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EDITORIAL Tiago Krusse

The DESIGN MAGAZINE has started its fifth year as publication, producing and diffusing journalistic information about design. Through these years is visible to everyone that we’ve informed about design but always focusing on designers and their work. We believe that designers have a whole lot to give and that they are key elements for the redevelopment of societies and therefore the evolution of culture. In the city o Liege, in Belgium, covering some events of the Reciprocity 2015, we’ve noticed how designers were so involved with people in a dignifying way. We’ve saw a whole social commitment between politicians, designers, architects, curators, public and private investors. They were all well linked to their local and regional fellow citizens. Good to see and even better to have had the chance of experienced those beautiful days in Liege, under an atmosphere of ceasing the day by showing to the public how designers and design can really make a difference. We will keep this in our memory. In Brazil after several years of struggle to present to the senate a law to regulate designers under the law, president Dilma blocked Brazilian designers intentions to be respected and protected under the law like other qualified professionals in the country, like architects for instance are. And this happens in a country with such a rich history of good designers, a society that could step forward its economy by un-


derstanding the role of these professionals in these times of required qualifications that could respond better to everyday harder demanding from the whole environment in which we’ve being placed ourselves. We know that the mentors of this most rightful ambition for the Brazilian designers didn’t give up of this fair fight. We’ll keep our support to Brazilian designers. You will succeed! We look for the International Council of Societies of Industrial Design that has turn into World Design Organization and to how its new president Mr. Mugendi M’Rithaa will keep the mission of spreading worldwide the culture of design to different societies and their different social, cultural and economical realities. We sense that that new goals are in the horizon and we express our support to all the new initiatives considered for the upcoming two years. Finally it is with great expectations that we’ll wait for the outcome of the work that has been done by the team of Design For Europe, under the leadership of Design Council, gathering countries of the European Union under a common strategy to provide innovation based on the work of designers. We truly believe that 2016 for these and other reasons would be a great year for designers. We also would like to express our commitment in improving our work and to serve better readers of the DESIGN MAGAZINE worldwide.


O evento conceitual de banheiros e interiores na imm cologne.

CREATE. FURNISH. LIVE. A FEIRA INTERNACIONAL DE MOBILIÁRIOS 18 – 24/01/2016 Aqui se reúne o mundo do design de interiores. Os melhores vem primeiro: em janeiro, serão lançados as tendências e os impulsos decisivos na imm cologne, bem no centro da Europa. Vivencie a principal plataforma do comércio mundial do setor moveleiro, concentrado em um só lugar e descubra a ampla gama de ofertas que vão desde ideias para mobiliário, acessórios para o lar, design de interiores exclusivos até os novos conceitos e inovações de decoração de banheiros e interiores na LivingInteriors.

SGM Ferias & Servicios S. L., C/Núñez de Balboa, 94 - 1º C, 28006 Madrid, Tel. 91 7 03 00 50, Fax 91 3 50 04 76,



imm 2016


drupa 2016


Universal Design Favorite


Painting and Approaches I by Rodrigo Costa Home Textiles Premium LĂŠo


Interview Joris Kritis Anna Becker



Richard Yasmine


Liege is Design


A Store in Frankfurt People of Print James Irvine Mette Henriette




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Director/Editor - Founder Tiago Krusse Executive Designer Lucas Fernandes Text Contributors Cristina R. Maier (Brussels) Francisco Vilaça (Stockholm) Hugo Poge (Reykjavík) Rodrigo Costa (Oporto) English editing K Photo Contributors João Morgado – Architecture Phtography Rui Gonçalves Moreno Advertising Office DESIGN MAGAZINE Jardim dos Malmequeres, 4, 2.º Esquerdo 1675-139 Pontinha (Odivelas) | Portugal Publishing House K Innovative Diffuser, Sociedade Unipessoal Limitada Jardim dos Malmequeres, 4, 2 ESQ 1675-139 Pontinha | Portugal NIPC: 513 314 652 Juridic Consultor Dr. Maria de Lourdes Castelo Branco Accounting Auditoc Media founded in 2011. Officialy recognized by the ERC - Entidade Reguladora Para A Comunicação Social under the register number 126104. 6




imm 2016

The upcoming edition of the imm Cologne will take place from the 18th to the 24th of January 2016 in Cologne, in Germany. The International Interiors Show highlights the Das Haus – Interiors on Stage, Pure Talents and Sleep Lounge. The fifth edition of das Haus will feature Sebastian Herkner, the German designer from Offenbach that decided to show a round house with no barriers and movable curtains. The Pure Talents in Hall 4.1 will promote designers and design culture as well as the results of the renamed D3 Contest now Pure Talents Contest. In the Sleep Lounge the German Trade Association of the Mattress Industry would be in charge of the space inviting all to learn about the segment and to stay relaxed in comfortable atmosphere. The imm cologne Livinginteriors 2016 European press conference was held in Porto, Portugal, in past September. More than fifty journalists were received in Porto by higher representatives of the Koelnmesse. The press conference held at the S. Bento da Vitória, a convent in central Porto, was welcomed by Rui Moreira, the city’s mayor, and managers from The Portuguese Association of Furniture and Related Industries (APIMA). Officials from the Koelnmesse revealed upcoming infra-structural investments (2.400 billion Euros) with its own budget and Katharina C. Hamna, chief operating officer, underlined the fair enormous focus on Europe and expressed that they “are not square meters providers”, she state. The furniture industry it is on a good shape for imm and that is clearly shown, not only by economic indicators but also how the space at the trade fair is disputed. The two days event program for the press in Porto gave journalists the opportunity to visit selected Portuguese furniture industries. The imm officials underlined as well the strong focus on Portuguese furniture firms that are regular exhibitors at the fair and will be present at the fair’s upcoming edition with a very significant participation from APIMA’s associates. Trade fairs are a worldwide business which is becoming more and more competitive and harder to keep fit with such unpredictable long or short economic crisis. The whole investment revealed by Koelnmesse officials and the confirmed numbers of exhibitors from more than fifteen countries coming to this 2016 edition are indeed most significant facts. They clearly show how imm is consolidating its position since the last few years and also how it is looking to the future.


Sebastian Herkner, the German designer, is responsible for the project of the fifth edition of the “Das Haus – Interiors on Stage”

... After years of research by my own, I confirmed that the Painting —the Art, in general—, beyond its need for physical expression, has the essence and the stimulus in the Thinking; in such way that the formal aspect of the works allows to realize the authors’ personality —whether they are telling the truth or lying, once no poet pretends without to be confirmed by the true. The WORKSHOP, in this case, is beyond the semantic value of the techniques, because things have not its start or finish, nor exhausts themselves, in the technical issues. And being important and justified the technical care, they are important because they are the tool to express what there’s in the mind, what we feel. Basically, every spirit needs tools ... and all the tools need spirit. What’s, then, the WORKSHOPS as project proposal? The main is to help people to hear their inner voice and to develop their personal hallmark, his own expression, but having, simultaneously, the conscience about the master-beams —the common grammars—, without which the style we’ll have what I call, metaphorically, incontinence, instead. ... Who a WORKSHOP about painting may interest to? It would be supposed to who already paints or to wants to learn to paint, as way for accessing to different approaches, different manners of painting, seeking to enlarge his/her spectrum of understandings and tools so as to help to overtake obstacles... However, the reality leaves another perspective, when we look at Art History and the Critical behavior, both promoted by people responsible in the description and divulgation of artists and artworks and that, through mere chronological compilations and scarce analyzes, have influence on artists’ career and on the reaction of the own markets. So, this WORKSHOPS project also can be for mere art lovers or non painters but involved in the phenomenon, once the contact with the reality never is wasted time, even if we know that such reality isn’t the unique — there’s the need of seeking the etymology of words and statements...


drupa 2016

The drupa fair, organized by the the Messe Dusseldorf, will take place from May 31 to June 10 of 2016 in Dusseldorf, in Germany. The fair it is run every four years and it is focused on print and crossmedia presenting solutions for prepress, print, premedia, multichannel, postpress, converting, packaging, future technologies, materials, equipment, services and infrastructure. Among a wide variety of topics, the 2016 edition of drupe will feature as one key highlight the packaging production. The fair organizers state that “papers with outstanding sensory appeal combined with excellent finishing techniques turn packaging into first class advertising media”. In this segment the exhibition will feature new electronic displays and sensors that are innovating and turning packaging intelligent. The Messe Dusseldorf also highlights drupa’s hall 7.0 where most of the innovations will be shown. The innovation park will be organized under six themed areas with around 130 exhibitors that will showcase their innovations in workflow processes, automation and the latest print technologies. A new area will be devoted to successful business and marketing concepts. The innovation park “the unique advantage of being able to discover innovations and market-ready applications for creative print products and technologies in a convenient compact form”. Alongside presentations the place will feature a stage showcasing panel discussions and interviews. Officials from the Messe Dusseldorf have noticed that the print and media industry is changing rapidly and that a new era of new technologies are getting strongly firmed in this wide professional market. They say that’s the reason why “with the highlight themes of print, functional printing, packaging production, multichannel, 3D printing and green printing” there is a respond to this developments and the awareness that the fair’s mission should also capture the interest of new visitor target groups. The state-of-the-art technologies and new solutions will be shown at drupa’s 2016 edition. More --




The iF Universal Design has entries opened until December the 31st of 2015 for the universal design expert favorite and universal design consumer 2016 prizes. The awarded favorites will be announced at the upcoming edition of the Munich Creative Business Week, in Germany.

At upcoming edition of the Munich Creative Business Week 2016, from the 20th to the 28th of February of 2016 in Munich, in Germany, the iF Universal Design will be presenting the favorites for 2016 to the Universal Design experts and a 100-strong user jury. The universal design expert favorite 2016 and universal design consumer favorite 2016 prizes will be awarded. The iF Universal Design is a member of the iF Industrie Forum Design e.V. family since 2013. The organization will be honoring the international Universal Design favorite for the fifth time as a partner of the organizer, bayern design. The subsidization from the Bavarian Ministry of Economic Affairs and Media, Energy and Technology underlines the economic importance of the awards. The competition is open to all designers, companies, universities, students and start-ups, which would like to present themselves and their concepts, scenarios and products online in the areas of design, architecture, technology and service design on iF Universal Design’s digital media. In addition, the entries will also be unveiled to a specialist audience and visitors to the Munich Creative Business Week alike in a jury exhibition as part of the Oskar von Miller Forum. The eight-day jury exhibition is accompanied by a comprehensive “Universal Design program,” which opens up further opportunities for Universal Design favorite 2016 participants to touch base and network. Alongside the option to conduct a live presentation 14

of the products for the Universal Design favorite Session 2016 committees, areas of universal design will also be presented and discussed in workshops, presentations and speed information events. Active international cooperation will also play an important role in 2016 with the following participant institutions: designaustria, International Association of Universal Design, Japan; School of Architecture Aarhus, Denmark; Joanneum Graz, Austria; Coburg University of Applied Sciences and Arts, Macromedia University of Applied Sciences, Munich, Department of Industrial Design at the Technische Universität München. Universal Design sees itself increasingly as a fundamental vector and strategy to design products, architectures and services which, in terms of their form, operation, and design, appeal to the needs of as many consumers and users as possible, reduce complexity to a minimum and also enable secure, fault-tolerant and sustainable innovations. For iF Universal Design, positioning universal design as a pioneering social design platform and reinforcing its position as an economic factor for industry and design is both an incentive and a challenge. More --



... Almost twenty years ago, in 1996, I was going to launch my small book of poetry, 30 Poemas / 30 Poems, and, as opening, Isabel Delerue, a cellist friend of mine, would perform the classical Après un Rêve /After a Dream, the romantic piece from Gabriel Fouré, so as to create an atmosphere corresponding to the poems… about love. However, three or four days before, Isabel proposed a kind of preliminary audition so that I could give my opinion. Après un Rêve was, in fact, the most beautiful beginning; nostalgic enough to provoke the trip into inside and to keep people's attention focused to what was to follow. Along the audition I was feeling as though the bow was shorter than it really was; I could feel its ends. The Rêve was asking time and space for filling the cello’s lungs through a deeper and slower breathing

Rodrigo Costa

on anything. I just feel and think about hypothetical causes and consequences. I just try to see and conjugate the forms, colors, sounds and emotions; thoughts and words; action and intention. I just look for coherence. At the end of the performance Isabel wanted to know my opinion. So, respectfully I dropped my idea — trying to be constantly pleasant is an unpleasant vice, because it means wasted time and energy in moments in which we must simply be honest as the only way to reach the light... if the light is what we are looking for. Isabel responded to have performed under the score. Really, it’s not easy for composers to put emotion on their scores. When writing the notes, the composer can only establish the length time and the connections. He can add some particular specification so

“At My Kitchen”, oil on canvas, 25x82 cm.

— when we are dreaming, the time and the space doesn’t exist; the Universe hasn’t fences, hasn’t limits; everything sounds as everything is endless... The bow should work as something unshaped and merging into the ethereal… It is true that the cello is my preferred musical instrument, because it is what is closest to the human voice, pointing to the deep and large space where resonate, discreet, all human ambitions and lamentations, keeping the dignity in middle of the sadness or even the despair. The cello transforms moments of sadness into expressions of pleasure. Through the cello we can feel the ephemeral and the infinity… Well, but, first of all, I must say I’m not an expert on music. Better than this, I must say I’m not an expert 16

as to inform about how emotionally it must be performed. The composer feels his own emotions when writing... but the score doesn’t go beyond the reason — one reality — that waits the performer's emotion, as another reasonable reality... In the following year, 1997 — April or May, I’m not sure —, Mischa Maisky, the Jewish cellist and composer born in Latvia, was coming to perform at the Calouste Gulbenkian, in Lisbon, supported by the Foundation's Orchestra. Isabel invited me to go — I already knew his sonority but I had not, yet, personally seen such gigantic figure playing live. There he was without special clothes; neither bow tie nor tailcoat. Bow and cello were pending from his left

hand. Soul, bow and cello are the essence. A simple chair as though it was waiting for somebody for who simplicity is enough. Seated down with the orchestra behind Maisky was fondling the cello, between the legs, as desire and temptation; the bow possessed by the finger’s delicacy. After some meditative seconds, he nodded as the signal, discreet but convinced, expected by the maestro. The atmosphere would start being created. Lulled by orchestra and by his feelings, he started, closed eyes, a kind of dance. Both, spirit and tool, lost in the pleasure of the possession; as pair dancing on changeable waves — taller and slower, first, lower and faster, after, as harbinger of the moment that would come through a sudden and precise coup… The bow such as phallus that provokes the groan coming from the restrained and dispersed lover taken by the erogenous fingering of the lust; maddened by the desire and the wait. After, in a mournful and hectic manner of love, we could perceive the acquiescence in each wooden and rigging creak — such as an abandoned boat to its sailor's lechery. Man and cello are a single one. Their voices become into one unique voice. No score. The soul had its own inner score as reasonable guideline for the emotional freedom, allowing to leave and to live another reality… The love is written and is free...

As soon as the performance was ended and among the claps, Isabel, as confessing herself, said that Mischa Maisky never plays in the same way. Well, there is a destiny, a thought to be understood and respected but which cannot prevent of being expressed by autonomous words, through a different way of feeling the things. Each moment is a different moment. Even when the landscape is the same, every day it looks different because we see and feel it differently, according to our state of mind. Accepting the black and the white as hard realities we can realize that they have, at least, minimal nuances as result of the natural regimen of interdependence — we are, simultaneously, image and mirror in which everything reflects itself... The score, as guideline, is the reason that needs the emotional freedom — I responded to Isabel… Is it possible to talk about Painting without considering the Philosophy as the Art’s motherland? It’s not. The physical matter is always dependent on feelings and thoughts; the artist is the human being’s voice who has the need to express his feelings and thoughts, his comprehension of what is happening around and that reflects itself in him... as a mirror... To be continued



The Real Fabrica de Tapices in Madrid, Spain, held the first edition of the Home Textiles Premium by Textilhogar. This first show was coordinated by ATEVAL – Home Textiles from Spain, the Industrial Textile Association, with the support of Feria Valencia, IVACE Internacional and ICEX. This first edition that took place from the 17th to the 19th of September 2015 showed 47 premium companies from Spain and Portugal. The main reason behind this first meeting was to benefit from a better encounter and logistic point with a mission of gathering a number of selected producers and editors with high quality production standards. Officials said that a presence of 25% of editors was clearly a good number when most of the exhibitors were producers. In a brief conversation we’ve held with Jose Serna Revert, general secretary of ATEVAL, the association of the textiles entrepreneurs from Valencia’s community, he told us that by choosing Madrid it was shown a more open attitude to this kind of initiatives and therefore a less nationalist position. In fact, The Madrid and Valencia regions were the ones that brought more buyers with 29% and 16% each followed by 9% from Andalusia and almost 8% from Catalunya. Beyond domestic buyers the outcome was also satisfactory from those coming from abroad in a total of 112 buyers coming from Croatia, Estonia, France, Poland, United Kingdom, Czech Republic, Romania, Canada, Chile, Colombia, Mexico, Dominican Republic, Saudi Arabia, Qatar, United Arab Emirates, Algeria, Morocco, Lebanon, South Africa, Mauritius and Japan. All summed up, almost 1.900 buyers visited the show and organizers underlined not only the fact of being top quality professionals but also showing a good purchasing level. The profile of visitors and professional buyers gathered by the event promoters revealed that most of them were coming from retail sector, specialized stores and a large number from distribution. Under the adequate atmosphere the show gave space to architects, interior designers, decorators and professionals of the contract market to trade. The Real Fabrica de Tapices of Madrid was the perfect and emblematic scenario for exhibitors to present their new product developments as well as their trends for 2016. A wider range of products from rugs to more technical textiles were carefully presented in the charming labyrinth grounds of the Real Fabrica de Tapices founded by Philip V in 1721.


The Feria Valencia, with the support of ATEVAL – Home Textiles from Spain, has already begun working on the next edition, due to take place again at the Real Fabrica de Tapices de Madrid in September 2016.

Up, bottom and right page the Character 2015 collection by the Portuguese brand Aldeco, Interior Fabrics.


Altaira is the name of the Spring/Summer 2016 collection by Léo, presented at the last October’s Paris fashionweek. Bringing back inspirations from the shapes of the 60’s and mixing them with cut-out details and trimmings from the 90’s it’s how the essence of this new collection was summarized by its directors. Léo was founded by Belgium Leonneke Derksen and Dutch Mathias Medaer, she as creative director and he as the director managing the administrative and communication aspects. To the inspiring environments from Belgium and the Netherlands they both add their own living experience in New York, USA, and in Paris, France. The creative side lies on Leonneke’s educational background, with bachelor and master degrees by the fashion department of the Royal Acedmy of Fine Arts in Antwerp, Belgium, as well as two year at the Koning Willen I College fashion and design departments in Hertogenbosch, Netherlands. Since 2008 Leonneke made regular presences in European exhibitions and shows. Her skills and an inspired fashion design approach started to leave the first good impressions and getting the public awareness. The Wallonie Bruxelles Design Mode under the program oriented to promote young creators decided to select Léo with its first Spring/Summer collection of 2015, giving the duo some economic support in order to expand their business. So far and looking only on how carefully the collections are presented or how the website is working, it show’s Mahtias Medaer skills at the communications aspects. There is a very professional approach in all aspects on how it’s being promoted their work and business, providing essential elements with simplicity. Photography by Sascha Heintze Styling by Marie Gibert and Aicha Laenen MUA and hair by Laura Noben Model Issa by Jillmodels


INTERVIEW Joris Kritis

Joris Kritis was the chosen graphic designer to produce the new logo of the international Biennale Interieur graphic identity. This work assignment came also with the intention to celebrate its 25th edition that will take place from the 14th to the 23rd of October of 2016 in Kortrijk in Belgium. Interview by Tiago Krusse Images: Courtesy of Joris Kritis

Born in Belgium in 1983 Joris Kritis is the chosen graphic design of the Biennale Interieur 2016 edition. He studied graphic design at the Hogeschool voor Wetenschap en Kunst (University for Science and the Arts) Sint-Lucas Ghent, in Belgium, and took the MA Werkplaats Typografie in Arnhem, in the Netherlands. Living in Brussels he mainly works on commissions in the cultural area and more often in Belgium and the Netherlands. In a short biography provided he enhances that between 2009 and 2011, together with Julie Peeters, he was designer and graphic editor of the magazine Metropolis M. He won the Cobra Power of Print public prize in 2011 for his restyling of the graphic identity of the Beursschouwburg theatre in Brussels. He also worked for the Koninklijke Musea voor Schone Kunsten Brussel, Contour Mechelen, Canadian Centre for Architecture, Architecture Workroom Brussels, The Berlage and If I Can’t Dance I Don’t Want To


Be Part Of Your Revolution. In 2011, his work was selected for the Brno Biennale, and with the book ‘Changing Cultures of Planning’, he was amongst the laureates of the Fernand Baudin Prize. He also won the bronze medal at the Leipzig competition for the Most Beautiful Book of the World. From 2012 until 2015, Kritis was professor at the Gerrit Rietveld Academy in Amsterdam, and since 2013, he collaborates with OFFICE Kersten Geers David Van Severen on ‘Architecture without content’, a series of publications for the EPFL (École polytechnique fédérale de Lausanne). His recent work includes publications for artist Walter Swennen (gallery Xavier Hufkens) and landscape architect Bas Smets, as well as catalogues for WIELS, the centre for contemporary art in Brussels. At BOZAR, he collaborated on the exhibitions ‘bOb Van Reeth, Architect’, and ‘Work on paper’ by Anne-Teresa De Keersmaeker.

What is the essence of the new logo of the Biennale Interieur graphic identity? The logo of INTERIEUR has been unchanged since the first edition in 1968. That was for me the starting point, since I very much liked the logo and doing a bit of research about it, I discovered that Boudewijn Delaere—the designer of the original logo— conceived it as two hands shaking. So I developed the idea of the handshake further, and also tried to visualize it. It is old meeting young, history meeting the contemporary, color meeting monochrome, stripe meeting ball, form meeting content and every variety in between. So, I proposed to the people of Interieur to not have one logo, but to have a multitude of logos. I feel that the essence of this set of logos consists out of the diffusion between all these different elements that are in fact a reflection on the diversity of the Interieur fair.

Do you feel that is difficult to talk about anything visual when we discuss about aesthetic quality? I don’t particularly feel it is difficult to talk about anything visual when we talk about aesthetic quality. That said it helps to use analogies to pinpoint certain intentions or subtleties. In that way, I always much liked the title of Raymond Carver’s 1981 short story collection: “What We Talk About When We Talk About Love”, or Haruki Murakami’s memoir: “What We Talk About When We Talk About Running”

How do you won this work? I was invited by the curators of the 2016 edition to participate in a closed pitch.

Which aspirations you have as a professional? My aspirations are to be able to continue what I am doing now, which is making books, identities, exhibitions, etc. for a very diverse variety of clients.

Why a graphic identity plays such a strategic role? I think a graphic identity plays a strategic role because it is for most people the first connection between a company, a product, a cultural product, or in the case of Interieur, a fair. It’s the first impression.



Anna Becker was born in 1975 in Poland. She studied design at the Hochschule Mannheim University of Applied Sciences, under the design department, in Germany, and got her diploma in 2000. Since then she began a working experience for agencies and also as self-employed designer. She’s living and working in Germany nowadays. In December 2013 she decided to start producing hand-painted bowls. A few months later at the beginning of Summertime she launched the frjor brand. This new brand holds two collections, the hand-painted bowls and the plates. The collection of plates comes in six different patterns made on porcelain. Produced in Germany, the plates were designed to have good durable quality, with 24 cm diameter, 32 cm height and weighting 800g. It is safe to clean them using the dishwasher. Anna told us that her inspiration to start something new as a designer happened during a holiday in Iceland. Besides loving Reykjavik she defines Iceland places and people as fertile, inventive and creative. Looking into this collection what we immediately got attached with was the shape and the kept simple naive graphic appeal.



Photographs by Mike Malajalian

We bring you three different works from Richard Yasmine, two from 2015, Bleeding Soul and Glory Holes, and Calibre 32 from last year. Richard Yasmine is an interior architect born and raised in Beirute, Lebanon. After finishing graduation, in 2003, from the Lebanese university with an honorable fine art master degree, he began his work as a conceptual designer. He underlines that “design should be simple, bold, and straight forward with a touch of fantasy, merging his experimental dimension with a professional know-how.” The essence of his design and working processes mingles culture and traditional aspects, making use of technology and methodology regarding as well perception and spaces. He mention Le Corbusier, Tadao Ando, Anish Kappor, Yayoi Kusama, Rei Kawakubo or Yohji Yamamoto as sources for his motivation and inspiration. Richard is member of the syndicate of professional artists, former teacher and lecturer in schools of arts teaching technology of materials and design structure. Over the last 12 years he participated in dif42

ferent international competitions in which his works were distinguished with prizes and awards. He also keeps the curiosity of learning and seeking for new things by attending workshops and international events. He’s keen on installations, furniture and conceptual design. Most recently he’s focused on the purpose of integrating Middle Eastern spirit in his product design. He mentions collaboration with craftsmen and aiming to unite tradition and trend. Richard Yasmine is using traditional carving and marquetry on rough material like wood, metals and stones. We sense an elaborated work through these three works, products with considerable dimensions in which the smaller elements are contributing fully to the expression of a spirit than to straight decorative intentions.

Bleeding Soul, 2015 Floor standing mirror /coat hanger Dimensions: 180cm height x 43cm length x 38cm width

“Before you embark on a journey of revenge, dig two graves” this is the aphorism behind the concept of Bleeding Soul. The philosophical and dramatic perception is, as if somebody’s revenge is recurring toward them since the mirror is nothing but their own reflection, and so they get hurt deep in the heart. For the architectural conception and the functionality, “bleeding soul” is a rectangular freestanding mirror made of waxed finished walnut wooden frame with 3 rough metallic nails turned to give the desired shape in this case; an augmented nail size, altogether engraved on the left side of the mirror used as coat hangers, underneath of each nail a removable drop of blood made of resin on a magnetic metallic sheet emphasizing the main idea. On the back side of the product, the nails goes through a white lacquered metal panel and become united as one entity creating the tripod for the stability of the design. 43

Glory Holes, 2015 Soliflore/table Dimensions: 45cm diameter x 40cm height, Metal piece diameter 75cm

For him and her talking about revenge, sometimes it can be so “sweet”. Therefore my concept was to create a glamorous product more like a jewelry piece providing another dimension to a home accessory… The “Glory Holes” a multi-functional design piece made of statuario marble top, solid brass handmade turned and polished, and a metal sheet in gun metal finishing. The main function is a “soliflore groupage” used as a low table, as well as a sculptural decorative central piece or even creating a base for a bigger table top when turned upside down, not to mention the very easy removable multi-sized phallic shaped brass elements for kinky minded people.


Calibre 32, 2014

Referring to horology, a movement is known as a “calibre”, in few words it’s the “process of time”. “Calibre 32” is the wheel train transmitting the force of the power source to the escapement; in our case, back in time to the glories of Lebanese civilization, age of the old architecture and the traditional tiles rarely existing nowadays in Beirut, creating an interactive asset for a successful concept where structures, shapes, patterns materials and colors meet. “Calibre 32” is a circular stool composed of multiple leftovers wooden pieces varying in sizes, accumulated together in order to form the base and the top using vintage joinery in an artisanal marquetry style. This concentric combination of 32 elements makes an entire entity. The main objective of the concept is to urge our society with its different religions, doctrines, mentalities, communities, etc. to get united; once united, we make the difference keeping the wheel moving straight forward to improve.




The international triennial Reciprocity design liege that took place from October the 1st to November the 1st of 2015 in the city of Liege, in Belgium, was a well organized event with a clear mission and a set full of accomplished purposes. The good structured program putted in place proofed not only a strong linked network from politicians to the artistic and managing elements but also a consistent strategy of gathering local and foreign communities around culture and economy. Text: Tiago Krusse Photographs: Courtesy of Germain-Ozer and Wallonie Design

The first things we must say about the international triennial Reciprocity design liege are about organization, commitment, enthusiasm and the place. The organization of the event was impeccable, the communication was carefully thought in all aspects from brochures to digital information, to welcome the press at the comfortable atmosphere of Liege’s FabLab and explaining the event in a very clear and direct way, the cooperative work between partners and sponsors, presenting its curators and capturing the interest of the citizens. We’ve sensed a strong commitment with the event, Giovanna Massoni, artistic director of the triennial, and Clio Brzakala, director of Wallonie Design and general management of Reciprocity, were able to gather strong political support. The enthusiasm was evident at the opening press conference, it was clear to us that everyone involved in such a huge mission was anxious to begin with the triennial. The city of Liege welcomed us with a good weather and walking through town we’ve made a clear perception of the social, cultural and economic environment. There is a clear investment on infra-structures and the intention of contributing for a better city life is there. Despite some questionable architectural investments, Liege is a charming city that is keeping its urban memories and mixing them with development and redevelopment. A city that is clearly seeking to offer a better social and cultural environment to its citizens as well as ambitioning to enhance old and new points of interest from visitors coming from outside the country. We’ve found interesting to know that just near the city limits we would be suddenly involved in a well balanced agrarian atmosphere. Paul-Émile Mottard, provincial deputy for culture and president of the Office Provincial des Métiers D’Art de Liege was the person responsible for initiating this international meeting. The fact of bringing back Giovanna Massoni as artistic curator was a clever

move because her experience and the way she’s involved in Belgium’s design scene, from designers to different sorts of regional institutions, allowed Reciprocity to reach outside the city and the province bringing “proactive partnership with seven other centres in the Meuse-Rhine and Belgium under the banner Reciprocities: C-Mine in Genk, Hasselt’s Cultuurplatform Design Limburg, the Maison du Design in Mon, Gouvernement aan de Mass, Bureau Europa, Creative Commons in Maastricht, Clube Design Museum and Continium in Kerkrade and Designmetropole in Aachen.” We know from Giovanna, when we interviewed her in 2012, that she deeply respects everyone who’s involved in these events and initiatives. She’s keen on wider perspectives and been able to get people involved with their passionate work and keeping the focus of spreading design culture within a social and innovative commitment that is capable of putting designers, teachers, students and citizens in a common cultural and economical ground. The social and cultural aspects are in fact very important and if we look upon a full program with more than 50 events and that they were open and free to all, it is clearly state that the event is to be accessible to everyone and that the investment made is intend to create benefits on the economical side as well. Once again we’ve got this idea that the Belgium’s see design as a social and cultural incubator. From the side of Clio Brzakala, director of Wallonie Design, the purpose of providing information and creating knowledge on the role of design to the industries was once again achieved. The goal set in 2012 to turn Reciprocity “as a meeting place and working instrument for continuous, participative and sustainable development” has continued and is reaching further the city's communities as well as it is giving a solid and proficuous example to the rest of the country. 49

During our staying in Liege we’ve had the chance of visiting some of the main exhibitions of the vast program. At the beautiful Espace Saint-Antoine the “Taste of Change, Design for Food – tools, services & systems” the concept developed by Giovanna Massoni with the scenography carried out by Atelier Blink provided a most interesting exhibition. The exhibition revealed almost 60 products, projects and services selected by a professional committee. Taste of Change addressed a international call to schools, students and designers and outcome reached nearly 200 entrants. As opening event of Reciprocity the time was for welcoming speeches and to award products, projects and services with four prizes- Wallonia, Wallonia-Brussles Federation, Euregio MeuseRhine and International. The Taste of Change was focused on changes of habits, lifestyles, food consumption, conservation, production and distribution, bio and cultural diversity. A clear intention of sharing knowledge and aspirations that could help as helpful tool and means to reach out for innovative solutions and sustainability. We were caught by some of participants and we would like to mention the Woodgas Stove by Bertus Fridael, Bioplastic Fantastic by Johanna Schmeer, Wakati by Arne Pauwels, Edible Growth by Chloé Rutzerveld, Veilleuses by Ingrid 52

Hallery and Éva Peyronnaud, Mito by Studio Chudy and Grase, zuquii by Justina Ricárdez or All on board by Alain Gilles. With Printed Commons – Graphic activisms, settled in ESA Saint-Luc, the intention was to spread posters in town, to held workshops and the exhibition itself. The curators Teresa Sdralevich in collaboration with Nawal Bakouri choose Homa Delvaray, Tom Henni and Malte Martin as guest designers. We recall Giovanna Massoni quoting Malte Martin when he expressed that “the designers work is understood when insert in a social context”. The scenographers in charge were Nawal Bakouri and Constanza Matteucci and the whole process was successful in showing “graphic design and visual communication as a channel of civic expression for social change”. At the enchanting Cité Miroir Nik Baerten and Virginia Tassinari present their continued mission started in 2012 Reciprocity by enhancing and providing evidences of the role of the design and how it can act as engaging motor to produce positive behavior and commitment towards a social evolution in local communities. A fantastic exhibition that provide us with a full storyboard composed with objects, images, stories and projects that put in evidence different sorts of interventions in which everyone was 53

invited to participate. The experience Trasenster in the town of Seraing started in January 2015 with a design laboratory for social innovation. By organizing two workshops, a group of experts formed by Virginia Tassinari and Nik Baerten, curators, Pablo Salazar Calderon, Henriëtte Waal, Yara Al-Adib and Elisa Bertolotti – the FabLabs of the Euroregion and a school, the MAD Faculty of Genk, worked in close collaboration with the people and organizations active in the area. By visiting and getting in contact with the place and the people of the Transenster district they’ve decided to invite and to gather people at the old town hall to present ideas and to collect proposals. With an established plan and a scheme of projects the following months gave space to a series of micro interventions, ranging from the use of windows of empty shops as communication surfaces to self-directed services to food distribution, changed perspectives and relationships. The live puppets theatrical performances was something we held in mind. We also would like to mention Reciprocity opening to other creative expressions like architecture with the Desconstruction by the Rotor, Lionel Billiet, Lionel Devlieger, Maarten Gielen a d Benjamin Lassere, held at Athénée Léoni de Waha, the amazing building from Joseph Moutschen, focusing on building de54

construction and the reuse of construction materials; documentary filmmaking with Max Borka’s curated Imagine Liege exploring “the significance of film in social design”; Sofra at the Gallerie Les Drapiers in which textile designers Katrien Rondelez and Cenk Kivrikoglu inspired by Turkish culture in which the round table plays a social and cultural role; the weel presented Spoon Knife Fork by Alain Wathieu’s collection of stainless steel cutlery; La Belle Place in which designer Frederic Richard presented his products through an installation inspired by his native surroundings; the Berber Art presented by Laurent Jacob and his team at the Espace 251 Nord in which the Viola collection highlights the Berber craftsmanship; the Touch of Steele with the steel prize and exhibition at the Grand Curtius Museum or Alain Berteau sketches and products at the Quai4 Gallery. Liege is design in fact and Reciprocity is a reference to us on how designers and design are bringing public service and promoting development to the communities. Finally to mention the new Design Station that shows the investment and the commitment of the Liege Province with design culture.



Interior Design: Esther Schulze-Tsatsas and Dimitrios Tsatsas Photographs: Gerhardt Kellermann

Esther Schulze-Tsatsas and Dimitrios Tsatsas were responsible for the concept and interior design of this store recently opened in Frankfurt, Germany. As founders and owners of Tsatsas it’s their first store in which the 100m2 will be showing the labels fine leather bags and accessories. The space program was thought to have a sales area, model workshop and office facilities. By placing new flooring and creating different functional zones the intention was to create a visual comfort and an unobtrusive atmosphere for the products showcased. The describing text of the store makes note to the use of “simple materials such as plywood panels and industrial shelving” producing a complementary contrast with the handcrafted fine leather goods. The five-meter floor-to-ceiling shelf unit showcases the collection of bags and accessories as central element. “Dimitrios Tsatsas imported the

marble for the industrial shelf elements from his native country of Greece. The Greek marble now sets the stage for the presentation of various bag styles.” Concerning designs and prototypes that are exclusively developed by the Tsatsas Atelier, the store has a workshop module described as “an independent room within a room by virtue of mounting matt lacquered, mitre joint plywood panels”. The working spaces established for both sales and PR teams are concealed behind a floor-to-ceiling wall panel with an integrated section of tinted glass. A back office has been designed in this more private area. The Tsatsas new store pays a tribute to the label’s spirit of clarity and quality relating it with the aesthetic qualities of the space. The simplicity of the project leaves plenty of room for emphasize the working perfectionism shown in each product and for establishing natural affinities with customers. 57








The People of the Print it’s the work and experience lived by Marcroy Smith and his long-time collaborator Andy Smith, both working since 2008 in the eponymous online resource. In his introduction Marcroy says how he feels privileged of having the chance to meet and work alongside a number of artists and print practitioners from all over the world. He also says that “every designer has a different way of designing, every printer has a different way of printing and everybody has different things they want to design and/or print.” Te book collects more than fifty key artists and studios, providing information, photos and illustrations on how print allows creative expression and experimentation to flourish. The book goes way beyond than just collecting illustrated profiles, essays or interviews, it gives a broader notion how there is still so much passion for printing in so many different social and cultural contexts. At the end of the book at Part 3 we find a rich directory, based on a selection, of print-based websites. Being defined has a global survey is our opinion that other interesting practitioners should have been brought to light. It is good to know that printing is still very much alive.

People of Print / Macroy Smith, Andy Cooke Publisher: Thames & Hudson ISBN: 978-0-500-51781-9 PLC (no jacket) English 336 Pages 452 Illustrations 2015



Phaidon presents a complete monograph of James Irvine (1958-2013) edited by Francesca Picchi with Marialuara Rossiello, Irvine’s partner and wife. Were facing and intimate perspective on Irvine’s life, on how he became more than a name in the history of design. Seeing his photos as a baby in the arms of his mother or sensing the spirit when we see him mingle with colleagues, one of the things we get is those smiling eyes looking into to the camera. The conversation between Michelle de Lucchi and Francesca Pitti is one of those we get a closure impression about is aspiration and values despite the different phases of his life, articulating and breathing every little fact around him. He was passionately linked to Milan’s movements, absorbing spirits and moods but always articulating them with is thoughts and that pure adolescent idea of being capable of changing the world by designing. Through the impressive number of illustrations our eyes are driven to the essence of his work, how he managed to translate clean concepts and drawings to materialization, keeping a mood capable of overcome difficulties in work in progress. It is undoubtedly an impressive monograph that builds bridges to the mind of a good designer he was.

James Irvine / Francesca Picchi with Marialaura Rossiello Publisher: Phaidon ISBN: 978-0-7148-6896-7 Hardback English 240 Pages 600 Illustrations 2015




The Norwegian saxophonist Mette Henriette presents her double album debut under ECM. The musician gathers jazz and classical players round her composing aspirations and spiritual affinities. With ECM’s courtesy we’ve decide to reproduce in full Steve Lake’s interview to the saxophonist and composer whose “artistic visions span far beyond the borders of sound”. Interview: Steve Lake

You were born and raised in Trondheim? Yes, Trondheim was quite forward-looking, creative and strong. I grew up in that energy. When did you take up the saxophone? When I was11 or 12. Before that, I’d played trumpet in the marching band, but when I started with the saxophone I knew that this was what I’m meant to do. I very quickly developed a strong connection with the instrument. Music was for me an experience that was so much more than notes on paper, than scores and theory and practice. I have to tell my stories, and early on I had a feeling of how I was going to do that. Music was an outlet but I knew I needed the craft to do it. Soon I would also enjoy disappearing into the theoretical aspects of music but at the beginning it was something more primitive, a response to an inner urge. What were some of the earliest constellations you played in? What kinds of music were you playing at the outset? In Trondheim at that time, we didn’t meet to jam on standards. It was all free improvised music and original compositions. I also listened to a lot of flamenco, and really enjoyed it. There was something in that music that I also heard in John Coltrane’s was the same thing for me. People in the free jazz scene would say ‘Oh you sound like…’ – and they would name a jazz saxophonist – Albert Ayler, maybe, or Evan Parker. And at that time I had no idea who those people were. When I listened to them later it made sense to me, but my influences were coming from other places, and I’ve never had saxophonist role models.

You write unusual forms for your ensembles, sometimes as if the saxophone is entering a structure to illuminate it – easing its way inside to turn a light on. I played improvised music for years and people thought that was what I did. But in the evenings at home I would compose music. I was imagining: if I was to set a framework that I could improvise within, what would it feel like? Or: how could I sculpt something that would move the free improvising in a different direction? I never studied composition, but it felt natural to try and realize the acoustic soundscapes that were in my head, and it was a long trial and error process, over a period of about eight years. I started when I was 13. Then about three years ago I decided: OK I need to get this music out there now, because it’s a big part of me. I decided I couldn’t do anything else before I completed this repertoire. Does the album, then, indicate a break with your improvised past? Or do you see yourself continuing to participate in free improvisation projects? I’m open to whatever the future wants to be, but it will include improvising. Improvising freely is my approach to life in general. How did the ECM connection come about? One of the things that I like to do sometimes is just walk out my door and see what happens. One Saturday night in Oslo I saw a poster for Dino Saluzzi at the Cosmopolite. I thought: I should hear this, especially because I’m also writing for bandoneon in my ensemble. When is the gig? Oh, it’s today. When does it start? In twenty minutes! OK! So it was a 67

very quick walk to Cosmopolite. It was packed, but I found a place on the stairs, and by chance I was next to where Manfred Eicher was sitting. We spoke in the interval and I told him about my project. He had been recording at Rainbow, and listened to some of my music… Which led, ultimately, to the ensemble and trio recordings…Are there fundamental conceptual differences in the way your compositions are shaped for trio or larger ensemble? No, they happened simultaneously. Some pieces for the ensemble were reduced to trio versions or inspired the trio - or vice versa. To me it’s all about elongation or miniaturization. That’s how I see my whole working situation. I do a lot of different projects, also with other art forms and I feel like everything is part of the same process. Trio members Johan Lindvall and Katrine Schiøtt are also part of the larger group… The trio is a very nice band to be in because the focus is so pure. We have always had a sound. The very first thing we did together, it could have been a track on this album. All three of us have such strong characters in music, I guess. We meet and play and it becomes something. We improvised in the beginning, playing together every week. Then I composed some pieces for us and Johan brought in some and we figured out that we need to do this.... The entire Cikada Quartet is included in your ensemble… I needed to find someone to ask questions about writing for strings. I met [composer] Maja Ratkje – she’s also from Trondheim. She taught me things. We didn’t meet regularly, but it was enough to push me in a direction. I’m very conscious of who I bring into a project. Different personalities bring such different things. It was important to me to pick the right string players for this music. The jazz players in the ensemble I could more easily choose, because I knew the scene. For the classical players I asked Maja, who knew my direction. She said, “I think you need to talk to Cikada.” So I did.


Listening to the saxophone on the album, you seem to be very interested in the texture of the sound as well as – or sometimes even more than – the line… A line could have such different meanings depending on how it is played and what you put in it: the quality of the sound, the texture, the depth in it. Everything is interesting. I wanted to give it some integrity, and communicate something deeper than ‘this is a dominant chord’ when I play. Early in the recording, in a chamber music setting, we hear you playing quietly, and the sound of breath and the crackle of moisture in the saxophone mouthpiece emphasize the tactile quality of the music. It made me think of abstract painting in which the brushstroke itself is foregrounded. I do connect a lot of things with music - including paint. I think about a lot of other things than music when I work with music. I imagine scenes, or scents. It’s interesting to embody things like that in music. It’s more interesting than the obvious things, like focusing on scales. Video footage from the recordings shows that you are quite animated in your direction of your ensembles, also in your encouragement of the other players. Well, I don’t think that sheet music is the only way of instructing or communicating ideas to musicians. Sometimes it’s easier to describe something with the hands or the voice or to tell a story. Musicians also have voices and bodies to move, so why are we sitting there referring only to a piece of paper? Is your Sámi family background significant for your musical identity? Sámi culture is a part of me, and it’s an inspiration, musically and in other ways. Recently I’ve been collaborating with designer Emilie Stovik, who is also working from Sámi inspirations. And I was in touch with [traditional singer] Inga Juuso [1945-2014]. We were planning a project together, shortly before she died. She was so authentic and powerful…

Double album released in October 2015 Disc One features trio music with Mette Henriette, pianist Johan Lindvall and cellist Katrine Schiøtt. Disc Two has Mette’s “sinfonietta” with thirteen players. The line-up of the larger group includes some names familiar to ECM listeners – trumpeter Eivind Lønning, drummer Per Oddvar Johansen, and the members of the Cikada Quartet – all pooling creative energies to serve Mette’s music.


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