TuttoBeNe - Milan Design Week 2006 by Connecting the Dots

All-in-one The ofﬁcial TuttoBeNe newspaper/ﬂyer/catalogue/ map/signage/wallpaper

TuttoBeNe Presenting designers from Belgium and the Netherlands

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Salone Internazionale del Mobile 2006 Via P. Sarpi 6, Milan, Italy

www.tuttobene.nl 2e Atjehstraat 60 hs, 1094 LK Amsterdam, the Netherlands

TuttoBeNe presents at Sarpi Sei:

Designers from Belgium the Netherlands gater in Milan at the Salone Int.. del Mobile 2006

Index

Designers TuttoBeNe 2006 •

• 21 grams.be page 15 • ABK Maastricht page 15 • Sandro Aiello page 15 • Asylum Collection page 08, 15 • Anne Brouwer & Sandra Dijkstra page 15 • Charlotte Cantillon page 15 • Alain Chennaux page 15 • &David page 15 • Gijs Kaayk page 15 • Trine Kornum page 17 • Jos Kranen page 17 • Lotte van Laatum page 08, 17 • Basten Leijh page 12, 17 • Ishèle Levy page 17 • Peyman Nadirzadeh page 17 • Annet Neugebauer page 17 • Damian O’Sullivan page 17 • OZO products page 17

• Prima page 17 • Isabel Quiroga page 20 • Liset van der Scheer page 20 • Chris Slutter page 20 • Lisa Smith page 20 • Maartje Steenkamp page 20 • Diane Steverlynck page 20 • TU Delft page 20 • Titus Verbeek page 22 • Hubert Verstraeten page 22 • Marc de Vree page 22 • Ramin Visch page 22 • Waacs page 22 • Marielle Wichards page 22 • Sylvain Willenz page 22 • Yski page 12, 22

Page 05 Interview with Frank Blom

Goods, team spirit •

Page 06 • Article

Open up the frontiers! •

Page 10 • Article

Lasting relationships can be fun!

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Page 18

Floor plan TuttoBeNe 2006 •

Victor le Noble General Manager David Heldt Project Manager Silke Spinner Organisation Participants Giovanni Bauwens Organisation Belgium Lesley Moore Communication Peter van Hartingsveldt Board member

• TuttoBeNe Newspaper

Project manager and editor

Editor David Heldt

David Heldt

Graphic Design Lesley Moore www.lesleymoore.nl Articles by Lise Coirier Marco van Hout Walter van Hulst Lotte van Laatum Laura Martz Bo Reudler&Seroy de Graaf Texpression

Vision In a world where there is an enormous capacity to communicate, we become increasingly aware of the consequences of our modern lifestyle. In the past ‘design’ stood for quality and luxury products that radiate good taste. Its main goal was to be distinctive rather than being user- or environmentally friendly. More and more of today’s designers are aware of their inﬂuence in society and the environment and acknowledge the responsibility this accompanies. TuttoBeNe aims to present designers that take part in this ethical discourse: Lotte van Laatum and Basten Leijh, two designers presented at TuttoBeNe, both wrote articles about their work that have a strong ethical message. Each designer was asked to provide a succinct vision of their own work or design in general. You will ﬁnd contributions from different journalists like Marco van Hout, creator of www.design-emotion. com who was, amongst other writers, inspired by Donald Norman in his article ‘Living A Part Together: lasting relationships can be fun!’

Special thanks to Ruben Bloemgarten, translator Advisory Board; Cindy van den Bremen, Paul Hekkert and Danny Venlet. Printing Dijkman Offset

• © TuttoBeNe 2006 All rights reserved. Copyrights on the photographs, illustrations, drawings and written material in this publication are owned by the respective photographer(s), the designer(s) and the author(s). No part of this publication may be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without permission from the publisher and designers, photographers and authors involved.

Organisation This year’s aim was to improve the cohesion of the presentation and increase the number of participants. This was a difﬁcult task, but we do believe we have succeeded. The organisation of TuttoBeNe decided to grow and therefore needed to attract more people, each with their own expertise and responsible for their part of the organisation. Experiencing the synergy of these disciplines was great and I belief it resulted in a beautiful presentation of 33 designers and two schools. A great way to work with a professional result. We can honestly say that we attained our goals as we realised a 100% rise in participants. This increased participation was to a great extent the result of a stronger collaboration with our Belgian partners: Design Flanders, Pro Materia and co-organiser Giovanni Bouwens.

Victor le Noble, co-founder and general manager of TuttoBeNe, gave a clear message with the project-plan when he wrote that TuttoBeNe wants to become a permanent fixture in the world of design. To realise this mission he asked interior architect Silke Spinner to contact potential participants and take care of the exhibition’s design. Lesley Moore; graphic designers Karin van den Brandt and Alex Clay, were asked to control the overall identity of TuttoBeNe including the website and this newspaper. I was asked to join Victor in managing the project. Designers usually do not think linear and have an often holistic approach to their work; they are very good at placing practical issues in a larger context. Working with professional designers who can navigate between finance and content, or logistics and ethics has been very rewarding. Newspaper We needed flyers, party announcements, posters, exhibition signage and we wanted to create a booklet with the ideas of the designers… And then Lesley Moore came up with the idea of a One-for-All publication. This way we could also reserve space for articles on design. We did not want to create a catalogue but a document that provides insight in how the participating designers approach their work. The articles provide a context for and a reflection of Belgium and Dutch design. We hope that the TuttoBeNe presentation and the TuttoBeNe newspaper will influence and inspire; but above all, we hope it will be a huge success for all participating designers.

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Design Flanders presents:

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Editorial

TuttoBeNe Organisation

Page 03 A shift from good taste to good use Fascinating young design in Milan

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fascinating young design in Milan

www.tuttobene.nl 2e Atjehstraat 60 hs 1094 LK Amsterdam the Netherlands

TuttoBeNe Tweede Atjehstraat 60hs 1094 LK Amsterdam The Netherlands Telephone +31 (0)20 6685505 Fax +31 (0)20 463 3555 www.tuttobene.nl

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

A shift from good taste to good use

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• Director Design Flanders

Johan Valcke

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Design Flanders exists for almost 15 years and promotes design to public and companies. Our methodology is to focus on thoughts, products and processes generated by designers active in and Belgium and specifically the region of Flanders. We have a rather wide range of activities at our disposal to do so, which are operated by ten people, myself included. In a more general way, there is our gallery in the heart of Brussels, there is our magazine “Kwintessens”, we give grants to designers and companies, there is our documentation centre and we participate in fairs all over the world. More focussed on companies are our workshops in which we show managers, decision makers of SME ‘s and designers that they can talk to each other, that they can collaborate. The barrier of language is removed and the dialogue between the two improved. It results in the creation of new relationships and new products. In this way Design Flanders is a platform upon which designers and companies can meet each other. Design Flanders also acts as a consultancy office. We give first line advice as we called it, for we answer many questions from the public, designers and companies about the many facets of design. Export is a very important issue for Belgian designers and companies, so the more present they are in international fairs the better. From this point of view our support to the TuttoBeNe initiative is quite evident. It is even the second time that we participate in this project. Again we give young starting designers the opportunity to be present in the world’s most important design event as the Milan Furniture Fair. Some of them are doing this for the first time. Others are showing brand new products, but both of them face the international design community and hope to be successful. We can only support them in doing that. The collaboration with the Dutch organisation TuttoBeNe creates an added value for it puts the event immediately on an international level and enhances the generic power of design and designers. I personally think that the collective presentation does improve the visibility of their furniture and other design products that are put on display. We wish Giovanni Bauwens, Charlotte Cantillon, Alain Chennaux, Tim Guldentops, Peyman Nadirzadeh, Sylvain Willenz, Diane Steverlinck, Hubert Verstraeten and their Dutch collegues all the best and lots of succes. www.designflanders.be

TuttoBeNe Presenting designers from Belgium and the Netherlands

Asylum Collection

Page 02 Signage Designers TuttoBeNe 2006

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

Title

Designer

TuttoBeNe Presenting designers from Belgium and the Netherlands

Address Asylum Collection Bo Reudler & Seroj de Graaf Vlietsend 2 NL-1561AC, Krommenie info@asylumcollection.com www.asylumcollection.com

Sandro Aiello

Page 02 Signage Designers TuttoBeNe 2006

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy Designer

TuttoBeNe Presenting designers from Belgium and the Netherlands Address Sandro Aiello Groenhoedenveem 6 NL-1019BL, Amsterdam sandro@aiello.nl www.aiello.nl

ABK Maastricht

Page 02 Signage Designers TuttoBeNe 2006

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy TuttoBeNe Presenting designers from Belgium and the Netherlands

Address Academy of Fine Arts Maastricht Department jewellery and product design Herdenkingsplein 12 NL-6211PW, Maastricht info@abkmaastricht.nl www.abkmaastricht.nl

Designer

21 Grams.be

Page 02 Signage Designers TuttoBeNe 2006

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy Designer

TuttoBeNe Presenting designers from Belgium and the Netherlands Address 21grams.be Tim Guldentops Onze Lieve Vrouwestraat 49 B-2800, Mechelen guldentops.tim@gmail.com www.21grams.be

TuttoBeNe Presenting designers from Belgium and the Netherlands

www.tuttobene.nl 2e Atjehstraat 60 hs 1094 LK Amsterdam the Netherlands

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

Page 02 Signage designers TuttoBeNe 2006

Signage

Colophon

Goods, team spirit He sees this cooperative spirit as a positive development, he says. “Fifteen years ago, visiting an Italian company, I was sitting at a table with some Italian designers, and they were discussing their designs – ‘What do you think about this?’ At that time in Holland, designers were all protecting their work, afraid of the competition. The Italians didn’t think about competition. For them, it was the result that mattered, not the designer’s ego.

Blom, who founded the accessories, tableware and furniture brand he owns and runs 11 years ago, says this spirit of partnership is its distinguishing characteristic. “We like to put design on the market in collaboration with the designer, with an eye to products that will last,” he says. “It’s like raising a child together.”

“I think this is a big positive change. Society is changing. We’re more aware that we need each other, and that when you collaborate you achieve more than when you work alone.”

This teamwork beneﬁts Goods’ designs, especially where the many young talents on its roster are concerned. WAT Design – a ﬁrm Blom got to know at last year’s TuttoBeNe – created Rough, a collection of outdoor furniture made of polyurethane-coated pine instead of tropical hardwood, for him. Blom noticed that the team, fresh out of the academy and not experienced with furniture, had made a few technical mistakes. So he introduced them to fellow Goods designer Ruud Jan Kokke, a veteran and an expert in furniture joining. “They solved the problems together. And everyone was happy. Ruud Jan was happy because he could share his knowledge – this is in our genes, it makes you feel good – and the beginning designers learned a lot.”

He declines to forecast the future, but says he hopes to see designers becoming more engaged and selfless. “I hope they will not only design products but also [strive] to solve social problems. Designers can look at a problem and solve it in an intelligent way.” As an example, he cites Ruud Jan Kokke’s Kokkestok, a walking stick that solves a practical problem. “He saw people fighting with their sticks. If you need a stick, you’ve got something that’s not right with your body. And other sticks, if you hang them on the table, they fall off, or fall to the ground when you put them against the wall. And then you have to pick them up. “So he designed a walking stick with a big curl at the top that fits your hand; the centre of gravity is in the middle because of the shape. There are rubber strips on both sides of the grip. If you’re in a shop and you’re

Quote

Designer

“Society is changing. We’re more aware that we need each other, and that when you collaborate you achieve more than when you work alone.” Not only does it feel good, companies have a duty to help less established designers, according to Blom. “We have a responsibility to the community. It’s no good to focus only on making money. We’re also here to help young talent get further in life. “Goods is not an end station for most of them, and I realise that,” he adds. The company has already been a springboard for several young designers. Bertjan Pot, for instance, saw his Shrunken Stool added to the Goods collection after he graduated, and he now also designs for other companies including Moooi. Goods will put out two of his designs in October.

TuttoBeNe Presenting designers from Belgium and the Netherlands

When Blom takes on someone new, he looks for work that displays character, he says – an emotional quality that makes a person “love” a piece and want to hang on to it. Jos van der Meulen’s Paperbag, one of Goods’ most successful products (its 100,000 owners around the world include the Museum of Modern Art in New York) is an example. “It’s so simple and appealing, everyone loves it,” he says. “A wastepaper basket made of wastepaper. You’re not shouting that you’re ethical and environmentally friendly – you’re just doing it. All these things together make it a beautiful product.”

He questions the much-deployed term ‘Dutch design’, saying he’s not sure there is such a thing, and if there is, it has no set formula. But he does distinguish a particular attitude toward work among his compatriots: “We like to talk things over before we do something. And we’re very aware of the world we live in and the responsibility we have to it, with respect to nature and in a social sense. Designers have a duty to add something to the world, to make it better.” Photcaptions - from top to bottom • Kokkestok design by Ruud-Jan Kokke Lampscapes design by Frederik Roije presented at TuttoBeNe in 2004 byGoods. Photo Gerrit Schreurs. Rough Collection design by WAT Design

He’s also noticed a growing cooperative spirit among the Dutch lately, Blom says. “Ten years ago, lots of designers were working for themselves in their own studios, but now they’re collaborating much more openly.” The young team at WAT Design, for instance – the name stands for ‘Working Apart Together’ –decided they needed specialised expertise from others on an ad hoc basis. So they invite, for example, fashion designers and architects to join the company temporarily. “Everyone does it,” Blom says “but they’ve given it a name.”

Page 05 Goods, team spirit

Article

Frank Blom was present at the conception of Marcel Wanders’s Lucy candelabra. You might even say he was Lucy’s other parent. “I went to Marcel and said, ‘Please design me a five-armed candleholder,’” Blom recalls. “I explained, and he understood immediately. The first thing he showed me was just right.” Blom’s firm, Goods, has sold more than 5,000 Lucys so far since the design went on the market in 2000.

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

Laura Martz

www.tuttobene.nl 2e Atjehstraat 60 hs 1094 LK Amsterdam the Netherlands

Frank Blom

getting something out of your wallet, you can hang it on the counter and it will stay there.” Along with solving problems, Goods values doing business ethically. That means paying attention to its choice of production methods and materials as well as whom it chooses to work with, and endeavoring not to be wasteful. (The recycled Paperbag is a good example.) Goods also protects its designers by assuming all product liability in a standard line in every contract. Blom says he’s never been tempted to design products himself, although his creative hand is visible in the pieces he’s offered guidance on, and he designs all the company’s packaging. “We’re upgrading it this year,” he says. “The gift packaging was too simple and basic – all brown cardboard. Goods is a brand, and we’d like to [emphasise] that all the products are one family. Packaging can be the binding factor.” The family is spread out – Goods products are made variously in the Netherlands, Belgium, Germany, the Czech Republic and China, depending on the skills needed. And they go out to shops and importers around the world from a warehouse at Amsterdam’s Schiphol Airport. The company handles its own Dutch distribution and works with importers and agents abroad. The 25 or so designers on the company’s roster are all Dutch so far, but Blom says Goods is open to working with foreign talent. But face-to-face contact is important, necessary as it is for the kind of close collaboration between designer and company that Goods is so keen on. Blom receives a handful of emailed proposals each week but takes on only about ﬁve new products a year. In 2005, two of those came from TuttoBeNe: WAT Design’s Rough furniture collection and Sandra Dijkstra’s Louis candelabra. “TuttoBeNe is a good example of what can happen when designers work together,” says Blom. “When everyone does their own show, things get scattered around the city. Now that they’re joining together, they have exposure, they can send one invitation, they have a newspaper. And when you do things this way, you get to know each other better, and maybe in the future there will be more collaboration.” And that’s what the Goods man likes to see.

TuttoBeNe Presenting designers from Belgium and the Netherlands

Page 04 Signage Designers TuttoBeNe 2006

Alain Chennaux

Interview by

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

Interview with

A quality design is a design that adds something to your life, says Blom. “When a product lasts a long time, that means it’s a good design – not only because it doesn’t break immediately, but because people love it so much that they don’t get tired of it. It becomes a part of you.”

Address Alain Chennaux 33 rue F. Neuray B-1050, Brussels info@twu.be www.twu.be

Charlotte Cantillon

Page 04 Signage Designers TuttoBeNe 2006

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy Designer

TuttoBeNe Presenting designers from Belgium and the Netherlands

Address Charlotte Cantillon Bevrijdingslei 57 B-2930, Brasschaat charlottecantillon@ hotmail.com www.charlottecantillon.be

Sandra Dijkstra

Page 04 Signage Designers TuttoBeNe 2006

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy Designer Anne Brouwer & Sandra Dijkstra

TuttoBeNe Presenting designers from Belgium and the Netherlands

Address Sandra Dijkstra Morsestraat 35 NL-5621AL, Eindhoven www.sandradijkstra.nl

Anne Brouwer &

Page 04 Signage Designers TuttoBeNe 2006

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy Designer Anne Brouwer & Sandra Dijkstra

TuttoBeNe Presenting designers from Belgium and the Netherlands

Address Anne Brouwer Nieuwendijk 227d NL-1012MH, Amsterdam brouwer@northernlight.nl www.brouwer-concept.nl

TuttoBeNe Presenting designers from Belgium and the Netherlands

www.tuttobene.nl 2e Atjehstraat 60 hs 1094 LK Amsterdam the Netherlands

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

Page 04 Signage designers TuttoBeNe 2006

Signage

Title

www.tuttobene.nl 2e Atjehstraat 60 hs 1094 LK Amsterdam the Netherlands

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

Page 06 Open up the frontiers!

Article

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Belgian design: a ﬂourishing creativity

Open up the frontiers! • Article by

Lise Coirier / Pro Materia After Maarten Van Severen left us, a designer of the essential, who had with talent and deservedly acquired international renown, we could re-open a quite provocative debate about design in Belgium. Is there, strictly speaking, such a thing as Belgian design? Without holding forth about style, let us anyway defend the rigour and the work on quality materials, the elegance, humour and fantasy, the craftsman’s dimension in industry which represent so many facets cultivated by designers who are to the fore in Belgium today. A consumer or environmental product is never the fruit of one single talent, but of a synergy of abilities between spheres as vast as art, architecture and industry… It also touches (before it was even conceived) on other territories: sociology, ethics, sustainable development, fair trade and research into new materials, etc. So many aspects which underscore the importance of design which is in everything and everywhere, everything depending on the way it is seen. In Belgium, already at the time of the Design Centre from the 60s to the 80s which was located in the Ravenstein Gallery, theme seminars and the publications by InforDesign were stressing this idea of getting away from the industrial product so as to ask pertinent questions concerning contemporary society. Today, in spite of the lack of this promotion relay – both uniﬁer and a platform for reﬂection– it is individual designers, groups of creators or integrated design teams who are giving tongue to their own ideas. The result of this is widely positive institutional progress, which is strongly centred Tutto_Bene_Revolt in Flanders with Design 01-03-2006 Flanders since the beginning of the 90s 11:40 Pagina 1

and starts to grow up in Wallonia and Brussels with associations such as Designed in Brussels, Wallonie Design, Pro Materia... Remarkable designers rise from the mass and speak clearly about design and form, function, the commercial dimension of design and its symbolic, sociologic and cultural impact.Design is thus not only economic: it is also culturally the bearer of a message, of values, of art and beauty and of a quality of life. The exhibition Imperfect by Design, which was held at the Cinquantenaire museum in Brussels in 2005, was one of the keys to understanding it. Diane Steverlynck who is part of this TuttoBeNe edition was showing part of her experimental textile and carpet designs which are now produced, such as the Dots carpet manufactured by Limited Edition (B). Belgium, like the Netherlands, with Droog Design and Scandinavia with Form, the UK with Lost and Found, is cultivating this concept of skilled design with strong core values behind.

Hubert Verstraeten exhibiting at this TuttoBeNe edition was for instance the only jewellery and watches designer to be on show, knowing that he follows an industrial design process. Another exhibitor, Alain Chennaux, has received a prize for his library invention that he develops today with new creative options. In the framework of the 175th anniversary of Belgium, we had therefore the opportunity to point out the importance of Belgian design with a unique retrospective exhibition and richly illustrated publication that will hopefully play the role of “ambassador” abroad of our potential growing Belgian image. Let’s see the results in ﬁve years’ time!

Belgium “at the forefront”, back on the international scene… A country of creativity and individualities, Belgians needs to be prouder of its designers and their innovative approach either in the ﬁeld of interior design but also on the scale of urban furniture, urban lighting design and mobility. Without entering into the political, regional and community debate, an initiative such as the exhibition I have curated late 2005-2006 in Hornu, Label-Design.be, Design in Belgium after 2000, has attempted to weave indelible links between all the designers and the companies which integrate design, sometimes with different but complementary visions.

Links • promateria@skynet.be • www.promateria.be • www.label-design.be

Bibliography • Design in Belgium 1945-2000, ed. by Lise Coirier, Racine, 2004. • Label-Design.be, Design in Belgium after 2000, ed. by Lise Coirier, with various essays, Stichting Kunstboek, 2005.

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Photocaptions from left to right • Hubert Verstraeten - jewellery • Diane Steverlynck - Borderlines, textile surface • Exhibition poster of the Design Center of Brussels (1972)

Announcement

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TuttoBeNe Presenting designers from Belgium and the Netherlands

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Lotte van Laatum

TuttoBeNe Presenting designers from Belgium and the Netherlands

Experimenting with material leads us to things you could never think of. In fact our way of working is a synthesis of concept and material. The idea is very important to us. While discussing ideas, nothing is impossible. Why would we start making concessions from the beginning as the imagination is the only place where we can be completely free? Last year we both started our own studio from which we are working on individual product and interior projects for clients and on own initiative.

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Page 09 Signage Designers TuttoBeNe 2006 Designer

TuttoBeNe Presenting designers from Belgium and the Netherlands

Address Lotte van Laatum Bolksbeekstraat 60bis NL-3521CV, Utrecht www.lottevanlaatum.nl info@lottevanlaatum.nl

Some examples: Our mirror, called Narcisse, after the Greek boy in love with his own reﬂection, features a water surface. By means of association this provides an experience of seeing yourself in the surface of a pond. Chandelier ‘L’Illustre Lustre’ is made out of a plate of plexiglas featuring raindrops in the shape of ancient pendants. Rain turned into a still life. This way an experience is preserved. Lamp Sisyphe, named after the mythical king who’s punishment it was to do useless work, is a lamp driven by an albino hamster. This product is meant to point out our dependency on energy and the lousy way we are treating our natural resources.

Announcement

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

Jos Kranen

Page 09 Signage Designers TuttoBeNe 2006 Designer

TuttoBeNe Presenting designers from Belgium and the Netherlands Address Jos Kranen Jacob Marisplein 23 NL-5613GH, Eindhoven k.jgm@chello.nl www.joskranen.nl

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

Page 09 Signage Designers TuttoBeNe 2006

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

Gijs Kaayk

Trine Kornum

THE ASYLUM COLLECTION consists of seven interior products: one of them confronts, one has an introverted character, another pretends to be something else than it actually is, two of them are crying, one is concealed as a water surface and one product died. But all of them are DRESSING THE SKELETONS left by minimalism.

Designer

We want to recharge products with meaning and association to change them from universal into highly personal. LET US PRIVATISE OUR DREAMS. We want to create things that are ambiguous. Products that stimulate the personal imagination. Products that are as personal as WATCHING THE CLOUDS FLOAT BY while creating your own images. In a society that is based on personal responsibility it would be a pity not to CREATE YOUR OWN IMAGE. Let’s make products that stimulate the association and emotion. Products that resemble FROZEN DREAMS.

TuttoBeNe Presenting designers from Belgium and the Netherlands

Pagina 1

Address Trine Kornum De Clercqstraat 117 - 3 NL-1053AJ, Amsterdam trine@kornum.nl www.kornum.nl

11:38

Designer

01-03-2006

TuttoBeNe Presenting designers from Belgium and the Netherlands

www.tuttobene.nl 2e Atjehstraat 60 hs 1094 LK Amsterdam the Netherlands

Tutto_Bene_BTS

MINIMALISM DOESN’T SATISFY ANY LONGER. It served it’s concept function but neglected fantasy. It was about beauty but that beauty turned out to be hollow. MINIMALISM STRIPPED PRODUCTS TO THE BONE and left out all forms of imagination and meaning products contained in earlier era’s. CORE BECAME LAW and products were made into mere shadows of their former appearance. ONE LOST SOMETHING DEAR as products had to be universal to meet the standards of minimalism. Universal statements don’t exist. This turned design products into meaningless shapes.

Address Gijs Kaayk Gerdesiaweg 92 NL-3061RA, Rotterdam Gijs@sculptural-design.com www.sculptural-design.com

For designers this means that they have to approach product design with an complete overview of the broad context of a product. Already before the first sketch a designer should question the reason for a product to come to life. What is the relevance of a specific product or service and what goal does it serve? When its relevance is proved it should be seen in the framework of people, planet and profit. A product is born at a certain place from a certain

Designers have an enormous responsibility; 99% of the tangible objects around us are designed and somebody has given a thought about it. Designers have the responsibility to create social and environmental sustainable products with a high level of creativity. In our modern society there is a growing demand for social and environmentally responsible products which are not based on a sisal or hemp image. Designers have the capabilities to change, to improve. This asks for new compassionate designers to come up with alternatives to the high transitory products of today and to do this within the contemporary framework of our world.

Bo Reudler and Seroj de Graaf: The Asylum Collection is based on a Manifesto we wrote. In this manifesto we signalize that THE WORLD GROWS DARKER. Due to the threat of war and terrorism HOME BECOMES AN ASYLUM. That’s why this is the name of our collection. An Asylum is a place to hide. That’s what we want to offer. A safe haven in a world that’s getting dark and uncertain. A SPACE TO DREAM. A retreat from modern society is needed to ultimately create space for reﬂection and contemplation. To be able to face the world again we need to survive. Let’s SURVIVE IN A FANCY WORLD. We overcome winter by keeping the image of summer alive. So let’s HIBERNATE AND DREAM OF LILIES.

Page 09 Signage Designers TuttoBeNe 2006

Page 09 Signage Designers TuttoBeNe 2006 This means ﬁrst of all that we have to create awareness at a user-level about product development. People have to appreciate a product on its true value and it should therefore become impossible to buy a 5 dollar t-shirt. Cotton has to be grown, harvested, colored, sewed, labeled, packaged and so on before it can be transported and sold in a shop. This complete process can never be valued at 5 dollar. This means that people have to be informed about the background of a product before they understand and are willing to pay the actual price. Consumer awareness also prevents companies to ask designers to create these unbalanced products.

The Asylum Collection is the result of a collaboration between two young Dutch designers: Bo Reudler and Seroj de Graaf. In the beginning of 2005, after their internships at Marcel Wanders and Richard Hutten they graduated at the Arnhem Institute of Arts with an interior collection that stimulates the imagination. After receiving a lot of constructive criticism, nominations and an award they decided to start the production of the collection this year. The products will be manufactured in limited editions. The ofﬁcial launch of the collection takes place in Milan at the TuttoBeNe exhibition during the ‘Salone Internazionale del Mobile’ 2006.

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

Product design is measured in economic values. We look at products in numbers like price and proﬁt and we use a product to create a certain image. This leaves us with products which come and go with enormous speed and we think we can get away with it. But where are the human values in design? What is the social, cultural and ecological impact of a product on society and what are the consequences for local and global relationships?

material by a specific person or machine and from there on it starts its life towards the user to finally be reborn in a different life. In economic terms we talk about adding value each time a product is exchanged. But are social, cultural and environmental values added at the same time? A product has more than one purpose of serving the client or the consumer and it has impact on and can benefit its environment in all these stages of its life. This way product design can enrich our society by sharing profits and exchanging social-cultural values. It is not about preventing the product being harmful to its environment but it is about the benefit it has to it. Centering the human and environmental aspects in design also opens up the possibility to re-appreciate human resources and skills. At this moment product development is losing its personal character in our run towards modernity. Refocusing on the traditional, historical and cultural values in design and taking them to the ‘here and now’ enhances diversity in design and will be a great source of inspiration. We can benefit from globalisation, creating a global network with global cooperation’s and exchanges and start true cross-pollination while respecting the local. Re-appreciating the handmade can become an alternative of our machine based economy which excludes many craftsmen and women today. Craft is based on slow-design and is a sustainable way of living and producing. On top of that it provides enormous creative freedom. It asks for a shift in the mindset of many producers and consumers before craft can truly find a place in our global economy. On the other hand, to stay legitimate, craft faces the challenge to innovate without losing its tradition.

Designer EnDavid presents: Froukje Kuiper Dave Keune

Mankind has been a designer since prehistoric times. During the Industrial Revolution the profession of design got its current face. Designers worked on vacuum cleaners, coffee machines and cars, functional products which would make life easier, leaving more spare time to spend on more comfortable activities. Today all basic needs are fulﬁlled and designers get assignments from companies to improve these products, making them cheaper, lighter and of a higher quality. Generally designers are working within an economic framework, creating products related to the pace of trends, leaving only large landﬁlls with impersonal, soulless products behind.

Bo Reudler and Seroj de Graaf

TuttoBeNe Presenting designers from Belgium and the Netherlands

Lotte van Laatum

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Address &David Noordeinde 146 NL-2514GP, Den Haag info@endavid.nl www.endavid.nl

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

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The Asylum Collection

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Human values in design

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Page 08 Human values in design The Asylum Collection

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Contact: marco@design-emotion.com

Damian O’Sullivan

Page 11 Signage Designers TuttoBeNe 2006

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy Designer

Annet Neugebaurer

TuttoBeNe Presenting designers from Belgium and the Netherlands

Marco van Hout (M.Sc.) is a Dutch design consultant specialised in consumer experience and the emotional side of design. On his website www. design-emotion.com he regularly publishes interviews with experts from the ﬁeld of design and branding. He is a managing partner at Monito.

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Address Damian O’Sullivan Design Burgemeester Meineszlaan 109 A NL-3022BE, Rotterdam info@damianosullivan.com www.damianosullivan.com

•••• About the author ••••

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy Designer

TuttoBeNe Presenting designers from Belgium and the Netherlands

In the Lovemark approach, Kevin Roberts argues that “once respect has been built (quality, price, performance, distinction) then you add love and create loyalty beyond reason.” Every expert that I have interviewed until now mentioned Apple as (one of) the best example(s) of a product and brand that creates the best and most solid relationship with consumers. It seems to be the most appealing example of a true “emotional” product and brand. You could also imagine that a product like the Dutchtub might be a perfect example of a product you would stick with. The experience is wonderful and can be reinvented all the time by changing the location of the tub. In the bulk of products and brands, many great examples can be found that show us that lasting relationships with them can indeed be fun. It is up to designers and brand creators now to learn from those examples and try to create products and brands that are worth loving, and stick with. I suggest “relationship therapy” for all of us!

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Address Annet Neugebaurer De Vorm Uitmeentsestraat 19 NL-6987CX, Giesbeek info@tumbly.nl www.tumbly.nl

Stick with it After the discovery and a longer period of rediscovering your product or brand, the chance that you will really stick with it becomes bigger and bigger. As we have seen in the previous phases, in order to create lasting relationships the discovery phase is vital to make you fall in love and match the product or brand with your self-image. Then, in the rediscovery phase, we want the product to become “us”, we need to own changes and want to feel involved and committed.

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

Ishèle Levy

Designers can help people rediscover the products better, from the very start of the design process. Gavin Proctor of Philips Design, argues that we have to “consider the designer as an artist with a pallet. Think of it as we are now exploring a larger ﬁeld of colours, of paints, to express design. Immaterial qualities like sound, light, movement, all of those can be layered in the intangible qualities of the product. Finding how they tell our story. Our story, not that of the maker or the designer alone.” Steven Kyfﬁn also director at Philips Design, continues: “Remember that designers have always been doing these things, but they have done it implicitly. Designers were known for designing the thing, object or product, but in fact they were also designing the product as a host or as an initiator or inspiration to an experience. Nowadays you end up designing for the whole experience over much longer periods of time... the full love affair.” So, we have seen that in the rediscovery phase it is important that people are involved, feel committed, and really own the changes that make them look at it from other angles. Designers are able to help by making sure they tell the people’s story and design for the whole experience over a longer period of time.

Peyman Nadirzadeh

Rediscover In order to keep a relationship between persons healthy and alive, we have to rediscover it all the time. We try to look at it from other angles and grow along with inevitable changes. Relationships with products and brands are dynamic as well, be it slightly more one-sided when it concerns products that don’t really change (your sofa doesn’t change shape, though the cloth will wear out and colours fade). Relationships we have with the products and brands that we fell in love with, will have to be maintained. This is the time that we get to know the product and we get attached to it. Donald Norman explains that “we are much more emotionally attached to products for which we feel some involvement. So true personalization and customization makes a real difference. Once we have some commitment and involvement, it is ours forever.” But, as he also points out in his book, just changing the colour or other minor details will not be sufﬁcient. The person has to make

Designer

What is it that makes us connect with a product or brand and draws us towards them? A very important factor is something you might call “personal ﬁt”, it has to match our personal concerns and self-image. Once you feel that something is really right for you, it creates a good feeling. I have seen it with many designers. They feel that the best thing for them as designers is to own an Apple computer. Can we ascribe this purely to the functional and performing qualities of the computer? Apple created the image very carefully. Gavin Proctor of Philips Design agrees: “When you think of the word Apple-user, you can not help but think of a certain type of person.

It’s easy to make it your own that way.” In promoting their Dutchtubs, Floris and his partner emphasise the possibility to take and place the Dutchtub anywhere you like. And, it works. People love it and send in their own pictures of where they took their Dutchtub (on top of a car along to the winter sport, hanging over a valley on its way to a mountain cabin or just in a back garden in Amsterdam). The people really own it, even the marketing. We could conclude that in the discovery phase people want to be swept away, try to make a match with their self-image and make the product or brand their own.

TuttoBeNe Presenting designers from Belgium and the Netherlands

In the reflective level, we reflect on the previous levels and match or mismatch it with how we see ourselves. This way, we can get excited when we see the iPod for the first time (visceral), get curious and surprised while using it (behavioural) and feel pride when others see us using it (reflective). At the start of any relationship, the discovery phase is crucial. When it doesn’t work for you, you will get out at an early stage. Therefore, a product should be able to attract your direct attention and flirt with you to get you involved immediately. It is very important for the product to startle you before you start evaluating and reasoning about what you see. Kevin Roberts, CEO of Saatchi & Saatchi, acknowledges the importance of the “heart” in this phase: “It should be about the heart, not the head. The senses, not the brain. Emotions lead to action. Reason leads to conclusions. It must add mystery, sensuality and intimacy and connect with what you feel.” For Kevin, the best examples that “did it” for him are the iPod Nano, The Mont Blanc “Le Grand” roller ball pen and the Mini Cooper. I think we can all think of examples of our own, and honestly, did you really think about it very long before you purchased those items? I guess not, it was probably love at first sight.

“Emotions make us discover, rediscover and eventually stick with it.”

Address Peyman Nadirzadeh Albert Heyrbautlaan 22 B-1700, Dilbeek peyman@yucom.be

Just like with relationships between people, you search for or you bump into that one thing you are looking for. And just like with people, it has to click, excite and dazzle you before you will eventually give in to it. In discovering a product several levels can be differentiated. Donald Norman refers to three different levels in his book: visceral, behavioural and reﬂective. The visceral level is fast and makes judgements based on more superﬁcial stimuli. In the behavioural level using the product makes us feel a certain way.

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Rediscovering brands is a much more complex process, because a brand is a changing concept. It is both inﬂuenced by the people behind it as the people who interpret it, the consumers. The concept of “emotional branding” of Marc Gobé focuses on this ever changing character of brands: “It evolves and keeps changing based on circumstances that affect people’s lives. In a time of fear, people’s emotions or relationships with brands are different than what they would be in a safer environment. Emotional branding is a way to construct ideas by celebrating the creative process and people’s imaginations. The business of ideas does not need dogma or rigid formulas, it is evolving and changing based on people’s lives and aspirations.”

Designer

Discover Recently, more and more researchers and practitioners have been acknowledging and investigating emotional effects of products and brands. With a focus on products, Donald Norman (2004) published his bestselling book “Emotional Design; why we love (or hate) everyday things”, Pieter Desmet (2002) promoted with his inspiring thesis “Designing Emotions”. With a focus on brands and branding, Kevin Roberts (Saatchi & Saatchi) published his book “Lovemarks” and Marc Gobé (d/g*) “Emotional Branding”. All of them focused on the emotional impact of products or brands and how people connect with them at a deeper, more emotional level.

The process of matching the brand’s identity and values with your selfimage, is what I always like to refer to as brand sentiment: a person’s longlasting feelings for a brand. Not too long ago I purchased two antique Artifort chairs from 1957. My brand sentiment towards Artifort has always been very positive: Artifort is a known Dutch furniture brand with a long history and has a strong design character. Matching this with my self-image of being a designer who loves design objects and has to show that he knows his (classic) stuff, I felt that I had to purchase them. The “this-is-me” feeling seems to be very important in the discovery phase. Floris Schoonderbeek, designer of the new outdoor bathing experience “Dutchtub” (a mobile bath tub that heats the water by burning natural wood in a spiral system, presented at TuttoBeNe in 2004), thinks the biggest strength of his product is “the mobility and with that the independence. It inspires people to think about locations and situations where to use it.

a real investment – they have to “own” the changes. So, each time we adjust, make changes or re-interpret the product (or brand), we are in fact rediscovering the relationship. Like a true Harley-Davidson lover, who never ﬁnishes working on his bike. Each time he adjusts the bike, the experience changes: he really owns it.

TuttoBeNe Presenting designers from Belgium and the Netherlands

This could have been an introduction for a piece about relationships between people, but it isn’t. This is all about relationships we have with products and brands. Products and brands that we experience on a daily basis have an enormous impact on our lives and therefore it makes sense that relationships will evolve out of this. There are extreme examples like the old-timer enthusiast claiming that his relationship with an old Jaguar is far more important than the relationship with his wife. But, those are exceptions. Instead, I will write about relationships we have with products and brands that we can all relate to. The ones we discover, rediscover and stick with, each and every day. Each subsection is supported by interesting and inspiring quotes and examples that have been taken from interviews I had with experts from the ﬁeld of design and branding.

That philosophy is now carried through the entire brand. You instantly notice that upon entering the Apple Store. They are not pushing the product at you, but rather welcoming you to the experience of Apple.” Marc Gobé, founder and CEO of d/g* Worldwide, conﬁrms Gavin’s arguments: “Apple has brought what I think to be one of the best emotional branding programs you could dream of. First, you have an entrepreneur whose surprising vision you respect, then the products that match that vision, and innovation that keeps you engaged. It does not stop there; Apple understands the need to connect with people in a sensorial and emotional way. The expression of the brand reinforces its promise through a design and brand presence approach through their stores that bridge the gap between the abstract nature of branding and its humanistic impact. The brand engages you throughout all your senses, through your intellect and gut feelings.”

Address Ishèle Levy Wilhelminastraat 132-hs NL-1054WR, Amsterdam ishele.levy@chello.nl

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy Separating is a thing of the past, now that we are acknowledging our emotional side, right? There are some important stages in a relationship. You fall in love and you are completely blinded by it: what a feeling! After some time, you get used to living together, it gets normal or even too normal. But, instead of getting bored like so many do, you start seeing the beauty from other angles; you rediscover or reinvent your experience. You focus on the emotional qualities and appreciate how the experience makes you feel. You have discovered that a lasting relationship doesn’t necessarily turn into a boring and numb daily experience, it can indeed be even fun, and you stick with it!

Designer

TuttoBeNe Presenting designers from Belgium and the Netherlands

www.tuttobene.nl 2e Atjehstraat 60 hs 1094 LK Amsterdam the Netherlands

Marco van Hout

TuttoBeNe Presenting designers from Belgium and the Netherlands

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Address Basten Leijh Bleijh concepts & design Gedempt Hamerkanaal 17 NL-1021KL, Amsterdam info@bleijh.com www.bleijh.com

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Lasting relationships can be fun!

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Living A Part Together:

Basten Leijh

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Page 10 Lasting relationships can be fun!

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Page 12 Breeding ground fot Dutch Design Don’t give a sandwich, give a bike

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European Design Capital 2006 Eindhoven:

How human ego can help the world...

breeding ground for Dutch Design

Don’t give a sandwich, give a bike!

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Eindhoven, the ‘capital of the Southern Netherlands’ is a bubbling cauldron of design. And it’s not just because of the presence of the Philips Design studios and schools like the Design Academy en the faculty Industrial Design of the Technical University. Especially young graduates find affordable homes and jobs there and are livening up the place. This design community has spent ten years convincing people of the importance of their speciality. And succesfully. Eindhoven is now European Design Capital 2006. ‘After graduation you take the first train to Amsterdam or Rotterdam’, used to be a truism among graduates of the Design academy Eindhoven. Once you had your diploma there was not much left to do in that modest town in the south of the country which was dominated by high tech industry. One preferred to find creative paradise in Amsterdam or in up-andcoming Rotterdam. • Change But the change comes in the nineties. Under Stefano Marzano Philips Design, one of the biggest design studios in the world, climbs the steps to a position of more importance inside the parent company and is getting more outspoken. Technology is not an end in itself, no more than flashy looks or a pretty package. The gospel according to Marzano states that is all about what a product means, what the customer wants, about the quality of existence and about durability. He considers design to be the field that can deliver this added value and considers designers the experts who can integrate differing disciplines and interests. This development is also visible in the marketplace and prompts the Technical University of Eindhoven to start the new Industrial Design faculty. A similar opinion is held by Li Edelkoort who transforms the Design Academy into an internationally renowned institution with teachers like Gijs Bakker (Droog Design), Marcel Wanders and Jurgen Bey. When both Philips Design and the Academy move into the White Lady - a former Philips factory in the center of town design becomes very visible and tangible in Eindhoven. • Affordable accomodation Also in the nineties a number of post-graduate designers choose to settle in or around Eindhoven instead of taking the proverbial train to Amsterdam. One of them is Piet Hein Eek, who now runs a flourishing company with twenty employees and whose fame is rising internationally. ‘I was able to find affordable accommodation here’, Eek explains. ‘Plus there are more suppliers and subcontractors here than in the Amsterdam region. So I’m doing fine where I am. If your products are exclusive, your customers will know where to find you.’ Leonne Cuppen, Kees Heurkens and Eduard Sweep - who graduated from the Design Academy at the same time as Eek - choose Eindhoven when they start Designer Group Yksi as well as a gallery that gives young talents a chance to present their work. Richard Hutten, one of their classmates, is one of the first to exhibit there. Yksi becomes the axis of a younger generation of designers who are hatching idealistic and ambitious plans to promote local creativity and enhance Eindhoven’s image as a design town. Meetings and lecture nights result in the Designers Assembly Eindhoven, which is now known as Design Platform Eindhoven. • Dutch Design Week In 2001 this platform creates the Dutch Design Week, the most popular part of which is the Academy’s Graduation Show. Yksi is one of the founding fathers of this annual event that draws a crowd of tens of thousands every October. ‘Dutch design was conquering the world but was relatively unknown in the Netherlands and did not really have a venue to present itself with the exception of a couple of galleries, a lone exposition or a nook at some furniture expo’, Yksi member Eduard Sweep says.

TuttoBeNe Presenting designers from Belgium and the Netherlands

Texpression

Walter van Hulst

Eindhoven’s city council supports the platform initiative and subsidises activities like Dutch Design Week, chairs for designers in advisory boards and affordable workshops/housing. Dutch Design Week’s succes works as a catalyst. It strengthens the sense of community of ‘the field’ - grafic designers, product developers, stylists and interior decorators alike - and is a pressure cooker for cooperation. It also makes politicans realise that design is important not just socially and culturally, but also economically and hail design along with technology as part of the image of the city. • European Design Capital But developments don’t stop there. A program named Design Connection Eindhoven region is started to help design grow even further, with a design starter centre and a fund to support fledgling design companies (design incubator) among other things. A collective materials library is also being set up. Another goal is to promote Eindhoven as a design town nationally and internationally. For that purpose a project has been introduced with the EU, entitled European Design Capital, analogous to the European Cultural Capital. In 2006 Eindhoven will be the first city to give meaning to this concept. That Eindhoven lays claim to the title breeding ground of Dutch Design will be clearly visible in Milan where the Design Academy will be present, along with a joint presentation entitled Madeindhoven (AlissiaMT, Frederik Roijé, GRO Ddesign, Jasper van Grootel, Maarten Baas and WATdesign). Ten of the contributors to TuttoBeNe also hail from the design nest in the south of the Netherlands. Some of them have flown the nest. Jos Kranen and his studio stayed, as has Designer Group Yksi. • Photo Sportsring, design Yksi Prins Claus Square Eindhoven in front of the White Lady building (in the background). This one-time Philips factory has been renovated extensively and now accomodates Philips Design and the Design Academy among other things. On the statue the SportsRing, a suggestion by Designer Group Yksy for the idea-contest Brabant Games, has been photoshoped in. The SportsRing could be displayed in several public places and give information about sport events. Who, what, where, what time, any tickets left? And of course live pictures during the events.

The world is separated. On one hand there are people busy with what the new “hot” colour should be for this seasons fashion collection, on the other hand some people are busy just trying to get any clothes at all. Many people are conscious about this fact and generously donate money to aid organisations but when we really want to change things we have to think more radically. In modern society there are many seemingly conflicting emotions. There is the selfish desire to have what is seen as cool or hip but the same person can also have the altruistic desire to help others less fortunate. What we need to do is combine these feelings so that one act can satisfy both desires. Basten Leijh, founder of Bleijh concepts & design had the following idea: Put products on the market that are useful to everyone, make them hip and twice as cheap to produce so that when people buy the product for a normal price there is enough money to fund a second that can be donated to people who cannot afford one. The first product, designed out of this concept is a simple bicycle called the Sandwich Bike. Why a Bike? Basten Leijh: “Well I think that mobility is one of the things that is useful to everyone. In Western society you see that interest in cycling is really increasing or in some places is returning. Just look at bike couriers in many modern cities. They are by far the fastest way to deliver packages. Although we can now communicate with mobile phones, by fax and of course the internet; physical meetings are still very important. In many cities the car is the worst option. Traffic jams, parking problems, high fuel prices and last but not least pollution. There are many advantages to the use of bikes as a mode of transport: we save time, money, the environment and it’s good for our health. We can skip the Sunday morning spinning in the fitness club and do something we enjoy”

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“In modern society there are many seemingly conﬂicting emotions” So who gets the free bike? BL: “Mobility is needed everywhere. I think for example of kids in parts of Africa who have to walk tens of kilometres just to get to school. Or cities where mobility is only for the rich. Of course, a project such as this has to be managed through aid organisations. It is very important that the help you give becomes very clear and direct. It’s not just money you give and you never see back, you give a bike! You give freedom of mobility! Besides that, it’s also good for your own image. People see your beautiful bike and know that you gave another away. And that’s not all. Due to the very easy manufacturing process the frame of the bike can be made everywhere so that this can result in employment in poorer countries. These are just thoughts, but that’s where everything starts.” Before we talk about the bike itself, can you tell me something about Bleijh concepts & design? How do you look at design, and where do these observations lead you? BL: ”To put it simply; Bleijh concepts & design look at existing products from a unique point of view and try to make them better. A product to me has to be multifunctional and characteristic through design. I developed this philosophy during my study at The Design Academy in Eindhoven and is visible in my folding fruit dish. Folded back it takes a minimum of space stored somewhere in your kitchen and folded out, even without fruit it is a lovely object on your table.

You could say that I’m inspired through the incompleteness or the inconvenience of the things around me. In this way I developed for my final study project the ideal city bike called the Downtown which is produced and launched into the market by Giant Bicycles. The performance of this bike is greatly increased through it’s remarkable design. The front carrier for example is not fixed at the fork but at the frame so even heavy weights can be transported without steering problems and the front lamp is totally integrated into the frame but removable, so it’s easy to take with you and therefore indestructible. But the most radical improvement is the removable handle-bar that functions as the lock of the bike. The bike is therefore not interesting to steal because when you damage the lock you don’t have a handle-bar anymore. Another typical Bleijh Concepts & Design product is the Chairtable. I was sitting on a terrace and saw that there weren’t enough chairs for the people that had just arrived. They sat down on an empty table which make me think of a table folding back as a chair and vice versa. The design is made from coated carbon, to give it a different feeling than the ‘formula 1 character’ carbon fibre usually radiates, and stainless steel. Due to the very thin carbon scales (3mm) and the duo colours the object becomes very graphical. Although the design is firm, seat and back of the chair have both spring action so that comfort is guaranteed. Folded back as a table the furniture is very compact and can be stacked up. Therefore the Chairtable is very suitable for lot’s of different locations; in lobby’s or small loft’s.” The making of the Chairtable prototype was only possible by the help of: Futura Composites BV, and RND BV. Fantastic!. I’m excited, what can you tell me about the Sandwich Bike? How did you develop the concept into a working bike? BL: “Actually, I designed this bike together with two of my former fellow students Imre Verhoeven and Pieter Janssen for the 10th IBDC (International Bike Design Competition). We searched for new ways to construct the frame of the bike. Inspired by the concept of flatpacking and home assembly made popular by companies like IKEA we finally made a bike out of two wooden plates. Hence it’s name; “The Sandwich Bike”. The absence of welding joints makes the frame very easy to produce with the option of using many types of materials in the production. In this way the producer can come to a very honest price control. The stiffer the wood the better the bike. And the more beautiful the veneer the more beautiful the bike. It all sounds very logical, but with current bicycle frames on the market you have to really just go by brand name to distinguish one frame from another. Just like an IKEA product the bike will be delivered in a flat cardboard box which equals low distribution costs. With one single tool that comes included people can assemble their bike at home instructed by an exploded view and thus no assembly costs. Tell me something about the design of the Sandwich Bike and the technical aspects. BL: The appearance of the Sandwich Bike is the archetype mountain bike. The two wooden plates are held together by four so called ´smart cylinders´. These cylinders house all the technical stuff needed; the crank axle, the wheel pin and the saddle pin. The wheels are just normal 26 inch aluminium’s. The contemporary design and the relative big surface of the frame is ideal for graphical expression and make the design very attractive for organisations who feel committed to the whole concept and want to let the public know they are involved. Last question; Where can I buy the Sandwich Bike? Or actually, the two Sandwich Bikes? BL: The project is still in a concept phase but hopefully you can order a Sandwich Bike at www.sandwichbikes.com in the near future. Investors are welcome!’ Related websites: www.sandwichbikes.com www.bleijh.com www.designamsterdam.nl www.futuracomposites.nl www.rndbv.nl

Announcement

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TuttoBeNe Presenting designers from Belgium and the Netherlands

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

TuttoBeNe Presenting designers from Belgium and the Netherlands

www.tuttobene.nl 2e Atjehstraat 60 hs 1094 LK Amsterdam the Netherlands

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

Page 13 TuttoBeNe Wallpaper

TuttoBeNe

www.tuttobene.nl 2e Atjehstraat 60 hs 1094 LK Amsterdam the Netherlands

TuttoBeNe Presenting designers from Belgium and the Netherlands

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Page 13 TuttoBeNe Wallpaper

Address Liset van der Scheer studio van der scheer Quellijnstraat 109 NL-1073XH, Amsterdam studiovanderscheer@xs4all.nl www.studiovanderscheer.nl

Besides that, a minimal object is able to be a frame that can be an inspiration for the user. This way the object becomes a chameleon, suitable for every type of interior. It also opens the road to combine art and creativity with design. Minimalism also glues economics and ecology together. A minimal use of material, processing and loss of material, energy and striving for a small weight has very positive effects in these two ﬁelds. Al these objectives also give an answer to the growing problem of the economic movement from the west to the east, creating possibilities to produce objects within a system with a social frame. Simple processing methods makes it possible to involve smaller and local industry without heavy investment costs. And last but not least, it’s like the name says: to create objects with 21grams. Some poetry and a human touch, with plenty of space to be creative for the designer and the user. Just right on the spot…where an object needs to be.

• Charlotte Cantillon

Precision in design, buildings and words, it can emphasize the particular, things being itself. Sandro Aiello Groenhoedenveem 6 NL-1019BL, Amsterdam sandro@aiello.nl www.aiello.nl

• The Asylum Collection See article; ‘The Asylum Collection’ on page 08.

21grams Guldentops Tim OL Vrouwstraat 49 BE-2800 Mechelen guldentops.tim@gmail.com www.21grams.be

Every designer has to graduate and so do I. I am doing a Master degree of Interior Architecture at The Higher Institute for Architectural Sciences Henry van de Velde in Antwerp. The studio of furniture design is coordinated by interior architect Jean Wauters. “Textile” is the main theme of the studio. Its suppleness makes textile so interesting. This is why I wanted to create a ﬂexible seat made of 100% textile. Using wool felt is logical: it is warm, soft, environmentfriendly and available in various thicknesses. It has countless possibilities. I wanted to emphasize those qualities by using thick layers of felt that have to be piled up, folded or rolled up to create volume and a thin layer to use as a blanket to keep warm. This is how this book of felt was born. “Books are not made for furniture, but there is nothing else that so beautifully furnishes a house.” Henry Ward Beecher (1813 - 1887) Books are great decoration, but this one isn’t just decoration. It is a seat and a bed with a blanket and a pillow. The pages are made of thick wool felt that form the structure and can be rolled up or folded to lean on. The double cover is soft and thin and can also be used as a blanket or rolled up as a pillow. The book is designed to sit, relax or sleep on in several ways. It is easy to transform the book for young and old people. Its dimensions (90x60x36cm) also enable low-waste production. It tells a simple story with an open ending: you can complete it in any way you want. My special thanks goes to Ideal Felt s.a.-n.v. (Brussels) and my parents for making this possible.

• Academy of Fine Arts Maastricht

Charlotte Cantillon Bevrijdingslei 57 BE-2930, Brasschaat charlottecantillon@hotmail.com www.charlottecantillon.be

The department jewellery and product design presents a selected number of works of graduates and present students. The selection consists of work that has been developed by the designers during or after their study. The department jewellery and product design has a structure where the students develop their own individual autonomous ideas within the field. To provide insight in the variety and dept of the different main subjects and to guarantee connection at the further field of the profession, the education is looked after by a team of part-time tutors and teachers who are operative in this field. Knowledge of the profession is also offered in the form of projects such as this presentation and lectures by guest teachers with specialist knowledge and skills. Good workshops provide the required conveniences and the students are being monitored by professionals.

Asylum Collection Bo Reudler & Seroj de Graaf Vlietsend 2 NL-1561AC, Krommenie info@asylumcollection.com www.asylumcollection.com

• Sandro Aiello Sandro Aiello is a dutch poet and architect. Furniture design is not his regular practice, but if designing a building resembles writing a novel, then designing furniture resembles poetry. It sharpens the mind on very precise pieces. Thinking about context and subject is often a starting point of writing or designing. Looking at a material, glass for instance, a whole set of rules can derive from its properties, to make a design particular. The idea of glass is not only its transparency, it is more the idea of

Dave Keune Dave Keune also graduated from the Design Academy succesfully although The Deck and Decker furniture never made it to production until now. Probably because of the success of the Cultivate label he launched during last years Salone together with Buro Vormkrijgers partner Sander Mulder. &Davíd is now absorbing Dave’s prefab furniture concept. All pieces are taken from one piece of Multiplex, cut and painted combining ease of production with elegant and playful forms. Form doesn’t have to follow anything. Form doesn’t have to be limited. We want beautiful things to surround us in our daily lives. &Davíd promotes new design by independent Dutch designers. Innovative design for products that appeal to many and that also can be afforded by more than a few. This does not mean that they can not be “unorthodoxly plain, unpretentious, ecclectic, illustrating an original use of material, conceptually strong, interdisciplinary, with a sense of humour” quoting Marcel Wanders describing Dutch Design. But there are two things that help to attract people: being honest and having a spirit. Isn’t it our objective to reach as many people as we can with the beautiful things we create? &Davíd is participating in TuttoBeNe to launch its concept and present its ﬁrst results. I want to ﬁnd innovative and attractive designs for usable products. I want to meet the designers who create them. I want to work together as independent individuals to organise production and last but most important I want to show it to the world. So everybody knows they can buy it too. &David Noordeinde 146 NL-2514GP, Den Haag info@endavid.nl www.endavid.nl

• Gijs Kaayk • Anne Brouwer & Sandra Dijkstra

In this presentation there is an overall view of the dept of the department; besides the conceptual one of kind pieces (jewellery and product) the serial jewellery and the functional product are being shown. Work with a strong conceptual impact and poetry. The use of speciﬁc materials in combination with certain techniques gives the work an identity. The department is undergoing a major and remarkable transformation during the last years and it is time for some impressions. Participants Sacha lannoye Maarten van der Vegte Soﬁe Boonman Ghita van de Berg Jeroen Wand Julia Miebach Andreas Robertz Fabian Seibert Marion van Cruchten Marieke Rongen Patricia Graf Kirstin Romer Luc Daamen Rosalie Royen

• Alain Chennaux

Froukje Kuiper Froukje Kuiper is graduate of the Design Academy Eindhoven. She played around with geometric shapes fascinated by the possibilities to create something beautiful in 3 dimensions with the use of two dimensional ingredients. Her hanging lamp is called Flowershade for obvious reasons especially when it’s on! The ﬂowers are not only decoration, they are the construction itself. Although it can be easily produced it was a geometric journey to the moon to conceive it. Simple complexity or complex simplicity. It remains intriging.

I’ve just reached my half century and now it seems I have to put on airs and graces to talk about my “work”. I imagine that at design school one learns how to comment on a vase with a hole in it and why one put a hole in it. But I didn’t go to school much and I’m not a designer.

Anne Brouwer and Sandra Dijkstra travelled to Bali following an invitation from IFC Pensa and Dutch Design in Development (DDiD). Their task was to develop new designs together with local designers in order to optimize the product range created by local producers for the European market. “Bali can not compete with countries like China or Vietnam in a mass production-way, so that is why we emphasized the Balinese craftsmanship, materials, culture and nature and combined this with the trends in Europe. For example we choose to ﬁnd new techniques and use local materials and nature as inspiration to give the glass producer Cahaya Lestari new inspiration to work with. The pillows we developed with company Gopi are inspired by Balinese nature; crab patterns on the beach and beautifully shaped ﬂowers and plants are now decorations to be found on the practical pillows. The producer of mirrors uses already very attractive Balinese patterns we didn’t want to change, so we changed the concept of the mirrors themselves to create new ranges”. Anne Brouwer works as a designer for Northernlight, a company that develops exhibitions and experiences for a wide variety of exhibitors. Among their clients are museums, children’s museums, science centres, expo pavilions, private companies and urban entertainment developers. Sandra Dijkstra has her own design studio were she develops functional products which communicate di-

• I am an inventor. In return for revealing my invention to the world, I have an exclusive right to exploit it for a period of 20 years and then it belongs to the world.. One cannot patent something which already exists, therefore my product is truly new: It is a device for storing books, files, records, whatever one chooses. This modular shelving can be assembled quickly without tools, screws, nails or glue. It is cut without waste from a single standard wooden panel. Although very light, it can be assembled and dismantled at least 25 times without losing its incredible strength. • It comes in a flat pack. Over the last 11 years, primarily by word of mouth, in Brussels, Paris, Tokyo, Utrecht, London, Cologne and New York, it has entered more than 10 000 homes. It is made in Belgium. In my good little Kingdom, I still deliver and assemble it myself for my customers. If you find beauty in an airplane, or a bird, or a lizard, or a poppy, then you will know that beauty IS the happy consequence of function without any form of ornament; you will appreciate the beauty of my device. This” tidy” as never received an award in the field of design but it won the gold medal at the London inventors show. To introduce my invention to Italians, I find myself in the company of designers. Fortunately, I like the sculptures of Henry Moore. Even with flowers in them. Alain Chennaux 33 rue F. Neuray BE-1050, Brussels info@twu.be www.twu.be

After graduating from the Rotterdam Hout- en Meubileringscollege, Gijs Kaayk went on to the art academy in Arnhem (Artez) and graduated in 2004 from the 3d design department. Since then he has been working in his workshop in Rotterdam on projects for himself and clients. His work was shown at exhibitions in The Netherlands, Belgium, France and Italy as well as having been published in international magazines like Dwell, Frame, Mari Clair Maison, L’Officiel, Residence, Abitare and the like. Yabu Pushelberg, the international award winning interior architecture company, incorporated the “Rocking sofa” in their 2005 design for Lane Crawford’s flagship department store in Hong Kong. Gijs Kaayk’s design process is intuitive: creating the best conditions to have a “design moment” take place. Recognising any qualities that may surface during his work steer this process. Gijs: “I work from within a broad framework and then allow coincidence take its course; when looking for a material which could be moulded like clay but unlike clay already had a ‘fixed’ shape, I worked with pliable stick hair curlers which led to the ‘Rocking Chair’ design”. The element of rational functionality is always there but as a secondary strength of a design. He spends most of the time on shaping and crafting the objects. Gijs Kaayk makes three dimensional poetry with a strongly figurative quality, not only being an eyepleaser but also inviting to be touched. These objects have an emotional resonance; allowing our innermost dreams and fantasies to surface. Like the artificial pond does when it seemingly pulls you in. This artificial indoor pond was made in collaboration with his father Coen Kaayk, an artist working with transparent resins. Designing for Gijs Kaayk is allowing the unknown to take shape, changing the flow of earthly energy, connecting archetype, idea and space. Gijs Kaayk Gerdesiaweg 92 NL-3061RA, Rotterdam Gijs@sculptural-design.com www.sculptural-design.com

Page 15 Index Designers TuttoBeNe 2006

It creates a lasting design away from all the trends.

In former tensegrities, by Buckminster Fuller, Kenneth Snelson and others, the attractiveness mostly comes from the the system itself, tubes hanging in wires and still standing up. Beautifull forms like globes or needle towers, but neglecting the problem of the connections. For the table, it was challenging to make a more aesthetic tensegrity. The joints, where the tensiles meet the trusts were minimalised. Then form meets form in a pure, mathematical way, leaving a cutting edge between the two. And at the point where the glass meets the steel, the trust bar is leaving place for the glass to be held.

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

21grams.be is a quest for relevant objects within the market of today and tomorrow, combining ecological, social and aesthetic aspects into them. Inﬂuences are mainly Japanese designers like Atsushi Kitagawara, Toshio Sugimura and Takashi Kanome. Next to that Dadaïsm with Duchamps, critical regionalism with Ando and Siza. But the main inﬂuence is certainly minimalism. Next to pure aesthetic reasons (the search for a sober design) minimalism binds every aspect into one single whole.

Sandra Dijkstra Morsestraat 35 NL-5621AL, Eindhoven www.sandradijkstra.nl

Designers

• &David presents: Froukje Kuiper en Dave Keune

www.tuttobene.nl 2e Atjehstraat 60 hs 1094 LK Amsterdam the Netherlands

rectly to the consumer. Some of them have been seen on the Salone Internazionale Del Mobile 2004 and 2005. She also designs a wide range of products and logos for various companies, like Tuyu and the Fair Trade Company.

TuttoBeNe Presenting designers from Belgium and the Netherlands

Liset v.d. Scheer

Page 14 Signage Designers TuttoBeNe 2006

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy Designer

TuttoBeNe Presenting designers from Belgium and the Netherlands

Isabel Quiroga

Page 14 Signage Designers TuttoBeNe 2006

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy Designer

TuttoBeNe Presenting designers from Belgium and the Netherlands

almost not being visible but for its edges. Then, in case of the tensegrity table, the image of the steel frame doesn’t stand by itself, but connects with the square form of the glass. Steel and glass include each other.

Anne Brouwer Nieuwendijk 227d NL-1012MH, Amsterdam brouwer@northernlight.nl www.brouwer-concept.nl

Academy of Fine Arts Maastricht Department jewellery and product design Various designers Herdenkingsplein 12 NL-6211PW, Maastricht info@abkmaastricht.nl www.abkmaastricht.nl

Address Isabel Quiroga Oostveenweg 25 NL-7533VP, Enschede isibisi0@hotmail.com

PRIMA

Page 14 Signage Designers TuttoBeNe 2006

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy Designer TuttoBeNe Presenting designers from Belgium and the Netherlands Address Marlies Spaan (MeS) & Jolanda Muilenburg (Z2) Tussen de Bogen 42 NL-1013JB, Amsterdam Z2: info@zet2.nl / www.zet2.nl MeS: mes@mestextiles.demon.nl / www.mes.nl

OZO products

Page 14 Signage Designers TuttoBeNe 2006

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy Designer

TuttoBeNe Presenting designers from Belgium and the Netherlands Address OZO products Kommewetering 61 b NL-3543AM, Utrecht Info@ozo-products.nl www.ozo-product.nl

TuttoBeNe Presenting designers from Belgium and the Netherlands

www.tuttobene.nl 2e Atjehstraat 60 hs 1094 LK Amsterdam the Netherlands

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

Page 14 Signage designers TuttoBeNe 2006

Signage

• 21 Grams

See also article; ‘Human values in design’ on page 08. The same experience I feel when I look at the starry sky. Consequently I designed an abstract version of the starry sky, where the position of the stars are constantly moving. The three primary colors I added cause a “passionate” visual movement as fascinating to me like the real starry sky. The Oi-lamp was created following my research with packing material and vacuum techniques. This technique is often and worldwide used and takes a prominent part in our daily lives. By adding together textile techniques, existing shapes and new elements I was constantly working on the material and the technique, to free it from its original context. This causes tension and gives the material and/or product a (new) character.

KORNUM Couture and KORNUM Color were both made using traditional materials; felt, which has a pure and simple look in strong and vivid colors and linen whose more delicate aspects serve as a subtle counterpoint to the rugged felt. By cutting and punching the felt, its different aspects come to light.

Typical to KORNUM is how seemingly opposite elements enhance each other: simplicity with detail, craftsmanship with a delicate touch and its Dutch and Danish inﬂuences. Trine Kornum De Clercqstraat 117 - 3 NL-1053AJ, Amsterdam trine@kornum.nl www.kornum.nl

Announcement

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• Damian O’Sullivan

Ishèle Levy Wilhelminastraat 132-hs NL-1054WR, Amsterdam ishele.levy@chello.nl

The last 7 years of my work as a designer I have been questioning my own role as a designer in society. We are creating new products without asking why and questioning the relevance of all these products. With my work I try to ﬁnd possibilities to initiate change and to search for ways where design can contribute in a positive way to our world. This means that I focus on the social, cultural, ecological and economical issues which are related to design.

• Peyman Nadirzadeh

When my grandfather broke his hip, he was in his late seventies. An old man by most people’s standards, but with all the dignity worthy of his age intact. Upon being able to walk again he was given a plastic crutch, which I thought was rather incompatible with his person. Once he was able to walk without the aid of the crutch, it was left abandoned in a corner, as a lingering memory of his misfortune.

It is about taking the human values as a starting point for design. No longer are proﬁts for large scale companies the main reason for a product to be born. Revaluing the human resource as our main asset we can develop new products or services which truly beneﬁt the society from the maker to the user and beyond. This approach leads me to develop products which are mostly based on handicrafts which are forgotten or run over in our way towards modernity. Handicraft is practiced all over the world and will stay of enormous relevance for our cultural expression and our identity, as well as a source of income for many. Innovating these traditions together with local craftsmen and women in ways that they will stay alive in a modern society is my challenge. Lotte van Laatum Bolksbeekstraat 60bis NL-3521CV, Utrecht The Netherlands info@lottevanlaatum.nl www.lottevanlaatum.nl

• Basten Leijh See interview: ‘DON’T GIVE A SANDWICH, GIVE A BIKE!!’ on page 12

ProAesthetics The design of medical prosthetics today, has more in common with the hospital than the home. Pity them who have broken their leg, not for the inconvenience of their condition, but for the sheer ugliness of the prosthetic devices they have to contend with. Why can’t we offer more solace in such moments of need, be exalted to latter-day-dandies instead of having to traipse around with such plastic contraptions?

With this in mind I set about redesigning medical prosthesis in the hope of arriving at more digniﬁed solutions. The exploration lay not so much in the chosen forms, as they are largely dictated by the human body, but rather in a change of material: porcelain. A fragile yet strong material, hygienic whilst elegant, in other words, it had all the right paradoxical sought after qualities. Ladder-closet B-up The idea to use the empty space behind a ladder was the starting point of this project. This space remains mostly unused. But a ladder is used to reach a target otherwise a ladder has no purpose.

Although the result is perhaps more poetic than practical, it does however reﬂect the inherent beauty of recovery and mirrors the healing process of our mending bones. Slightly awkward and very fragile, just like us, they cry out, ‘handle with care’!

With B-up ladder and target are one unit. The empty scace behind the ladder is ﬁlled up with hanging boxes. These are cut out of one plate and bent into shape. The boxes are attached to the ladder without permanent ﬁxation. This way, the furnirure is easy to assemble or disassemble. The same hanging boxes can be used on ladders with different heights.

Upon recovery, disposing of these trustworthy companions is simply not an option. Instead, they can be kept and treasured, and exhibited amongst our ﬁnest (bone)china.

Peyman Nadirzadeh Albert Heyrbautlaan 22 B-1700, Dilbeek peyman@yucom.be

Damian O’Sullivan Design Burgemeester Meineszlaan 109 A NL-3022BE, Rotterdam info@damianosullivan.com www.damianosullivan.com

Designers

• Lotte van Laatum

Romanticism has been the initial inspiration for KORNUM Color, incorporating flowers and organic shapes. The basic design is derived from flowers; by applying these in a multi-layered repetitive pattern, an almost bewildering effect is achieved resulting in nearly geometric shapes. This combination of shape and material give the designs a rugged feel. KORNUM Color designs are pillows in layered flowered patterns with colored stitching. Pillows and handcrafted scarves with flowers punched and layered in a lace pattern.

Color scheme: natural, blacks, greys, whites, mustard yellow and an occasional green or deep red.

Annet Neugebaurer De Vorm Uitmeentsestraat 19 NL-6987CX, Giesbeek info@tumbly.nl www.tumbly.nl

Page 17 Index Designers TuttoBeNe 2006

Jos Kranen Jacob Marisplein 23 NL-5613GH, Eindhoven k.jgm@chello.nl www.joskranen.nl www.feek.be

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

Developing the KORNUM Couture has been a search for apparent simplicity; to ﬁnd a way to turn the rugged felt into a soft and rounded design. Layering the material has created some interesting effects, such as the bowl/object and the hassock in which strips of felt around the cushion are reminiscent of an exoskeleton.

The tumbly forms part of an interior collection from Annet Neugebauer with several interior objects. For this collection she has been inspired by the fashion industry and she processed various elements from it into the elegant, yet playful designs. Annet Neugebauer (1981) is a promising designer from Arnhem. In 2004, she graduated at the Academy of Arts in Arnhem. In the same year, she designed the tumbly. The original design has attracted a lot of attention since then. Besides her occupations designing a new interior collection for De Vorm, Neugebauer also attends the prestigious training MA Retail Design at the Piet Zwart Institute in Rotterdam.

www.tuttobene.nl 2e Atjehstraat 60 hs 1094 LK Amsterdam the Netherlands

KORNUM, founded in 2005 by designer/stylist Trine Kornum has developed a line of interior accessories and consults on interior decorating and color schemes for shops and private customers. All KORNUM’s products are handcrafted

The third product, London Calling, is somewhat heavier in subject. The idea for this product came up when my grandmother died last year, and I inherited a drawer from her. My grandmother lived trough WWII, and was always telling stories about her radio being taken away, and how she couldn’t get her hands on another one. So, apart from a product which questions form and function, London Calling also exists in honour of my grandmother.

• OZO Products • Annette Neugebaurer

• Jos Kranen

For the Milan fair this year I decided to show three products which represent the range of my work. My work generally starts from a basic “gut” feeling, which I translate into a product, in order to add an intrinsic value. This feeling finds its origin in my everyday life, things I experience, things I would like to change etc. etc. In that way, one could say that my design process resembles the way actors apply “method acting”: the result is a direct reflection of how I felt while designing the product, it tells an honest story. For instance, the Flexilight was designed out of annoyance: why is my living space littered with ugly cables? There must be a way around that, a way to fit an electrical system into my living room which is decorative, instead of annoying... Enter the flexilight, a flexible lighting system, consisting of modular pieces of circuit board and LED chandeliers. With this system you can lay out your own “metro map” of electricity, which is also a decorative element. Flexilight is currently for sale via Belgian design label FEEK. Another product is La Fleur Lumineux, the result of a brainstorm session with co-designer Frederik Molenschot, about “vase products”. There are beautiful vases out there, and a flower is nature’s own design, but can we think of something functional in between? Can we think of a product which will lift the flower filled vase to a higher level? We came up with La Fleur Lumineux, a light object which will light up your vase and its surroundings, while only working when in contact with water, just like a real flower.

Basten Leijh Bleijh concepts & design Gedempt Hamerkanaal 17 NL-1021KL, Amsterdam info@bleijh.com www.bleijh.com

• Ishéle Levy Design vision I explore the character of a product, and especially the technique, material and usage. The quality of the product should not only be determined by the relationship between the product and user, but also by the consciousness of the user. Hereby I search for the selfevidence of the product. The relationship between the product and its user will be stimulated as soon as you uncover this self-evidence. The combination of purpose and object affects also the intensity of the product and the experience with the product. The cohesion of my work consists of the fact that function is not the most important task of a product. My products become objects, and so can be used more intensively.

Young designer launches surprising seat object ‘tumbly’ The tumbly is the ﬁrst item from the interior collection that has been taken into mass production, by the young, promising designer from Arnhem, Annet Neugebauer. The seat object tumbly is a striking and original egg-shaped tumbler, which brings vivacity into the interior. The tumbly is the ﬁrst object that Neugebauer produces with her just established studio ‘De Vorm’. Comfortable and ergonomic The cheerful tumbly moves when you touch it. The counterweight in the bottom of the tumbly provides that the pouf always comes to a standstill with the seat at the top. The weight also provides that the tumbly is very stable when you sit down. De tumbly sits very comfortable and is ergonomic. You sit actively with a straight back in the right position.

Expo work Printed matters and packing material don’t last long usually. I examine both materials in such a way that they will have longer and more intensive durability.

Solid and colourful The solid synthetic construction makes the tumbly a very ﬁrm seat object, that will serve you a long time. The tumbly is available in three materials: synthetic, luminous synthetic and ﬂocked synthetic. Dependent on the chosen material, the tumbly is amongst others available in the colours orange, red, violet, pink, turquoise, blue, lime, light lime, olive green, pistachio green, fawn, white and grey.

The Omamia-lamp is a light-object. I was inspired by my fascination for moving and changing images. These images grab my attention, put me on the wrongfoot, awake longings in me and let me dream away.

De Vorm De Vorm is established in the spring of 2005 and is a collaboration between designer Annet Neugebauer and the Ter Hoeven Group.

OZO Products, based in Utrecht, started 5 years ago to establish a clear presence within the office furbishing industry. OZO does in-house product design and collaborates with independent designers. OZO has its own production facilities and can outsource a production line to third parties. Two sales managers and a back office currently support OZO products. Our collection currently consists of a line of sofas, a line of office furniture and the Parallel Collection, a sample of which we will be presenting ourselves with at the Milan trade fare; the CASE Mobile Office: An androgynous carrying case suitable for a laptop, but no mere laptop bag, CASE is suitable for laptops up to 17” and has additional storage compartments for accessories. CASE has been designed for office use without being clearly identifiable as such. CASE allows the user to carry a laptop comfortably without advertising the fact.This is clearly of great advantage given the current rise in laptop theft. The design is available in two models: the first in Russia leather lined with all-natural fabrics, the second from a technical material designed to order by a Dutch company. The technical material is extremely durable and the Russia leather ages beautifully with wear and tear. Ellen Sillekens design is very typical of OZO; it is austere and clear-cut, using basic shapes with an exceptional eye for detail. CASE will be ready for production and marketing this year and we wish to acquire agents for international sales at the trade fare in Milan. OZO products Kommewetering 61 b NL-3543AM, Utrecht. Info@ozo-products.nl www.ozo-product.nl

TuttoBeNe Presenting designers from Belgium and the Netherlands

Diane Steverlynck

Page 16 Signage Designers TuttoBeNe 2006

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy Designer

TuttoBeNe Presenting designers from Belgium and the Netherlands

Address Diane Steverlynck Rue d’Andennestraat 1 B-1060, Brussels diane.steverlynck@skynet.be www.dianesteverlynck.be

Maartje Steenkamp

Page 16 Signage Designers TuttoBeNe 2006

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy Designer

TuttoBeNe Presenting designers from Belgium and the Netherlands

Address SMS Studio Maartje Steenkamp Rollandstraat 9 NL-2013SL, Haarlem info@maartjesteenkamp.nl www.maartjesteenkamp.nl

Lisa Smith

Page 16 Signage Designers TuttoBeNe 2006

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy Designer TuttoBeNe Presenting designers from Belgium and the Netherlands

Address Lisa Smith Burg. Meineszlaan 109 a NL-3022BE, Rotterdam lisa_tania_smith@hotmail.com

Chris Slutter

Page 16 Signage Designers TuttoBeNe 2006

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy Designer

TuttoBeNe Presenting designers from Belgium and the Netherlands Address Chris Slutter Vechtstraat 132 hs NL-1079JR, Amsterdam info@chrisslutter.nl www.chrisslutter.nl

TuttoBeNe Presenting designers from Belgium and the Netherlands

www.tuttobene.nl 2e Atjehstraat 60 hs 1094 LK Amsterdam the Netherlands

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

Page 16 Signage designers TuttoBeNe 2006

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• Trine Kornum

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Page 18 Facts and plan TuttoBeNe 2006

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• Diane Steverlynck

Blueprint We are pleased to have a big enough scale (with around 1700 students) to be able to provide courses from such a broad spectrum. Several design schools in the world have used Delft as a blueprint for their curriculum. Every month we receive delegations of visitors from design schools in all regions, who we are happy to show and demonstrate our philosophy and educational programs. Research In research, scientiﬁc progress has been made in each of the sub-disciplines. In some research ﬁelds, such as sustainability, design and emotion, market introduction strategies, academics from Delft are recognised as leading scholars. In 2005 the school had 10 PhD defences and this number is rapidly growing. Context of products From a content point of view, I would like to point out that IDE Delft is connecting industrial design engineering to architecture. The ambition is to create artefacts and surroundings. Only through incorporating the context in which products are being used, we can create the desired experiences. After all our mission statement is about creating successful products that people love to use. prof. dr. C.J.P.M. de Bont, dean of Industrial Design Engineering

After her education in visual arts, Diane Steverlynck has moved on to textile design at the National School of Visual Art of La Cambre (graduated in 2002). From then on, she develops personal projects and also works as an independant designer for companies or private interior design projects. At the same time she works

TU Delft Industrial Design Engineering, Delft University of Technology Landbergstraat 15 NL-2628CE, Delft info@io.tudelft.nl www.io.tudelft.nl

Ramin Visch

Page 21 Signage Designers TuttoBeNe 2006

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

Marc de Vree

Page 21 Signage Designers TuttoBeNe 2006

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

Page 21 Signage Designers TuttoBeNe 2006

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

Titus Verbeek

Designer

During the Furniture Fair in Milan the TuttoBeNe organisers David Heldt and Victor le Noble will write their day-to-day experiences on the weblog of www.design.nl

Wide range Compared to other design schools, IDE Delft covers a wide range of disciplines. We believe that this is necessary to train students in the multidisciplinary ﬁeld of product development. Creating new propositions for products and services requires an understanding of people, technologies and business principals. It also requires the capacity to integrate and combine such an understanding in proposing and materialising desirable new options.

Page 21 Signage Designers TuttoBeNe 2006

TuttoBeNe Presenting designers from Belgium and the Netherlands

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Address Ramin Visch ruimtelijk ontwerpers Groenhoedenveem 18 NL-1019BL, Amsterdam info@raminvisch.nl www.raminvisch.nl

Weblog •

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Handle with care A series of bags with innovative use of materials, closures and handles. The seed of this project lay in the frustration of the lack of innovation in the hard components (closures and handles) within the bag and apparel industry.

Designer

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TuttoBeNe Presenting designers from Belgium and the Netherlands

• Lisa Smith

Address Marc de Vree Rector Driessenweg 8 NL-6411GZ, Heerlen atelierdevree@planet.nl

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Chris Slutter Vechtstraat 132 hs NL-1079JR, Amsterdam info@chrisslutter.nl www.chrisslutter.nl

Both the shape and material are a logical consequence of the concept from which a design develops and my aim is to arrive at a clear design in which the user actively participates. SMS Studio Maartje Steenkamp Rollandstraat 9 NL-2013SL, Haarlem info@maartjesteenkamp.nl www.maartjesteenkamp.nl

Hubert Verstraeten

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Chris Slutter’s designs are produced in small series; he also makes 3D prototype models for clients and himself giving rise to an overall vision of the product. Much Chris’s client base is to be found in the multinational and architectural environment as well as the private sector.

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The Work from Chris Slutter can best described as a search for the simpliﬁed form through design, this and the ongoing investigation of how the process of design affects the ﬁnal product, and through this method of questioning he can stay true to the materials he uses which is central to his work. This cogitate process formulates a functional basis that expresses itself by clarity and quality in the completed design.

TuttoBeNe Presenting designers from Belgium and the Netherlands

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Following his studies he worked for the next three years in Enschede on a number of diverse projects and designs, later moving to Amsterdam opening his own Design studio from where he still works today.

The school of Industrial Design Engineering at the Delft University of Technology is among the oldest design schools in the world. Of course it is nice to have some history and tradition, but more relevant is that our school gradually developed over time. In education, Industrial Design Engineering (IDE) offers a variety of basic and advanced courses in the ﬁelds of engineering, management, ergonomics and design aesthetics. The integration of these disciplines is taught through design exercises often addressing real-life problems of companies and organisations.

Address Hubert Verstraeten Avenue R. Vandendriessche 28a B-1150, Bruxelles info@verstraeten.com www.verstraeten.com

Announcement

Chris Slutter was born in 1972 in Terborg, The Netherlands, into a household familiar with all aspects of furniture and interior design. He graduated from the AKI Enschede in 1997 with a BA degree in architectural/ industrial design, the same year he won the prestigious prize for best young designer with his Leaning lamp.

The object (furniture) invites a user to interact with it, thereby transforming the anonymous ‘thing’ into a personalizing element for its surroundings: My sons growing curve in relation to the grown-up world I have translated into a high children’s chair: ‘Highchair’ (produced and distributed by Droog Design). A chair that grows, or actually shrinks, with the child. By using a saw to incrementally remove pieces of the chair’s legs, the parent is making a very visible and tangible statement, helping the child attain more independence as it reaches the various stages of its development. It also marks the passage of time: the chair will not grow taller just as the child will not grow shorter and so the chair will truly become speciﬁc to the child, giving it a leg-up on its way to independence. I see a piece of furniture as a practical aid in everyday life also containing an intrinsic value all its own, a value that grows with the user as it becomes a container for the intangible essence of living: the memories and emotions connected to all those ﬂeeting moments we experience every day.

“Creating successful products people love to use” Industrial Design Engineering, Delft University of Technology

Designer

Isabel Quiroga Oostveenweg 25 NL-7533VP, Enschede isibisi0@hotmail.com

• Chris Slutter

My work consists primarily of furniture design. Having studied arts at the ensA Dijon in France and architectural design at the Gerrit Rietveld Academy in Amsterdam (graduated 2002). I now work as a freelance designer. Furniture is, in my opinion, exceptionally well suited for design experiments as due to its small scale it affords the opportunity to control the entire design process, from rough draft to postproduction. I am interested in how people experience their physical environment and the objects therein and like to analyse the functioniality of an object and how a user interfaces with this object. Concepts are often based on the user’s movement and their physical relation to their environment.

TuttoBeNe Presenting designers from Belgium and the Netherlands

A Table and more A belt like mechanism, below a table top, that can be set into motion by a turn of a handle. On the belt several items can be found – a lamp, a box, a ﬂower and a pen and pencil case. These items can be adapted to one’s personal belongings to create different moments and spheres. A table which is living along with you.

• TU Delft

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

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In Milan Van der Scheer’s newest combinations of colour, texture and form are on show: The idea behind the presentation being that the colour combinations for a carpet chosen by a client can also be used in the knitted pouf-cosies, giving a quirky, personal character to a living space. These cosies are so easy to put on or take off, that the scope for even more variations of ambiance is limitless. Liset van der Scheer studio van der scheer Quellijnstraat 109 NL-1073XH, Amsterdam studiovanderscheer@xs4all.nl www.studiovanderscheer.nl

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Address Titus verbeek Concept & design Orteliuskade 6 NL-1057AA, Amsterdam www.titusverbeek.nl titus@titusverbeek.nl

• Maartje Steenkamp

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Page 21 Signage Designers TuttoBeNe 2006

Lisa Smith Burg. Meineszlaan 109 a NL-3022BE, Rotterdam lisa_tania_smith@hotmail.com

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TU Delft

Seeing in colour is second nature to Van der Scheer. At the start of her career she worked as a colourist at a textile printing mill where, in the space of two years, she invented the colours for over ﬁve hundred designs. Her alertness to the powers of each single colour is the facilitator in searching for exactly the right combination. She chooses and combines colours, taking into account the inherent structure of the yarn and the surface ﬁeld in which the colours work with each other.

All the ceramic parts have been hand made at the European Ceramic Work Centre in the Netherlands. All the metal and plastic parts were hand cast during a residency at the Beeldenstorm (NL). This explains why they, are not exactly straight, nor perfectly round but this, I believe, is part of their charm.

Announcement

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

I aspire to create objects that last longer than one season. Objects that become more valuable with age, as they become older, because they became a link to the past. I want to create a balance between functionality and a greater extent, silent companions that could tell a great deal if they would be able to.

Her experience over the years developing yarns, for knitting and later on for the carpet industry, has magniﬁed her intuitive feeling for the physicality of materials. The identity of the yarn is an important guiding factor for her designs. Van der Scheer challenges herself to either use existing yarns in an unconventional way, or to involve a new material in an existing production process. The boundaries to what is possible are often in sight.

Leather and ceramic, are both natural materials which, in the process of making objects with them, require a lot of handling, craft and care, this gives them both charm and appeal, so why not combine them?

Diane Steverlynck Rue d’Andennestraat 1 B-1060, Brussels diane.steverlynck@skynet.be www.dianesteverlynck.be

Designer

Having impressions of everyday life and writing them down in the shape of objects. Objects are more than function. They are a mirror to todays society – in which you can see the desires, the dreams, the failures and the future. They are like books in which you can read.

After completion of her studies in Eindhoven at the Design Academy, Liset van der Scheer embarked on a professional career as an industrial textile developer and colour adviser. For the past nine years her spear point has been carpet design.

Her products always keep a “textile” identity, meaning that her work is built up around principles such as surface, structure, ﬂexibility, scale, folding...

TuttoBeNe Presenting designers from Belgium and the Netherlands

• Isabel Quiroga

Regarding the ceramic parts, a question remains: Can ‘fragile’ ceramic handles co-exist with durable leather bags? The fact is: ceramic is strong but needs to be handled with care.

for trend ofﬁces and is active in the teaching area. Since 5 years, Diane Steverlynck follows a speciﬁc approach centred on textile and its multiples potentialities linked to object, space and functionality. The form, the aesthetics and the story of each design rise from a continuous research around textile, materials and use.

Address TU Delft Industrial Design Engineering, Delft University of Technology Landbergstraat 15 NL-2628CE, Delft info@io.tudelft.nl www.io.tudelft.nl

Prima Marlies Spaan (MeS) & Jolanda Muilenburg (Z2) Tussen de Bogen 42 NL-1013JB, Amsterdam Z2: info@zet2.nl / www.zet2.nl MeS: mes@mestextiles.demon.nl / www.mes.nl

As a result, these bags have been designed around the components instead of them simply being an after thought. The closures and handles become the focal point (or the jewellery if you like) of the bags. This range of bags can be seen as a three-dimensional study in the hard components of bags, and an experiment in a new use of materials for these, such as porcelain, terra-cotta, in combination with bronze, plastic, rubber and basket weaving techniques.

Their ﬁrst product, shown at the ‘salone del mobile’ in Milan, is a cupboard made of printed material. This cupboard, made in two sizes with two different patterns, is a ﬁrst step toward a collection of, as they call it, ‘three-dimensional textile’.

A Tray This tray consists of single squared timber that is glued on cloth. The Cloth keeps the squared timber together. If you hold the tray with the cloth side up, you can carry things with it. If you don’t need it anymore, you can turn around the whole thing and roll it up.

TuttoBeNe Presenting designers from Belgium and the Netherlands

• Liset van der Scheer

Marlies Spaan, textile designer and Jolanda Muilenburg, walldecorator decided to join forces and started a new label: PRIMA.

www.tuttobene.nl 2e Atjehstraat 60 hs 1094 LK Amsterdam the Netherlands

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy

Page 20 Index Designers TuttoBeNe 2006

Designers

• PRIMA

Herengracht 498 • Information Please ﬁnd more details at tuttobene.nl or contact david@tuttobene.nl

This should really be saying enough where my objects are concerned, however . . . I would like to add that my (sitting) objects often contain an element of surprise, not always immediately apparent.

Sylvain Willenz Atelier A1 / 1, Rue d’Andenne BE-1060, Brussels info@sylvainwillenz.com www.sylvainwillenz.com

Touching the object is necessary for this element of surprise to surface and hopefully invokes some kind of ‘aha-erlebnis’; the surface is just that: skin-deep. Take the M1+ stool made of beech wood: the seat is built from 576 sticks on a 7 cm thick layer of foam and looks massive and uncomfortable. Surprise and confusion ensues when sitting down and the seat adapts to the user under his weight and is actually very comfortable. Or “Fifo” (Foil, inox, foldable): a stainless steel frame weighing 3.5 kg with three wrappings of transportfoil for a seat. Now one is actually afraid to sit down … Have no fear: it has been tested to support over 145 kg! Wordplay is another source of inspiration: the “zaklamp” (torchlight, zak=bag, lamp=light) is nothing more than a plastic coated aluminum bag with a 12watt bulb. It can be used as a standing or hanging lamp and is perforated on one side. A series of oil lamps, the most recent designs, look like a few strewn together chess pieces or maybe like some vase type objects. Even when lit one cannot see how it works! I am playing with the user or viewer’s expectations, in my opinion the true essence of design. Marc de Vree Rector Driessenweg 8 NL-6411GZ, Heerlen atelierdevree@planet.nl

• Yksi

What is ‘Wichards geeft vorm’? ‘Wichards geeft vorm’ is my (Marielle Wichards) one man studio, that I started after leaving the Art Academy in Maastricht where I studied jewellery and product design. With the name of my company I want to emphasize how I not only design a product, but also shape the ideas connected to it. I often work in assignment, but I also sell leather bags and furniture on a regular basis. Your designs seem simple functional objects, but are they? Although we are not always aware of it, our everyday experiences are continuously inﬂuenced by the objects surrounding us. I want to design products that are not only functional, but reveal the connections between the object, its user and its location. In a playful manner, I try to create awareness about the implications of an object, and in addition evoke a smile from those who encounter my products. These chairs I see at your stand, they’re all covered with dots. Is this really functional? At TuttoBeNe I present my Braille furniture. These

Designer Group Yksi Havenstraat 1 NL-5611VE, Eindhoven yksi@yksi.nl www.yksi.nl

Page 23 Sponsors TuttoBeNe 2006

Salone Internazionale del Mobile 2006 Via P. Sarpi 6 Milan, Italy