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free publication | June - August 2017 | respect the environment do not throwaway | #indesignwetrust #speakingtogether

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DESIGN IS IN THE AIR

SPECIAL EDITION

LIVING ISSUE #6


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CONTENTS

#speakingtogether T-shirt vase - Il Coccio Design Edition by Lorenzo Palmieri

LIVING

SPAIN

TRENDS

SHARING

CATALUNYA

THESIGNSPEAKING MAGAZINE Editorial Office Via Giannone, 5 20154 Milano, Italy M + 39 329 9388286 info@thesignspeaking.com www.thesignspeaking.com GWEP s.a.s. P.Iva n. 08968660962 reserved© The material on this magazine may not be reproduced or otherwise used except with our prior written permission

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WHO WE ARE Guendalina Perelli | editor in chief Milena Biancospino | art director Antonio Vettese | contributor Sabrina Patanè | contributor Antonyo Marest | cover Bonnie McClellan-Broussard | translations David Brinnand Edwardes | translations Cecilia Piti | translations CONTACTS redazione: redazione@thesignspeaking.com advertising: adv@thesignspeaking.com SUPPORTING TALENT IN DESIGN While looking for answers for fellow young designers entering the workforce, we created an online magazine to give visibility especially to people under 30, new projects and start-ups.

SPECIAL

CASA DE RETIRO ESPIRITUAL EMILIO AMBASZ

BARCELONA DESIGN WEEK TRANSFORMING SOCIETY

MARTI’ GUIXE’ INTERVIEW

Objects and architecture interacting with the ecosystem as an extension of the body

Design as a tool to transform society and a key factor of innovation

An Ex-designer that builds edible products contemporary and timeless

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MADE IN ITALY

DEMO CERAMICS LIMITED SERIES CERAMICS

Relationship between clay and technology in the world of design ceramics

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MILAN

BERLIN

STC - STUDIO C MILANO HOW TO BUILD UP A BRAND

A freshly picked identity. The strategy in food design for buah

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BARCELONA DESIGNERS’ COLLECTIVE

The fourth edition aims to give visibility to emerging talent in Barcelona


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EDITORIAL TRENDS

CALL FOR REFLEXION IS DESIGN IN THE AIR?

Filling space is the designer’s task: sometimes it’s a process performed with lightness and wisdom, a pencil stroke that can improve our lives both in terms of how we live and by giving us objects. Designers know this and move from the pleasure of exercising this power – for architects the power of concrete, for industrial designers, that of pure aesthetic or functional management of objects – to the desire to make it possible for humans to live in harmony with the environment.

Omplir l’espai és la feina del dissenyador: a vegades és una feina duta a terme amb lleugeresa i saviesa, un cop de llapis que pot resoldre la vida del home ja sigui tant en el que es refereix a l’habitatge com en el dotar-se d’objectes. El creador ho sap i passa del plaer de exercitar, si és arquitecte, el poder del cimento, si és dissenyador industrial, de la pura gestió estètica o funcional dels objectes al desig de fer viure l’home en simbiosi amb el seu ambient.

The average Greek temple and its colonnade create a passage from a sunlit space into the closed, protected one of sacred ritual. Fallingwater breathes over torrential waters. Notre Dame du Haut places a nun’s coif atop virginal white and innocent green. The Casa de Retiro Espiritual (in the following pages) does more, connecting underground space with the medieval aspiration towards infinity, not with unreachable spires but rather with a window overlooking the horizon.

El típic temple grec i la seva columnata formen un passadís que condueix d’un espai il·luminat pel sòl a un espai protegit per a rituals sagrats. Fallingwater House respira per damunt d’aigües torrencials, Notre Dame du Haut posa una còfia damunt blanc virginal i verd innocent. La Casa del Retiro Espiritual (a les pàgines següents) fa encara més, connectant espai subterrani amb l’aspiració medieval cap a la infinitat, no amb inassolibles agulles sinó amb una finestra que guaita cap a l’horitzó.

For many centuries our objects have existed purely as everyday tools: necessary for performing crucial functions. Today, the design of things often follows this iconic path, making an effort to befriend us once again by helping us understand our surroundings and as extensions of our eyes, our arms, and our hands. Design regains its role as mediator between humankind and nature, returning to its crucial functionality. Those who have taken it into sterile and inaccessible territory feel a push to rethink, to place the human element once again at the center of the process by better understanding our needs. Working in this way favors sustainability: starting from a blank page.

Durant molts segles els nostres objectes han existit purament com a eines d’ús diari, necessàries per realitzar tasques crucials. Avui, el disseny dels objectes sovint segueix un camí icònic fent l’esforç de retrobar-se amb la nostra amistat, fent-nos entendre el que ens envolta i convertint-se en una extensió dels nostres ulls, braços i mans. El disseny recupera el seu paper com a mediador entre l’esser humà i la natura, retornant a la seva funcionalitat crucial. Aquells que l’han portat a un territori inaccessible i estèril senten una empenta per reconsiderar, per tornar a posar l’element humà al centre del procés mitjançant una millor comprensió de les nostres necessitats. Treballar d’aquesta manera afavoreix la sostenibilitat: començant de una pàgina en blanc.

Articles are also available online, accompanied by full-featured content and images - www.thesignspeaking.com

Els articles estan també disponibles en línia, amb mesl contingut e imatges - www.thesignspeaking.com


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CASA DE RETIRO ESPIRITUAL EMILIO AMBASZ

Design objects and architecture interacting with the ecosystem The legendary ‘Casa de Retiro Espiritual’, which belongs to the heralded Argentine architect and designer Emilio Ambasz, is an architectural gem located in the middle of Andalusia. Ambasz has substantial experience both in housing and design and is one of the world’s most observed and productive architects. From 1976 Emilio Ambasz has initiated a design concept that is visible throughout his product designs, “the object as an extension of the body.” This concept’s greatest accomplishment is the making of an anthropomorphic and anthropo-functional object that accompanies the movement of the body completely and unselfconsciously, just as a glove moves with the hand. His chair, Vertebra, is included in the Design Collections of both the MOMA and the Met in New York. Over the last twenty years he has been awarded a number of prizes for his innovative production included four Compasso d’Oro. In 2005, Michele Alassio, an Italian photographer represented by the Barry Friedman Gallery, accepted a commission for a multimedia project from Emilio Ambasz&Associates consisted of a volume of photographs accompanied by an aerial video, later exhibited in New York’s MOMA. Designed in 1975, this award-winning architectural project - which some have considered a minimalist ideal and others a deconstructionist fable - is rather an unclassifiable statement about architectural

essentials. Its rural setting provides a dramatic contrast to its stark, ascetic appearance. Regarding his search for “an architectural vocabulary outside the canonical tradition of architecture”, to go back to the origins, Ambasz stated: “I hope to place the user in a new state of existence, a celebration of human majesty, thought and sensation. Though apparently quite new, there are devices – both primitive and ancient –permeating this design.” The result is a building

that seems to stand for the essence of architecture. In the eyes of Michele Alassio “The house has been the continuous flight of the swallows building their nests in the Mirador, criss-crossing in front of it, that inspired me for the video; an observatory to appreciate the immense changeability of the Andalusian clouds, a slow progress of geometric shadows on its façade or sudden and dazzling strips of light within.” Photos by Michele Alassio


La llegendària “Casa de Retiro Espiritual”, que pertany a l’arquitecte i dissenyador argentí Emilio Ambasz, és una joia arquitectònica situada al centre d’Andalusia. Ambasz té una experiència notable tant en l’edificació com en el disseny i és un dels arquitectes més productius i seguits del món. Des del 1976 Emilio Ambasz ha donat vida al concepte de “l’objecte com a una extensió del cos” que és visible a tots els seus dissenys de productes. El major assoliment d’aquest concepte és la creació d’un objecte antropomòrfic i antropofuncional que acompanya completament i inconscientment el moviment del cos, com un guant es mou amb la mà. La seva cadira, Vertebra, es troba inclosa dins les Col·leccions de Disseny tant del MOMA com del Met a Nova York. En els darrers

vint anys li han estat atorgats nombrosos premis per les seves innovadores creacions, incloent quatre Compasso d’Oro de disseny industrial. Al 2005, Michele Alassio, un fotògraf Italià representat per la Barry Friedman Gallery, va acceptar una comissió de Emilio Amsasz & Associates per a un projecte multimèdia compost d’un volum de fotografies acompanyat d’un vídeo aeri que posteriorment va ser exhibit al MOMA de Nova York. Dissenyada al 1975, aquesta premiada obra arquitectònica – considerada un ideal minimalista per alguns i una faula deconstruccionista per altres – és més aviat una declaració inclassificable sobre els elements arquitectònics essencials. L’entorn rural ofereix un contrast dramàtic amb el seu aspecte auster i ascètic. Pel que fa a la seva recerca d’un vocabulari

arquitectònic fora de la tradició canònica de l’arquitectura, per retornar als orígens, Ambasz declara: “Espero posar a l’usuari en un nou estat d’existència, una celebració de la majestat, del pensament i de la sensació humana. Malgrat una aparença bastant nova, existeixen elements tant primitius com antics per tot aquest projecte”. El resultat és un edifici que sembla representar l’essència de l’arquitectura. Sota la mirada de Michele Alassio “ La casa ha estat el vol continu de les orenetes construint el niu al Mirador, creuant-s’hi per davant, que m’ha inspirat per a la creació del vídeo; un observatori per apreciar els grans canvis als núvols andalusos, una lenta progressió d’ombres geomètriques damunt la façana o sobtades i enlluernants tires de llum a l’interior.”


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BARCELONA DESIGN WEEK Transforming Society

With the title ‘Transforming society’, the objective of the 12th edition’s Barcelona Design Week is to highlight design as a tool to transform society and a key factor in innovation, sustainability and the improvement of the quality of life of people. Organised by BCD - Barcelona Design Centre, the annual event is a meeting point for companies, entrepreneurs and professionals from the sector, and an opportunity for the general public to discover the last trends in design and creativity. The Disseny Hub Barcelona, headquarters of BCD, turn into the main stage of the BDW’s most relevant events. A huge and exciting programme with the Congress from 12 to 13 June, workshops, conferences, presentations, exhibitions, talks, debates and discussions, artistic events and installations or tournaments, as well as business and networking activities. On June 10 BCD and Poblenou Urban District will organize the Poblenou Design Day, one of the main attractions of the BDW 2017. Through the BDW City programme, formed by more than 100 activities organized and hosted by studios, creative companies and other agents from different neighbourhoods of Barcelona, the attendees have the opportunity to live the creative potential of a city cradle of creativity, where design and architecture inspire the social behaviours and constitute tangible values for its inhabitants and for a multitude of tourists that visit it every year.

Sota el títol “Transformant la societat” l’objectiu de la 12a edició de la Barcelona Design Week és posar en valor el disseny com a eina de transformació en la societat i com a factor clau d’innovació, sostenibilitat i millora de la qualitat de vida de les persones. Organitzada per BCD - Barcelona Design Centre, l’esdeveniment anual és un punt de trobada per empreses, emprenedors i professionals del sector i una oportunitat per descobrir les darreres tendències en disseny i creativitat per al públic en general. La Disseny Hub Barcelona, central de la BCD, es converteix en l’escenari dels esdeveniments més significatius de la BDW. Un extens i apassionant programa que inclou el congrés del 12 al 13 de Juny, tallers, conferències, presentacions, exhibicions, xerrades, debats i col·loquis, esdeveniments artístics, instal·lacions i competicions a més de activitats de negoci i networking. El 10 de juny, BDC i Poblenou Urban District organitzen el Poblenou Design Day, una de les atraccions principals de la BDW 2017. Mitjançant el programa BDW City, format per més de 100 activitats organitzades per estudis, empreses de creació i altres agents dels diferents barris de Barcelona, els assistents tenen l’oportunitat d’experimentar el potencial creatiu de una ciutat bressol de la creativitat, on disseny i arquitectura inspiren el comportament social i constitueixen valors tangibles per a tant els seus habitants com per a la multitud de turistes que la visiten cada any.


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, , MARTI GUIXE EATING

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Interview with an Ex-designer

Martí Guixé, interested in materials that are quick, readily available and oriented towards mass consumption is an important innovator in food design. We met him during his ultimate involvement in Tapas. Spanish Design for Food organised by Acción Cultural Española and Museu del Disseny de Barcelona. Martí Guixé - Foto by Knölke/Imagekontainer

TSS - Speaking of food, on your website you quote Inga Knölke: “A food designer is somebody working with food, with no idea of cooking”. Over the last twenty years have you learned to cook or is food always and only an area of experimentation? MG - “Food design has nothing to do with the kitchen or the act of cooking; it’s about arranging and planning edible objects starting with a design project. Cooking is something manual and traditional, intrinsically related to the concept of artisanship. From my point of view, because of this and given that it doesn’t follow the parameters and rules, you cannot define it as design. I don’t cook, I don’t know how to cook and I’m not going to learn. I think someone who cooks can’t be a designer because contact with the raw material dissolves the holistic essence of the project, making it more vital and therefore trivial.”

Martí Guixé, interessado en mateirals que sòn ràpids, fàcilment disponobles i orientado cap al consum de masses es un innovador important del food design. El vàrem trobar amb el durant la seva última participació en Tapas. Spanish Design for Food organitzada per Acción Cultural Española and Museu del Disseny de Barcelona.

TSS - A la teva pàgina web sobre els aliments citas les paraules de Inga Knölke “El food designer es algú treballant amb els aliments, sense tenir idea de cuinar”. Al voltant d’aquests darrers anys has après a cuinar o el manjar continua sent només camp per l’experimentació? MG - “El food design no te res a veure amb la cuina o el acte de cuinar, es tracte de configurar, o planejar objectes comestibles a partir del projecte de disseny. La cuina es algo tradicional i manual, que te implícit el concepte de l’artesania i per tant des del meu punt de vista no es Disseny, ja que no segueix els seus paràmetres. Jo no cuino, no se cuinar i no penso pas aprendren, es mes, penso que algú que cuina no pot ser un food designer doncs el contacte amb la matèria esvaneix la holística del projecte, el fa mes vital i per tant banal”.

TSS - Again on your website, we read: 20 years ago SPAMT (És Pà amb Tomàquet), the redesign of traditional Catalan bread with smeared tomato, was presented at Galeria H2O in Barcelona. This event, which took place precisely in February 1997, could be considered the very beginning of Food Design. Over the course of these past 20 years, Food Design has evolved into a kind of movement. How has Food Design evolved since then?

TSS - Sempre a la teva pàgina web llegim: Fa 20 anys SPAMT (És pa amb Tomàquet), el redisseny del tradicional pa català amb tomàquet untat, es va presentar a la Galeria H2O de Barcelona. Aquest esdeveniment, que va tenir lloc precisament al febrer de 1997, es podria considerar el principi de Food Design. Al llarg d’aquests últims 20 anys, Food Design ha evolucionat fins a esdevenir una mena de moviment. Des de llavors, com ha evolucionat el Food Design?

MG - “In February 1997, I presented SPAMT. It was the result of the will to understand and consider design in a different way. A design that not only dealt with the formal and aesthetic aspects, but that was trying to change habits and daily life, starting with opening it up to discussion. This everyday life was, and still is, punctuated primarily by food, not only by the food itself but also by the times as well as the rituals of its preparation and consumption. SPAMT is the redesign of the traditional bread and tomato, but in a more ergonomic format, allowing it to be used in front of the computer. Eating in front of a screen, while playing a game or working was a new behavior resulting from the broad diffusion of personal computers. SPAMT, unlike traditional bread and tomato, left no crumbs and it was easy to handle and eat, without these features one would have to stop playing [in order to eat]. Tradition wasn’t in step with the new lifestyle and design could adapt the everyday experience to the changes imposed by the new technologies.”

MG - “Al febrer del 1997 vaig presentar el SPAMT que va ser fruit de la intenció de pensar i d’entendre el disseny d’una altre manera. Un disseny que no tan sols s’ocupava de coses formals i estètiques, però que intentava canviar els costums i la vida quotidiana en general a partir de qüestionar-la. Aquesta vida quotidiana estava i esta encara sobretot articulada a través del menjar, del menjar en si, però també dels horaris i rituals de la seva preparació i la seva ingestió. L’Spamt es el re-disseny del tradicional pa amb tomàquet però amb un format mes ergonòmic, que feia `possible el seu consum davant del ordinador. Menjar davant d’una pantalla d’ordinador, mentre jugaves o treballaves era una actitud nova en aquell moment, i conseqüència de la popularització dels ordinadors personals, El SPAMT a diferencia del pa amb tomàquet tradicional no feia engrunes i era fàcil de gestionar i menjar, i no calia parar de jugar. La tradició ja no funcionava amb el nou tipus de estil de vida i el Disseny podia ajustar lo quotidià als canvis que ens oferien les noves tecnologies”.


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DEMO CERAMICS Limited series ceramics for collectors

The relationship between clay and technology in the world of design ceramics develops in an ideal narrative regarding the sublimation between soil and metal from antiquity to the modern era, changing the elements’ structure and reinterpreting their essential lines. Paolo Demo is interested in experimentation and he was the first to apply the PVD (Physical Vapour Deposition) technique to large format ceramics. Two limited edition series of signed and numbered containers have been created for collectors.

dawns and sunsets when the long shadows of smokestacks and factories once protected the thoughts of those who moved and produced within their sphere. The opaque black glaze speaks the language of smoke and particulate matter suspended in the air, the smell of factories where soot and soil cover everything with a veil of joyful melancholy.

For hundreds of years ceramics have functioned as a container for a family ideals and memories strongly linked to our history. Ceramics have continued to convey the valuable message of their practical, symbolic and emotional worth that have always justified their presence and autonomy in living spaces. The vases of the Echoes Mirror Chrome Series are made of ceramic and chromed steel, but can be also customized by using platinum or silver. With their mirror-like surfaces, these vessels reflect their surroundings. This series is the result of extensive research regarding ceramic design and the meaning it has acquired over time, starting with antiquity, when terracotta vessels were made to contain and preserve food, essences, spices, oils and ashes. With the Echoes Series ceramics return to the contemporary domus as a functional and formal symbol, bearing witness to a culture as complex as it is ancient and yet which has not been eclipsed. Tales of the Factory Carbonblack instead invokes the memory of soot and the savour of history and industry where everything was in the process of transformation. The air of the workplace, of the

The analogue photograph by Markandré (alias Marco Pilotto & Andrea Rinaldi) offers an interpretation of Paolo Demo’s ceramic. on this page - Echoes and Factory Carbonblack on right page - Echoes Mirror Chrome Series


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El diàleg entre arcilla i tecnologia al món de la ceràmica de disseny es desenvolupa en un conte ideal de sublimació entre la terra i el metall, antic i contemporani, tot modificant-ne el disseny i reinterpretant les línies essencials. Paolo Demo és un experimentador i és el primer en haver aplicat la tècnica del PVD-Physical Vapour Deposition a la ceràmica de grans dimensions. Per als col.leccionistes neixen dues sèries de contenidors en edició limitada, signats i numerats. La ceràmica conserva valors familiars i records molt lligats a la nostra història, porta segles transmitint un missatge de valor, perquè des dels valors de l’ús simbòlic i afectiu sempre ha justificat la seva presència i autonomia als espaïs habitats. Els gerros Echoes Mirror Chrome Series en ceràmica i acer cromat es poden personalitzar també en platí o argent, i gràcies al efecte mirall reflecteixen l’ambient al voltant.

Són el resultat d’un estudi sobre el disseny i el sentit que ha assolit en el temps des d’èpoques antigues, quan les terracotes complien la funció de contenedors i conservaven els aliments, essències i espècies, olis i cendres. Amb Echoes la ceràmica torna a la domus contemporània com a símbol funcional i formal, testimoni d’una cultura tan complexa com antiga, que tanmateix no està superada. Tales of the Factory Carbonblack, en canvi, és una memòria de la sutja que sap a història i indústria on tot es transforma. L’aire del treball, de les sortides i de les postes del sol, on les llargues ombres de les xemenèies i de les naus industrials protegeixen els pensaments de tothom que es mogui i produeixi. L’esmalt negre mate parla la llengua del fum, de la suspensió de la matèria a l’aire i dels olors de les fàbriques, on la sutja i la terra recobreixen les coses donant-los un vel de joiosa malenconia.


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HOW TO BUILD UP A BRAND: A FRESHLY PICKED IDENTITY The STC Studio C Milano strategy in Food Design for buah buah - fruit in malaysian, produces freeze dried fruit-mixes that can be used to prepare smoothies, muesli, salads, and infinite recipes - 100% natural. The challenge was to communicate the sincere naturalness of the product, in a field where being pure is a strong differentiator. “We decided to be transparent as the product is - stated Christoph Schnug, brand designer and founder of STC Studio C Milano - Starting from the wording every fantasy name has been left behind, each product has been described just with the name of its main actor. You can clearly read what you’ll find in it.” The packaging is , a strongly iconic and sustainable paper tube, can be used as measure in the preparation of smoothies. The products can be purchased online and are delivered in a cardboard edition of the archetypal fruit box: as Christoph Schnug, brand designer freshly picked from the tree. The work of Studio C, a multidisciplinary design agency with an integrated team of international design professionals, is focuses on brands and their development through strategies, graphic design, product design, exhibition design and architecture. Deeply interested in Food, they develop innovative concepts you can experienced in the restaurants and food trucks they designed in Italy and Germany. The Krauter Siblings met Christoph Schnug in 2015, at the end of an intense journey around the world to discover exotic fruits and deepen their knowledge of natural foods. Since then Studio C is supporting the growth of the brand, which has been recently awarded by Fedex and Shopware. The studio is currently developing a book of recipes, fully conceived by the buah Family, including the beautiful pictures of the Italian photographer Claudia Castaldi.

El Caminante, Foodtruck - 2015

God Save the Food. Restaurant in Milan - 2010 buah – fruita en malai, produeix mescles de fruita liofilitzada 100% natural que poden ser utilitzades per preparar batuts, muesli, amanides i una infinitat de receptes. El desafiament era comunicar l’autèntica naturalitat del producte, en un mercat on la puresa és un fort diferenciador. “Vàrem decidir ser tan transparents com és el producte” – afirma Christoph Schnug, dissenyador de marques y fundador de STC Studio C Milano - Començant amb l’elecció del text s’han obviat els noms de fantasia, cada producte ha estat descrit simplement amb el nom del seu component principal. Es pot llegir clarament el que es troba a l’interior.” L’embolcall, un tub de paper sostenible i fortament icònic, pot ser utilitzat com a mesura per a la preparació de batuts. Els productes poden ser comprats online i són entregats dins una versió de cartró de la arquetípica caixa de fruita: com acabades d’agafar de l’arbre. El treball de Studio C, una agència de disseny multidisciplinària amb un equip integrat de professionals internacionals del disseny, s’enfoca en les marques i el seu creixement mitjançant les estratègies , el disseny gràfic, el disseny de producte i el disseny i arquitectura de exhibicions. Amb un fort interès pel camp del Food, desenvolupen conceptes innovadors que es poden experimentar en els restaurants i llocs de menjar que van dissenyar per Itàlia i Alemanya. Els germans Krauter es van reunir amb Christoph Schnug el 2015 al final d’un intens viatge pel món per descobrir les fruites exòtiques i aprofundir el seu coneixement dels aliments naturals. Des de llavors Studio C està donant suport al creixement de la marca, que ha estat recentment atorgat per Fedex i Shopware. L’estudi està desenvolupant actualment un llibre de receptes, totalment concebut per la família buah, incloent les belles imatges de la fotògrafa italiana Claudia Castaldi.


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Chocolate Truffles, from buah’s Recipes Book

Corporate identity and packaging design by Studio C Milano - 2015 Breakfast Smoothie.

Photo by Claudia Castaldi

Daniel and Jessica Krauter, founders of buah

buah’s fruits are 100% natural and pure, without colorings, sugar and preservatives. As a smoothie, muesli and for infinite recipes.

Photo by Claudia Castaldi


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The platform that supports emerging talent The fourth edition of Barcelona Designers’ Collective, a project promoted by La Roca Village with the support of the FAD (Fomento de las Artes y el Diseño), aims to give visibility to emerging talent in Barcelona. The mission of the international platform, which has editions in several European cities including Milan, London and Dublin, is to discover, promote and support creativity, innovation and sustainability. This event confirms the Catalan capital’s role as one of the best cities in the world for its creative potential while at the same time serving as a meeting point for both national and international talent. From June 15 through August 30, Barcelona Designers’ Collective will materialize with a 150 m2 pop-up store at La Roca Village, showcasing the creations of sixty independent designers working in fashion, graphics, illustration, contemporary jewelry and art. Japanese designer Hiroshi Tsunoda’s Design Code will be present with locally manufactured products made with recyclable materials and a focus on sustainable product design and packaging. Another highlight is Oscar Tornero’s Oto Cycles BCN, with its electric bikes inspired by motorcycles from the 1940s and 50s, combining a passion for classic vehicles with modern, renewable technologies. The fourth edition of Barcelona Designers’ Collective, a project promoted by La Roca Village with the support of the FAD (Fomento de las Artes y el Diseño), aims to give visibility to emerging talent in Barcelona. The mission of the international platform, which has editions in several European cities including Milan, London and Dublin, is to discover, promote and support creativity, innovation and sustainability. This event confirms the Catalan capital’s role as one of the best cities in the world for its creative potential while at the same time serving as a meeting point for both national and international talent. From June 15 through August 30, Barcelona Designers’ Collective will materialize with a 150 m2 pop-up store at La Roca Village, showcasing the creations of sixty independent designers working in fashion, graphics, illustration, contemporary jewelry and art. Japanese designer Hiroshi Tsunoda’s Design Code will be present with locally manufactured products made with recyclable materials and a focus on sustainable product design and packaging. Another highlight is Oscar Tornero’s Oto Cycles BCN, with its electric bikes inspired by motorcycles from the 1940s and 50s, combining a passion for classic vehicles with modern, renewable technologies.

Oto Cycles Barcelona by Oscar Tornero Orbit Maxi - Design Code by Hiroshi Tsunoda

From June 27 to July 2 FAD organizes the FADfest – festival of arts and design that celebrates creative excellence every year by presenting the top Spanish architecture and design awards. The central theme of 2017: the relationship between the city, tourism and design.

Del 27 de juny a 2 de juliol FAD organitza el FADfest Festival de les arts i el disseny que celebra l’excel-lència creativa tots els anys mitjançant la presentació dels principals premis espanyols de l’arquitectura i el disseny. El tema central de 2017: la relació entre la ciutat, el turisme i el disseny.


DESIGN IS IN THE AIR BUT ALSO IN TOWN!

Thesignspeaking corners @ Barcelona Design Week June 6-14 In support of talented young designers, companies and startups, THESIGNSPEAKING network participates in Barcelona Design Week for the first time. Media partner with the organizer of BDW, BCD Barcelona Design Center, THESIGNSPEAKING – a multi-faceted system aiming to provide new business opportunities and visibility through its online magazine, special print editions, temporary shop, group exhibitions and by way of The Press Cloud, the communication platform 3.0 - has identified two corners to promote creative dialogue between Italians and Spaniards.

És per donar suport als joves talents, empreses i start-ups que el network THESIGNSPEAKING ha decidit participar per primera vegada a la Barcelona Design Week. THESIGNSPEAKING, un sistema complex que vol oferir noves oportunitats de negoci i visibilitat mitjançant una revista online, edicions especials en paper, tendes temporals, mostres col·lectives juntament amb The Press Cloud, una plataforma de comunicació 3.0 – ha establert un media partnership amb BCD Barcelona Design Center, organitzador de la BDW, i habilitat dos emplaçaments on donar espai a alguns dels talents del món del disseny.

“TABLE AND SURROUNDINGS” where food design elements add poetic and ritual content around the table and, as Alessandro Mendini says, “the object becomes an emotional friend”. Rasoterra Bistrot Vegetarià Carrer de Palau, 5 - Districto Ciutat Vella 6-14 June, from 13-16.00 and 19-23.00 cocktail 7 June, 16-19.00

“TABLE AND SURROUNDINGS” on elements de food design afegeixen continguts poètics i rituals al voltant de la taula i, com diu Alessandro Mendini, “l’objecte es converteix en un amic emocional” Rasoterra Bistrot Vegetarià Carrer de Palau, 5 - Districte Ciutat Vella 6-14 Juny, 13-16h. / 19-23h. cocktail 7 Juny, 16-19h

“OF ART AND DESIGN - when art inspires design and design is reflected in art” + Talent’s Manifesto 3rd edition Opera Lounge Calle Mallorca 193 - Districto Eixample 6-14 June, 10-20.00 cocktail 8 June, 19-22.00

“OF ART AND DESIGN - quan l’art inspira el disseny o el disseny es reflecteix dins l’art” + Talent’s Manifesto 3a edició Opera Lounge Calle Mallorca 193 - Districte Eixample 6-14 Juny, 10-20h - còctel 8 Juny, 19-22h

Mokador coffee presents the first “selfie-bar” for design lovers to prepare an excellent 100% Italian espresso thanks to Dado 2.0 design by Gianni Bortolotti - Displayed at Opera Lounge

Brand design by STC - Studio C for buah Photo by Claudia Castaldi - Displayed at Rasoterra

Claudia Castaldi is the author of the photographs for buah’s new recipe book in progress, which will be featured in a preview exhibition at Rasoterra.

Claudia Castaldi és l’autora de les fotografies per al nou llibre de receptes de buah, que es presentaran per primera vegada en una exposició en Rasoterra.


THESIGNSPEAKING.COM

On the left Cumuli, Basalt stone and mouth blown glass basin collection IVV952 design by Gumdesign photo by Laura Fiaschi Displayed at Opera Lounge

Demo Ceramics by Paolo Demo: his ceramic collections feature over-sized containers, conceived to protect a secret, which are part toy and part art object. Displayed at Opera Lounge

Segni lamp - Siru Lighting design by Gumdesign Displayed at Rasoterra

Savoury and Signum - Tour de Fork, a multidisciplinary design studio inspired by food culture - founders Sefano Citi and Claudia Castaldi - Photos by Claudia Castaldi - Displayed at Rasoterra

Sandro candlestick - Il Coccio Design Edition design by Sovrappensiero Design Studio - Displayed at Rasoterra


Profile for Thesignspeaking

thesignspeaking living issue #6  

Special edition - Design is in the air

thesignspeaking living issue #6  

Special edition - Design is in the air

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