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EDITORIAL Tiago Krusse

Our purpose is to provide information, to search for people and to tell a little bit of their own stories. Our utility is to diffuse this editorial to a worldwide audience, by serving them the best way possible and informing with our own criteria. We are not producing information to ourselves and we are choosing facts to impose them. We try to provide information that is clear in a simple way. It is important that we respect information fulfilling the basic requirements of answering what, who, how and why to every article. We try to use words very carefully because we all know how word could have so many different meanings for different people. Wittgenstein said languages are badly used, he explained a gap between word and object. It is rude to simplify such an important work of Wittgenstein in such a short sentence but I believe it gives a simple idea of what I’m trying to express with the art of using languages! As to information, readers know as well how information could be worked with so much ability, sometimes even giving the idea that facts aren’t real at all. Through these years the DESIGN MAGAZINE got and is getting a huge feedback from readers that state how we work the information and how we present issue after issue small interesting pieces of stories. Beyond the seasonal issues we are told how followers of social networks enjoy the informative


mission that we daily accomplish with the same basic requirements. They express their gratitude for the way that we sometimes bring this usefulness in an almost neutral kind of way. We are providing a service to readers worldwide and we are serving with a purpose of diffusing information with criteria and professional ethical principles. We don’t feel that we are better than other media or that we are the ultimate place to search for information. A few things we know is that we are being efficient with those who follow us and that we have never used information to generate influence in order to obtain income or profit. We know also that we are not a flashy magazine and that we will be feature at lists created by media gurus. The minimal approach it is not due to lack of commitment it is our own way to express simplicity with criteria. The magazine and social network users are growing and this gives us the feedback we need on how in fact the service we are providing is functioning with some dignity. Finally we like to underline that our mission is going to be carried out and keeping in mind that we can always improve and do better. I will not hide that with all these facts it is expectable that we could increase the interest of those investing in media. Our best wishes and a wonderful 2016!


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,



Computex d&i Awards 2016


Painting and Approaches II by Rodrigo Costa Comfort Zones


Tõnis Käo: Design as Experiment, Retospective Marita Moreno




International Biennial Poster Design Terras Gauda – Francisco Mantecón Competition Interview Marva Griffin Wilshire Interview Noa Haim


Interview Jan Ameloot A Loft in Rome Apartment in Vigo



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Director/Editor - Founder Tiago Krusse Executive Designer Lucas Fernandes Text Contributors Rodrigo Costa (Oporto) English editing K Photo Contributors João Morgado – Architecture Photography 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.


touch the future Ideias inspiradoras para o sucesso A drupa é o evento que deve visitar, em 2016: o ponto de partida de imagens muito promissoras. Foco de tecnologias do futuro. Ponto de encontro de ideias que eletrificam os mercados. Modelos de negócios inovadores e exemplos das melhores práticas demonstrarão o futuro potencial da impressão nas suas diferentes vertentes: print, packaging production, green printing, functional printing, multichannel, 3D printing. O programa “drupa future visions” permite um vasto olhar para o futuro. Faça parte dele.

daily news, trends, innovations

31 maio a 10 junho 2016 Düsseldorf/Alemanha Share

Informações: Walter & Cia., Lda. Largo de Andaluz, 15, 3º Esq. - 2 1050-004 Lisboa Tel. +351-213 556 254 _ Fax +351-213 539 311



On the November/December 2015 edition the DESIGN MAGAZINE provided wrong information about drupa writing that “the fair it is run every four years” when in fact since this year of 2016 the event organized by the Messe Dusseldorf is switching to a three-year cycle. We would like to express our sincere apologies for our mistake to the Messe Dusseldorf and to the readers. The drupa is the world's leading trade fair for print and cross-media solutions and will switch to a threeyear cycle after 2016, when it runs from May the 31st to June the 10th. “The entire print process chain has changed radically because of the Internet and digital technologies. New applications and solutions are developing and opening up new fields of business. At the same time, there is more focus on innovative technologies, such as 3D printing, printed electronics and functional printing,” explains Claus Bolza-Schünemann, Chairman of the drupa Advisory Board and President Koe8

nig & Bauer Group. “It’s more important than ever before that our customers have an overview of the latest technology and are also inspired to use new business models and solutions. drupa is the only specialist trade fair in the world to offer this– and will do so every three years in the future.” One positive side-effect of this change is that drupa will no longer run in 2020, the same year as interpack, the world's most important trade fair for the packaging industry and the closely related process industry. "The drupa exhibitors who specialize in packaging printing would have found 2020 an incredibly stressful year so the change will clearly benefit customers," emphasizes Werner Matthias Dornscheidt, President & CEO Messe Dusseldorf. The precise dates haven't yet been set, but it's clear that drupa will take place in the traditional drupa month of May in 2019, 2022 and 2025 in Dusseldorf.


The Computex d&I awards 2016 are calling companies and designers of technological innovations to register until the 31st of March of 2016, the established deadline. For the first time this year’s rising star award will be issued to encourage innovative designs from startups. The main event will be held at Computex 2016 and awarded products will also be presented at CES, IFA and MWC. Also for the first time, award-winning entries will also be displayed in emerging markets in India and Indonesia. 2016 marks the ninth year of Computex d&i awards, organized by the Taiwan External Trade Development Council (TAITRA) and executed by the iF Design Asia Ltd. Exhibitors and non-exhibitors of Computex Taipei, the largest ICT trade fair in Asia and the second largest in the world, are all invited to participate in the award until 31st of March 2016. The organizers are also pleased to introduce the Computex d&i rising star award, which will be granted for the first time in 2016 to honor young enterprises established after the 1st of January of 2011. The jury panel will select the most outstanding innovations and designs out of all awarded entries of new entrepreneurs. The jury session is scheduled for 7th of April of 2016. All entries will be assessed based on the following criteria: aesthetics, practicability, execution, innovation, usability and ergonomics, brand fit, safety, en-


vironmental impact and target group fit to determine the winners of the Computex d&i awards and the Computex d&i gold award. Registrations will be accepted in the following nine categories: Wearable Technology and Smart Applications / Products; Smart Home and Security; Gaming Hardware; Network and Communication Products; Computers and Systems; Computer Hardware and Components; Data Storage Products; Display and Audio / Video; Peripherals and Accessories The awards ceremony will take place during the Computex Taipei 2016 trade show (31st of May to 4th of June of 2016). All award-winning products will be presented at Computex Taipei, in the iF World Design Guide, on the Computex website and in the printed yearbook. Apart from being featured at the COMPUTEX TAIPEI, all award-winning products will also be showcased at the following exhibitions: IFA 2016 in Berlin/Germany (September 2016) COM-IT 2016 in Mumbai/India (October 2016) Indocomtech 2016 in Jakarta/Indonesia (October 2016) CES 2017 in Las Vegas/USA (January 2017) MWC 2017 in Barcelona/Spain (February 2017) Register online at:





Rodrigo Costa

All we know how the communication is important part of our destiny, the reason why the speaking and the hearing also are among our survival tools. It’s such the importance of the communication that, when there is not neither words nor gestures, our eyes and facial expressions become themselves into the messengers — complementary elements, before, face and eyes are, then, the main mean for sending and getting messages. Will it be easy to express our feelings or thoughts if, technically, we aren’t able to make our intentions tangible matter? Obviously, it’s time for render homage to the conscious memory, without which — as priceless file — there aren’t enough elements to give body to the ideas. We could follow the speech of most contemporary who proposes the idea as enough or even the main,

defining it as complete concept. What’s not true, given there isn’t spirit without body — the same for the contrary, unless it is corpse’s body. And it’s even needed to know how the health of both spirit and body depends on the balanced relationship between them — nobody arrives anywhere only by thinking; it’s need to go and to know how to go… so as to arrive and to arrive without big problems, at least. All artistic projects — as all human projects, naturally — have its beginning in the mind, which needs the body as tool to become the dreams into physical matter; as something to be seen and touched; as image from the physical answer to the spiritual wish. Art is no more than the result of cooperation between spirit and body, both working on producing images that reflect the affective involvement... As Da Vinci proclaimed, La pittura è cosa mentale /

Painting is a mental issue, what means doesn’t be possible to paint or to learn to paint — in the deepest sense — if we are not thinking; if we are not seeing from inside. When we don’t feel, we can’t comprehend the profound reason of the things. So an artwork has to reflect the minimum correspondence between what is thought and what is done, once our hands follow our mind, responding as faithfully as they can to the mind’s will — there are not blind hands; there are minds that, as leaders, have not enough conscious memory, instead. So the two first questions should be: — Why to paint and why to paint what we do want to paint? There are no doubts about the genetic influence. Independently of the massive miscegenation, all of us preserve our roots; all of us have our etymology. Our eyes, our hair, our skin color and our expressions, all

this comes from somebody who existed in the past. The same way, our feelings and our wills and passions are genetic heritage too. Actually, we have the human being and the context — the seed and the soil — but, even influenced by the context, the human being keeps his genetic marks such as the seed keeps its etymon, despite on its qualities are also dependent on the nature of the soil but surviving, in any circumstances, the indestructible complicity between the plant and its roots. Thus, when we refer to the artist we must consider the human being captive by his nature and influenced by the nature of the context. The artist and his or her nature as reality, even when working from the imaginary — another part of the whole reality, once, in fact, all is physical matter, despite on our scarce visual acuity:


When we paint — whatever the style or model, physical or imaginary — we obey to the Nature laws. Although the Life paints with pigment-light and we paint with pigment-matter, all days begin by release themselves from the dark blues, passing through the reds and yellows until they reach the white. It’s the noon. After that, the days continue their trip but making the opposite route, climbing down by the spectrum: white, yellows, reds and closing themselves in the dark blues — also through the way how the days born and die we can realize how the Life repeats itself, as though there is no more than the endless cycle of cycles. It’s always the same. When we want darken any color or tonality but preserving its character, we have to do it by adding a mix of blue and red — whatever is the kind of speech, representational or abstract. So, starting from here I’ll direct my writing to the representational painting; I’ll express my thoughts about the concrete and its variations, from the formal or excessively formal — as the hyper-realism — till the informal or casual, as I like to call it when the painting is supported on the free gesture. Why, representational? There is not another kind of art or whatever beyond it. Any color or shape represents something; any signal, gesture or expression has its meaning. Consciously or unconsciously, when we make a gesture, any gesture, we are sending a message, once there is no signal without corresponding message; there is no cause without effect or consequence; every movement has a purpose —

we need remember ourselves that we live under the causality regimen; if we are or not conscious of it… it is another story. I won’t be wrong on saying that, at beginning, all people try to reproduce what they see. What is normal, once we try to pick up what attracts us; our hands are working for reaching what our eyes are seeing or what we see in our mind. However, after some time and lots of exercises, we realize doesn’t be possible to compete with the Nature; we conclude how unrepeatable are the light, shapes colors and tonalities; how much distant, even the photography, stays from the real sceneries. This is the starting point to the interpretation, the beginning of the synthesis. This is the moment from which we can start making poetry, because, instead to copy the reality, our concerns are about create atmospheres, preserving the models’ character — actually, more than words, Poetry is atmosphere. Each word has a meaning and contributes, as cloud for a strong and sweet and, above all, romantic sunset. Talking about affection and style comes next. Note: Hirst has ended by saying that it is easy to painting as Rembrandt has done. It is just need to learn to paint — I’m sure to be easier to put a shark in formaldehyde, once the shark is already done. It is just need to fish it and finding up any Saatchi. to be continued



Comfort Zones is the first of a series of three exhibitions proposing different perspectives of the Centre nacional des arts plastiques – Cnap, which is running until the 17th of April of 2016 at the Galerie Poirel in Nancy, France. The exhibition is the result of a partnership between the city of Nancy, Galerie Poirel and the Cnap. The commissary is by Juliette Pollet, curator in charge of the Cnap design and decorative arts collection, and Gaëlle Gabillet & Stéphane Villard from Studio GGSV, also responsible for the scenography. Photographs by Michel Giesbrecht

The exhibition goal is to invite visitors to explore the home of a collector and suggests different ways to experience comfort. The objects are spread throughout the exhibition taking their place on a grand stage where they simultaneously serve as the set, the actors and the props. The entire exhibition is a play in four acts with one intermission. In the Office, functional objects project an image of ‘modern comfort’. These material possessions are designed to improve consumers’ daily life by relieving them of laborious tasks. The Reception area presents as a vast living room, adorned with furniture designed to give the weary a place to rest. The Play Area brings together objects that trade in pure functionalism for fun and triviality. Lastly, the Antechamber turns our understanding of well-being on its head by raising certain contemporary quandaries. Halfway through the exhibit, visitors have the chance to test out different pieces of furniture at a break area on the mezzanine level. Here, they can also experience L’Écouteur, a modern-day interpretation of music rooms created by Laurent Massaloux and JeanYves Leloup. The majority of the objects displayed were designed to satisfy our minds and bodies. They reveal the nature of our domestic activities and concerns. While projecting a sense of familiarity, the exhibition invites visitors to reconsider the shapes and uses of the objects that make up the environment around us. Comfort Zones places mass-manufactured products, comfort produced in standardised forms, alongside works that upset the standard models. In doing so, the exhibition reflects two contemporary movements in design: the search for solutions and the formulation of critiques. Comfort Zones is the product of a partnership between the city of Nancy, Galerie Poirel and the Cnap. It is the first in a series of three exhibitions that will offer different perspectives on the Cnap’s design collection.




Tõnis Käo: Design as Experiment, Retrospective is an exhibition focused on the Estonian industrial designer that will be held until the 3rd of April of 2016 at the Red Dot Design Museum Essen, in Germany. It is the first joint project presented by the Red Dot Design Museum Essen and the Folkwang University of the Arts. Photographs: Courtesy of the Red Dot Design Museum Essen

Push-button telephone for Deutsche Bundespost, 1970, by Tõnis Käo and Herbert Krämer for Siemens AG.

“Tõnis Käo: Design as Experiment, Retrospective” is an exhibition focused on the life’s work of the Professor Tõnis Käo, born is Saaremaa, in Estonia, in 1940. The Red Dot Design Museum Essen and the Folkwang University of the Arts, both from Essen, are presenting their first joint project, this exhibition that will be on show until the 3rd of April of 2016 at the Red Dot Design Museum Essen. Tõnis Käo studied at Folkwang University of the Arts in Essen from 1962 to 1967. Just two years after graduating, he started work as an industrial designer for Siemens in Munich in 1969, taking over the design studio of Siemens AG from 1983. In that position, he devoted himself among other things to the phenomenology of product design: Tõnis Käo defined a 18

system of design characteristics and their impact in order to give industrial designers guidelines for their work. From 1992 to 2005, Tõnis Käo lectured as a Professor of Industrial Design at Bergische Universität Wuppertal, where he developed the teaching concept “Design in research”. Free of the restrictions of design practice, he focused entirely on research and design as an experiment – with a view to the future. From 2004 to 2007, he was Academic Director of Bergisches Institute of Product Development and Innovation Management, and from 2005 to 2007 he was also Director of the Alu-Scout Innovation Award.

Hair dryer model, 1976, for Siemens AG.


MARITA MORENO Photographs: Rossana Mendes Fonseca

Foz Côa Collection, Fall/Winter 2016/2017. Man – Penascosa and Ribeira do Pisco models

The brand Marita Moreno was created in 2008 by Marita Setas Ferro. Being the brand’s creative designer she develops all its concepts using only Portuguese products, factories and handmade crafts to create her designs. The brand’s mission is to present high quality products, making good use of creativeness and a good eye for selecting the materials. The production is based on small quantities and all numbered which makes every piece unique. From shoes, bags, clothing and knitting the purpose is to deliver good quality design with a affirmative and proud “Made in Portugal” label. Marita Setas Ferro was born in 1967 in Beira, in Mozambique. With extensive and consolidated academic and professional experience, from fine arts to design, she has worked for several years as a consultant, teaching and mentoring fashion 20

designers, crafters and creative people. At the same time she kept always the development of own author pieces and sculptures. The brand present its first shoes and bags Spring/Summer 16 collection last August of 2015 at the Premium Footwear – Pure London, one of United Kingdom’s fashion trade exhibition. This year, from 8th to 9th of January, Marita Moreno was back in the UK for the WeAr Select London, a fair organized by the magazine of international trends WeAr Global Magazine. The brand’s creative designer underlines that the “biggest goal is to continue to show the brand internationally, put the product in some of the most iconic places in London and get more customers to realize the added value of the pieces and appreciate how culture and Portuguese heritage are translated into everyday”.

Foz Côa Collection, Fall/Winter 2016/2017. Woman – Fariseu and Quinta da Barca models



The first prize winner of the 12th edition of the International Biennial Poster Design Terras Gauda – Francisco Mantecón Competition went to Angelika Jaglińska, the Polish designer whose winning work will represent the winery’s image for the next two years. The 12th edition of International Biennial Poster Design Terras Gauda – Francisco Mantecón Competition 2015 was won by Angelika Jaglińska, the Polish designer received 10,000 euros prize money and her poster will represent the winery’s image for the next two years. Angelika Jaglińska was born in 1987 in Minsk Mazowiecki, a city located East of Warsaw in Poland. She’s a graduate student from the Art School in Koło, 2007, specialized in visual advertising. Five year later she graduated in Art Education in the Field of Visual Arts at the Adam Mickiewicz University in Poznan, Faculty of Pedagogy and Arts in Kalisz. Angelika was two times granted with the scholar of Rector of the University of Adam Mickiewicz. In 2012 she held a scholarship on industrial design by the Escuela Superior de Diseño de La Rioja, in Spain. The judges and partners of the competition gave also two honorable mentions, the fists one to Guill Fridman, Argentinean born and living in Jerusalem, Israel, the second mention was given to Toni Pontí Ibars from Lleida, in Spain, and the special mention to Joonas Vähäkallio, a visual communicator from Helsinki, Finland. To each honorable and special mentions it was given a 2,000 euros prize money. The winning posters were selected by a panel of judges that made their choice form a group of 37 finalists coming from Israel, Russia, Finland, Denmark, Poland, Germany, Croatia, Italy, Portugal, Argentina and Spain. José Cruz Novillo, professional guest member of the panel of judges, underlined the artistic quality and the graphic diversity of the 1,310 original works coming from the 59 countries that entered this biennial competition.


Guill Fridman, first honorable mention. Born and raised in Argentina. Over the past four decades living and working in Jerusalem, Israel. Ad honorem assistant in the department of Industrial Design at the University of Architecture and Engineering, in Rosario, Argentina. Outstanding graduate as a graphic designer, at the Bezalel Academy of Art and Design Jerusalem. Senior Teacher at Ascola Institute of Design Tel Aviv. Art and Design Consultant at Department of Culture in the Municipality of Jerusalem. Member of the Israel Community of Designers and of the Graphic Designers Association in Israel.

Angelika Jaglińska, first prize winner.


Toni PontĂ­ Ibars, second honorable mention. He studied fine arts, graphic design, art and robotics. He runs his own studio focused on art projects, space design, graphics, fashion editorials for specialized magazines and costumes for film. He has won national and international prizes like the Film Festival in San Sebastian 60/61/62 editions, International Film Festival of Valladolid on issues 59/60 and a first prize of the cover of the Ladyhawke 2012 album called Anxiety.


Joonas V채h채kallio, special mention. The 23 years old is a visual communicator from Helsinki, Finland. He studied graphic design at the Aalto University. His main interest is in creating entire designs, from the small details to the whole project process. His keen on logo design and creative fonts and he defines himself with a style that gathers harsh symmetric shapes and controlled chaos. He gets inspiration from forms, colors and life.


INTERVIEW Marva Griffin Wilshire

Born in Venezuela she took Milan as her city of adoption when in the seventies she embraced the work in the field of design and furnishing. In 1998 she created the SaloneSatellite the showcase of Salone Internazionale del Mobile in Milan, Italy, focused on young designers, students and design schools which she’s the curator since the first edition until nowadays. Marva Griffin Wilshire she’s head of the international press office but she represents more than just a key element of Cosmit’s organization and the Compasso D’Oro recognition of working life achievement awarded last year underlines how her persona is so influential among the international design scene. Interview by Tiago Krusse Photographs: Courtesy of Salone Internazionale del Mobile


What lead you to design and how did you get involved with Italian’s design community? I was always attracted about interiors, gardens and beautiful homes and once in Italy I started working at that time with the most important Italian company in the field (C&B Italia, then B&B), founded by the two most important entrepreneurs: Cesare Cassina and Piero Busnelli, for whom I worked as his assistant, interpreter, communication, etc… What was it like to live under Milan’s atmosphere? Just imagine the 70’s. At C&B Italia the most wellknown architects were designing, such as Mario Bellini, Afra and Tobia Scarpa, Gaetano Pesce ... and Renzo Piano was designing the offices while he won with Rogers the bid to build the Centre Georges-Pompidou. What kind of memories do you keep from the days you were correspondent in Italy for a number of know magazines? It’s impossible for me to describe this experience, I must say it was just wonderful and exciting, getting to learn about the industry in general and that have allowed me to do this job. You had a considerable amount of experience running a textile show in Venice. What was it like to be in a different market segment from the ones you were used to deal with? Not at all a different market! The Incontri Venezia, “Textile for Furnishings”, was a show where the best textile editors and manufacturers were participating … held in a city like Venice with a textile history, where furnishing manufacturers will visit to acquire the best fabrics for their upholstery pieces, so in a way it was part of this interior decoration design world. When did you decide it was time for you to present yourself to Salone Internazionale del Mobile? I did not present myself, I was asked by Manlio Armellini, at that time CEO of Salone del Mobile, to join the organization. He just said he needed me at the Cosmit Organization.

How you came up with the idea for SaloneSatellite? Why was it important to give specific fairground room to young designers? There was a need for young designers to show their prototypes to the furniture industry and manufacturers that were at Salone del Mobile and, at that time, no one, nor organizations, nor trade fairs, nor companies were taking into consideration young designers. Now, after the success of SaloneSatellite, every institution has copied us. This is okay as long as they take young designers seriously, and they give to them what they are promising. However the success of SaloneSatellite is the Italian furniture industry that works with designers from all over the world. When SaloneSatellite is almost about to reach 20 years of continuous exhibitions, which key evolutions you’ve notice when regarding its participants and the products quality standards? Every year there is an evolution: innovation, new materials, for which young designers are very attentive on this subject. Last year you were awarded the Compasso d’Oro working life achievement and most recently you were nominated under a short list of the most influential persons on the design scene. How do feel about all this recognition? I’m grateful to all these institutions and magazines that recognize my work and I’m very happy about it. This encourages me to do my job in the best way. Which sort of challenges comes to your perception when thinking of Salone’s upcoming editions? There is a lot to do in order that Salone del Mobile continues to be the leader in this field when the world travels to Milan to see the best furniture, lighting, kitchen, bathroom etc., where innovation is the leader. For you good design stands for …? Good design for me is what makes us live much better.



She is the founder and the creative director of the Collective Paper Aesthetics, a design and architecture studio based in Rotterdam, the Netherlands. Finding impossible to find a job in architecture Noa Haim decide to make good use of her expertise and working experience to move forward. A graduation work that she present as an art installation for the London’s Architecture Festival triggered everything it came next in her life. In collaboration with museums, science centers, cultural and educational organizations, the studio has developed a collection of participatory construction toys and ‘hands-on’ furnishing with the motto “everyone can play a designer”. She’s travelling the world and inviting so many different people to fold and to unfold ingenious cardboards. Interview by Tiago Krusse Photographs: Courtesy of Collective Paper Aesthetics


Photo by Anton Mikhailovsky


What is the Collective Paper Aesthetics about? Collective Paper Aesthetics is participatory exploration within the architectural model. By taking the design tools outside of the studio I discovered the strength of the architectural model is the fields of non-formal education, training, marketing and entertainment. Who started it? In 2008 I have been asked by London Architecture Festival to present my graduation work from the Berlage Institute in a format of Installation art. Together with fablab team in Den Haag, we came up with a model of interlocking paper cubes, which with visitors can co-create their own 3 dimensional visionary models of high rises. Lucky enough, two curators from London Southbank Center were visiting the Installation and found the work, product, a good match with learning and participation. When was the concept developed and how it was turned into real? The concept was build up while doing. In 2009 I was still looking for a job as an architect and never imagined I will be still busy with it today. Many ideas came from people I have met with and from commissioners and collaborators who had a big vision and budget to make it happen. Where there new technologies used to implement it? In 2008 I was taking the laser cut machine to the exhibition spaces. The technology itself was not new but having the machine and producing on-site was less common seven years ago than now days. Now days the production is made within factories and for some items new technology in the field of packaging/ die cut making is allowing better performance of the tools. Which motives lead you to choose the cardboard as the material to be used? The use of the cardboard started with the project for the architecture biennale, by 2012, in Shenzhen. It is a love and hate relationship because cardboard is a beautiful material but has issues with outdoor conditions and fire resistance – so I am in contact search for new materials which can perform as cardboard in terms of fold/ unfold yet can as well stand outdoor and become larger and stronger structures.


What reasons or mission were set? The main reason for starting the Collective Paper Aesthetics project was looking for a job. Late 2008 it was impossible to find a job in architecture, while at the same time I have been asked by Dutch design week and ARCAM Amsterdam to repeat the London activity. By doing it again and again – meeting with more people – generating more ideas – talking about it – the project 'grew up' and develop. For every project the mission is different. I have read lots of business books and had few business advisors. Many of them speak about the 5 years planning and write down your mission, but the reality was or is different (for me). It was good for general knowledge. The project has been travelling through different countries. The proposal is always based on the same idea and intentions? In the book ‘Megastructure: Urban Futures of the Recent Past’ Reyner Banham arguing that the concept of megastructure can adjust to multiplicity of ideologies. The basic collective paper aesthetics principle is similar but the intentions are different. For Tirana project it was the first time we were using the tools to empower vulnerable children and I was very happy to see it was working out in such a beautiful way (meaning; kids from Roma who do not attend school can use it and explain it). Is there any purpose of collecting information through these shows? This idea was discussed with several foundations in the past but was not granted. At the moment the outcome of the information collected is the actual version of the activity. Every activity we implement knowledge from previous once. What has been the reaction so far? It has been warm and powerful. It is hard to find a word which can describe how fascinated the engineering team and I are every time when we take a new model outside to a different place. I am usually worried about what can go wrong... The press release of the interactive installation in Moscow had a sentence that caught our attention: “everyone can play a designer”. What’s the sense or context given to this proposition?

Photographs by Monica De Pascalis


Photo by Alla Simacheva

Design is a powerful tool for change of perception. Change of perception is part of individual and organizational growth. It is not that much about the final outcome as the experience and the knowledge gained for future once or applied in different context. Why do you feel there is this predisposition to play, to build new things or to experiment? I think both are intuitive and basic needs. What are you getting from this immense experience? How is this changing your life? The collective paper aesthetics was taking me out of the architectural everyday practice to a challenging entrepreneurial journey. To experience the powerful of my architectural models outside of the architectural practice in different setups and context are empowering me as a person, as a designer, as a thinker – it was opening many professional opportunities which I was not imagining before and the most powerful thing is the satisfaction when I get positive feedback from people. What are your deepest aspirations? To find a material and technique which allow to use the method and style in building larger and stronger


structures – in a way, to go back to architecture in collective paper aesthetics way. Do you have new projects in mind? The working table in my studio is crowded with new models and a team of engineers is working with me on developing them. Some of the new projects are about bringing together different population groups (similar to Tirana project in that sense) while other future projects are focused more on introducing new materials and technology. With some collaborators we already work for few years and the projects are evolving while with other organization it will be first time partnership. For you good design stands for …? Good question … if it makes me ‘move’ emotionally or interesting me technically then it is a good design. In my neighborhood in Rotterdam there is a bakery which is serving coffee in ceramic mugs. When you finish drinking your coffee a smiling face or little funny creature is discovered – I like the design because it is surprising and make me smile – change the perception about drinking coffee…

Photo by Alla Simacheva



The Delta Light is the Belgian lighting manufacturer with more than a quarter of century of history. A family-owned business with west-Flemish roots which has built a worldwide reputation based on in-house research and development. Questioning Jan Ameloot, the managing director and head of corporate strategy, we understand the reasons why it has been running so brightly. IInterview by Tiago Krusse Photographs: Delta Light

What spirit drove to the start of Delta Light? Before Delta Light founder Paul Ameloot owned Stereohouse, where he offered sound solutions for residential projects, nightlife and hospitality. During the eighties – in particular after the release of the John Travolta dance movies – it struck his attention that his clientele started giving more and more attention to lighting, and how to apply it as an eye catcher or for atmosphere. They were in need of advice. Paul saw an opportunity and went for it. He designed a custom rail and lighting system, which was the start of a new business. He presented one of his first designs – the Phantom – at a lighting fair in Hannover. People loved it and it turned out to be a great success. It’s such a simple fixture, but still in the collection today. You could say that John Travolta inspired him to move into the lighting industry. Who were the mentors of the company and how it is like to run a family business? Inspiration comes from many different things, from art to architecture to aerodynamics, and much more. We are fascinated by movement, be it cars or planes, boats etc. From little things in everyday life. Shapes and materials that are all around us. At the same time we love to be challenged by the needs of people that we speak with. We travel a lot, and meet people from all over the world. We love to listen to their lighting needs and expectations, and think about how Delta Light can provide a solution. We are in the business now for 26 years, working on small and large scale projects all around the world. Rather than focusing on short term trends we have tried to build a range of designs that stand the test of time. As such, every time we launch new collections we combine extensions and improvements of existing ranges with completely new designs. We respect our past and work hard to keep our creative team alert, in order to stay ahead of the market. 34

Paul Ameloot started Delta Light in 1989. His two sons Peter and I – currently managing the company – grew up with Delta Light from very early age. In today’s world we notice that the personal touch and passion can really make a difference. As a family-owned business we have a personal stake in keeping our clients happy. We are committed to making a difference through original designs, outstanding service levels, eye for detail and personal contact, striving to be the best in all we do. The beginning of the nineties brought new social, cultural and economical cycles. How did a small company built the strategy concerning its values and mission? Over the years we have chosen to be very close to the market, and be in contact with all stakeholders in a project. We have built a high-quality network of partners, but we also have our own in-house people spread all over the world. Being close to decision-makers and influencers provides us with invaluable insights on each project, and the evolution of the market in general. This information helps us to forecast economical tendencies and changes in behavior. Is there a formula of gathering management, team building, motivation, productivity and communication? The main formula is to stay close to your people, listen to their needs and ideas. Throughout our entire process we have different processes to involve employees, from directors to assembly line workers, in decision-making procedures. We strongly believe in involvement as a key source of motivation, but also to help grow the business and improve productivity. Why underlined the focus on architecture? Light always makes a difference. It has a big impact on how you perceive and experience a room,


a building or a landscape. From the very beginning we have been fascinated by that aspect. We have chosen to become much more than just a manufacturer. We like to be in close contact with the architects and designers, to support them in their creative process and come up with a lighting scenario that upgrades the architecture, and how the investor experiences it. Does Delta Light regards itself as a light engineering company? The Research and Development is the biggest department in the office. Product development is so much more than design. In particular with the breakthrough of LED, lighting has become a scientific process where many different engineering techniques, mathematics and extensive study are required. Optical performance is a key aspect in the design process at Delta Light. Our team of engineers is on a continuous quest to match the company’s credo for design with energy-efficiency and optimal quality of light. At the same time we work closely with lighting designers, architects and engineering offices, offering extensive lighting advice. Integration of light in architecture – often also in relation to other integrated techniques – requires in-depth expertise of technology, building design and construction. So yes, either in product development as in application the technical, engineering element has become a core element. The awareness of the importance of lighting in the last decades was due to which sorts of concerns and aspirations? As previously mentioned light plays a key role in any type of project. To strengthen architecture, to create a specific atmosphere, enforce a brand message, upgrade wellbeing and so much more. In addition lighting also has a very important role in the energy-efficiency and sustainability of a building. A hotel might want to create a home away from home feeling. Office lighting is essential to keep employees sharp throughout the day. Retail lighting is closely associated to the perception of a brand, but also influences buying behavior etc. In the last decades multiple studies have proven the influence light has on a person’s mindset, behavior and sentiment. As such more and more attention has gone to a


more thoughtful lighting design process. The search of lighting comfort it is seek by consumers or are they imposed by marketing strategies? We don’t feel that it is imposed by marketing techniques. Comfort and wellbeing in general have become more important over the years, and lighting is an essential part of that. How much research and technological development is involved in the whole strategy and how much investment it represents? R&D is at the heart of the company, resulting in multiple new collections on a yearly basis. All lighting solutions offered – be it standard catalogue products or tailor-made solutions – require extensive study and engineering. We have a team of about 30 people working full-time in product design and development. Which kind of innovations made a deep impact on Delta’s production schemes? Which breakthroughs were the most important ones? There are different aspects to your questions... The breakthrough of LED technology in general had a major impact on our organization and production. It offers many new opportunities in product design and development, but at the same time it also challenges manufacturing, stock and logistics. With LED the light source has become an integrated element of a luminaire, in contrast to conventional lamps, resulting in a multitude of product references. A recent innovation in our collection is Soft Dim LED technology, replicating the dimming behavior of a conventional lamp where the color temperature increases in warmth as it’s dimmed. What is the real importance of the use of specific machinery and how much the business depend on it? The majority of assembly is still a manual process and requires specific craftsmanship and eye for detail. In the product development process we invested in advanced test and measurement technologies, 3D printing, and state-of-the-art laboratory facilities. These specific tools are crucial in our short idea-to-market philosophy. At the same

“Metronome L” and “Metronome H” in the black version.



time, manual prototype building is also still very important in that process. For some product ranges, e.g. Supernova, we’ve invested in a robot as part of the assembly process. This enables us to guarantee short delivery terms for both small and larger quantities. An important aspect of the HQ expansion is our brand-new fully automated warehouse. An impressive 26m high installation with over 15000 pallet locations, build to further improve product flow and process control. Seeing products being recognized with design awards is it really important and how much does it match by benefiting the constant efforts of presenting fascinating good innovative solutions? In the past 26 years Delta Light collected many product design awards, which we consider to be a great recognition for the in-house design work that we do. It motivates us to continue on our route to innovation and ongoing development of new collections. In the process of development of new products the company prefers to work from the inside or is it open from proposals outside its environment? The success of Delta Light was built in in-house design and development, piloted by founder Paul Ameloot. We certainly intent to continue on that route, as we continue to grow our R&D team with engineers, designers and light optic experts. At the same time we are open to collaborate with architects and lighting designers to create tailor-made designs for their projects, either exclusive designs or with the intention to open up to the market. We are also open to collaborate with product designers or creative people from other industries. A recent example is our Metronome, designed in collaboration with Belgian fashion designer Tim Van Steenbergen. How Delta Light evaluates the quality of information that media produces about the lighting market? That depends between markets. In general there are multiple platforms (online and print) about architecture and design, both international and local. When it comes to specific lighting specialized


platforms we notice an overload in information and channels in some markets, and a lack in others. The extension of the headquarters in Moorsele it’s seen as a reflex of new ambitions. Which kind of challenges and goals are being settled for the upcoming years? The extension of the headquarters had 3 reasons: ongoing international expansion, extending the R&D facilities and creating additional space for our rapidly growing collections. Delta Light has strong ambitions to continue to grow and expand internationally from their Belgian headquarters. In the past decade, we have doubled our turnover from 32 to 67 million Euros. We would like to see it double again in the next 10 years. What importance has the Made in Europe in nowadays? It remains a differentiating element. We are very proud of our Belgian – and more specifically West-Flemish – roots. We work very closely with local suppliers and manufacturing partners. This enables us to work efficient and to the highest quality standards. Our most loyal suppliers have become an extension of our in-house manufacturing, which makes Delta Light an important employer in the region, a key aspect in our history. How the use of light will be made in the future and what sort of scenarios can we imagine coming from Delta Light? That is very difficult to predict. Who would expect 10-15 years ago, the immense impact LED technology would have on our industry? This new technology has opened endless new opportunities in product design, but at the same time also has a very large impact on our production process. We are convinced that the share of led lighting will continue to grow in the next years, becoming the leading light source. Delta Light’s aim for the future is on further refining its product portfolio and building brand value on a global scale, with imagination, originality and creativity as top priorities, aiming to offer people the products they will need tomorrow. Quality, innovation, sustainability and service have been the key values of the company for the past two decades, and will always remain the foundations for every next step. New materials, new tech-

nologies, timeless design and much more, it’s our goal to keep launching new collection on a very regular basis. Is it true that there is technology to produce light bulbs that could last forever? Forever… the led technology is developing at a very high speed. If you look at good quality leds that can be used for architectural lighting, led manufacturers these days guarantee a lifespan of 50.000 hours. In our product design we manage to further extend this lifespan through optimal cooling conditions, efficient design, etc. You could say that – depending on type of project and hours used, which is very different in a hotel compared to a house – lighting these days has developed to become an investment for life.


A LOFT IN ROME Interior design: Alessandro De Sanctis – des interior architecture Photographs: Courtesy of des interior architecture

A loft located in Rome, Italy, on the top floor of a 1644 building signed by architect Alessandro Mattia de Rossi, a pupil of Bernini, and then renovated in 1719 by architect Alessandro Specchi, was reformed, between 2013 and 2015, by Alessandro De Sanctis and his des interior architecture studio. With a total floor area of 57 square meters the “Apostoli loft” as it is named was turned into “an open-plan living area and kitchen on the main level in which only the bathroom is compartmented, with a private bedroom on the mezzanine level.” The small duplex penthouse loft was reformed to fit a contemporary way of living keeping the atmosphere harmonious and preserving the spirit of the Baroque period in Rome. In the text that Alessandro De Sanctis provide us he underlines that “the curved balustrade and the serpentine suspended television stand was inspired by the serpentine facade of Church of Saint Charles at the Four Fountains, designed by Francesco Borromini in Rome and constructed towards the end of Borromini's life.” He also mentions that “the concave-convex facade of the church undulates in a non-classic way and allows the interpenetration of inner and outer space.” Concluding with some more historical background, he refers to the fact of Alessandro Specchi been influenced by Francesco Borrimini whose “first major constructed work was the design of the Baroque Porto di Ripetta, the port of Rome, on the banks of the River Tevere or Tiber.” It’s said that with Porto di Ripetta “Specchi broke with the classicizing architecture of his teacher Fontana.” The new loft has a living area which is characterized by the use of reflex glass to produce a sense of expansion of space. The table and the sofa were chosen in solid chestnut to match with the original beams in the ceiling. The living area has its floor made of matt Roman travertine slabs and the access to the bathroom is characterized by a flush door to the wall of elevated height. The sleeping area is accessed by a suspended staircase. The mezzanine is characterized by a white finish curved parapet, a suspended bed and the suspended serpentine television stand, an Alessandro De Sanctis prototype. The lighting around the loft is dominated by luminous grooves, providing indirect light to produce a comfortable atmosphere and enhancing the perception of the building qualities.









APARTMENT IN VIGO Design: MDBA Photographs: Héctor Santos-Díez

This apartment located in Vigo, in Galicia, Spain, was refurbished by Manufactured Design By Architects – MDBA. The team lead by Maria Díaz, main architect, and collaborators Marta Ariza, Jacopo Biasio and Magdalena Mozuraiyte made an analysis of the hierarchy of the spaces in order to comprehend how everything flows in a natural way. The mission was to reshape a penthouse located on Vigo’s waterfront. The describing text of the project is clear, “the living room, the kitchen and the dining room, are lead onto each other to take maximum advantage of sun light.” The program was lead so that “open spaces allow contemplation of the passage of time through the numerous windows.” A contrast is made, “north facing rooms provide private area which is separated from the rest by the bathrooms.” The whole space is characterized by the geometry of the roof which allowed MDBA “to play with the proportions of the apartment, changing the sections 48

of each zone but always taking into account the existing structure.” The MDBA was found by Maria Díaz an architect with more than 15 years collaborating with Vicent Guallart. She leads a team of young architects, designers and professionals of different disciplines. The studio is focused on research and creating spaces obtaining so far a wide experience in project development. From new projects to reforms passing through interior design, MDBA provides from the concept, construction to the conclusion. The main services are architecture, interior design, furniture design, graphic design and landscaping providing in each one all the technical aspects, budgets and licenses. On every new project the challenge is to fulfill client’s needs and to seek for benefits of the location or of the existing space. The studio expresses its commitment for finding the “appropriate character in every space, always bearing in mind the materiality, the warmth of the materials.”












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