Baltic Designers: they like harmony of nature and connecting humans with nature

I see that Latvia and the Baltic states in general have very high future potential.

The story of Latvia is slightly more complicated, because all those direct border contact stories are simple ones. One is inspired by the other and it is rather obvious. In the event of Latvia, there are some six contact points at the same time and therefore the mix of influences is different. And, probably, you need slightly more time to see the bouquet and beauty, which is developing here from more ingredients than in our neighbouring countries. UPB also deals in concrete mixing - what is concrete? Primitively speaking, it is sand, cement and stone chips. However, if you add various chemicals, like plasticisers, we can obtain concrete that is close to metal in terms of structure, shape and construction. This is the way we can look at the story of Latvia, where stories with a wider geography and cultural space are mixing and, in the event of Latvia, the multiple influences are not so simple to read as in the event of Estonia or

Lithuania. We know, if there is one unknown variable in a formula, it can be calculated; if there are two unknown variables, the calculation is still possible, if there are three, it is not that easy and, in the event of four unknown variables, it becomes next to impossible. Here we must view the issues from the point of view of future potential and I see that Latvia and the Baltic states in general have very high future potential. The main issue is to defend our geopolitical positions at least at the level of today, and to continue integration processes in Europe and Industry 4.0. This is the direction that must become the unifying force in all the Baltic states, because Industry 4.0 does not simply mean computerisation or technical components, it is the change of mentality, with the connection of co-operative components and co-operative competition. Thus, in line with the introduction of technologies, the process of change of mentality must occur, since technology alone fails to bring about any substantial change. And it is not only important to invest in new technologies, but to adapt the human factor to suit these changes - robots, as well as online data transfers and other different programmes. It is much more important work than buying a technology and must be done well in advance.

You said that you see big potential for the Baltic states, but the opinion is frequently heard about this region that we are a small and uninteresting market. Here I will draw parallels with catering - currently Riga has become a gastronomic metropolis of the Baltic states for many tourists, who come here for extended weekends to enjoy the gastronomic culture. I do not mean to say that Sweden or Germany, with all the Michelin restaurants, have an

underrepresented gastronomic culture. However, reviewing the sum total of the catering sector - the proportion of innovative restaurants seems to be considerably lower there than in Latvia. If we transfer this example of catering to the industrial environment, the large industrial nations often have ingrained traditions that prevent them from noticing potential in new, innovative things. A particular example - digitalisation infrastructure. In this respect, Germany has fallen behind and, among others, Latvian companies are laying cables in Germany at increased rates to thus help Germans catch up with what they have missed. Areas with absent high quality and fast mobile communications are still much more common in Germany than in Latvia. These are examples that demonstrate our capabilities and our development at least concerning the reason for lacking such a strong industrial tradition and industrial system rooted in past decades. In this case, it is the advantage of the Baltic states. Yes, perhaps we lack experience in some other aspects; however, we have higher readiness for and openness to the new. Under good management, the so-called Baltic Tigers that we remember from the 90s, could now gain their second wind at a much higher technological level than before, by

integrating themselves in much wider regional economies than they did in the 90s. The 28 years of UPB experience shows that it is realistic; we started from scratch and now we are an industrial technological concern with a relatively high degree of digitalisation. The potential of the Baltic states to adapt to the new conditions is huge and we can use it in all directions - Scandinavia, the United Kingdom, as well as Western Europe - Germany. The same is true about the directions of Belarus and Russia, which are legally more difficult at present, but our geographical localisation is here and we have co-existed for hundreds of years and, obviously, are going to co-exist in future. Economic integration is very important and here we have our own type and direction of thinking, which may enable us to build a meaningful and future-orientated development. It is different, compared to other countries located in a different geographical location and having different neighbours. We need an alternative approach to ensure that our potential is used comprehensively.

In your book “mans uzņēmēja kods” (“my entrepreneur code”) you say that you may not look back, if you wish to plan your future. Exactly; it is important to notice innate, but frequently non-activated intuition. Instincts are our past, since it is the experience obtained during evolution and we cannot survive without instincts. If we rely solely on the dictate of the mind, we are in danger of freezing, overheating, as well as experiencing hundreds of other problems. Our mind - it is this day - it is experience that we receive from intellectual schools, while communicating with others or through self-education, but the mind cannot enter the future. The mind can only operate from previous experience by summarising various assumptions of the past. We can enter the future through intuition only. If we look into the future solely on the basis of our mind or analytical dimension, we will simply transfer our current problems into the future, and we will not be able to see the solutions. Analogical processes are currently happening in European politics. We have long ago entered the next stage and we are talking in future categories. Perhaps, there is no crisis in European thinking, but what we consider to be a crisis - parliamentary crisis, crisis of large political parties, populism crisis, or crisis of the incapability of the European Commission, all of these are actually signals pointing to the rise of a new system. If we diagnose it as a summary of minor problems of the old system, we assess current events erroneously. What we are currently experiencing are the first symptoms of the necessity of a new system in the common European space. If we look at it this way, the current crises could be viewed as satellites of growth. Therefore, it is important to see the overall framework of everything, while the existing turmoil simply indicates that we are not ready for the future. The symptoms of crises, in my opinion, must be considered to be the making of the future, instead of trying to drag our past into the future. LM

Beyond Aesthetics

by ALEXANDER WELSCHER

Highly functional with a clear contemporary aesthetic. Inspired by nature and history, based on the traditional cultural heritage and stimulated by new technology. Baltic-made design is on the rise.

Estonia, Latvia and Lithuania have long been known for their natural diversity, beautiful landscapes and rich cultural heritage. Being heavily forested, sparsely inhabited and directly located on the Baltic Sea between the Nordic countries, Central Europe and Russia, the Baltic states boast plenty of untouched nature and a climate characterised by warm summers and fairly severe winters. This raw, ancient power of the landscapes, environment and seasons feed the imagination of many contemporary designers who tap into the attributes, forms and values of nature. Further inspiration comes from national crafts and artistry, which are skilfully combined with today’s modern elements.

For designers from the Baltics, innovations often go hand in hand with the wide use of traditional materials, colours and patterns. They exhibit a broad scope of talent and exquisite craftsmanship in their work which is indicative of their country of origin and reflect its heritage, while moving it forward into the 21st century. A design scene has emerged throughout Estonia, Latvia and Lithuania, and is promoting itself to the rest of the world – with a somewhat Nordic approach and aesthetic that also adds a distinctive twist of its own by eschewing convention and pushing materials into unexpected territory. The lines between design and applied art are often blurred.

Combing tradition and modern ideas “Baltic Design has been influenced by local climatic conditions and the quality of available resources and suitable materials. Another important role is played by contacts with other people and their traditional crafts. Due to our geographical location, we have always been at the international crossroads of trade, commerce and cultural exchange”, explains Vīva Ieviņa of the Latvian Designers Society (LDS). “Contemporary designers have found a way to honour that past and make it their own. We have seen a broad and extensive development within creative fields that is being taken forward by a younger and increasingly cross-disciplinary generation.”

Representing the LDS at the international design fair “Design Isle” in Riga, the certified interior designer also refers to various handicrafts that have been kept alive for centuries. “Designers are still using many longestablished techniques and elements, but they are also incorporating modern influences from all over the world. This makes their designs more and more global”, says Ieviņa and points to some of the exhibits at the fair. Showcased at her stand are the nominated works for the LDS Design Award, which is held annually in four categories – interior, environmental, product and visual communication by various cultural influences and creative minds with unique solutions. Despite certain differences between the designs from Estonia, Latvia and Lithuania, they generally have much in common: minimalism, simplicity and understatement is widespread – with clear lines, simple shapes and ecological materials. Colours also tend to be reticent, but in the end there is no such thing as a monotonous product.

Form follows function Offering many similarities with Scandinavia, it is all about honest, no-nonsense design for the people. Utility and longevity dominate.

Each country has its own approach and aesthetics, based on its complex socio-political history and shaped by various cultural influences and creative minds with unique solutions.

design. Further on, other leading Baltic designers and design companies present their ideas and solutions which mix elements from different cultures.

Having many connections with folk traditions, national motifs and symbols, contemporary design in the Baltics is still often a modern interpretation of something from the past. Each country has its own approach and aesthetics, based on its complex socio-political history and shaped “Ascetic, oriented towards basic needs and functions, a smart aesthetic, and little focus on luxury”, is how Ilona Gurjanova, President of the Estonian Association of Designers, describes the intrinsic qualities of Estonian design. This can also be said of the styles shown by its Baltic neighbours. All are characterized by their thoughtfulness: functionality comes first, mixed with wit, a clever use of forms and plenty of clarity that offers space to breathe.

BALTIC DESIGN HAVENS You want to find something for yourself in the vast selection of Baltic design products? Then design shops and concept stores are the best places to visit – most of them also operate as showrooms and give a quick overview of local trends. Here is our selection for where to go in Tallinn, Riga and Vilnius:

ESTONIA Tallinn Design House tallinndesignhouse.com Rotermanni 14, Tallinn Estonian Design House estoniandesignhouse.ee Estonia puiestee 9, Tallinn Tali Concept Store talidesign.eu Kotzebue 33, Tallinn Les Petites lespetites.ee Telliskivi 60A, Tallinn Oma Asi Design omaasi.com Viru 21, Tallinn

LAT V I A Riija riija.lv Tērbatas iela 6/8, Riga Bold Concept Store boldconceptstore.lv Blaumana iela 7, Riga M50 m50.lv Miera iela 17, Riga Kluug kluug.eu Lāčplēša iela 31, Riga Look at Riga lookatriga.lv Rātslaukums 7, Riga

LITHUANIA Locals.lt locals.lt Gedimino pr. 9, Vilnius Balta Balta baltabalta.com Pilies g. 32, Vilnius Dominikonu14 dominikonu14.com Dominikonų g. 14, Vilnius V2 Concept Store v2onlinestore.com Dominikonų g. 5, Vilnius Le Muse lemuse.eu Savičiaus g. 12, Vilnius

Winter 2020 Being environmentally conscious and favouring natural goods, Baltic designers are generally also aware of where their input materials come from. They prefer local resources and this also dictates the design aesthetic, which often combines everyday practicality with creative inventiveness. Much attention is given to sustainability – both in production and consumption. Wood, in particular, is a very Baltic thing, and designers from Estonia, Latvia and Lithuania embrace it in many ways and forms – in furniture, lamps, watches, toys, smartphone cases or even bicycles and glasses frames. Not to forget wooden houses and saunas that form not only an important part of the historic and cultural heritage, but also still enjoy wide popularity. Having stood the test of time, wood has re-emerged as a material of choice for new cutting-edge contemporary architecture and versatile sustainable construction material. In the Baltics, there are many companies that build houses

from wood – from small-scale artisan businesses working with original concepts, manual methods and a strong emphasis on design to big manufacturers that offer serially produced prefab houses, log homes and other modular timber buildings by using industrial methods. Both craftsmen and designers have also become involved in the creation and restoration of furniture and interiors, or the carving of wooden household utensils such as spoons, plates and bowls.

Deeply rooted in culture, supported by advanced solutions Another sector steeped in design and with deep roots in culture is the clothing and textiles industry. Wool, linen, flax and hemp grown in the Baltic states have traditionally been used to create fabrics and home textiles. Hand-woven garments, lace items and knitwear with ethnographic samples and rich patterns are still very popular among locals and tourists alike, while

designer Siret Esko and the German fashion-tech visionary Lisa Lang have brought tech to the Baltic fashion sector and in March 2019 unveiled an experimental garment: a functional dress with pearls that light up at the touch of a button.

The literally glowing project was supported by the Tallinn Creative Incubator. “We inspire designers to think smart and encourage them to collaborate with key technology players. We hope that this project will set a good direction for other business as well”, said Anu Lõhmus, Manager of the Incubator and Tallinn Design House, on the outcome

several quality fashion brands from Estonia, Latvia and Lithuania have become well known both in the Baltics and abroad. Many of them can be seen on catwalks around the world or in fashion magazines and international design journals.

Having artistically and technically already reached a high level of skill, both fashion and textile products are being reinvented by a new generation of fashion designers that combine traditional handicraft techniques and new innovative solutions. In a collaboration project, the Estonian pearl embroidery

Lithuanian Artists' Association president Edita Utarienė (from left) and Red Dot Award Winner 2019 Agnė Dautartaitė-Krutulė

of the experiment. Founded in 2006, the Incubator has since been involved in training and mentoring programs, as well as sharing advice and business know-how with startups and young designer brands.

Works by the designers participating in the incubation program are presented together with a wider range of Estonian design brands in a special showroom – the Tallinn Design House. Located in the Rotermanni Quarter in the centre of the Estonian capital, it promotes Estonian design and serves to help designers enter new export markets. The same role is played by the Estonian Design House run by the Estonian Association of Designers and other similar venues in Latvia and Lithuania. All of them put a spotlight on the best creations by local designers that are often handcrafted – with products ranging from interior accessories and home decoration to artworks and fashion. In addition, there is a growing number of cafés and restaurants that showcase local design.

Gaining fame, international recognition and new markets Baltic design has also been introduced outside Estonia, Latvia and Lithuania as well and is being increasingly appreciated internationally. Collections are repeatedly displayed at exhibitions and trade fairs to showcase the finest of design made in the Baltics throughout Europe, and even a bit further. Products and designers from the three countries regularly earn merits and prizes at international design awards such as the Red Dot Design Award, iF Design Award and the A’ Design Award.

One of the last winners was the Lithuanian designer Agnė Dautartaitė-Krutulė. In November, she received the Red Dot Design Award 2019 for her non-standard, conceptual, innovative design book “Memorabilia”, which presented the works of the members of the Lithuanian Artists’ Union. “We succeeded because we all worked together and believed in one another and trusted each other”, claims Dautartaitė-Krutulė. “It is gratifying that Lithuanian designers are becoming visible and competitive in the world. At least on a European scale, we have grown out of our provincial pants and can offer our creative power to the world with dignity.”

A high profile at an international level is indeed important. Having small domestic markets and limited production capacities, Baltic designers and enterprises have to start thinking internationally and to find their way to the global market from very early on. Alongside an increasing public perception comes a new attitude towards using environmentallyfriendly materials, techniques, and forms that is beneficial for design brands from the Baltics.

Craft-based, handmade, and with a predominance of wood and clear lines, the works correspond with the sustainable lifestyles and the preference for Nordic design in the Western world. Especially Germany appears to be a promising market, as Scandinavian designers have been successful there in shaping furniture trends for many decades and the love for design from the north has remained unbroken. “Design from Estonia, Latvia and Lithuania is competitive, in demand and very well received”, says Brigitta Ziegler, founder and owner of the Baltic Design Shop and a corresponding blog. “Customers are satisfied and my manufacturers are looking forward to new markets for their cool designs.”

Originally from Estonia, Ziegler has lived in Germany for many years and tries to open up the German market for high-quality design from the Baltics. In 2014, she started from the scratch with her Stuttgart-based online shop for design products from Estonia, Latvia and Lithuania, and

sells furniture and home accessories produced in small series by handpicked manufactures. “My first impressions and intuitions have not disappointed me. There is a market for Baltic design in Germany”, Ziegler reflects about her first five years in business, which has now reached the next level. At the beginning of 2019, she opened a showroom in Bruchsal, a city about 70 kilometres north-west of Stuttgart.

To get to know the designers and find new brands for her shop, Ziegler frequently visits her home country and the other two Baltic countries. The direct, personal contact is very important to the Estonian sociologist-turnedbusinesswoman – and she always looks forward to it. “It is like a big family, there aren’t as many people here as, for example, in Germany, we know each other well”, Ziegler says. Surrounded by nature, their long, close connection to the land has prompted designers to value and preserve the heritage of their home country in many forms and ways. “So much is happening in the Baltics right now. The scene is extremely innovative.”

Why good design is good business

Design does more than simply make things look cool. At its best, it combines creative thinking with craft and technical skills to address people’s real needs. Once focused mainly on products and packaging, design is now a philosophy spanning creative processes that can transform organisations. Many companies seem to have bought into the idea that design is important and they emphasize good design in the development of their products and customer experiences. Similarly, the strategic use of design in public areas is

increasing as well, since it can transform the environment and improve the quality of life.

“Design results in lasting value when it relates and is effective, tells a narrative, enhances our lifestyle, and creates personal and cultural identity”, argues design expert David Carlson in his pocket book “Make design matter”. A study published in October 2018 by McKinsey & Company seemed to substantiate this view. The consultancy tracked the design practices of 300 publicly listed companies in multiple countries and industries, and measured the

correlation with their financial performance by creating an index to identify “designdriven” companies. The analysis showed that companies scoring in the top quarter of the index substantially outperformed industry-benchmark growth. Over a five-year period, this resulted in 32 percentage points higher revenue growth and 56 percentage points higher shareholder return growth compared with their industry counterparts. The results have been consistent across all three industries that McKinsey studied – medical technology, consumer goods, and retail banking. “Good design matters whether your company focuses on physical goods, digital products, services, or some combination of these”, concludes the report. “The potential for design-driven growth is enormous in both productand service-based sectors.” However, arriving at the right design for the right company at the right time involves intensive research. Investments in design are therefore sometimes perceived to be too expensive – especially by small and medium-sized enterprises. In turn, design professionals and industry experts emphasize the importance of regarding design not just an expense, but rather as a vital investment that is crucial to achieve better results. Ultimately, it can also build national reputations and boost a nation’s economic standing.

by ALEXANDER WELSCHER

Baltic Design Mavericks

Some designers and their works are trendy for a short while before ending up forgotten, while others set almost timeless trends and achieve a cult status – like these two hidden designs champions from the Baltics.

Anatole Lapine (1930-2012) might not be a household name even among car enthusiasts, but the Riga-born designer had a hand in shaping some of the most important sports cars of all time. After a brief apprenticeship at Daimler Benz in Hamburg and positions at General Motors and Opel, the wartime refugee from Latvia headed up the Style Porsche design studio from 1969 to 1988 – and led the design of Porsche sports cars over more than two decades. Tasked with establishing a vision of Porsche beyond its core model 911, Lapine was the brain behind iconic models such as the 924, the 944 and, most notably, the 928.

When the 928 debuted in 1977, it looked like nothing Porsche had ever done before – both from a styling

and an engineering perspective. The shape and prominent design features of the cult classic were not only charismatic and modern, but also timeless and ground-breaking. Critically acclaimed yet generally not fully appreciated by the public and the Porsche community, the 928 was a hallmark in design and technology with many of its innovations still in use today, almost 25 years after its production ended in 1995.

In addition to overseeing the styling of numerous Porsche models, Lapine and his team helped further the scope of Porsche Design with their work on numerous third-party design projects. “As a designer, he didn’t follow fashion but was forever setting new trends with his concepts”, Porsche’s current chief designer Michael Mauer says of his pre-predecessor.

Inventor of the ultimate miniature camera It is a true miracle of technology: More than 80 years ago, the Rigaborn Baltic German inventor Walter Zapp (1905-2003) developed a compact miniature camera, which fits in the palm of the hand and weighs less than a cigarette lighter. It entered history not only due to its size but also because of its innovative technological solutions and forward-looking design. To this day, the tiny but powerful Minox is a cult object for photographers and a high-priced collectors’ item that has even been exhibited in the New York Museum of Modern Art (MoMA). It has been produced a good million times in several versions.

Being an autodidact with an outstanding design talent, Zapp developed the first model while working in a photo studio in Tallinn in 1934 but could not find a manufacturer in Estonia. So he took the prototype to his hometown Riga where the subminiature camera was put into production and market-launched in 1938 by the Latvian State Electronics Factory VEF. During the war, Zapp went with a Riga Minox and a carved wooden model in his pocket to Germany. In Wetzlar, he founded Minox GmbH that made the camera until production ceased in 2012.

Zapp originally envisioned the Minox to be a small-sized camera for everyone, requiring only little photographic knowledge. Being unquestionably light, the camera felt good to hold, could vanish inside a clenched fist and was easy to slip into a pocket. Its aesthetic and ergonomic design made the Minox a real pleasure to use. Due to its excellent lens and 8 x 11 mm film format, the Minox also went on to become the world’s most famous and widely used spy camera.

by MĀRIS ĶIRSONS

Story is the highest value of the brand

Does a Latvian or a Baltic style of furniture design exist? There is no concept of Latvian or Baltic design, but designer furniture is produced in Estonia, as well as Latvia and Lithuania. There are companies in Latvia that work with their own products and are at the beginning of their path, but our history is very short in comparison with the furniture industry of Western Europe, therefore it does not have significant stories, while the highest value of the brand is its story.

Are there at least some success stories? Yes, there are individual success stories, however, time is required to transform them into a brand story. Money and time will either turn those small stories into legends or make them forgotten. Approximately 10 companies in Latvia work with their own design and products - Wenden Furniture, Lett, Nakts Mēbeles, Mint, Rīgas Krēslu Fabrika, ElīzaK, BDesk and some others. However, these are companies that manufacture industrial design products. There have been and still are comparatively many artisans in Latvia that produce a particular item of furniture in a single copy; however, how many of them are able to “launch” that craft into industrial production - to successfully reproduce the products

Most manufacturers offurniture focus on the manufacturing of existing products; however, according to the President of the Furniture Producers’ Association ofLatvia Juris Griķis, a small number of producers work with the products of their own brand.

of their own design and sell them not only on domestic, but also foreign markets? That is the question... is exactly designer furniture that has the largest added value, ensuring that more money stays in Latvia.

Why is it so? Initially, the businessmen themselves must make the choice or create the vision of what they wish to do. Then, they must follow the mission of why to do it, and what human needs to satisfy by doing so. This especially requires one important quality – patience. Awareness that the development of designer furniture is only one tiny step must be present, because these products require a targeted definition of the market - which involves the “placement thereof onto the correct shelf” and the achievement of a favourable consumer attitude or loyalty towards the product.

How does one achieve this? Marketing knowledge is very important and, unfortunately, we are short of this, which is why some manufacturers that could produce designer furniture of their own are not doing so, as it is easier to be a manufacturer of furniture collections belonging to someone else (private label) - the traders. It

Don’t foreign companies produce designer products in Latvia? Yes, they do. I personally believe that this process is risky. Latvia has a very high culture of manufacturing and order execution, new and modern technologies and highly qualified specialists at all levels of timber processing; however, as soon as the production of foreign design furniture becomes considerably more expensive than in any neighbouring or near-by country, which, in addition offers better conditions in terms of taxation, the production of these products will move there without any sentiment, which is already confirmed by current experience. This issue is topical not only in Latvia, but also in the neighbouring Estonia, as well as Lithuania. Actually, the production and sale of domestic design furniture in the entire region of the Baltic states is similar; there are successful and less successful examples, although the achievements of pioneers in this area inspire new players to try and get involved in this, externally attractive, segment of designer furniture. MK

by MĀRIS ĶIRSONS

Antique Wood

Old planks receive a new life in the furniture and wall panels designed by SIA AWand they are successfully sold in 30 countries. Furthermore, the growing demand has stimulated the company to create a new furniture collection.

The furniture produced from old planks is sold under the trademark Antique W ood that belongs to the company and the sales are organised by using dealers that operate abroad, e-marketing and, especially - social networks. However, the largest buyer of company furniture is the German online trade (earlier - solely catalogue trade) company Otto, which serves customers not only in Germany and Austria, but France as well. Many consider old planks and other elements of wooden constructions to be nothing more than firewood or useless waste. The chance that they could become modern looking furniture, doors, wall panels initially seems unbelievable; however ,

SIA AW Latvia turns this timber that has already “lived one life” into expensive designer products. “Products made of old wood are highly valued in countries like Germany, Austria and Switzerland, where, despite the presence of the respective manufacturers, the amount of wood that has served - at least 50 years - and is required as a raw material in this region is declining”, says the Board Member of SIA AW Latvia Inita Bendzule. The company has created a chest of drawers with a facade of old planks, and the rest of the details made of new wood. “This is the newest product of the company that is only starting on its way to potential customers, and is a part of the ReLine

collection of furniture”, I. Bendzule said. She adds that furniture design has been authored within the company . “W e cannot attract a foreign designer, because you can use old wood to create what you can, not what you wish”, I. Bendzule says. She adds that the design is actually tailored to suit the product, not vice versa - in accordance with the potential of the raw materials. P otential foreign sellers of company products are most often found during participation in various exhibitions, where the products of the Wooden Wall Design brand of AW Latvia company are presented –they are wall finishing panels. The fact that the furniture and wall panels of AW Latvia are demanded on the market is also confirmed by the growth of company net turnover. Namely, in 2018, the net turnover of the company increased by almost EUR 900,000 or 62% from 2017 . “This year’ s net turnover is estimated at approximately EUR three million”, says I. Bendzule revealing the estimate. The company does not plan to stop at the achieved result, since there are plans to enter significantly larger sales markets - Asia, the Americas. Currently 95% of all products are sold abroad. MK

an&angel

by PHILIPP HEUMANN

The traditions of glass in Latvia are quite old and date back to the 17th century. In the last century, however, one name stands out in particular: the Līvānu stikls factory. Artis describes it as being “key to success both in Latvia, the USSR and the world”. He himself may be regarded as one of those who try to fit into today’s free economy and create a fresh look and vision in the production of glassware and objects. But even for an artist as experienced as Artis Nīmanis, the learning process never ends. “Even now, at times, you seem to know everything, but in reality, it’s just a small part of the behind-the-scenes look”, sums up Artis. He answers the question of how long it takes from the idea to the finished product with 25 years. “I would say that it’s been the last 25 years, since I started studying glass design at the College of Design and Art. All ideas are actually the result of experience and experimentation”, he reveals. With his creations, Artis has already won several prizes, such as the German Design Award and the renowned Red Dot Design Award. However, he doesn’t feel like he has an explicit design style. “My work is driven by process and technology, finding a new touch for material, making it tangible, and giving each thing a soul, a feeling to convey to the nations”, says the artist. Artis finds inspiration in various objects, such as ice, icicles and rays of light. But his own past and everyday life also serve him as a source of inspiration. “Today, my

Already at a young age, Artis Nīmanis helped his father, a sculptor, and discovered his interest in form and materials. As a boy, he learned the basics of pottery, which he still sees as a great foundation for everything he has created. “In my childhood, this material, glass, seemed so light – at least physically”, he remembers. And his enthusiasm for the fragile material continues to this day.

inspiration comes from a variety of processes because my education and daily life are closely related to glass”, he adds. “There are many different projects in everyday life, in architecture and art, and as the basic material is glass, these ideas come through all the time, trying to integrate into our bowls.” The everyday life of the artist does not only consist of creative processes. A glimpse behind the scenes reveals more about his everyday work in the studio. “Basically, every working day is the same – morning coffee and ongoing tasks. Processing, order preparation, logistics, daily problem solving”, explains Artis. But there is still time for experiments. “Experiments and non-standard orders are created in parallel, as well as the development and production of art objects. Of course, there are exceptions to this as well, such as when renting hot glass stoves from colleagues and experimenting with new things. The day usually begins in the studio at 7 in the morning and often continues into late evening.” At present, five people work at an&angel on daily basis, even if some services are occasionally outsourced. They also collaborate with other people now and then. Most customers for their products are located in countries such as the USA, China and Germany. The majority of them are shops that resell the products or hotels that purchase them for their interiors. But Artis has big plans for the future. “We would like to expand our private customer base around the world, especially now that we have launched our new website and online shop, which makes it easier for customers to choose a product and be able to receive it almost anywhere in the world.” Artis also looks to the future with confidence in other respects. “In Latvia, we have created a stable and in-demand product brand. I would even say with a little pride – an icon. I would like to see my work in the rest of the world as a design icon, a thing that a person would like to leave to their children. I want to continue to create glass items and to give them some magic, the basic elements of what we are made of, and to enclose that feeling into glass.” For future generations of glass designers he recommends not to be afraid to go out and experiment. “If they fail, then they should do it for as long as they reach the desired result, because only experience creates a person and the work they leave behind.” PH

by LĪVA MELBĀRZDE

Marius Urbanavičius Director of the VAA Design Innovation Centre

The Vilnius Academy of Arts (VAA) is one of the biggest and oldest academies of arts in the Baltics. It has around 1,400 students and faculties in Vilnius, Kaunas, Telšiai and Klaipėda. The Design Innovation Centre was established in 2007 as part of the Academy of Arts and the main purpose of this centre is collaboration between the academy and business. Business is very interested in the prototyping and ideation service of the Design Innovation Centre. For example, our stereo camera won the 2016 Lithuanian design award as the best scientific project. We also work with industry, creating a special machine to produce plastic bottles. Our students work on computer gadgets and electronics in an R&D project and one of our students is currently working for the car industry in France. The wood industry in Lithuania is very big, but the main production is for IKEA. Lithuania is also strong in design and now there is enough money for design development. I would say that, politically, this is a very good time for design but we should rethink our education. In our academy, we now have 51 programmes. To name some success stories from our students, I would mention LAVA guitars. These are wireless guitars inspired by classical musical instruments as well as ethnic ones from the East, combining their ergonomic shapes. In the Dubai Design Week, Austėja Platūkytė was selected as one of 10 best design innovations with her zero - waste biodegradable packaging from algae - based materials. Last year, we had students who created gadgets for blind people. It is very difficult to say if this is purely Lithuanian, Latvian or Estonian design – it’s more cosmopolitan now. We don’t have international designer stars yet, but there are several small designers who work for bigger companies. It’s maybe a longer way to success but a stable one. Our main markets for design are in the West because it still holds that if you want to sell something to CIS countries, you don’ t actually need big design in comparison to Western companies who know that good design sells. Design is only a part of the business but I would say an important one, because it’s very related to technology marketing and modern products can only succeed with a good design.

by PHILIPP HEUMANN

Lava Drops

Rapoals Grazys came into contact with creative work at an early age: he comes from a well-known Lithuanian family of artists. Some of them are well-known graphic artists, contemporary artists or actors. “It was and is a combination of family, where different art structures combined and influenced me from my early days”, says Rapolas. When he had to decide which career to pursue after finishing school, he decided to become a designer. In addition to his studies in Lithuania, he studied at the Royal Academy of Fine Arts in Copenhagen. He describes himself as a “total minimalist” in terms of his designs. “I love to put aside all those unnecessary details and focus on the main parts and the construction parts.” And yet his productions are impressive works: one of Rapola’s current projects is his guitars called “Lava Drops”. “Drops are my personal project, which I started when I finished my Bachelors and Masters degrees in Lithuania at the Vilnius Academy of Arts”, explains Rapolas, who plays the guitar. “The main idea of building these guitars was to make something different and to have an impact by connecting humans to nature through musical instruments.” The drop shape can be found in every guitar, albeit in varying forms. Only rare, natural materials are used to make the guitars – he has even tried even amber and meteorite rock to build

them. Rapolas describes his guitars as “collectible art pieces” – there is no mass production at “Lava Drops”. “For example, the ‘Amber Drop’ guitar was created three years ago for the exclusive ‘Big Boys Toys’ exhibition in Abu Dhabi in the United Arab Emirates. I was invited by the Baltic states to introduce them to something from our countries”, Rapolas explains. And amber as a material for a guitar proved to be a real stroke of luck. “The idea was to have two kilograms of black amber melted together inside the guitar shape

and it ended up having a great and really long note resonance. The resonance of an instrument and the sustain are the most crucial points in guitar making.” It took a year to produce the instrument. The extraordinary guitar attracted plenty of attention, and stars like Steve Morse from Deep Purple and Dominic Miller from Sting’s band already played the model. Trade fairs and exhibitions play an important role in establishing contact with the greats of the music scene. Rapolas regularly presents his productions in the USA. This is how the Lithuanian artist met Deep Purple’s guitarist at the NAMM show in Anaheim, one of the largest music fairs in the world. “Steve Morse from Deep Purple was just walking by with his wife and saw my amber guitar and said, ‘What’s this?’ And I said, ‘This is the amber drop.’” Rapolas invited him to play the guitar. “And yeah, he really liked it.” But you don’t have to be a famous rock star to buy a guitar from the small Lithuanian workshop. You can get in touch with Rapolas and order models via the guitar maker’s website. “Sometimes we have models in stock, so we can just sell straight. Some of our models are in the dealer shops in the US and Europe. But mainly, the quickest part is to write to me and I always answer very quickly and can send the instrument from my workshops if I have it. If I do not have it, it takes approximately two to four months to build.” Especially the US market is of great relevance to him, as this is where he finds his biggest customers. But his source of inspiration is his Lithuanian homeland and the constantly changing nature. This is also reflected in the philosophy behind “Lava Drops”, which is not just about musical instruments. It is more like a harmony of nature and connecting humans with nature and global ideas”, explains Rapolas. “I think we have a huge vision of being not very huge countries in terms of physical size, but with huge minds in our heads and spreading them to the world is our strongest part.” PH

etc.etc.

by PHILIPP HEUMANN

Inesa Malafej and Arūnas Šukarevičius have been working together since they were students at the Vilnius Academy of Arts, and today they form the thriving studio known as “etc.etc.”. The collaboration has proven to be extremely successful. The duo has won awards such as the “IF” and the “Red Dot” award. From sideboards, cupboards, tables and chairs to filigree decorative vases and porcelain tableware – the Lithuanian designers boast a broad product portfolio. If you look at the pieces of furniture or other creations by “etc.etc.”, you can see the manifold influences. Whether in France, Spain, Slovakia or in the neighbouring Baltic state of Latvia, “etc.etc” products can be found across Europe. Already during their studies, which they also spent in Denmark and Finland, the designers were able to gain insights into different countries. They founded “etc.etc.” back in 2012 while studying in Copenhagen. The Lithuanian origin of the two designers also proved to be useful. “The thing with Lithuania is that we do not have such deep traditions as Denmark, for example. And in a way it was beneficial for us, because we could look again at what’s happening in the world, in Scandinavia, in Italy, in Japan and then build from there”, says Inesa. And as different as the pair’s influences are, so too is the way they tackle new challenges. “We have different approaches for projects”, says Inesa. “If a company asks us to do a project, the process is different than if we were to start the project ourselves.” And the works that were not commissioned by companies would have a slightly different procedure. “I just try to look for the ways in which I can find the feeling I want”, is how Inesa describes the creative process of her pieces. While working together with companies is more rational and structured, our own ideas and inspirations will eventually spontaneously “pop out”, Arūnas adds. But the free creative process also has its pitfalls: without a strict schedule, it can sometimes take a very long time for an idea to be born. Some ideas may end up in the drawer for a few years, only to be rediscovered some time later. But regardless of whether they are commissioned by a company or on their own initiative, the two Lithuanian designers appreciate both forms of work. All their projects have one thing in common: each new venture has its own “project leader”, says Arūnas. The other part of the two-person company plays the role of a critic, but also that of a supporter. “Usually, we do not do projects 50-50”, Insesa explains. “Mostly, it is one doing and another one supporting.” The biggest customers of the studio’s pieces are in their home country of Lithuania. “We get to work with some

companies and then they suggest us to other companies and it just happens that mainly right now we work with Lithuanian companies”, Inesa sums up. “It is sort of a slightly closed market, so everyone recommends and here we have the most experience”, Arūnas concludes. But they both plan to extend their cooperation to other countries in the future, including Germany. And how do the coming years look for “etc. etc.”? “Right now, what we are doing feels really good and we would like to continue for a while. We really try to deliver quality for the companies we are working with”, says Inesa. Arūnas also looks to the future with confidence, adding “I am quite happy with what I am doing right now.” But it has been a lengthy journey until this point. “It took us a very long time to get where we are now”, says Inesa. A tip for aspiring designers? “Stick to what you enjoy doing and be it another five years, it will work out one day.” PH

Prosawood

by JENNY NIELAND

“T he Earth doesn’t need us. We need the Earth.” This is one of Märt Leiman’s favorite quotes. That’s exactly what Prosawood’s work is based on. Completely inspired by nature, four men from Tartu, Estonia, design watches, mobile phone cases, sunglasses and other everyday products made of wood. Prosawood was founded in 2014 when Raido Prosa, founder, designer and manager of Prosawood, accidentally came up with the idea of making wristwatches (Prosawood’s first product) out of wood. While Raido was working with juniper branches, a piece of wood accidentally fell around his wrist and reminded him of a watch. At the end of 2015 / beginning of 2016, he was jouined by the other three partners – Elar Askuüll, head of production and R&D, Priit Elbe, IT, and Märt Leiman, cooperations, copywriting, business advisory. It soon became their passion not just to develop products, but also to fill these products with emotion and set themselves the goal of offering something really distinctive, something special. One of the four men’s most important wishes is that their work should not harm the environment, and the “Prosawood Plants event” was born from this desire. At this event, a tree is planted for every product sold. In 2018 they even set an unofficial world record by planting the biggest planted map of a country ever. Strict attention is also paid to use materials that are as environmentally-friendly as possible and to do their utmost to spread the word about responsible consumption. The next planning product line will be a refillable water bottle to help combat plastic waste in the belief that it is the small constant steps that turn the world into a better place. The best thing about the work is the feedback from customers. The heartwarming feedback that reaches the four daily inspires them even further and helps them to work even harder. There are many ideas for new products, almost too many, with which they want to make their customers around the world happy. The wooden products are shipped across the globe, with the greatest demand currently in Europe. Countries such as Finland, Latvia, the UK, Belgium, Sweden and Germany are especially fond of Prosawood’s products. The Prosawood team is also international, with employees from Europe to Asia, from the US to the UK.

99% of Prosawood’s products are sold online. There is also its own online shop as a main sales channel. In the year 2019, Prosawood’s annual turnover will be just over €300,000. Due to their love of detail, it is important for the producers to be able to respond individually to the wishes of the customers. So they always consider people’s wishes when creating a product, be it a small dedication on the inside of a watch, a unique design pattern on a phone case or a custom engraving on an eyeglass frame. The innovation and invention of new products and details at Prosawood simply never stops. JN

by JENNY NIELAND

Arro Bohemian Luxury

Liisu Arro, ceramist and co-founder of Arro & Co, believes in love that lasts a lifetime and she aims to make everyday rituals more special, just like her products. Liisu calls herself a ceramist, a name that is a passion in her heart. She grew up in an artistic family in Tallinn. Her parents are painters so she decided to go the other way and studied political science in Helsinki. But she realized quickly that she really missed the smell of paint and fresh canvases. The feeling of creating something with her hands became so strong that she ended up becoming a ceramist. The beginning of Arro Porcelain was with a crowdfunding campaign in 2016. She has had her own ceramic studio since 2005 and in 2010 she moved to Haapsalu, Estonia, and creates her pieces inspired by nature and her everyday life in her garden studio. The first series designed for Arro Porcelain was inspired by a yearning for light, colours and warmth during the long and dark winter periods. The exotic birds and the bright colours reminded her of a beautiful, warm summer day to bring a little piece of summer into the dark season. Every year, she tries to add a new product to her collection, inspired by nature or the art pieces designed by her family members. The hand-made pieces are made entirely by herself in the studio and produced with uniqueness and passion for people who fall in love with her art. The works are produced in the best factories in Europe – in Portugal and Limoges, France. For Liisu, life is art. It is one of the most difficult tasks in life to find a balance between everything. Between the speed of life and the daily hurdles of everyday life, a five-minute break can calm you down so you can enjoy your surroundings. Art takes these little minutes in life and through her products, she wants to give people the opportunity to take these minutes off with a nice cup of tea. As far as she is concerned, her work is the best way to switch off and when this doesn’t work out, she listens to loud music and enjoys a big cup of black tea with milk. Because social responsibility is one of the most important things for Liisu, she only works with green electricity. Her products are also available in other countries in Europe. For example, a small shop in Switzerland and some department stores in Germany and the Netherlands market her ceramics. Liisu has also visited fairs in Frankfurt, Paris as well as in Stockholm. The next trade fair visits are already being planned and exports are set to increase even further in the future. JN