capable of adapting. “The education sector must become much better at being in contact with workplaces,” says Jensen. “A number of educational programmes are adapting, internships are now required by many places and some programmes have introduced courses relating to the more personal qualifications.” However, a large portion of the Danish educational sector has not yet understood the new conditions. “Universities and colleges are terrible at adapting to the new labour market. I have personally been employed at a university, and Danish universities are very isolated in relation to the outside world. The American and British universities are more in touch with the labour market, but our universities build on the European tradition, where research typically takes place in isolated ivory towers. It may be that the universities give students credit for a semester internship, but the critical issue is whether the teachers who determine the programme content have a strong affiliation with the labour market. It’s fine If Denmark that they have internships, but in many places it is the teachers who should do an internship.”

“ as more than a museum of history, the young generation must be able to instead of supply”

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K E A Q u a r t e r ly

Interview

We teach in the real world Jan Johansson teaches construction managers about subjects including Nordic architecture and sustainability. And his classes are held just as often at architect practices and construction sites as they are in the classroom. Reality is a much better teacher than the assignments a teacher can come up with, he says.

text Trine Beckett photography Jan Søndergaard

T

he students at KEA’s Architectural Technology and Construction Management programme have planned a terraced housing development in Hørsholm and produced sales videos for sustainable products. They have received training at an architect practice and they know what a successful foundation looks like thanks to visits to construction sites. Their teacher, 48-year-old Jan Johansson, a trained construction engineer and architect, thinks the course instruction should be as close to real life as possible. The tasks he assigns students are more than mere checklists and standard formulas; they are taken from real-life situations and contexts which the students may encounter straight after graduating. “When they enter the workplace, they must be able to contribute immediately,” says Jan Johansson. “As a construction manager, you must be able to put a building together and understand the importance of details. This is only possible when you understand what the other people on the construction project are doing, as well as your role in relation to them.” Generally speaking, a construction manager’s most impor-

tant task is to translate the architect’s drawings into practical solutions that can be built. In other words, construction managers are the missing link or the link between architects and engineers. In order to “put buildings together”, they must be familiar with various drafting and writing programs, budgeting and schedules, and they must be able to communicate and manage – and sometimes do it all in English. “A building has so many stakeholders – lawyers, economists, architects, engineers, surveyors... you have to relate to a wide range of professions and it is a great challenge for the students. But the teaching team reflects the real world they will encounter after graduation,” says Johansson, who since 2007 has taught full time with responsibility for 90 to 100 of the students enrolled in KEA’s Architectural Technology and Construction Management programme. It is not unusual for prospective construction managers to come face to face with reality early on in their studies. This is a central element of all KEA’s programmes. But Jan Johansson and his teaching team take the practical dimension more seriously than most. “In the past, students have sat around like chicks waiting to be fed assignments and forms. We work with problem-

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K E A Q u a r t e r ly

Interview

– A bout J a n J o h a n s so n –

Jan Johansson used to work based learning where the for the housing association students have to come up JM Danmark, which is rewith their own solutions sponsible for the construction to their projects,” says Jan project in Humlebæk. Here Johansson. “When you are he was a project developer assigned a project in the with responsibility for manareal world, you have to comging the purchase of plots and ply with a jungle of building planning large-scale housing requirements from the fire construction projects. Among department, public authoother things he took part in rities, the developer and the the construction of Nordlyset, architects. Instead of listing an award-winning apartment these requirements and exblock on Amerika Plads in plaining how to meet them, Østerbro. Nordlyset is white the students are asked to The Finnish Paimio Sanatorium designed with coloured sections on the find a solution themselby Alvar Aalto, 1929-1933. facades. The block integrates ves, and then we take the art and construction in a way dialogue from there.” Last that is rarely seen in Danish semester he and his teabuildings. And Jan Johansching team conducted a poetry using nothing son is very pleased to have project on sustainability more than light been co-creator. and management where stu“Architecture has to dents working in groups had They are inspired by nature make a difference. It must to invent or copy and sell a contribute to the city. sustainable product. This Otherwise, it’s just cookietaught them about sales and – Jan Johansson talking about his idols. cutter architecture, which marketing techniques, nethere is already too much of. gotiation and dealing with With Nordlyset, I helped the developer to understand how contracts, as well as innovation and product development. “Some students just sold hot air, while others developed the artist and architects could collaborate to make the block real products, such as a mixer tap that measures your hot wa- something special that also reflected Nordic tradition. I like ter consumption,” says Jan Johansson proudly. “They are now that. Setting the framework for a collective idea, where individuals contribute creatively.” applying for a patent on the product.”

“Utzon creates

. Aalto does the

same. and we must learn from this”

Another example of an assignment based on real life comes from a terraced housing project in Humlebæk. Jan Johansson received all of the drawings from the contractor and delivered the most essential of these to his students, who then proposed methods for carrying out the construction. “That’s where the game really starts. And as the actual construction project progresses, we go out and take a closer look. They see that there is a real craftsman and a real foundation. And they could easily be the ones managing the process. It means a great deal to them to go out and see the real world.” Jan Johansson pauses for a moment. He looks around the small meeting room, which has white panels and glass walls that could be found in any company. The reason he can get his students out to construction sites and involved with real planning is because of his broad network from his previous work.

Jan Johansson enjoys talking about Nordic architecture and can go on for hours about the subject. He loves Nordic architects’ use of light and local materials, as well as the interaction of these buildings with the surrounding landscape. Leading figures in this field include Alvar Aalto of Finland and Jørn Utzon of Denmark, who is internationally renowned for the Sydney Opera House. “Utzon creates poetry using nothing more than light. Aalto does the same. They are inspired by nature and we must learn from this. Today we call it sustainability and attempt to put it into formulas. But others have thought about these things before us. We can see this by stepping back and deciphering what they have done. They relate to modern materials, innovate tradition and create what I would call humanistic architecture. Their buildings will

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stand well into the future, as opposed to the superficial architecture we see so much of,” says Jan Johansson, who frequently shows his students YouTube videos about his idols’ methods and thoughts. But Jan Johansson teaches more than respect for form and design. The construction managers of the future must also appreciate skilled craftsmanship. This is where Jan Johansson himself began. Even though he knew early on in upper secondary school that he wanted to be an architect, he could not get into the school of architecture because his grades were too low. He therefore began by studying to become a construction engineer – a programme that is similar to the construction manager programme, but shorter. And back then, it was not a programme designed for upper secondary school graduates. Jan Johansson began by spending six months as a craftsman apprentice and afterwards he spent a year as an intern at an architectural studio. “We were a group of four who had to make a mini-house. I gained a deep respect for masonry, welding and carpentry. The training as a construction engineer opened the door to the school of architecture for Jan Johansson, where he “studied for seven years and enjoyed every second”. After graduating, he worked at an architect practice as an independent architect before moving on to larger housing companies as a project manager. And for the last five years he has worked with students, which he admits seems to be just the place for him – the students’ creativity and drive fill him with tremendous joy and pride. And he accepts that the practical, problem-oriented teaching approach inevitably leads to frustration at times. “The students find it incredibly annoying when I say that frustration

Trained as a construction engineer, and then as an architect at The Royal School of Architecture in Copenhagen. He has worked at architect practices, as an independent architect and as a project manager at companies including the public housing association AKB, as a project engineer at JM Danmark A/S and Nordicom A/S, and as an independent client adviser at Albæk Construction Consultancy. Since 2007 he has been a teacher at KEA’s Architectural Technology and Construction Management programme and he is co-initiator behind KEA’s hosting the international conference ECOWEEK next year. M y favo u r ite b u i ld i n g

“Jørn Utzon’s house, Can Lis, in Mallorca. Because it represents sustainable construction. It is built by locals using local materials on the understanding that if you change a column a little bit, you pay them a couple of bottles of wine in return. It is made in small modules, which means that you avoid heavy lifting, and the house fits in well with the surrounding landscape. It represents a humanistic approach to architecture, and the light that enters the building is amazing. I know the house so well that I can see every detail vividly in my mind.” w h at i m p r e s s e s m e

“Some people figure everything out very quickly. They get super inspired and can suddenly see how to break down a building project into different components and improve each component. They upgrade the building, bringing it into a different league in terms of engineering and architecture. I’m not here to please shareholders, but to inspire learning. When I see how quickly my students develop, it moves me.” M y s o u rc e s o f i n s p i r at i o n

“Jørn Utzon of Denmark, Alvar Aalto of Finland, Sigurd Lewerentz of Sweden. All three can create great architecture based on simple principles and materials.” A b o u t t h e p r o g r a mm e

A construction manager is the link between architects and craftsmen. The programme takes 3½ years and is based at KEA in Copenhagen. A shorter version of the programme is also available: the two-year building technician programme.

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is good for them. But I know that research shows that it creates learning and that companies hire people who are capable of critical thinking and reflection. Students gain these skills as a result of our working methods – not from checklists.” Jan Johansson leans back in his chair for a moment. In addition to the assignments, students’ working methods are also structured as if they work at an architect practice. The groups are formed broadly and include students of varying calibre and craftsmen. Because that’s what it’s like in the real world. And Jan Johansson is happy to be at the centre of the tsunami of frustration felt by the students and put in the extra work required when reality fails to match the assignments in the books, but instead repeatedly requires the creation of new working methods and teaching materials. He is willing to do so because he knows that it will ultimately make a difference. The result for everyone is better and more sustainable architecture. And sustainability, like Nordic tradition, is one of the areas that Jan Johansson is passionate about. Next year, sustainability will be even more in focus when KEA hosts ECOWEEK, a week-long conference called New Nordic Living on sustainability and Nordic architecture. Many of KEA’s students will participate in the event, together with more than 450 students from around the world. Jan Johansson took the initiative to host the conference through an international network he is part of. And this autumn he will begin work on a Ph D. on sustainable housing and user behaviour. When Jan Johansson stops to think about it, there’s really only one thing he has yet to accomplish. “To build my own house. But I’ve told my wife that we are going to do it. In four years. I’ll be ready then.” 


RETAIL LEADERSHIP

GØR VIDEN TIL HANDLING OG OPNÅ BEDRE BUNDLINJE I BUTIKKEN

AKADEMIUDDANNELSEN I RETAIL LEADERSHIP

Detailakademiet er uddannelser til dig, der arbejder med detail. Du får en professionel, godkendt og kompetencegivende uddannelse, du kan bruge til at skabe resultater i butikken med det samme. Retailer – for salgsassistenter

TALENT FORLØB

Retail Leadership – for mellemledere Akademiuddannelsen i Retail Leadership – for ledere Detailakademiets uddannelser er udviklet i tæt samarbejde med en række store detailkæder. Du vil opleve engagerede og involverende undervisere, som taler detailhandlens sprog. Detailakademiet tilbyder både korte og længere uddannelsesforløb. Vi skræddersyr uddannelser efter virksomhedens behov.

Kunderne siger: At valget faldt på Detailakademiet skyldes deres store viden inden for detailbranchen samt deres tætte kontakt til erhvervslivet og hvad der rører sig. Dette har gjort at undervisningen er hurtigt omsættelig til dagligt brug for vores deltagere. Kari Kuhberg, uddannelsesansvarlig, Synoptik A/S

RETAILER

Som leder kan jeg bruge den erfaring, jeg har opbygget gennem mange år, når jeg omsætter den nye teori til praksis, det har været den største gevinst. Detailakademiets uddannelse har givet mig så meget. Den synergi, der er opstået her, er ubetalelig. Mikael Kirschner, Butikschef, Synoptik A/S

www.detailakademiet.dk


K E A Q u a r t e r ly

Reportage

In the name of sustainability, KEA hosted the Innovating Sustainable Fashion summer school for the third year running. Once again, students from all over Europe flocked to KEA to participate in the programme.

text Marlene Toldbod Jakobsen photography Frederik Munch

A

s June fades into July, Copenhagen begins to enjoy the sunny weather and a lazy holiday atmosphere. But in the classroom on the first floor of KEA’s building on Landskronagade in Østerbro, the holidays are the last thing on people’s minds. Here, 30 design students from all over Europe have gathered to attend school every day from 9am to 5pm for the next three weeks. It is the second day of KEA’s summer

school, Innovating Sustainable Fashion, and the students sit around tables in groups of five or six. The conversations are in English, with accents varying from British to a range of Southern European dialects. The discussions are muted and punctuated by frenetic drawing and cutting. The female students are in the majority and two of them have dyed their hair purple. There are only three male students in the class. The tables are littered with rainbow-coloured Post-its, pins

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K E A Q u a r t e r ly

Networking: an important part of the summer school is the coming together of the many international students and their teachers.

and jeans of all kinds, ripped, cut and without pockets and zippers. For the third year running, KEA is hosting the summer school course focusing on sustainable fashion. The initiative is supported by the EU’s Erasmus programme and next year the summer school will move on to the partner locations of London College of Fashion and Central St Martins. Today, jeans are on the agenda. The question is: what can you use jeans for, besides as an ordinary article of clothing? “In order to imbue sustainability in the designers of the future, we have to teach them about the entire process – not just design. They have to know how their work impacts the rest of the world, right from the production of the materials to their processing,” says Alexandra De Raeve, Coordinator of the Knowledge Centre for Fashion and Textiles at

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“I hope that students

discover that they can

be a part of changing the industry for the better by working sustainably. It’s the new generation that will have the opportunity to make a difference”

– Alexandra De Raeve, Coordinator of the department of Fashion and Textiles at University College Ghent in Belgium.

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University College Ghent in Belgium. She is just one of the many international instructors who once again has made the journey to KEA to teach students at the summer school. “I hope that students discover that they can be a part of changing the industry for the better by working sustainably. It’s the new generation that will have the opportunity to make a difference.” The students participate in workshops throughout the morning. Before the lunch break, Alexandra De Raeve gives a presentation on developments in the jeans industry. Based on her presentation, the students form groups and work on redesigning and thinking sustainable solutions for using jeans. One female student has wrapped a pair of jeans with ripped trouser legs around her head and waist. The rest of the group


K E A Q u a r t e r ly

Reportage

benefits the students. “With stands around her, testing the makeshift backpack that sustainability as the focal the front and back pockets point, we work with three form on her back. Folders, specialties at the same time: pens and water bottles are purchasing, communicaplaced inside to test how tion and fashion,” she says. much it can carry. “Here we have some of the most talented, sought-after “Maybe you could also teachers to instruct and use it as a baby carrier?” debate with students. This suggests a platinum blonde experience and the network – a proposal that is met with students gain from the proloud laughter and sceptigramme are invaluable.” cal smiles. It is precisely this type of brainstormAt lunchtime, the flock ing, realistic or not, that is of students move down to the purpose of the summer the empty canteen, where school. Mette Kocmick, a sandwiches and drinks are own company designer who has taught at waiting for them on a taKEA for three years, gives ble. Despite having been essential the afternoon presentation. strangers only the day beall of the She has no doubts about the fore, the conversation over what the students get out of lunch is surprisingly lively. processes being on the summer school Stephanie Cristofaro from programme: France made the trip from Central St Martins, where “It’s a space that en– Stephanie Cristofaro, student at Central St she studies womenswear courages a free flow of ideas Martins in London. and print design. She hopes between different cultures,” that the summer school can she says, “where students can help enhance her portfolio, which she recently sent to Ballearn a great deal from each other. They share knowledge, gain a bigger network and prepare to meet the outside world”. main and Diane von Fürstenberg in the hope of securing One of the most enthusiastic students is one of KEA’s an internship in the autumn. And she dreams of designing own alumni, Isuru Mapitigama. This is the summer between her own brand: “I want to have my own company some his sixth and seventh semesters in the Buyer Education Pro- day,” she says as the lunch break comes to an end, “so it is gramme. He is currently an intern for the Danish designer Da- essential to understand all of the processes leading up to vid Andersen, but he was granted permission to take time off the design process.” from the internship to participate in the summer school. “I feel like my time is well spent and it is a great privilege to be a part It is nearly 1pm and the canteen’s chairs clatter as the of all this. It will definitely provide valuable experience. And lunch conversations come to an end and the students climb it is inspiring to meet students from around the world, which back up the stairs. The six groups are given a few minutes to prepare the morning’s work before presenting their really broadens your horizons,” he says. The students are presented with a vast range of subjects new jeans creations. In three hours, countless pairs of jeans during the summer school courses. For example, they have to have been transformed into a pin board, a dress, a short redesign a pair of shoes from scratch, they go on field trips, jacket, a bag, a hammock and a jeans guide for consumers. work closely in groups at various workshops, and at the end The day’s second teacher, Ronny Martin of Belgium, also of the course they have to submit a written assignment. All from University College Ghent, is clearly impressed by the of the solutions they develop must be sustainable and based presentations: “You have achieved this in just three hours. on the “cradle-to-cradle” principle, which requires consid- Just think what you’ll be able to do when you spend more time on your ideas. I am really looking forward to the next eration of the entire design process. Tina Hjort from KEA’s Knowledge Centre 3.0 is certain that a summer at KEA three weeks!” 

“I want to have my some day, so it is to understand leading up to the design process”

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K E A Q u a r t e r ly

AN offer you can't refuse

Fe a t u r e

Twice a year, Kea Business Forum hosts an inspirational day for their Danish business associates.

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anish companies have plenty to learn from knowledgeable speakers. This is one of the core ideas behind KEA Business Forum, an event that aims to create an open forum for a wide range of topics. The next KEA Business Forum will be held at Mogens Dahl Concert Hall in the Islands Brygge borough of Copenhagen. “KEA Business Forum is aimed at the business community, providing two opportunities each year to meet in a way that does not exist anywhere else,” says Helle Abild, KEA Business Forum event and project coordinator. Once again this year, a range of leading business people and politicians will be speaking at the event. The main theme will be sustainability, with Minister for Climate and Energy Martin Lidegaard as the keynote speaker. Previous themes have focused on the vast opportunities presented by the internet and branding, with speakers

“I don’t know where else I could go to get this type of inspiration in the company of people in similar situations” - Designer Tine Agerskov talking about KEA Business Forum.

Twice a year, KEA hosts Business Forum – an important event for Danish companies, as well as KEA students and teachers who seize this opportunity to cultivate relations with the business community.

text Marlene Toldbod Jakobsen photography Camilla Wittenkamp

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including political commentator Lotte Hansen, businessman Jesper “Kasi” Nielsen and Jubii founder Martin Thorborg. Tina Agerskov, who owns and operates her own design company, returns to the Business Forum time after time to hear the event’s inspiring speakers and to meet other members of the business community – and she also encourages her colleagues to participate in the event. “It is simply too good an offer to turn down,” she says. “As a business owner, you can sometimes become quite isolated. I don’t know where else I could go to get this type of inspiration in the company of people in similar situations.” KEA’s students are also invited to contribute their considerable talent and potential by participating in the event; it is important for them to begin the networking process while still in school. Last year Niklas Sebastian Larsen presented a project together with two fellow students while enrolled in KEA’s E-concept programme. They developed

proposals to help Vordingborg Kitchens establish greater consistency between the company’s website and its stores. Larsen recommends KEA Business Forum to other students. “It’s a really good idea to participate if you have the opportunity,” he says. “It gives you a chance to practise presentations to people who are the leaders in their field, as well as the opportunity to network and get feedback from the business community.” Svend Berg, education director at the Danish Chamber of Commerce, has attended many KEA Business Forum events, which he says are always an eye-opener: “The key thing I get out these events is how they change my perception of how things are interconnected. I have left Business Forum numerous times with an “Aha!” experience after listening to the speaker talks.”  Find Kea Business Forum on Facebook, and see when the next event takes place.

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K E A Q u a r t e r ly

So Talented

Top Fors by Sandra Forsberg

Sharp cuts, fine prints and beautiful materials. Get inspired by KEA’s talented designers. photography Rasmus Skousen    styling Emelie Johansson

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Dress Trine Nielsen


Coat Malene stausgaard Shoes miu miu

Coat and dress Mariam mai Shoes miu miu


K E A Q u a r t e r ly

Dress Andrea elizabeth Ravn hess

Jacket and trousers Therese Dyveke Holst Necklace Monies

 Photographer's assistant Philip MEssmann Hair and makeup Lasse Pedersen / Agentur Model Anne-Mette Ryom / Unique models Retouching Werkstette

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K E A Q u a r t e r ly

Debate

D ES I G N in t h e genes We were once the world leaders in design: the functionalist design tradition from the 1950s and 1960s, with standard-bearers such as Arne Jacobsen and Poul Kjærholm , made the Scandinavian lifestyle famous. Now today’s design students are building on the agenda of the old masters .

text Signe Løntoft

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e all know them well. The silhouettes of Danish furniture classics from the mid20th century: Arne Jacobsen’s stacking chairs, Hans J Wegner’s cane chairs, Poul Kjærholm’s leather sofas. If we do not know the names, we know the furniture when we see it. Just like we know Kay Bojesen’s hanging monkey, Kaare Klint’s lamps and Bang & Olufsen’s televisions. For many of us, the classic Danish design tradition represents a stylish modernism that we save up to buy because we are attracted by its timeless elegance. Wegner’s chair and Kjærholm’s sofa remind others of their parents and their friends: the safe choice and sanctioned good taste, as seen in slightly boring home interior magazines. Either way, we cannot ignore the Danish design tradition. It is a part of our cultural heritage, a kind of aesthetic DNA instilled in us from childhood, bathed in the light of PH lamps. “Danish design is a strong brand with inherent advan-

tages and disadvantages,” says Christian Stadsgaard, who teaches design theory at KEA’s popular Design and Business bachelor programme. “The good thing is that it gives us something to build on. There is already a narrative to connect with, giving a head start to those attempting to reach out to the world with design created in Denmark. The challenging part involves all the expectations associated with Danish design. This sometimes limits the options of younger designers, whose work is based on a different reality than that which gave rise to the design classics of the 1960s.” At the old industrial building on Frederikkevej in Hellerup that houses the programme, new students are introduced to the design world with a course on functionalism. All students must complete this cross-disciplinary course during the first six weeks of their studies. Serving as a kind of modern history of design philosophy, the course addresses the dilemmas within functionalism. What is

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Hans J. Wegner in his own design. The PP112 chair is designed for PP Furniture in 1978.

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K E A Q u a r t e r ly

Debate

Former president of the United States, John F. Kennedy, sitting in a Wegner chair.

– Fa c t s – Functionalism

Girls folding Le Klint lampshades at the factory in Odense.

methodology and semiotics. She is accustomed to a curriculum that includes Paris Fashion Week, international design campaigns, new music videos, fashion blogs and magazine covers. She says that students cannot afford to ignore functionalism in decoding trends and lifestyle tendencies. “Some signs in the present day refer back to historical functionalism. It sounds almost trite to say it, but after the financial crisis we have seen a shift in values towards an aesthetic of sustainability; values such as moderation, durability, good craftsmanship and slow processes have blossomed, and we see a strictness and minimalism in fashion that also builds on functionalism. But this will certainly shift again and soon we will probably see a rebellion against this strict, pure simplicity. In a way, functionalism as a cultural code is ever-present, whether we relate to it by building on it or by rebelling against it.”

function, exactly, from a design perspective? Is functionalist design still relevant? Have functionalist design and architecture run their course? “One of the interesting things about functionalism is that it arose from sociological discussions,” says Stadsgaard. “Functionalism wanted to reach a new place where aesthetics wasn’t about signifying status and affiliation through a particular aesthetic norm, but rather serving the function. What actually happened is that functionalism itself became an aesthetic and, eventually, a trendsetting aesthetic that evolved into exactly what it didn’t want to be – something expensive and elitist. There isn’t much idealism in a sofa costing more than DKK 100,000.” Such paradoxes make functionalism an interesting example when discussing the relationship between aesthetics, economics and social organisation. The PBA in Design and Business programme comprises

various fields that are traditionally difficult to unify, including aesthetics, sociology and economics. The crossdisciplinary functionalism provides examples of how the concepts from different fields can be integrated. “We discovered that functionalism is a good theme for showing how the different fields in the programme can interact. We use functionalism as a kind of glue between these fields,” says Kristine Harper, another teacher at Design and Business. “Although functionalism’s heyday in Danish design was back in the 1950s and 1960s, it is still very relevant to relate to functionalism as our cultural heritage. For example, many of our students are interested in fashion; the entire Swedish fashion adventure builds on minimalism, which is a part of our Scandinavian aesthetic. This minimalism was originally rooted in functionalism’s mottos ‘form follows function’ and ‘less is more’.” Harper teaches such subjects as aesthetics, design,

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PHOTOGR APHY Polfoto

Kay Bojesen's iconic hangning monkey.

Functionalism is a historical style that arose in the fields of architecture and design after World War I. The heyday of functionalism was during the inter-war period, where the Bauhaus movement in Germany was a forerunner for the idea of a more democratic and functional approach to design and architecture. Since then, functionalism has often been used as an umbrella term for Scandinavian modernism.

extensively in understanding target groups. This is where we generate value – when business-oriented designers give users a useful design solution with meaning and value.” In this way, the ideas of functionalism are also relevant to the business component of the programme. “The business aspect builds on a societal perDesign and Business spective,” Fangholm continues, “where The Design and Business professional bachelor we examine the world that we create programme is an 18-month, post-graduate design solutions for, including trends, programme focusing on the fashion and lifestyle market conditions, competitors and industries. The programme can provide access to customers, combined with an underfuture job opportunities as a designer or design standing of the necessary core compeassistant, design consultant, buyer, modeller, tencies within a design company. When PR specialist, media planner, AD assistant, trend these basic elements are in place, we researcher, event coordinator etc. To be eligible can begin to work with economic unfor admission, you must have: relevant training derstanding and value creation, which from a business academy, eg design technologist, includes building strong brands and multimedia designer, e-designer, production identities for design solutions. We begin technologist or marketing; similar training from by examining how interesting design one of the recognised Danish design schools; ideas are conceived and how they are or another education within fields such as developed and tied in with commercial graphic design, fashion, product development considerations of what it takes to turn or communications. Applicants must also take a design solution into one of the iconic an entrance exam and choose from six different design classics we know today. Rather The fashion and lifestyle indusareas of focus when applying: Fashion Design, than just the Danish furniture traditry lies at the heart of the Design and Living Design, Pattern Design, Ideation, Brand Business programme, but unlike the tion, this encompasses a global view of Design or Communication Design. There is also functionalism.” aesthetic programmes offered by Denan international programme offering greater During the first semester of the Demark’s artistic schools and universities, focus on sustainability, with three special areas sign and Business programme, the fear the business side is integrated, teaching of focus: Sustainable Fashion, Sustainable students to consider the economic reof numbers is replaced by a more inPurchasing and Sustainable Communication. spired and solution-oriented approach. alities from the outset. Commercial sus“It’s like the time Danish filmmaktainability, process management and Read more about the Professional Bachelor’s value creation are, at the very least, just ers devised a set of Dogma rules,” says Degree in Design and Business programme as important as a flair for trendspotting Fangholm. “It also involved submitat kea.dk. ting to some economic conditions that when the time comes to apply one’s edubecame an inspirational factor instead cation in the workplace. “Our students are interested in of an obstacle. The same can apply for lifestyle, design, fashion and creativour students when working on projects in cooperation with companies.” ity,” says Søren-Ulrik Fangholm, who As the German-American architect, Walter Gropius, teaches business-oriented subjects at Design and Business. “However, I sometimes find that students are intimidated founder of Bauhaus, one of the 20th century’s most imporby numbers. But we fix that along the way. In the business tant art schools, formulated the philosophy of functionalcomponent of the programme, we focus on the value-cre- ism: “Our guiding principle was that design is neither an ating aspects of designing meaningful and user-oriented intellectual nor a material affair, but simply an integral design solutions. It is important to base your work on the part of the stuff of life, necessary for everyone in a civineeds of customers and users, so we train our students lised society.”  

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K E A Q u a r t e r ly

Cases

What do an inventor, two fashion bloggers, a creative director and a architectural technology and contruction manager have in common? They all went to KEA and have all enjoyed success with a good idea.

text Marlene Toldbod Jakobsen photography Rasmus Skousen & Henrik Hviid

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K E A Q u a r t e r ly

Cases

ELIse

Born

design er a n d blogger

Stephanie Gundelach

Cr eative dir ector iN B56 a n d blogger

Stephanie Gundelach and Elise Born form two-thirds of one of Denmark’s biggest blog phenomena, Anywho. They met each other while studying at KEA.

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tephanie Gundelach and Elise Born completed their studies in design technology at KEA five years ago. Much has happened since then – both for KEA, which was called Hellerup’s Textile Academy and BEC back then, and for Stephanie and Elise, who are now known to everyone in Denmark who’s interested in fashion. They are behind one of the first Danish fashion blogs, Anywho.dk, which now has more than 75,000 unique readers. They hit it off the moment they met in a class after their first year at KEA. So when they both finished their studies there in 2008, they decided to try something completely new with their friend Ingrid – without any long-term business plan. “At the time I was sharing an apartment with Ingrid and we talked a lot about wanting to do something with a blog, which was still very new back then,” says Stephanie. “I remember calling Elise while biking and asking her if she wanted to join. And so we started.” The many hours of toil the two design technologists had put into working with various computer programs while

attending KEA proved to be a great help when getting started as bloggers. In less than a year the blog was a private limited company and a full-time job for all three women. Among other things, they opened a webshop featuring coats and did styling work for high-street chains. “Our work was quite varied,” says Stephanie, “from creative consulting to selling ads. We did everything ourselves.” Elise continues: “If you work hard enough and love what you do, people will notice.” Even though they have many offers, the two women insist that they will not permit sponsored posts about irrelevant products such as facial tissue and hair straighteners, instead staying true to their own style and taste. Gundelach and Born know very well that the networks they created during and after their studies have been key to their success; working as interns was particularly important. Born interned at Danish design label Stine Goya, where she later returned to work on the spring/summer and autumn/winter 2013 collections while Stina Goya herself was on maternity leave.

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For Gundelach, a student job with Danish designers Bruuns Bazaar and Day Birger et Mikkelsen served as her springboard into the fashion industry. “One of the most important investments in the future is to take your internship seriously and find a good placement,” she says. Born concurs: “It’s not only about grades, but also the ability to communicate what you can do.” Today both women are busy with a lot of different projects. In addition to the designer job at Stine Goya, Born completed a bachelor’s degree at KEA and she plans to move to London this autumn. Gundelach has opened the hip and innovative store B56 on Bredgade in Copenhagen, as well as the webshop b56store.com. But the blog will not slow down because of these other activities. Anywho has just launched the new website marchémarche.dk in cooperation with the blogger collective Looklab. “We are currently making some long-term investments blog-wise which hopefully will prove to be a good idea a year from now,” they conclude. “And if things work out, we have a new idea that we’ll be launching.”

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K E A Q u a r t e r ly

Cases

Nicolai Gram Hansen

Architectu r al Tech nology a n d Construction M a nagement stu dent at KEA

Nicolai Gram Hansen would like to take better care of the environment. That’s why he took his first steps as an entrepreneur to create a water meter for use in the shower.

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hen Nicolai Gram Hansen started renovating his house four years ago, he came up with an idea: why not make a digital water meter built into the shower head that can track water consumption? He did not share his idea with anyone until three years later. He enrolled in the Architectural Technology and Construction Management programme at KEA, where a project week on sustainable initiatives provided the perfect opportunity. Nicolai is environmentally aware and wants to create products that appeal to conscious consumers – products that encourage people to think about what they are doing in the moment rather than when they receive the bill. “Hopefully when you are confronted by the fact that 25 litres of water flow out of your shower in the seven minutes you spend there, you will feel

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motivated to shorten your shower to five minutes and only use 20 litres,” he says. “It’s better for the environment as well as your wallet.” The water meter was very well received by his teachers and fellow students at KEA. So well, in fact, that Nicolai Gram Hansen was encouraged to go further with his idea. And here lay the first challenge. “The problem is that two Spanish brothers have already patented an invention that resembles mine,” says Nicolai. They have not yet developed any product, but Hansen is aware that they could use their patent to halt his project. As an entrepreneur taking his first steps, Nicolai is pleased with the support and guidance he has received from KEA. For example, he has spoken with another entrepreneur who encouraged him to get going on the project – and to think about contacting the Spanish brothers. “I have to admit that I am a bit nervous about it. But on the other hand,

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it may be that we can work together to develop something even better.” There are many factors to consider when attempting to create something new. For Hansen, the greatest challenge is making a prototype of the water meter, which requires technical knowledge of mixer taps and flow meters – areas in which he lacks expertise. Here he must team up with manufacturers and plumber friends. But he is well on his way. The water meter has been named Attentive and is currently entered in Energi Danmark’s competition, which offers a prize of DKK 100,000 to the best energy- and environment-friendly idea. Nicolai is awaiting notification of whether the water meter is among the ten finalists. “Winning would be a huge pat on the back and increase focus on the importance of conserving water. And just think, I might have created something that will become a standard part of our homes. That would be amazing.”


K E A Q u a r t e r ly

Cases

jeppe

Skou-Madsen

co-own er a n d m a naging dir ector at Boligarkitekten.

It’s all a matter of being honest, networking and a little bit of luck, says former KEA student and entrepreneur Jeppe Skou-Madsen, who is now the managing director of his own company.

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t started with a new extension for his parent’s neighbours’ house. When the drawings were completed and the neighbours satisfied, the time came to carry out the construction – a large and complex project for people with no building experience or knowledge of craftsmen, materials and common pitfalls. Now, four years on, Jepp Skou-Madsen has turned these very challenges into the core of his occupation. He offers customised package solutions for people’s construction projects, right from the initial sketches to finding craftsmen and the right tiles for the roof. Today, Kongens Nytorv and Nyhavn are the closest neighbours to Boligarkitekten’s offices, located at one of Copenhagen’s most attractive addresses; the company has quickly grown from a two-man operation in a back building in Østerbro to having eight employees at the new location. It has been a great challenge, but the focus has remained the same throughout: ideas, ambitions and networking, combined with creativity and

the drive to create improvements. And a bit of luck. Skou-Madsen was working on his bachelor’s degree in Architectural Technology and Construction Management at KEA when he started his own company. Before that he had a student job at a construction company; combined with his education at KEA, he possessed a good understanding of the building industry. “As an Architectural Technology and Construction Management student at KEA, you gain solid insight into general construction, engineering and the world of architects,” says Skou-Madsen, who completed his studies at KEA in autumn 2010. “It is a very process-oriented programme that provides a good understanding of the many tasks and the wide range of players in a project, which is extremely helpful in your future career.” This understanding of the many different processes is exactly what he and his partner in the firm, Kenneth Berger Pedersen, have spent the past four years specialising in. They discovered some holes in the otherwise very traditional

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construction industry that they were not afraid to attempt to fill, even though they were still in school. “We encountered some bumps along the way, since a lot of people found it provocative and thought that we lacked knowledge in the areas we were moving into,” says Skou-Madsen. “But these types of challenges just motivate me even more.” With Boligarkitekten, he has made a virtue of attracting interesting projects and always having a range of different competencies within reach. For him, it’s all about being honest about what you are good at and surrounding yourself with competent people who can compensate for the shortcomings you may have. “For example, I am not very good at drawing but I have met a ton of talented people during my time at KEA whom I later teamed up with. When studying at KEA, I signed up for all of the conferences and opportunities to get out into the business world and make contacts. In this way, KEA is a good place to gain a theoretical basis combined with input from the real world.”

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K E A Q u a r t e r ly

Cases

Martin Maaløe

former owner of Orangebox and creative director at the media agency IUM.

Martin Maaløe is not scared of rolling up his work sleeves. While studying at KEA, he built up his own company and after completing his studies he was headhunted by a large media agency for the position of creative director.

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artin Maaløe attributes his success to good ideas, hard work and exploiting his strengths. The 28-year-old entrepreneur has been the CEO of his own company since starting at KEA. Before then, he was a finance trainee in a construction company, where he ended up with responsibility for all of the company’s graphic work. Deciding he wanted a degree proving his skill at graphic work, he applied for KEA’s multimedia design programme. At the same time, he discovered that he wanted to be self-employed. “I already had a pretty good understanding of the creative part of the work process when I started at KEA,” he says. “But I learned at lot about theory and organisation, which I have taken with me.” Having started at KEA, Martin opened his own creative agency, Orangebox. His former employer became his first client and invested the startup capital, and then it was up to Martin to convince new clients that he could do the job at least as well as

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others who had been in the business for many years. “Typically, a construction company goes to an advertising agency for these tasks. My strength was that I had insider know-how, so I was a step ahead of the competition.” Orangebox is an agency that offers other companies creative sparring, including everything from concept development to creating graphic campaign materials for companies such as Ford Danmark and Lundbeck. In the beginning, he often completed entire projects before the client had actually hired him to do it – just to show that he was capable. However, it was not easy to combine full-time work and full-time study. “At first, I was doing everything. When I wasn’t in school or doing group work, I sent out invoices and reminders, did payroll and designed projects for clients. It was the epitome of multitasking. It was a great personal challenge to work and go to school at the same time. KEA has undoubtedly helped to strengthen my ability to manage many tasks at once. Because when you go to

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school there you also want to have a social life. And some of my best friends date back to my time at KEA.” His business strategy has remained unchanged: honesty and transparency in the services he offers. It has taken him from a small office in his apartment on Ryesgade in Nørrebro to a large office space in central Copenhagen. In fact it has taken him even further, because he has just accepted an offer to be creative director at one of Denmark’s largest media agencies, IUM. Orangebox will continue operations and be run by his partner in the company. And even though IUM is a much bigger company than the one Martin started four years ago, the approach is still the same. “I make a point of telling my clients how and why I do what I do. I want to help people find the best possible solution.” The first challenge at IUM will be to develop an app for the supermarket chain Spar. Just talking about it brings a smile to Maaløe’s face. “I spend a lot of my free time developing ideas for app designs. So I am looking forward to it.”  


K E A Q u a r t e r ly

C o u r s e i n fo r m a t i o n

– Degree Programmes at KEA –

problems and always with an applicationoriented point of departure. Intake quota: 3.7 on the Danish 7-step scale. Full on quota 2. Programme start: August and February. Place of study: Lygten 37, DK-2400 Copenhagen NV _ Design and Business (BA)

Arc hitectur al Tec hnology and Construction Management (BA)

Duration: 3½ years. Tuition language: English. If you require tuition in Danish, it is recommended that you follow the Constructing Architect Programme. Admission requirement: A pass in the Upper Secondary School Leaving Examination with both Mathematics and English at C-level or above. Alternatively, 3-4 years' practical experience in the masonry profession, a construction degree in the field of woodworking, a plasterer or paver's qualification, a woodworker's industrial joiner's qualification or a qualification as a woodcutting machinist or as a technical plumbing service engineer. Tuition: Consists largely of group project work on architectural and civil-engineering based problems that the students are required to solve and in which they are examined. Intake quota: 5.5 on the Danish 7-step scale. (2011). Programme start: August and February. Place of study: Lersø Parkallé 2, DK-2100 Copenhagen Ø. _ A u t o ma t i o n T e c h n o l o g y

Duration: 2 years. Tuition language: Danish. Admission requirement: A pass in the Upper Secondary School Leaving Examination or other relevant vocational qualification with both Physics and Mathematics at C-level or above. Alternatively, you must possess one of the following qualifications: electrician specialising in building automation, installation technology, communications technology and control and regulation technology. Automation and process qualification (with specialisations), electronics and service engineer appliance qualification and data and communications qualification (with specialisations). Tuition: Students learn about the control, regulation, construction and optimisation of technical control systems. Intake quota: Full (2011).

Programme start: August and January. Place of study: Stæhr Johansens Vej 5-7, DK-2000 Frederiksberg. _ Construction Technology

Duration: 2 years. Tuition language: Danish. Admission requirement: A pass in the Upper Secondary School Leaving Examination or other relevant vocational qualification with both English and Mathematics at C-level or above. Alternatively, you must possess one of the following qualifications: a stonemason's qualification, a construction degree in the field of woodworking, a plasterer or paver's qualification, a woodworker's industrial joiner's qualification or a qualification as a woodcutting machinist, as a technical plumbing service engineer or a technical assistant or technical designer's qualification. Tuition: Tuition is predominantly based on cross-disciplinary group projects on which the students spend one or two semesters and are then examined on. Intake quota: 4.8 on the Danish 7-step scale. (2011). Programme start: August and February. Place of study: Prinsesse Charlottes Gade 38, DK-2200 Copenhagen N. _ Arc hitectur al Tec hnology and Construction Management

Duration: 3½ years. Tuition language: Danish. If you require tuition in English, you can opt for the international line. Admission requirement: A pass in the Upper Secondary School Leaving Examination or other relevant vocational qualification with both English and Mathematics at C-level or above. Alternatively, you must possess one of the following qualifications: a stonemason's qualification, a construction degree in the field of woodworking, a plasterer or paver's qualification, a woodworker's industrial joiner's qualification or a qualification

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as a woodcutting machinist, as a technical plumbing service engineer or a technical assistant or technical designer's qualification. Tuition: Students learn about the construction process from the drawing board to the construction site. They are introduced to the management and control of the technical and administrative activities involved in the construction process. During the programme emphasis is placed on establishing a close relationship with the business world via projects, work experience and tuition. Intake quota: 4.8 on the Danish 7-step scale. (2011). Programme start: August and February. Place of study: Prinsesse Charlottes Gade 38, DK-2200 Copenhagen N. _ Computer Science

Duration: 2½ years. Tuition language: English. Admission requirement: A pass in the Upper Secondary School Leaving Examination or other relevant vocational qualification with both English and Mathematics at C-level or above. Tuition: Consists of a mixture of group tuition, individual exercises and group projects. The projects are often devised in collaboration with companies, with emphasis placed on cooperation and communication between the parties. Intake quota: Programme start: August and January. Place of study: Lygten 37, DK-2400 Copenhagen NV _ Computer Science

Duration: 2½ years. Tuition language: Danish. Optional subjects are taught in English. Admission requirement: A pass in the Upper Secondary School Leaving Examination or other relevant vocational qualification with Mathematics at B-level or above. Tuition: Consists of a combination of group tuition, project work – both individual and in groups – on the basis of cross-disciplinary

Duration: 1½ years. Tuition language: English. Admission requirement: A completed degree programme of at least 2 years duration within the fields of fashion design, fashion sourcing or fashion marketing. Tuition: Emphasis is placed on collaboration with companies who present the students with specific problems which form the basis of their work and tuition. Intake quota: Programme start: September Place of study: Frederikkevej 8-10, DK-2900 Hellerup _

Programme start: September and February. Place of study: Landskronagade 64-70, DK2100 Copenhagen Ø. _ E-Concept Development (BA)

Duration: 1½ years. Tuition language: English. Admission requirement: A completed qualification in one of the following fields: multimedia design, E-design, design technology IT or similar. In addition, documentary proof of a knowledge of English and Mathematics may be required. Tuition: In addition to group tuition in relevant theories and methodology, emphasis is also placed on cooperation with companies and other students. Intake quota: Programme start: September and February. Place of study: Bispevej 5, DK-2400 Copenhagen NV. _ Business Economics and I n f o r ma t i o n T e c h n o l o g y ( B A )

Design Technology and Business

Duration: 2 years. Tuition language: English. Admission requirement: A pass in the Upper Secondary School Leaving Examination or other relevant vocational qualification with both English and Mathematics at C-level or above. Tuition: Based on project work which forms the basis for practical understanding of the discipline. As a rule, the projects are group tasks. Intake quota: Programme start: September Place of study: Landskronagade 64-70, DK-2100 Copenhagen Ø. _ Design Technology

Duration: 2 years. Tuition language: Danish. Admission requirement: A pass in the Upper Secondary School Leaving Examination or other relevant vocational qualification with English, Mathematics or Business Economics at C-level or above. Alternatively, a qualification as a skilled textile and clothing assistant, textile operator or similar with English at C-level or above. Tuition: Tuition is based on projects which provide a solid basis for understanding the practical aspects of the discipline. Tasks are normally worked on in groups. Intake quota: -

Duration: 3½ years. Tuition language: English. Admission requirement: Tuition: A new degree programme at KEA which aims to furnish students with skills in the fields of analysis, design and the execution of project work. Intake quota: Programme start: Place of study: _ E-Designer

Duration: 2 years. Tuition language: Danish. Admission requirement: An Upper Secondary qualification or relevant vocational qualification, for example, in the fields of graphics or design. In addition, you must have Mathematics and English at C-level or above. Tuition: The characteristic feature of the Edesign programme is a solid foundation of cross-disciplinary insight and an understanding of the utilisation of the synergy between the three main pillars of the programme: Global Entrepreneurship, The Virtual Company and Innovation and Design. Intake quota: Programme start: September Place of study: Landskronagade 64-70, DK-2100 Copenhagen Ø. _

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E lec tric al S e rvic e E ng i n e e ri ng

Duration: 2 years. Tuition language: Danish. Admission requirement: One of the following qualifications: electrician, a degree in Electronic and Low Voltage Appliances or Automation and Processes (with specialisations) leading to qualification as an service engineer in high voltage appliances or another relevant vocational qualification with Mathematics at C-level or above. Tuition: Tuition is based on projects which provide a solid basis for understanding the practical aspects of the discipline. Tasks are normally worked on in groups. Classroom tuition will gradually be replaced by guidance based tuition. Intake quota: Full. (2011) Programme start: August and January. Place of study: Lyngbyvej 32, DK-2100 Copenhagen Ø. _ En ergy Tec h nology

Duration: 2 years. Tuition language: Danish. Admission requirement: An Upper Secondary School qualification or other relevant vocational qualification with Mathematics at C-level or above. Alternatively, one of the following qualifications: electrician specialising in building automation, service engineering technology, communications technology and control and regulation technology. Automation and process qualification (with specialisations), electronics and low voltage appliance qualification, a stonemason's qualification (step 2), a smith's qualification (with specialisations), a joinery qualification (with specialisations), a construction degree in the field of woodworking or a qualification in plumbing. Tuition: Tuition is based on projects which provide a solid basis for understanding the practical aspects of the discipline. Tasks are normally worked on in groups. Classroom tuition will gradually be replaced by guidance based tuition. Intake quota: Full. (2011) Programme start: August and February. Place of study: Lyngbyvej 32, DK-2100 Copenhagen Ø. _ T h e I n s t i t u t e o f P r e c i o u s M e ta l s

Duration: 2 years. Tuition language: Danish. Admission requirement: A pass in the entrance examination and an eligible qualification which is a vocational qualification in the field of precious metals, a design qualification from an


K E A Q u a r t e r ly approved design school or a similar qualification obtained in some other way. Tuition: Students will work individually and in groups on a combination of technical and artistic assignments. Intake quota: Entrance examination. Programme start: September. Place of study: Rosenvængets Allé 20B, DK-2100 Copenhagen Ø. _

Secondary School or other relevant vocational qualification. Tuition: Will focus on both classical craftsmanship and the manufacture of jewellery and a wider perspective that will teach students about sales and marketing. Intake quota: Programme start: September. Place of study: Landskronagade 64-70, DK-2100 Copenhagen Ø. _

IT T e c h n o l o g y M a p a n d La n d S u r v e y i n g

Duration: 2 years. Tuition language: English. Admission requirement: An Upper Secondary School or other relevant vocational qualification in which both English and Mathematics are included. Tuition: Consists of a combination of group tuition, group work and individual assignments. Intake quota: Full. (2011) Programme start: September and February. Place of study: Lygten 37, DK-2400 Copenhagen NV. _ IT T e c h n o l o g y

Duration: 2 years. Tuition language: Danish. Optional subjects are taught in English. Admission requirement: An Upper Secondary School or other relevant vocational qualification with English and Mathematics or Physics at C-level or above. Alternatively, a qualification as an electrician, an automation and process qualification (with specialisations), electronics and low voltage appliance qualification or a data and communications qualification (with specialisations). Tuition: The tuition is split into a common component and two study option components: network technology and electronic technology. You will learn, via innovative methods, how to design and construct electronic and communication technology systems. In addition, you will learn how to manage projects, quality systems and resources in connection with development and planning and design tasks. Intake quota: Full. (2011) Programme start: September and February. Place of study: Lygten 37, DK-2400 Copenhagen NV. _ J e w e l l e ry, T e c h n o l o g y

Duration: 2 years. Tuition language: Danish. Admission requirement: A completed Upper Secondary School or other relevant vocational qualification with both English and Mathematics at C-level or above. Alternatively, a qualification as a stonemason, a construction degree in the field of woodworking, a plasterer or paver's qualification, a woodworker's industrial joiner's qualification or a qualification as a woodcutting machinist, as a technical plumbing service engineer or a technical assistant or technical designer's qualification Tuition: A great deal of time is spent working on actual projects and assignments that correspond to those normally performed in the jobs for which the degree qualifies students. Intake quota: 4.8 on the Danish 7-step scale. (2011). Programme start: August. Place of study: Prinsesse Charlottes Gade 38, DK-2200 Copenhagen N. _ M u lt i m e d i a D e s i g n a n d C o mm u n i c a t i o n

Duration: 2 years. Tuition language: English. Admission requirement: A completed Upper Secondary School qualification. Tuition: Tuition is centred around 4 core areas: The Company, Communication and Presentation, Interaction Development and Design and Visualisation. You will get to provide input for designing games, web portals and mobile services in addition to digital video, 3D and databases. Intake quota: Programme start: August and January. Place of study: Lygten 16, DK-2400 Copenhagen NV. _

and Business (BA) M u lt i M e d i a D e s i g n

Duration: 3½ years. Tuition language: English. Admission requirement: A completed Upper

Duration: 2 years. Tuition language: Danish.

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C o u r s e i n fo r m a t i o n Admission requirement: An Upper Secondary School qualification with English, Mathematics or Business Economics at C-level or above. Alternatively, one of the following vocational qualifications: digital media, a film and TV production qualification, a qualification as a technical designer or a media graphic designer. If you have a background as a web integrator, media graphic assistant or have completed a basic vocational course. You must have a minimum of 5 individual Upper Secondary subjects, including Danish (A-level), English (C-level) and Mathematics (C-level). The last 2 Upper Secondary subjects are optional subjects. Tuition: Tuition is centred around 4 core areas: the Company, Communication and Presentation, Interaction Development and Design and Visualisation. You will get to provide input for designing games, web portals and mobile services in addition to digital video, 3D and databases. Intake quota: A third of available places have been filled. (2011). Programme start: January and August. Place of study: Lygten 16, DK-2400 Copenhagen NV. _ B a c h e l o r ' s D e g r e e P r o g r amm e i n Design and Business

Duration: 1½ years. Tuition language: Danish. However, lectures, tuition and guidance may be in English. Admission requirement: To be accepted on the Design & Business Programme, you must possess one of the following qualifications: A qualification as a design technician, multimedia designer, E-designer, production technican or in marketing management. Another relevant vocational qualification. You must have completed 6 semesters at the Royal Danish Academy of Fine Arts' Schools for Architecture, Design and Conservation, the School of Design or the School of Design in Kolding. A bachelor's degree in Textile Handicraft and Education or a qualification from a recognised overseas School of Design. Tuition: The Bachelor's Degree Programme in Design & Business is geared towards the fashion and lifestyle industry and you will learn the theory and practice associated with these industries. Intake quota: Programme start: September Place of study: Frederikkevej 8-10, DK-2900 Hellerup _

B a c h e l o r ' s D e g r e e P r o g r amm e

B a c h e l o r ' s D e g r e e P r o g r amm e i n

i n O p to m e t ry

J e w e l l e ry, T e c h n o l o g y and Business

Duration: 3½ years. Tuition language: Danish. Admission requirement: An Upper Secondary School qualification or a pass in an equivalent overseas or international examination. You must have passes in the following subjects: English (B), Mathematics (C), Biology (C) and either Chemistry (C) or Biotechnology (A). Alternatively, you may have a background with a vocational qualification as an Optometrist. Six Upper Secondary School individual subjects: Danish (A), English (B), Mathematics (C) and either Biology (C) or Biotechnology (A). In addition, you may either have Chemistry (C) or Natural Science (C) or Biotechnology (A) and Psychology (C) or Social Studies (C). Tuition: This programme is both practical and theoretical since the theory will be tested in KEA's vision clinics. In addition, there is a 1½ year work experience component, in which the current trends in spectacle fashion, vision testing for both spectacles and contact lenses and the guidance of clients forms a central pillar. Intake quota: Full. (2011). Programme start: August. Place of study: Nordre Fasanvej 27, DK-2000 Frederiksberg. _ B a c h e l o r ' s D e g r e e P r o g r amm e i n Product Developm ent a n d T e c h n i c a l I n t e g r at i o n

Duration: 1½ years. Tuition language: Danish or English depending on study option Admission requirement: In order to apply for the programme, you must possess one of the following qualifications: production technology, service engineering (plumbing, electrical), automation technology, energy technology or another relevant business academy qualification. Tuition: On the Bachelor's Degree Programme in Product Development and Technical Integration you will learn how to integrate and coordinate the technical, creative and commercial aspects of a development process. Tuition content is based on projects and tuition alternates between presentations by lecturers and individual guidance. Intake quota: Programme start: August/September and January/February. Place of study: Prinsesse Charlottes Gade 38, DK-2200 Copenhagen N. _

Duration: 3½ years. Tuition language: Danish. English in the international line. Admission requirement: Either an Upper Secondary School qualification with English, Mathematics or Business Economics at Clevel or above. Or, another relevant vocational qualification with English and Mathematics or Business Economics at C-level or above. Tuition: The focal point of the degree programme is jewellery, both how it is made traditionally and using modern technology, but also, to a great degree, how jewellery is conceptualised and sold – nationally and internationally. Focus is placed on the design of jewellery, materials, jewellery concepts, trends, cultural understanding, innovation, marketing, the value and supply chain – in brief, you will be familiarised with the entire process, from the initial idea to the selling of the jewellery. Intake quota: No statistics available since the programme is being offered for the first time in 2012. Programme start: September Place of study: Landskronagade 64-70, DK-2100 Copenhagen Ø. _ Production Tec h nology

Duration: 2 years. Tuition language: Danish. Admission requirement: An Upper Secondary School qualification, entrance examination to the engineering degree programmes or another relevant vocational qualification. If you have a pass in the Upper Secondary School examination, you must have passed Mathematics at C-level. Tuition: In Year 1 you will gain a basic insight into a number of core areas, including: product development and design, construction, the material and manufacturing process and business technology. Thereafter, you will be able to adapt the degree programme to your specific areas of interest. The three options available are: technical sales and purchasing, product development and production and process optimisation. Intake quota: Full (2011). Programme start: August/September and January/February. Place of study: Prinsesse Charlottes Gade 38, DK-2200 Copenhagen N. _ Sof t ware De ve lopm e nt (BA)

Duration: 1½ years.

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Tuition language: English. Admission requirement: In order to apply, you must possess a Computer Science or Information Technology degree or similar qualifications. Tuition: On the BA in Software Development programme, you will learn how to design and programme large, data-heavy and distributable systems. You will work with the various aspects of the software development process, such as databases, contracts, tests, system integration, project management and system development. Intake quota: Programme start: September and February. Place of study: Lygten 37, DK-2400 Copenhagen NV. _ P l u mb i n g S e r v i c e E n g i n e e r i n g

Duration: 2 years. Tuition language: Danish. Admission requirement: In order to apply for the programme, you must possess one of the following qualifications: a qualification in plumbing or a smith's qualification (with specialisations) in Service Engineering in the field of plumbing. Other relevant vocational qualification with a pass in Mathematics (C or higher). Tuition: You will learn about sanitation technology, heating technology, gas technology, indoor climate technology as well as automation and control. You will work in the following main areas: basic elements of service engineering technology. You will learn about linguistic communication, technical documentation, mathematics and information technology. Intake quota: Full (2011). Programme start: August and January. Place of study: Stæhr Johansens Vej 5-7,DK2000 Frederiksberg. _ Sof t ware De ve lopm e nt (BA)

Duration: 1½ years. Tuition language: English. Admission requirement: Tuition: On the Web Development programme, you will learn how to design and construct web applications of all sizes. You will work creatively on coding, contributing to realistic projects whilst, at the same time, improving your development and programming skills to a professional level. Intake quota: Programme start: August and February. Place of study: Lygten 37, DK-2400 Copenhagen NV.


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KEA Quarterly no 1 eng