The Dots #11 - Milan Design Week 2015

COLUMNS

The Art of Selectively Browsing Annemartine van Kesteren · Matylda Krzykowski · Ann Maes · Robert Thiemann “If it’s raining I won’t even think about taking a detour” p. 17 PORTRAITS

Marjan van Aubel · Mae Engelgeer · Little Owl Design · Elise Luttik · Jan Puylaert · Nienke Sybrandy · Rick Tegelaar · Jeroen Wand pp. 6 – 19

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INTERVIEW

Madeleine van Lennep, director BNO

Connecting the Dots showcases all Dutch presentations at the Milan Design Week 2015

“The concept of Dutch Design requires rebranding. We cannot continue to lean on our image from the previous century” p. 8 ARTICLE

The Dutch Spirit in Milan Annemiek van Grondel “The current political, economic, social and cultural conditions are reflected in design, showing a clear lack of confidence” Lou Beeren p. 12 GUIDE

+ 200 NL Designers and Brands Including street & tube maps pp. 20 – 32 ONLINE GUIDE

www.dutchdesignpressdesk.nl

#11 APRIL 2015 MILAN

Design needs to be smart, modest, iconic, logical and enjoyable.

SMILE if you get it.

architecture

good luck!

creative industries fund NL

design

The creative Industries Fund NL wishes all the 30 supported designers and teams a lot of success with their presentation during the Milan Design Week.

The Fund supports cultural projects in The Netherlands and abroad. Visit our website for our grant programmes. www.creativeindustriesfund.nl

cross-overs

e-culture we are arco

we make tables

Local Wood Local Wood is wood from the region around the Arco factory in Winterswijk. For us, Local Wood is honest, clear and transparent.

We want to show the unique qualities of the wood and not disguise any imperfections. www.arco.nl

arco

Table

Designer

Base Oval

Jorre van Ast

Where Does One Start Looking?

How do we recognise valuable inventions, how do we recognise a burgeoning trend, how do we recognise some­ thing that we are not yet familiar with?

The Salone is the perfect place to discover new trends, new production methods, and surprising connections between design and other fields, such as healthcare or food. These developments surface gradually and when you visit several exhibitions in succession it becomes more difficult to interpret the differences. Please don’t ask me what the latest developments are right after the exhibition, because the impressions need time to sink in. Developments lie dormant; sometimes they are around for a few years, but I don’t notice them until I have seen them several times. Discovering is an art. After visiting an exhibition, it may happen that I don’t notice something until a few months later, when I can place it into a broader context.

But where does one start looking? We asked four experienced visitor for their methods of separating the wheat from the chaff. On page 17 you will find tips from Annemartine van Kesteren, Matylda Krzykowski, Ann Maes, and Robert Thiemann. Read the columns and get more out of your trip to Milan.

The tips show that preparation is important and that it is wise to start with tried and tested presentations, but to remain open to the unknown. Or use your intuition, like Annemartine van Kesteren. Recognising a successful design might be just as hard as designing a successful product.

It is up to the visitor to pay attention and to observe with the eyes of a visionary, because a small idea from a newly emerged designer can be revolutionary. The butterfly effect always plays an important role in the industry. So my tips are: stay curious, pay attention to details and ask for explanations, because design is less and less about what

Connecting the Dots #11 Milan Design Week 14 – 19 April 2015 Connecting the Dots publishes and presents Dutch designers and design-culture internationally during key design events and fairs.

Connecting the Dots magazine Jacob van Lennepkade 386-2 NL – 1053 NM Amsterdam +31 (0)20 89 32 886 connecting@thedots.nl www.twitter.com/thedots_mag

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Organisation www.thedots.nl Magazine http://connecting.thedots.nl Dutch Design Press Desk www.dutchdesignpressdesk.nl (guide + press database)

Ingeborg van Lieshout, interview Elise Luttik / Annemiek van Grondel, article The Dutch spirit in Milan / David Heldt, interview Madeleine van Lennep / Columns The Art of Selectively Browsing: Annemartine van Kesteren, Matylda Krzykowski, Ann Maes, Robert Thiemann

Editor in Chief David Heldt, david@thedots.nl

Translations Bureau Kennedy

Contributing editors Anna Bates, interviews 7 designers /

Graphic design Haller Brun, www.hallerbrun.eu

it looks like and more and more about the problem it solves, and the context is always crucial but not always present.

That this exhibition doesn’t provide everyone with nothing but inspiration can be deduced from the interview with designer Rick Tegelaar, in which he says: “Milan doesn’t inspire me at all. It sort of paralyses me: if you see a lot of terrible stuff, you hate your profession, and if I see good stuff, I feel I’m not good enough. I’m not inspired by other designs, I’m inspired by a good factory” (p.18). In addition to Techelaar, we feature seven other designers, including Marjan van Aubel and Mae Engelgeer, and we’ve asked them about their personal motives; you can find these interviews throughout the magazine.

You will also find an extensive interview with Madeleine van Lennep, director of the Association of Dutch Designers (BNO) about BNO’s course, the policy changes in recent years, and the sustainability of the concept of Dutch Design (p.8).

“The Dutch Spirit in Milan” (p.12), an article by Annemiek van Grondel, shows how changeable trends are. Between the seventies and the nineties Milan was the cradle of design. During the heydays, Dutch designers, such as Maarten Kusters, Geert Koster, Lou Beeren, and Maurice Mentjes, moved to Milan to live and work, and there they caused a furore. The article shows how transient image can be and that quality knows no bounds, but that success does shift its focus.

This last point does not seem apply to the Salone itself; this 53th edition proves once again (since time immemorial) that it is the centre of design. And this certainly holds true for its importance to the Dutch design sector, which will once again be well represented.

David Heldt

Contributing photographers Ilco Kemmere, www.ilcokemmere.nl Mischa Haller, www.mischaphoto.com Daphne Kuilman, www.daphnekuilman.nl Cover photo Ebullience; soap-bubbles on textiles. Designed by Nienke Sybrandy for Studio Sybrandy.

FOREWORD / COLOPHON

Printed by RODI rotatiedruk Communication & Press Luc Deleau, luc@thedots.nl t +31 (0)6 52 47 29 90 Advertising Martin Mansoor, martin@thedots.nl Special thanks to Jacco Bregonje, Bethuel Heldt, Mindert de Koningh, Madeleine van Lennep, Ann Maes

© Connecting the Dots 2015 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 of the publisher and designers, photographers and authors involved.

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MARJAN VAN AUBEL Text Anna Bates • Photo Mischa Haller

What is your process?

I work on material research and I take a science approach to design. A lot of the things I do are from intuition, I’ll wonder: what happens if I do this…

And mix a few things to see what happens. All the things I’m doing are big mistakes!

How so?

With the Well Proven chairs, I was adding this bio-resin with waste wood shavings – which you’re not supposed to do – and it bubbled up. If I can repeat my mistake, then I’m happy.

That’s why it’s so important to document everything carefully.

There are times when nothing happens, when nothing goes wrong again. But with the chairs it worked. There is only the mould of an existing chair, the legs and the foam. The wood chip provides a structure; the foam forms around the legs and it holds.

This was your graduation project at the Royal college of Art. Where did your next experiment take you?

I’m interested in the hidden energy of things – I made a table of Dye Sensitized Solar Cells. They transform light energy into electricity; it’s based on photosynthesis – it uses the properties of colour to create a current. The light is translated into electricity as opposed to sugar, so you can charge the appliances in the room.

Does it have potential in mass production?

I’m now talking to industrialists.

I’m working on this right now: how to make for a bigger scale.

I’ve also developed a follow up project, a modern version of stained glass windows. The glass pieces are made of the solar cells, and the different colours have different efficiencies because of the wavelengths.

So blue is less efficient than red, and so on.

Do you have an environmental agenda with your design?

I want to combine aesthetics with awareness. With the current table you can see it takes eight hours to charge a phone – the object itself tells the story – it all becomes more understandable. You can use design to instigate a mentality change.

My solutions are little, but if everyone contributes... I think we should not really wait for this top down answer to problems.

It would be much quicker if we do it ourselves.

• www.marjanvanaubel.com • See work by Marjan van Aubel at the Milan Design Week at Spazio Rossana Orlandi. Find more information at page 21, presentation 07.

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ELISE LUTTIK Text Ingeborg van Lieshout • Photo Ilco Kemmere

In the end it was design her heart was after. Elise Luttik was a marketing professional making big money, who switched careers and invested her earnings in her tech driven design products. “It all started at SXSW festival in Austin (US).

All those creative people and tempting ideas! During a long drive through Texas, I made a promise to myself to create an actual product the moment I returned home. So here I am, ready to go to Salone Satellite in Milan.”

As the instant production method 3D printing was the quickest way to fulfil her promise, Luttik’s first designs are small white items like the Little Rabbit webcam cover and coaster Cookie. In Milan she’ll launch the Upside Down collection, a complete interior concept consisting of the Upside Down Chair, Upside Down Table and the Upside Down Lamp. Upside Down Chair is a lounge chair that offers a safe place to sit while it embraces your back. Place the chair upside down to turn it into a throne, a pedestal to sit on that allows better views from a royal perspective.

Upside Down chair is cut out of 2 boards from the same ash tree, sourced locally in The Netherlands. Elise makes the nerves and veins of the wood stand out and tells the story of years of growing. “It is the tree that determines which pieces with wood nerves have enough strength to become those slender legs, and which part has the most interesting pattern for the seat bottom.”

The Upside Down Table follows the same idea and style to com­ plete the sitting arrangement as a table, or turn it into a basket to store magazines or other belongings. Upside Down Lamp sheds a light on the set and might just help you have that ‘eureka’-idea you have been waiting for. As a Master in Product Design, her work always features well considered technology and construction, like the slender steam shaped wooden legs of the chair and the laser sintered light bulb.

Travelling still leads the way to inspiration. The Upside Down Lamp was an idea that popped into mind while being on the road. Check out Elise on Instagram and you’ll see on which journey a product was born. An inspiring person?

“Marcel Wanders, for every­ thing he has achieved business wise: his own design studio, the label Moooi, his interior designs for hotels, and an exhibition in the Stedelijk Museum to top it all off.”

• www.eliseluttik.nl • See Eli5e by Elise Luttik at the Milan Design Week at Salone Satellite. Find more information at page 22, presentations 19, 21.

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PORTRAIT

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Design Policy Adapting to Change A conversation with Madeleine van Lennep, director of the Association of Dutch Designers Photo Ilco Kemmere

Much has changed in recent years in the Dutch design landscape. Not only is Dutch Design reinventing itself, but a lot has changed at the policy level as well. The government decided to implement a ‘top sector’ policy in order to promote the Netherlands as a land of innovation, where the creative industry ranks as the ninth top sector.

At the same time, it cut expenditure on both the resources made available by the Ministry of Economic Affairs and on cultural subsidies. The sector institute Premsela was abolished, for which the sector got the merger organ­ isation Het Nieuwe Instituut in return.

The international promotion programme for design, fashion and architecture, DutchDFA, ended two years ago.

The new foreign policy for the sector has still to be properly fleshed out.

Things have also changed at the Association of Dutch Designers, BNO: after 27 years at the helm, Rob Huisman has been succeeded by Madeleine van Lennep. Who is she and what can we expect in the coming years? How is BNO responding to an evolving sector?

David Heldt had the opportunity to ask a few questions.

David Heldt • Two years ago you took over from Rob Huisman,

who had steered BNO for many years. What is your background? And what is your relationship with Dutch design?

Madeleine van Lennep • After studying at St. Joost Art Academy in Breda and completing a study in Museology, I quickly grew into several cultural-political positions.

Before BNO came around I was deputy director of the Mondriaan Foundation, later the Mondriaan Fund. Before that I was an advisor on Dutch cultural politics, on behalf of the Dutch Council for Culture. I was director of Federatie Kunstuitleen. I also coordinated the production of art in the city of Utrecht. In all these previous jobs, Dutch design regularly featured on the side-line. I have always been well aware of design in my personal life – after all, it’s all around us and it has always intrigued me to see how information, products and services are shaped and in turn shape the world.

DH • How did BNO strike you, two years ago?

Are there things that you would like to improve? What are your ambitions?

MvL • I found a professional and down-to-earth organisation, but one in need of some revitalisation. I formulated the ambitions in a brief policy plan at the end of 2013, under the title ‘Via BNO’, which you can still read on www.bno.nl.

A professional association like BNO can continue to have a huge added value in the 21st century, provided it keeps eyes and ears wide open and remains in touch with the professional practice of designers. My goal is to see the potential of the design discipline more fully understood and utilised, whether in respect of pure functionality or of beauty. Actually, these two matters are a lot more closely related than one might think.

DH • The policy plan you just referred to talks about the

challenges of our time, such as sustainability, health, ageing, social provisions and migration. I quote: “To tackle such issues requires technological innovation as well as behavioural and organisational change. Ideally, all parties work towards a creative economy in which material and immaterial values reinforce each other.” I notice that Dutch designers are increasingly collaborating with other sectors and that the design process is increasingly driven by research rather than by concepts or aesthetics. By tradition, a professional association serves to group together a discipline. Does this history hamper today’s trends?

MvL • Due to a number of mergers in the past, BNO unites and represents many and diverse design disciplines. This is appropriate to the described trends in the world and the profession. As long as we are clear about the how and why of our activities, this large differentiated entity is very important to all (potential) stakeholders. Consider for instance a seminar on packaging design, tied to innovation and sustainability, or workshops about smart products, where industrial designers link up with digital designers and inventors.

DH • As a consequence of funding cuts and mergers, the

subsidised cultural infrastructure in the Netherlands has changed significantly. We no longer have separate sector institutes for architecture, digital media and design, and Het Nieuwe Instituut has formulated an agenda of its own.

Does this represent an opportunity for BNO to develop activities in more areas?

MvL • It is counterproductive for public institutions to cling to a differentiation between sectors, while the sector boundaries are becoming increasingly porous and contestable. I believe in the benefits of a theme-based approach, with diverse disciplines and practices naturally emerging as you go along. Regarding Het Nieuwe Instituut and BNO: we operate in the same domain but have different roles and resources. As a self-supporting organisation, it is BNO’s responsibility to optimally assist the affiliated designers and agencies in their professional practice. BNO furthermore pursues issues that are important more generally

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INTERVIEW

and for the longer term; think for instance of raising public awareness of the discipline, adequate education programmes, helpful rules and regulations, a productive top sector policy, and so on. For many it may not seem so relevant, but it is essential nevertheless. Incidentally, as a result of the restructuring effort of the government, some important matters have fallen through the cracks such as design heritage, internationalisation and education. BNO is doing all it can, but it does feel that the national government has some omissions to make up for.

DH • Should designers themselves become more vocal

in communicating their interests to the political establishment, alongside BNO? MvL • I doubt whether many designers are eager to do so, I think they prefer to leave that to their professional association. Nevertheless, there are some role models who could play an important role in representing the sector. The Society of Arts, founded last year, will also seek to exert influence in that way. By the way, BNO has lobbied to have designers represented in that body, and successfully so: Irma Boom, Iris van Herpen, Jurgen Bey and Koert van Mensvoort will soon be joining the Society.

DH • Unlike in previous years, this year BNO has been

more outspoken about how the Netherlands should present itself in Milan. Will we be seeing more of BNO at inter­ national fairs from now on?

MvL • In response to signals communicated by the Consulate and by seasoned Milan-goers, we wanted to see if we can’t get more out of the Salone del Mobile, making use of initiatives like Connecting the Dots which has generated an extensive network and a vast amount of knowledge in recent years. If designers prepare more thoroughly for the fair and in good time, and if you can connect all the individual efforts to create more visibility and impact, then everyone will benefit from that. That’s why we discussed with a number of parties whether it’s time for a ‘rebranding’ of the concept of Dutch Design, how we can improve the promotion of participating designers, agencies and businesses, and how we can contribute to a better follow-up.

We are also examining the opportunities and possibilities with regard to other fairs.

DH • The Netherlands has been looking for a way to promote itself more effectively on the international stage since many years. People regularly cast a jealous glance at the Scandinavian countries, who manage to present a very robust identity. Why does the Netherlands have such trouble promoting its talents?

MvL • It is a pity that a programme like DutchDFA is not really followed up on. Still, a lot is possible and a lot gets done, too. But our memory is limited, we neglect the lessons learnt, and there is often no systematic and effective promotion. Many people are moreover inclined to promote themselves individually, through a kind of naiveté or from a bit of a spoiled position. Collective ideas and a collective approach are not necessarily at odds with that, but it does require some missionary work to create a whole that is more than the sum of its parts.

DH • Your policy plan refers to the loyalty that exists

between designers, which always strikes me as well.

Doesn’t this make designers an eminently suitable group with which to create more synergy at a policy level?

MvL • There are limits to designers’ capacities, leaving aside the question of what they prefer to spend their time and energy on. Although there are good exceptions: BNO has a board with very dedicated designers. Many designers are active within our regional platforms, former board­members like Jeroen Verbrugge and Tom Dorresteijn play an important role advocating the effectiveness of design. And Jeroen van Erp is putting in an tremendous effort as chairman of the Creative Council to boost the internationalisation

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of the sector. But the various parties involved all play according to complex rules, so it requires a great deal of persistence.

DH • We are in the midst of a crisis and many designers,

brands, fairs and trade media are struggling. What, in your opinion, does the sector need in order to stay afloat?

MvL • An acute social awareness, and a more deliberate focus on professionalism and promotion. Opportunities can be found in extreme specialisation as well as in crossovers within and beyond the sector, and in internationalisation.

I furthermore advise all designers to regularly attend training courses, as this helps you keep your eye on the ball.

BNO currently offers an attractively priced range of courses, and not just for starters but also for office staff and for people looking for new stimuli.

DH • How would you describe the landscape of the Dutch

design sector? Who are the main players and what qualities do you see, with respect to entrepreneurship and design styles?

MvL • A few points: we have excellent digital designers.

Dutch designers still stand out for their unique and inventive approach. And they are good at crossover-thinking, as we demonstrate systematically in the Crossover Works series which is available in English and now also in German, both online and offline. Entrepreneurship is indispen­ sable, but does not come naturally to everyone. Also on that account: the future demands teamwork. The world is changing profoundly, and those in the design discipline who can best respond to or even anticipate the trends, are sitting on a gold mine.

DH • Do you think the world around shares this view of

the Dutch design identity?

MvL • I said with good reason that the concept of Dutch

Design requires rebranding. We cannot continue to lean on our image from the previous century, and we shouldn’t want to, either. This is a very different era, with new challenges and new opportunities. The Dutch education programmes still enjoy a strong reputation, but it’s a good thing that they are working hard at renewing themselves. Urgency is the key word, I think, in each and every design discipline.

DH • A few years ago we interviewed Deyan Sudjic, and

one of the things he said was: “What has come to be called Dutch design is better called design in the Netherlands, which is the product of some well publicised educational experiments, and the residual afterglow of a state that once felt obligated to reflect certain cultural values, for example through the design of the PTT and the pre-Euro banknotes.” Did he have a point there?

MvL • Certainly. Presumably, he was referring both to the vision and efforts of Droog and to the designs that came about as a result of the government acting as launching customer. But the world of design has always been broader than what he focused on here. BNO portrays the full scope of the design domain through Dude, which we have deliberately christened the Dutch Designers Magazine, with a bit of tongue-in-cheek but also out of self-interest.

DH • You will be visiting the Milan fair this year for the first

time – how do you feel about that? How are you going to tackle your trip? Will we be seeing you in Bar Basso until the wee hours of the morning?

MvL • Indeed, I could never get around to it before – I’m familiar with Milan but not yet with the Salone del Mobile.

I’ve got three days there and I aim to make the most of it.

I will gratefully use the advice of regular attendees: first of all the designers of course, but also my colleague Anouk Siegelaar, Margo Curto of the Consulate, some people from Het Nieuwe Instituut and from the Creative Industries Fund. And your advice too, of course! Let’s anyway meet up in Bar Basso to discuss our adventures of the day.

“The world is changing profoundly, and those in the design discipline who can best respond to or even anticipate the trends, are sitting on a gold mine.”

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INTERVIEW

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JAN PUYLAERT Text Anna Bates • Photo Mariandrea Zambrano

What made you move to Italy?

25 years ago Milan was still known for design. Sottsass…

Castiglioni – they were still working in the centre of town.

You’d meet them in streets.

I think it was curiosity; I wanted to see what Italians had that was so special.

What was that?

Everything that Holland lacked!

Those days Holland was still very technical design-wise.

It’s only the last 10 – 15 years that this has changed. How­ ever I believe that also Holland became more artistic, Italians may seem artistic, but actually they are just very commercial.

They know how to appear in an artistic way.

How do you navigate this balance?

I have my own small production company here. The fact that the economy isn’t too well at the moment actually makes it a good climate to make low-cost products here. Lately I also listen more to what the market expects. I try to give them the best product I can, in the most artistic way, but I make products to sell rather then to show.

Who do you sell to?

A lot of hotels lately: they need a different kind of product. You get to study the product more carefully because it’s repeated in many rooms – I work close with the architects to make things as perfect as possible.

For a consumer on the other hand, I can design something but I will never know what kind of room it will be put into, or how it will fit in.

Standard (CE) thinking make things awkward…

It is an interesting European reality to think in CE standards, but in our global economy it loses its logic. Standard colors, sizes, typologies... as a designer it makes you feel stuck in pre-defined patterns.

Last month I was working in Egypt, where people don’t even buy products loose – they buy a whole room. Materials and styles are different – very baroque and decorated. We got more and more respect for their manufacturing cap­acities – they can still take a piece of marble and cut a whole washbasin out of it. Over here the ability of creation is gone.

It makes you think maybe we should let loose of our standards a bit.

• www.wet.co.it

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NIENKE SYBRANDY Text Anna Bates • Photo Ilco Kemmere

Why did you set up your practice?

It just happened – I came from art school and happened to have a graduation project that sold, so I kept going.

I never made a business plan, it just grew.

Where does your inspiration come from?

Always daily life: the things you see and hear, and wonder about.

Like flowers?

I am fascinated by the phenomenon: you have this flower, you bring it for dinner, birthdays, funerals… It symbolizes all the things you can’t say and those moments you celebrate. I work with this symbolism, but I also really work the material itself – flowers – in the same way that people work with wood to make a table. Its my muse and my material.

What characterizes your work?

Is there an opinion or feeling that links your work on flowers to, say, your series on bubbles?

Yes… I was doing the dishes one day, and suddenly a bubble came out of the soap and I had this isolated moment. You look at something and suddenly you see it: how temporary every­ thing is. All of my work deals with decay, and temporariness.

Starting with this moment, how did a series of products develop?

It began with a spoon, three years ago. You use it to stir your coffee and when you do the dishes you can blow soap bubbels with it. Last year I made a series of white tableware decorated with a soap bubble print directy on the porcelain.

The plates are decorated on the spot – you witness it happening.

When a bubble bursts, there is this beautiful splash: the tableware captures the moment.

What is your next project?

I’m going to do a residency.

Starting a research on transiency in ‘time’ on ceramics and thus develop another way of decorating.

• www.studiosybrandy.nl • See work by Studio Sybrandy at the Milan Design Week at Ventura Lambrate. Find more information at page 26, presentation 35.

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The Dutch Spirit in Milan Text Annemiek van Grondel

The Dutch descend upon Milan for a week every year. Shining at the Salone is not that difficult, provided you have some good design to show, but living and working in Milan is a completely different matter. We spoke to a number of Dutch industrial designers, who moved southwards during the eighties and nineties to try their luck in northern Italy, studying for a year at the Domus Academy, or diving into the unknown for a longer period of time. An exciting, revolu­ tionary time. Experimentation equals learning, so it seems. Nowadays, do we see the dawning of a new revolution?

Let’s start with a much-loved cliché: Milan as the Mecca for fashion and design. But is that still true in relation to industrial design? The economic crisis of the past years has caused deep wounds, and especially in Italy manu­ facturers are more cautious when commissioning assignments. Furthermore, thanks to the success of design in previous years professionals have emerged from everywhere, making it easy for Italian companies to choose whomever they want, and – how Dutch – at the lowest possible cost. The crisis has become an excuse.

But the crisis has not only created challenges, but also change. Just as in the seventies and eighties, when designers felt the need to do something different. After being disillusioned with the lack of progress in architecture and product design, which was still clinging to Modernism or earlier art movements, Studio Alchimia, which included among others Ettore Sottsass, Alessandro Mendini and Andrea Branzi, moved on to form a new style. Their aim was to create revolutionary design, rather than consumer orientated products, from cheap, everyday materials, with asymmetrical characteristics and exuberant decoration in bright colours. This design movement paved the way for the Memphis Group in the eighties.

Just in those decades Milan was sizzling with energy.

Maarten Kusters (1956) fell in love with Italy whilst undertaking an internship at a wooden furniture company in Friuli.

Back in the Netherlands, in 1981, he was informed about a yet-to-be-created postgraduate school: the Domus Academy, a spin-off from the magazine Domus. Andrea Branzi had been asked to become the director. An article from 1987 in Items describes the vibe at the academy at that time.

Kusters: “Most designers were being educated as architects.

The Domus Academy’s ambition was to become after Ulm a major player in design education in Europe and, helped by raving reviews in Domus, it worked as a self-fulfilling prophecy. Being there was a wonderful experience, the crème de la crème of architects and designers came over for (guest) lectures, debates… from Ettore Sottsass to Mario Bellini, from Alberto Meda to Philippe Starck.”

After working as an assistant during the 1983 foundation year, Branzi invited Kusters to become design-training assistant for the academy, which meant teaching courses and supporting students. Kusters also worked for Italian companies such as Cassina and Edra. His oval couch No Stop became talk of the town. “The seat is pierced with two mechanisms which facilitate rotation of the cushions,” explains Kusters. “You can sit or lie on it in many ways. The couch was no bestseller: lack of worldwide distribution and too expensive, I think. I could not afford one myself!”

Being an art director for Molteni & Molteni, specializing in steel furniture, he designed an extensive chair collection, which resulted in an exhibition of the brand STEEL during the 1990 Salone del Mobile. STEEL was in a way an international young designers movement. Kusters: “The press loved it: youngsters against the old guard. During the first STEEL presentation, our press release was about the so-called Carry-seat: a trolley to carry catalogues, which could be converted into a chair to have a rest. Two more collections followed, but despite the buzz, the brand disappeared after five years.” Kusters continued with his small design studio in Milan, working in furniture design and other design disciplines. In 2006 he decided to return to his home country.

The lack of organization and structure in Italy, which demands improvisation, was one of the appealing factors for Geert Koster (1961). He joined the Domus Academy in 1984, inspired by the radical design of the Memphis Group. “In the 1980s design was not really happening in the Netherlands,” he recalls. “There the motto was:

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‘impossible’, whereas in Italy one shouted: ‘Proviamo!’

(Let’s just try it). In Milan design was a lifestyle, in Holland a profession. It was a moment in time when everything was possible and when different disciplines like architecture, design, fashion and graphic design were merged into one big activity.”

Koster decided to stay, worked for Studio De Lucchi and Olivetti and is still working for mainly Italian clients or foreign clients who appreciate the Italian design approach. “Design business is huge here, Italy is a country full of contrasts that still offers a lot of possibilities,” although he realizes that because of the economic situation design is taking a more cautious approach.

“There is less experimenting and for artigiani it is difficult to stay in business, which means a lot of craftsmanship is disappearing. At the same time new technological developments are becoming more important in the industrial production companies, which because of inter­ national take-overs have become much bigger cartels.

Therefore Italy risks losing its typical Italian design image. Globalisation is everywhere.”

Due to the increasing globalization, one can no longer talk about Dutch or Italian Design, is the opinion of Lou Beeren (1940), now retired and living in Groningen. From 1975 he spent many years working in Milan for Philips as a design director of large domestic appliances. “In the optimistic fifties, sixties, seventies and eighties Italian Design was leading, which coincided with the Italian Wirtschafts­ wunder of companies such as Olivetti and Fiat. Now the traditional maakindustrie (manufacturing industry) has been replaced by the smaakindustrie (‘flavor’ industry: fashion, furniture, gift items [Alessi]). The current political, economic, social and cultural conditions are reflected in design, showing a clear lack of confidence.”

In an article in trade magazine Vormberichten in 2007 he wrote how relevant Dutch Design actually is economically and socially: “(…) very limited. Except in a few galleries and shops in Amsterdam and New York, there is no question of a breakthrough towards industry. The most negative side of this is that each year many designers are put on the market who virtually have no chance. (...) As a result, the market is highly diluted and the supply too big. Many producers now know that, for little or no money, they can easily outsource their design projects.” In this article, he argues for limiting government subsidies, less but better education and a good climate for entrepreneurs.

Koster, who was involved in the ‘invasion’ of the Dutch Design in Milan in the nineties and organized many Dutch design presentations in the city, thinks there will be increasingly less space for Dutch design graduates in Italy.

“Companies work with a select group of success guaranteed designers, leading to a loss of power of experimental and radical twentieth century Italian design. For the Dutch design scene it is important to be less experimental and more realistic. It should focus more on innovation and manufacturable products. Dutch Design is for Designers, Italian Design is for Consumers.”

Allure Distinguished Italian companies such as Kartell, Artemide, Cappellini, Cassina, Foscarina or Molteni rather work with international stars than young beginners; their image helps selling the product. But in the early nineties there was still hope for young adventurers in Milan. In 1990 Barro de Gast (1966) decided after being a student at the Domus Academy to try his luck. “Alessi shook up design by their Family Follows Fiction presentation at the Salone,” he remembers. “A plastic collection of figurative forms, creating a ‘family’ around fictitious characters. Everybody knew: this is weird, this is different, but there was a lot of disdain:

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Photo Stefanie Grätz • Styling Marjo Kranenborg, CMK • www.droog.com

Left page Table Dos and couch No Stop

by Maarten Kusters This page Salad Sunrise XL by Arnout Visser for Droog.

working mainly for Italian clients. He has seen many Dutch designers come and go. Speaking on the phone from the Bad Messe in Frankfurt: “It is important to be introduced by a third party. Building trust is key. Details speak more than formal business aspects. For me luck was an important factor. Designing a piece of furniture is relatively simple, compared to the bathing industry, where you encounter things like installation, water pressure, electricity, tiling, bricklaying and so on. The last fifteen years a new type of Italian designers has emerged, who are more specialized and product-orientated, with much knowledge of new materials. This market demands design skills that are common but yet have a specific identity, to avoid quick Chinese copying.”

is this ‘high style’ Alessi, with its timeless, stable line of products? Thanks to the King-Kong Production Group (Stefano Giovannoni and Guido Venturini) these plastic transparent objects were being pushed, and suddenly everybody went on copying this playful style.”

showing God my work? Hastily I made a portfolio booklet and gave it to him, and he surprisingly even wanted to have a lamp for his apartment. Beyond proud I was. An extra­ ordinary man. One of the last people in design who was averse to stardom.”

De Gast stayed in Milan and worked for clients mainly from Germany and the United States. “They probably thought: a Dutchman living in Italy must be good. This helped building my own agency. It was a great time to be in Milan. At a younger age you don’t mind uncertainty.

But I became tired of promises that weren’t kept as soon as there was concrete action. In the end you have a product that has to be paid for. I went on realizing that as a freelancer: Italy is a beautiful country, but mainly for taking a holiday.”

Arnout Visser (1962) lives and works in Arnhem, but was a postgraduate at the Domus Academy in 1990 and stayed for another year. “I loved it there, Memphis and Studio Alchimia were hot and happening,” he says. “Instead of turning into a Memphis clone I learned how to develop my own style, which was stimulated by the teachers. In 1990, during the first three months of training, I made Salad Sunrise, an oil-vinegar set; my teacher Andrea Branzi encouraged that simple design instead of giving it a Baroque touch. Renny Ramakers, who went on to found Droog Design, wrote about it in Items. Once Droog Design was founded, the oil-vinegar set was included in its collection.”

In the eighties and nineties it was different, agrees Maurice Mentjens (1964). He followed a summer course at the Domus Academy. “Sottsass, Branzi, Michele de Lucchi were there, and you could bump into famous foreigners like Ron Arad, Philippe Starck and Ingo Maurer.” Mentjens does not think the current crisis affects the design world too much: “I’m sure that many companies are still doing very well. They use the crisis as an excuse to avoid paying designers the full amount. The Salone is still going strong.

Though it seems as if less great designers are there.

Back then Arad, Branzi, Starck and Newson all had their own special presentations in the inner city. Expos in the Design Gallery at Via Manzoni were amazing experiences, just like the exhibitions and parties of Ron Arad and Ingo Maurer at Spazio Krizia and later on at the Dolce & Gabbana Headquarters. Once, in the wake of my best friend Ernest Mourmans and the still young and pretty Marc Newson and Ross Lovegrove, I went out, invited by Simon Le Bon of Duran Duran to club Hollywood. After a Newson party at Barbasso, we went there and all models fainted at the sight of Le Bon…” In 1990, the Tortona design expo area was not as important, he remembers. “Around 1995 Cappellini and others began exhibiting there. Every location downtown was still afford­ able. The most awesome designs were there to see. Thanks to Ernest I came in contact with Sottsass, my idol. At an exhibition I was able to shake his hand for the first time.

My hero came in ... shock and awe! Nervously I lit a cigarette, finished it in five puffs. When I was doing interiors in Maastricht he wanted to come and watch. Really, me

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The Dutch added Dutch sobriety to Italian design after the ‘bombastic’ Memphis style, Visser thinks. With an emphasis on the concept, and made out of unexpected low budget materials. He remarks that there is no city in the world where so many designers want to work such long hours for very little compensation. “There are still trainees who pay money to work as an intern somewhere,” he says somewhat surprised. “Every few years a new crisis comes along.

At the last Salone I saw a wonderful exhibition that proved that crisis stimulates creative thinking. Great to see how bright ideas and used, low-cost materials constitute beautiful design; crisis as an inspiration!” He is a little concerned about the craftsmen who are struggling. “In Milan, in basements survivors continue specializing in working wood, leather and other fabrics, even though in China they make the same for one fortieth of the price. But people stay proud and dress with allure. Dutch designers visit exhibitions in a turtleneck sweater with jeans and sneakers.

Do I prefer still living in Italy? If my wife Anja had not come along, that would not be unthinkable.”

New possibilities In 1990 Piet Billekens (1966) worked as an intern in Milan.

After graduating in Eindhoven he went back, and applied for a design job at Cesana, a company specialized in bathroom systems. Eventually he became head of the development department, showing the manufacturers the importance of design. After the bankruptcy of Cesana in 2013, Billekens established his own agency in Milan,

ARTICLE

Jan Puylaert (1963) left in 1988 for Italy to study bionics at the Instituto Europeo di Design (IED) in Milan. “Italy was known worldwide for its design while the Netherlands were merely technical. I love Italy for being without rules,” he says. “The Italian way of being creative is born out of necessity. No one helps each other. Certainties do not exist here, let alone subsidy. In the Netherlands at the time an engineer achieved his preconceived solution from a book, and the designers helped him finalize the edges.

In Italy, however, it is the designer that first draws the concept, often together with the client (and a bottle of Campari).

The Italian client is looking for the unknown future and believes in the designer, and this future is not to be found in a book.” In 2000 Puylaert opened his own Milan based design and production company WET®, also the name of a bathroom brand offering a new concept of low budget design. “It’s all wonderfully complicated with little income or free time. We are busy with both design and production and selling through our store showroom. Such a direct connection with the audience gives us a very different view on design. In terms of timing, I think that the busier the better: the faster a draft should be ready, strangely enough, the better design comes out. In terms of production Italy is my country. Sales I do elsewhere. The Netherlands could be a very good partner for Italy nowadays. For years I have produced top products in Italy for often less than half of the Dutch costs.”

Another design entrepreneur, Jacco Bregonje (1964), who left for Italy in 1992, still lives and works there. Last year he and his brother Tanno among others even took over Italian furniture brand Felicerossi. Design happens between vision and reality, he believes. “It emerges at the synthesis of control and let go. The Netherlands taught me to think methodically, Italy to let go. I strive to combine the best of both worlds.” He knows that Italian design acts from within the industry, which thrives in good times. Dutch design is more self-producing, putting focus on the designer, with government aid. “The Dutch are strong in difficult times and do maximal things with minimal means. Italians are sensitive in their design to esthetical and cultural values, are driven by intuition, and reflect in action. Beauty is everywhere, in nature, architecture, people, daily life. But the system is in turmoil, strengthening individuality’s and self-determination’s grip on society.”

Both Memphis Group in the eighties and Droog Design a decade later put their countries’ design on the international map. They challenged mainstream design and searched for new forms of expression. “The eighties were power years with more focus on appearance, while in the nineties inner values were important. The new school will be a merge of Dutch and Italian design, but also from other countries,” Bregonje predicts. “Dutch designers are searching for more connection with industry while that same industry is looking for more values, not just selling a successful product. Having a relationship with nature, sustainability, services and information are key ingredients that have international attention.”

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JEROEN WAND Text Anna Bates • Photo Daphne Kuilman

How do you work?

My work is raw and originates partly while I’m doing it. I try to find new ways to use everyday materials like paper and plaster – materials that have no value and are undervalued by paint that goes on them or the words written on them. I try to show their beauty.

How do you work with the plaster?

I make vases in a mould and I let the plaster set. When it dries, I dip it into a new mix of plaster.

The old plaster sucks out the moisture from the new plaster, and it clings to the already hardened shape, creating a solidified cover.

This same material led process is present in your other work…

I’m showing a room divider called ‘Solid flat’ in Milan along with the vases – it’s a wooden frame –covered with a sheet of paper on both sides. There are several layers glued together and put in a vacuum where they are sucked together. You get this membrane: the end result has the same quality as the last part of the plaster vases, there’s a point where it’s up to the paper how and where it wrinkled.

How did this methodology start?

I graduated from the Academy of Fine Arts and Design in Maastricht in 2006 with The Paper Chair. This is when I realized you could do a lot with paper. What is important about these materials is that hightech materials are fine-tuned for a particular purpose. With low-tech materials, you can do different things with them; it’s in the nature of the material, it’s like they have an open mind.

How did you work with the paper to make the chair?

The idea came from plywood.

I laminated about 35 layers – and then pressed it into a mould really hard. You can sit on chair with someone on your lap, and it weights only 4 kilos. Because it’s paper you can make sharp edges – it’s more flexible than plywood to work with. It also absorbs information; it gets stained when you use it. But that is a story that I like. It’s a bit like a book which is read 100 times.

What next?

A laminated table, which I also show in Milan. It’s the same technique as the paper, but using very thin slices of left over wood veneer, so you get the same sharp edges.

• www.jeroenwand.nl • See Studio Jeroen Wand at the Milan Design Week at Ventura Lambrate. Find more information at page 26, presentations 34, 39.

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LITTLE OWL DESIGN Text Anna Bates • Photo Ilco Kemmere

How did you get started in the industry?

Bruce Wayland: I was working as a chef in the US, and had an opportunity to work with an American designer here in Amsterdam. I’d always been interested in design. The placement went well, and I stayed in The Netherlands and met Marcello, who was working for a Dutch menswear designer, in 2009.

Where did the name Little Owl come from?

BW: Having always liked owls, and wanting a name for the company that was not tied to one specific thing, the moment I was asked while registering the company at the Dutch chamber of commerce, the name just popped into my head – we were lucky it wasn’t weirder.

What was your first project?

BW: We started with plates combined with paintings, splitting the image into several parts, and extending/adding to the subject with the décor of the plates. To quote Kurt Koffka, “The whole is other than the sum of the parts”.

The plates reveal traces of their existing pattern, but this is layered with transfers of vintage paintings, pasted onto them. Would you say your work is nostalgic?

Marcello De Simone: I don’t think it’s nostalgic – both of us studied art history and we like working with images from the 18th & 19th century, and then layering them, to remove the images a series of degrees from what they were.

This process is evident throughout your work. Your Dutch Sky wallpaper for example follows a similar process.

BW: I was living in a rooftop apartment and I started keeping a photographic album of the sky shot from the roof, and this became the inspiration point – the beauty of the ever changing sky here in The Netherlands.

We saw a story that we could tell using the modern (digital) photographs, but in a different way.

MDS: You can look at Dutch art going back centuries – the sky has always been an inspiration, and we wanted to pay homage to that. Some of the photographs were from a trip in the north of Holland, and then we layered them with antique Dutch etchings of skies. We like that the result is both modern, and yet is layered with the history of the place that inspired it.

Is this the project that best encapsulates your design process?

MDS: In a way yes. Every new project becomes that project.

BW: …Marcello’s mother has a collection of old textiles. We started experimenting, and cast a positive relief of the textile into antique forms of ceramics.

The forms and the textiles com­ bine to make something totally new, which is very exciting to us.

Now we’re 100% into ceramics.

• www.littleowl.eu • See Little Owl Design at the Milan Design Week at Ventura Lambrate. Find more information at page 26, presentation 32.

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EAT SHIT Design Academy Eindhoven at Salone

A provoking title perhaps, but one that embraces what we eat, what we buy and what we produce, an exclamation that captures the passion of protest. The Design Academy Eindhoven exhibition for the Salone del Mobile from the 14th to the 19th of April 2015 will this year center around the new department in the bachelor programme: Food Non Food.

“An authentic exploration of the relationship between education and exhibition,” is how Widdershoven and Vogelzang describe this part of the exhibition.

The yearly DAE Breakfast Talks will be the space where the public can enquire into the subject. Food Non Food tutors alongside their students will moderate inter­nationally acclaimed artists, theoreticians and designers such as Ezio Manzini from DESIS Lab, Barbara Putman Cramer – Industrial Ecologist, Francesca Miazzo from CITIES Foundation and Daisy Ginsberg, to name but a few. Secret Dinners will accompany these talks, but shhh, we can’t say much about that.

Head of the department, Marije Vogelzang, who describes food “as the most important material in the world”, calls herself an “eating designer”, and has on occasion referred to her own work as literally designing shit. Remember food (and shit) is just some of the many materials moving through every single one of us. Vogelzang will co-curate the exhibition with fellow DAE alumnus, Jan Konings, the Rotterdam-based artist-designer who has had numerous collaborations with many public and private institutions including Droog and the DAE itself.

It should not be a surprise that most of the core concerns surrounding this topic have been part of the DAE DNA for years. By delving into this past, the curating team, which also includes DAE alumnus Jason Page, has discovered over 400 graduation projects focusing on food or faeces from 1976 until now. Other projects include the installation Outdoor Pharmacy by Marloes van Bennekom, or The Poederij by Femke Mosh, and not forgetting Food Non Food tutor – Arne Hendricks – and his Pigeon Poo Tower, an interactive installation over 6 meters high.

Food Curator Lucas Mullié has been portrayed as someone who brings time to a standstill, creating, collecting, while displaying locally produced food for instant and future

consumption. For Eat Shit, he will present Infinite Sausage, a machine that will produce food that can be enjoyed with a beverage in the courtyard space of the exhibition.

The Universal Exhibition opening in May 2015 in Milan focuses on the uncertain and certain food futures that are facing society today: Feeding the Planet – Energy for Life. The reach and scope of the Eat Shit exhibition confounds, examines, investigates… acting as a sort of prequel public laboratory to bring to surface existing and, we must say, shitty concerns that impact and unite us all.

Thomas Widdershoven, Creative Director of the DAE, describes Eat Shit as: “A way to look at secretion as a technique, disposal as a necessity and contemporary agriculture as a challenge.”

• Exhibition location Corner of Via G. Crespi and Via Dei Canzi

The entire Food Non Food department including 18 students and their tutors will be taken on-site to Milan where they will continue exploring this semester-long subject, which is a genuine research into faecal matter. Visitors will be able to discover their DAE work in situ.

Opening times 14th to 18th 10:00 am to 9:00 pm 19th 10:00 am to 6:00pm

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The Art of Selectively Browsing

ANN MAES Introduction Much has changed in Milan since my first visit in 1968, but one thing has remained the same: there are always a number of extraordinary, inspiring exhibitions that are not to be missed. What’s more, ABITARE has taught me ‘what is essential in the design sector’ and ‘how to prepare for a week like this.’ Sharing all my experiences would require a whole book, but I do have some practical tips for sharing. The ‘art of seeing’ comes with experience, but it’s very important to plan wisely for your trip.

How you can prepare at home • Make a list of leading brands and shows, in order of their location in the town or the venue.

• Map out a logical walking route for each day.

• Take along a town map showing the different ‘zones’ and indicate in colour what can be seen where and at what times: this way, the information will be available at a single glance while you’re walking through Milan. (Apps can help you find your way, but they can’t make your choices for you.)

• Try and meet well-informed insiders for a shared walk through Milan.

ROBERT THIEMANN Milan in five steps April. Milan! Great! However… last year it was mainly disappointment that lingered. Four days and three nights of stress. So much to do and see, but how do you tackle the megalomaniacal supply of information? Setting up specific meetings with the right people, and then patiently waiting again and again to see whether they will even show up? And on top of everything else, having to run back and forth all over town to be on time yourself? Or should you just let every­thing go and go with the flow? After about 17 tries, I still haven’t cracked the ‘Milan’ phenomenon. So this is my plan for this year: 1. The exhibition.

No self-respecting creative would be found dead at the exhibition in Rho. Too commercial.

I always go. After a degrading metro ride and a day of perseverance, I know exactly who and what is happening in the heart of design. Commercial?

Does anyone ever go to Milan without the intention of making some money someday?

2. Reputation.

Sorry for all the newcomers, but in the city I always go to see everything and everyone of whom I know more or less what to expect.

Better than expected? Then I’ll be there again next year. Did it fall short? One more chance.

3. Improvisation.

Of course I will go to see newcomers that are on the route, at least if the flyer looks promising. An interesting group of names, from a trendsetting school, with a fresh new theme – you can count me in. If it’s good, I’ll be back next year.

4. Location, location, location.

The three basic principles in retail also apply in Milan. You have to be quite a name to draw people north of central station or to the wrong side of the wall along Zona Tortona. If the invitation looks promising, I will consider taking a detour. But otherwise...

5. The weather.

If it’s raining I won’t even think about taking a detour. Milan in the rain or – even worse – the snow (true story): horribly cold, bleak, and bare.

Taxis and metros will take you where you really have to be in a quick and business-like fashion.

Improvisation can wait until next year. And yes, that day at the exhibition will become two.

Is the sun shining? Nothing could be nicer than to leave the wintery Netherlands and arrive in the sultry spring atmosphere that turns Milan into an advance post of Naples. Too crowded at Moroso? Then why not find a nice pavement cafe?

• Robert Thiemann, Frame magazine

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What you should and shouldn’t do in Milan • Avoid shows you can see in your own country!

Instead, go to exhibitions of the most inspiring foreign brands and designers.

• Don’t visit the ‘overcrowded’ zones in the evening – It will ruin your schedule and you won’t be able to see much!

• Even as an exhibitor, it pays to take time to look around.

The key to successful browsing is never standing still for too long, short conversations, studying what others don’t seem to notice like scraps of paper and flyers near the toilets, avoiding the beaten path, and going against the current.

Where you should go • New materials and techniques are most frequently found at the ‘Eurocucina’ (in even years) and ‘Euroluce’ (in odd years) trade fairs, resp. for kitchens and lighting.

• Pay a visit to historic brands with a proven track record who have been pioneers of design: they approach things from a sober and realistic perspective, which doesn’t stop them from putting on an impressive display in Milan!

• Visit the themed exhibitions organised by COSMIT at the Fiera and in the city – these are based on a great deal of research and their exhibition design is always worth seeing!

• Take in the individual shows by the large manu­facturers who create exhibitions with top architects and art directors, showcasing various disciplines and using exceptional locations, such as churches and monasteries, palaces and historical buildings.

• Don’t miss the Triennale Design Museum, which is given each year to a different art director.

The Triennale location also offers a number of temporary exhibitions.

• Don’t spend hours looking at ‘student work’: these are often messy and clumsy exhibitions which appeal mainly to those looking to spot new design talent.

• Don’t waste too much time strolling through Zona Tortona and Ventura Lambrate – be very selective, because there are only few treasures there to discover amongst the junk.

• The quality of the initiators, curators and stylists determines who will be on display and how. For example, when an exhibition is designed by Paola Navone, Piero Lissoni, Michele De Lucchi or Italo Lupi, it’s bound to be a must!

• Listen carefully to other visitors who may have made a ‘discovery’, and stay open to surprises along your way.

• Annemartine van Kesteren, Design Curator, Museum Boijmans Van Beuningen

• Ann Maes, design manager, editor and curator in architecture & design, www.ipcin.nl

ANNEMARTINE VAN KESTEREN When I don’t know what to do or am faced with a difficult dilemma, I often stroll through a bookshop. I give my gaze free rein to study the spines of the books. If at all possible, I gently touch the covers with my hands. All completely intuitively, until I suddenly reach that one book that I want to open. I start to read a random page. And funny enough, that’s always how I find the solution to the problem.

It seems that this apparently arbitrary act brings you into contact with a subconscious level of knowledge, and the solution is soon at hand.

This has saved me so many times when faced with another almost impossible choice. The Milan furniture fair also falls into this category. Visits are always too short, there is too much to see, and you really can’t make any choices here.

Everything is new and interesting, and you have to see it to be able to judge it.

Still, for me the key to a successful visit is using your intuition. I start somewhere where extra­ordinary work has been shown before. The key is then to study every­thing that you cannot see consciously. Listen to fragments of your co-visitors’ conversations, watch the flows of people in the streets, ask a stranger what stood out for them so far, and, by all means, let your intuition guide you.

COLUMNS

MATYLDA KRZYKOWSKI A Simple Guide to Making the annual trip to Milan necessary It’s very easy to put together a trip to Milan.

Unfortunately, that makes putting together a unecessary trip to Milan very easy too. On this page, you’ll find a simple guide to plan a trip, which will not only be less painful for you, but will give you a better understanding of why you are going.

1 Before going Some important questions need to be answered before making any plans - actually, even before deciding whether trip to Milan is the right way to go: • Will a trip to Milan help me?

• Will the presentations and people for it be in Milan?

• How can I reach them?

1.1 Structuring the trip To decide in which order to see all presentations and how to group them, there are some aspects to consider. If possible, start with the presentations that are light and which are comfortable to reach.

Putting these presentations at the beginning might help to avoid lack of interest to see the content driven presentations. You will be eager to find quality between quantities. Keep in mind, that after you’ve come through a certain amount of presentations, you most likely won’t be able to absorb anything anymore.

1.2 What makes a good trip?

• The reason for the trip is clear • You know there will be information you need • The trade-off between information and socialising is in balance 1.3 Conclusion To conclude, when deciding to go to Milan, you should aim to ask specific questions targeted at the issues you need to answer. Also remember that it doesn’t do any harm to gather a little extra background. If you are going to Milan without really knowing why, you’re most likely to get frustrated. So basically, make it crystal clear why you are going or stay at home and produce good work.

• Matylda Krzykowski, curator, designer, co-director of Depot Basel

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RICK TEGELAAR Text Anna Bates • Photo Daphne Kuilman

What is your ethos?

I’m interested in designing processes rather than just products. I want to see if I start with the most common and stupid material and develop it, if something new and good can come out of it by creating my own tools.

So this explains why you made a series of lamps out of chicken wire. How do you make them?

I start with a roll of high quality chicken wire. It’s cut to size and rolled into a tunnel shape and slipped over a mould. Then I stretch the chicken wire. It shrinks itself around the form and takes its shape.

This was your graduation project in 2011 – what happened next?

After I graduated I was broke, and I found people were interested in buying the lamp. I’d developed the tools for shaping the wire and mesh at college, so it was a good plan to start producing them and make some money. Three years later and it’s becoming more efficient and economical. I’ve built my own mini factory, which is not so usual for a designer. I’ve recruited people and developed a machine that can stretch the wire very effectively. I’ve got to know my lamps on a whole different level.

Do you see your future in this product?

We are dependent on it now: it makes 90% of the turnover.

But I don’t see myself as only a lamp producer.

What else are you working on?

My studio is in a progressive industrial zone that focuses on clean, green tech­nology.

At the moment I’m using waste plywood from different factories to work on a table. We get the factories to cut the waste blocks exactly to size, and we buy it. The blocks are glued up in a fishbone pattern – we made a glue-applying machine that distributes the glue evenly – and the end material has a new functional value, and a new aesthetic.

What is your relationship to Milan?

It’s good for meeting people, but Milan doesn’t inspire me at all. It sort of paralyses me: if you see a lot of terrible stuff, you hate your profession, and if I see good stuff, I feel not good enough. I’m not inspired by other design, I’m inspired by a good factory.

• www.ricktegelaar.nl • See Atelier Rick Tegelaar at the Milan Design Week at Ventura Lambrate. Find more information at page 30, presentation 54.

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MAE ENGELGEER Text Anna Bates • Photo Ilco Kemmere

How did you become a textile designer?

I come from a fashion academy and specialized in textile design, but it always felt unnatural to me: I would develop nice fabrics, silkscreen and knits and then I had to find a shape to use them in. After college I worked for two years for a fashion brand, but I wanted to do something more closely with material. I did a master course in applied arts at the Sandberg Institute, and realised that the material itself could be the end result.

What is your start point, with a new design?

I work from feelings; what I do reflects the way I see the world at that moment. Often it starts with a certain colour. It all becomes connected – the way I dress, my nail polish – I’m in this flow. People often say they recognise my work. This must be because I work from feeling and reflect things I pick up on in my life.

Where do you look for inspiration?

I don’t look for trends. I collect things: second hand sweaters, a nice piece of paper, material, colour, a yarn. I also enjoy city life; I’m not someone who goes into the woods to look at nature.

Because I work with textiles people sometimes think that, but that is just not me, I enjoy city life too much. My inspirations are more likely to come from fashion and architecture.

How does all of this translate into a product?

It’s difficult to describe: I can see some kind of image, but mostly it’s a sense for what direction the piece should be.

I’ll build a composition with colour, material, technique and pattern. A line could be placed here. It’s not super structured it just has to feel right. I’ll first draw by hand, and then later turn it into a digital file.

Are you heavily involved in the making process?

During the development process it is best to stand next to the machine to see what happens. I like to adjust and respond at the spot. I will start with an idea and finish it when we are making the samples.

For production the machines do all the work, it just needs to be finished and packed. When I started I used to do some of the finishing stitches myself – now I’m busy with the designing.

What is the importance of Milan for you?

It’s a good time to reflect on your work. It can be really clear, when you see your work and have conversations with other people, what you want to do differently. So mostly I make new plans for the coming year.

• www.mae-engelgeer.nl • See Studio Mae Engelgeer at the Milan Design Week at Ventura Lambrate in Via Massimiano 23 and at the presentation of Cor Unum.

More information at page 26, presentation 39.

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Modular Lighting Instruments Designers Basten Leijh, Couvreur.Devos, Gerd Couckhuyt Location Corso Como 9 20154 Milan

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Contact Patty Beuk Bouwerij 54 NL - 1185 XX Amstelveen +31 (0)6 51 02 47 91 patty@modular.nl www.supermodular.com

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Opening time Daily 10.00 – 21.00

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Press preview Mon. 13 Apr. 13.00 – 15.00

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About For more than 30 years Modular Lighting Instruments has been pushing the boundaries of architectural lighting. We wrote history with our bold designs and daring campaigns. Being provocative allowed us to create icons within the lighting industry. Innovative problem solving enables us to write the future. By anticipating future energy trends and by developing and using cutting-edge technology we remain faithful to our role as pioneers in the industry.

Presentation Modular will take you on a journey through light, reflection and modern art. Discover the latest light fittings, such as Vaeder, in a surreal and artistically surprising setting. Step inside a mirrored world and continue your journey through the illuminated spirit of modern art in a series of different rooms. Your journey will lead you to the Modular Art Bar. Embark on it if you dare…

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Droog Droog Hardware

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Designers Studio Droog

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Location Ferramenta Alfredo Viganò e C. di P. Viganò Via Panfilo Castaldi 40 20124 Milan Contact Droog c/o Lara Mikocki Staalstraat 7A/B NL - 1011 JJ Amsterdam +31 (0)6 83 66 96 49 press@droog.com www.droog.com

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Opening time Daily 10.00 – 19.00

About Co-founded and directed by curator and author Renny Ramakers, design company Droog creates cutting edge products, projects and events globally. Droog has been pioneering new directions for design since the early nineties, redefining international notions of luxury in design. Today, Droog continues to develop new concepts with the native Droog twist.

Presentation Visit us in the Ferramenta, full of construction elements, small functional hardware that you normally want to hide. But we think hardware should be made visible, so that it can add optic and tangible character to design.

Press preview Tue. 14 Apr. 10.30 – 12.30

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Dutch Invertuals Designers Aliki van der Kruijs, Alissa + Nienke, Arnout Meijer, Daphna Laurens, Dienke Dekker, Edhv, Germans Ermičs, Jetske Visser & Michiel Martens, Laura Lynn Jansen & Thomas Vailly, Nina van Bart, Philipp Weber, NOMAN, Tijmen Smeulders, Victoria Ledig Location Spazio O’ – Isola Via Pastrengo 12 20159 Milano Contact Wendy Plomp Fuutlaan 12b NL - 5613 AB Eindhoven +31 (0)6 41 55 58 83 wendyplomp@dutchinvertuals.nl www.dutchinvertuals.nl Opening time Daily 10.30 – 20.00

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Press preview Mon. 13 Apr. 17.00 – 19.00 press@dutchinvertuals.nl Cocktail Party Fri 17 Apr. 20.00 – 00.00 About For five consecutive years Dutch Invertuals has presented and induced progressive new design within bold, daring, poetic and, sometimes, confronting exhibition contexts. Dutch Invertuals has become a well-known hotspot during international design events. They present near Garibaldi Station in the artistic neighbourhood Isola.

Presentation Designers with different backgrounds, but with one thing in common: experiment is principal. They took on the challenge to work outside the canvas.

This exhibition is a prelude to the next step, a new material, technique or insight.

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Studio Drift & Buhtiq31 Nola.

Bernotat&Co

Designers Lonneke Gordijn, Ralph Nauta

Opening party Tue. 14 Apr. 21.00 – 24.00

Location BRAND NEW WORLD MILANO 2015 @ DUŠAN Dusan Showroom Via Antonio Zarotto 1 20124 Milan

About Studio Drift explores the relationship between nature, technology and mankind. Their working process involves continuing collaborations with scientists, university departments, research facilities, programmers and engineers; the results are truly innovative and ground-breaking projects – a testament to the cross-pollination between the technically advanced, the aesthetically beautiful and awareness of future potentials.

Contact Esther Driessen Asterweg 20 B1 NL - 1031 HN Amsterdam +31 (0) 20 840 69 93 esther@studiodrift.com www.studiodrift.com www.buhtiq31.com www.brandnewworld.ch Opening time Daily 11.00 – 19.00 Press preview Mon. 13 Apr. 11.00 – 19.00 Powered by Laufen

Presentation Nola is a landscape of light captured in glass bells. By combining pastel tinted glass with programmable red, green, blue and white led’s, Studio Drift establishes a unique color palette for new Dutch design label Buhtiq 31.

PRESENTATIONS

Designers Anke Bernotat, Jan Jacob Borstlap Location GOODESIGN 2015: The Natural Circle, Cascina Cuccagna Via Cuccagna 2/4 (corner Via Muratori) Contact Anke Bernotat Hendrik van Wijnstraat 10 NL - 1065 AS Amsterdam +31 (0)6 29 03 70 05 info@bernotat.eu www.bernotat.eu www.facebook.com/BernotatCo Opening time 14 Apr. – 3 May Daily 10.00 – 20.00 Weekends till 22.00

About Our aim is to ponder the poetry of normalcy; to tease the rules and discover exceptions; combining forgotten solutions with nowadays needs and possibilities to create surprising, poetic and useful objects.

Presentation The Radiolaria, Bernotat&Co’s collection of lamps made of 3D-knitted glowin-the-dark textile, inspired by microscopic organisms, are shown as part of ‘The Natural Circle’. This event, curated by Officina Temporanea, addresses the dialogue between nature, art and a poetic vision of the world, combined with the attention to issues of sustainability.

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eQ+ – Forbo Flooring – Jesse Visser – Geke Lensink Designers Geke Lensink, Jesse Visser, Forbo Design Studio Location Via del Carmine 11 (Brera) 20121 Milan Contact www.eqplus.nl info@eqplus.nl +31 (0)88 02 709 00 www.forbo-flooring.com contact.milano@forbo.com +31 (0)6 50 27 66 88 www.jessevisser.com info@jessevisser.com +31 (0)6 26 16 84 56 www.gekelensink.nl info@gekelensink.nl +31 (0)6 50 20 74 39 Opening time Daily 10.00 – 19.00

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About In the characteristic and charming Brera district in Milan, eQ+ and Forbo Flooring, in cooperation with Jesse Visser and Geke Lensink, have created a fine presentation of international stature. In a pleasing spaces totaling some 110m2, a variation of interesting settings are being presented merging the exhibits in a surprising way Presentation eQ+ is a brand which focusses on the project market, concepting furniture which attracts both the architect as well as the end user. The collections and products stand out because of the unconventional use of materials, presenting a balance between craftsmanship and modern production technology. In the Brera presentation there is special attention to the Alumini Collection, a series of new aluminum chairs, executed in various designs.

Forbo Flooring develops and produces a wide range of floor coverings, both soft and hard. In Milan Forbo presents a new collections of floor designs created by a modular format of its natural Marmoleum range. In addition examples of the new project vinyl Eternal Collection ‘digital print’ are being introduced.

Next to their designs for eQ+, Geke Lensink and Jesse Visser also show a number of products of their own.

Jesse Visser presents some remarkable minimalistic light fixtures, including two exclusive triptychs as well as a series of simple clear hanging lights.

Under the denominator ‘Industrial Artifacts’ Geke Lensink shows a number of new furniture objects as well as an expansion on the bowl 892 gr. porcelain.

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Energies Unseen Designers Marjan van Aubel & Jólan van der Wiel Location Rossana Orlandi Unit 4 Via Matteo Bandello 14-16 20123 Milan Contact Marjan van Aubel Unit 104, Taplow House Thurlow Street UK - London SE17 2UL +44 (0)777 544 89 67 mail@marjanvanaubel.com www.marjanvanaubel.com info@jolanvanderwiel.com www.jolanvanderwiel.com

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OS ∆ OOS Presentation During this exhibition Marjan van Aubel and Jólan van der Wiel will disclose hidden potential energies through their objects. Playing with different natural forces and processes such as gravity and photosynthesis, their objects will react to and visualize these laws of nature.

Thanks to: creative industries fund NL

MacGuffin Magazine

Designers Oskar Peet, Sophie Mensen Locations Spazio Rossana Orlandi Via Matteo Bandello 14 20123 Milan Wallpaper* Handmade Via San Gregorio 43 20124 Milan Atelier Clerici Via Clerici 5 20121 Milan Contact Sophie Mensen TAB Building, Strijp T Zwaanstraat 1 NL - 5651 CA Eindhoven +31 (0)6 28 40 17 57 sophie@osandoos.com www.osandoos.com

Opening time Daily 10.00 – 21.00

About Oskar Peet and Sophie Mensen are studio OS ∆ OOS, a design studio based in Eindhoven, the Netherlands.

The work of OS ∆ OOS strives to find a balance between concept, form, function, material and their relation to the surroundings and the user.

This results into products that find themselves in the grey area of product design and autonomous objects.

Presentation OS ∆ OOS will present new works on three different locations this year.

The upholstered Keystone chair and a Mono-Light installation at Spazio Rossana Orlandi. We have been invited

by Wallpaper* for the Handmade exhibition where we show a series of a small benches. Lastly with a small collective of like minded designers called Synopsis, we present Prologue at Atelier Clerici.

Editors Kirsten Algera, Ernst van der Hoeven, Chris Kabel Location Palazzo Clerici Via Clerici 5 20121 Milano Contact MacGuffin Nieuwpoortkade 2a NL - 1055 RX Amsterdam +31 (0)6 19 91 06 90 mail@macguffin.nl www.macguffin.nl Opening time Daily 8.00 – 20.00.

Tue. 14 and Thu. 16 till 00.00

About MacGuffin is a design & crafts magazine featuring fabulous stories about the life of ordinary things. Like the Macguffins in Hitchcock films, these objects are not iconic, but do have a strong personality; they drive the narrative forward. Each biannual edition of MacGuffin takes an object, space or material, using it as a starting point to explore the visual, literal, cultural, historical … or downright incredible stories it generates.

MacGuffin uncovers the personal and sometimes curious relationships we have with the stuff that surrounds us. Issue #1, ‘The Bed’, is being launched on April 14th.

Opening time Daily 9.00 – 20.00

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SYNOPSIS Prologue Designers Brit van Nerven, Commonplace, Emilie Pallard & Niels Heymans, OS ∆ OOS, PlueerSmitt Location Atelier Clerici Via Clerici 5 20121 Milan Contact SYNOPSIS c/o Sophie Mensen Zwaanstraat 1, TAB Building, Strijp T NL - 5651 CA Eindhoven +31 (0)6 28 40 17 57 sophie@osandoos.com www.syn-opsis.com Opening time Daily 10.00 – 20.00

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Location Fuori Mercato 20144 Milan Contact Davide Gramatica Via Savona 97 IT - 20144 Milan +39 (0)329 54 218 68 hello@fuorimercato.net www.fuorimercato.net Opening time Wed. 15 till Sat. 18 Apr. 14.00 – 19.00 Opening party Tue. 14 Apr. from 19.00 Closing party Sat. 18 Apr. from 20.00

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Presentation The exhibition has to be experienced, a safe haven in a busy area, a silent shout where reality collapses into facts and fiction. All participants share an interest for the ‘unfamiliar’ in order to force a dialogue between man and object. All have created new works where a strong feeling for a mysterious like approach to the objects is evident, presented for the first time together: Prologue.

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Fuori Mercato Designers Meike van Schijndel, Sander Lorier, Tijn van Orsouw, Mischa Vos

About At Palazzo Clerici the five practices present contemporary objects for use and thought. Through the juxta­ position of the everyday and the unfamiliar, fact and fiction, materials and the immaterial, the group searches for a new discourse and aesthetic within design. Working under the collective name Synopsis, this presentation acts as a prologue for future products, publications, and manifestations.

About Fuori Mercato is an exhibition and event with the objective to encourage and sustain designers and self production. It is hosted by Mindert de Koningh’s ZOOI lab, situated in a fascinating ex-industrial complex.

Check out the events and program on our website.

Mixing the Dots Opening Cocktail Fuori Mercato & Connecting the Dots Organisers Mindert de Koningh, Davide Gramatica, David Heldt, DJ Mulat, DJ Deleau, Chef Martin

Opening Party Tue. 14 Apr. from 19.00 (entrance by invitation only) Supported by Heineken

Location Fuori Mercato Via Savona 97 20144 Milan

About Fuori Mercato and Connecting the Dots organise an opening cocktail together on Tuesday 14 April from 19.00.

Contact Fuori Mercato c/o Davide Gramatica Via Savona 97 IT - 20144 Milan +39 (0)329 54 218 68 hello@fuorimercato.net www.fuorimercato.net Connecting the Dots c/o David Heldt Jacob van Lennepkade 386-2 NL - 1053 NM Amsterdam +31 (0)6 15 51 07 27 connecting@thedots.nl www.thedots.nl

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Delta Vaas / Bathroom Mania bv Designers Mart van Schijndel, Meike van Schijndel Location Fuori Mercato Via Savona 97 20144 Milan

Fuori Mercato presents an inter­ national group of self-producing designers in their own characteristic workshop.

Contact Meike van Schijndel Brigittenstraat 2 NL - 3512 KK Utrecht +31 (0)30 2145210 info@deltavaas.nl www.deltavase.com

Connecting the Dots bring together all Dutch designers and brands during the Milan Design Week.

Opening time Wed. 15 till Sat. 18 Apr. 14.00 – 19.00

Request an invitation by sending an email to connecting@thedots.nl or hello@fuorimercato.net.

Dress code: pois (dots)

PRESENTATIONS

Opening party Tue. 14 Apr. from 19.00 Closing party Sat. 18 Apr. from 20.00

About Bathroom Mania Inc. is an innovative design company by Dutch designer Meike van Schijndel. Meike has gotten international fame with her Kisses urinal. Bathroom Mania is currently working on expanding their design company outside of the bathroom, starting with the famous Dutch Design Classic the Delta Vase by Mart van Schijndel.

Presentation The Delta Vase by Dutch architect and designer Mart van Schijndel (1943 – 1999) has become a Dutch Design Classic. This famous vase from 1981 is an icon of modern design.

Mart’s daughter and designer Meike van Schijndel is reintroducing the original Delta Vase after ten years absence. The Delta Vase is handmade in The Netherlands, all glass and engraved with a signature of the designer.

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Designer Mischa Vos

Designer Sander Lorier

Locations Belgian Village by Dift Via Private Giovanni Ventura 12 20134 Milano

Location Fuori Mercato Via Savona 97 20144 Milan

Contact Mischa Vos Newtonstraat 97 NL - 1098 HC Amsterdam +31 (0)6 48 97 83 86 info@mvos.nl www.mvos.nl Opening time For Fuori Mercato see presentation 11 at page 22 Belgian Village: Daily 10.00 – 20.00 Sun. 19 Apr. till 18.00

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Contact Sander Lorier Zwaanshals 271-a2 NL - 3035 KG Rotterdam +31 (0)6 10 76 33 77 info@sanderlorier.com www.studiolorier.com

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Opening party Tue. 14 Apr. from 19.00 Closing party Sat. 18 Apr. from 20.00

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Location Museo Nazionale della Scienza e della Tecnologia Leonardo da Vinci Sala Biancamano Via San Vittore 21 20123 Milano

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Contact Jony van den Mosselaar Parallelweg 2-III NL - 7102 DE Winterswijk +31 (0)543 54 60 98 communicatie@arco.nl www.arco.nl/en Opening time Daily 9.30 – 18.30

Presentation Drawer Table – Ineke Hans Homes no longer follow the lounge + dining room + kitchen formula. The various living uses flow into each other more and more, which puts different demands on the furniture. Tables in particular have to be multi-talented.

The Drawer table is one of those allrounders. It looks like a simple, modern table, but it hides an impressive secret: virtually invisible drawers.

Location Fiera: Hal 10, stand A11 Salone Internazionale del Mobile Strada Statale del Sempione 28 20145 Rho Milano Contact Johanson – Lina Johnsson Anders Anderssons Väg 7 SE - 285 35 Markaryd +46 (0)433 72502 lina@johansondesign.se www.johansondesign.se www.inekehans.com

About Johanson is a company with more than 60 years of experience in creating Swedish furniture, featuring pure, simple and well balanced design. They focus on furniture for public interiors and upholstery plays an important role. All furniture is produced in Sweden, and designed by some of the foremost European designers.

Opening time Daily 9.30 – 18.30

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Designers Max Lipsey Location SaloneSatellite, Hall 24, stand D20 Salone Internazionale del Mobile Strada Statale del Sempione 28 20145 Rho Milano Contact Max Lipsey Voorterweg 136 NL - 5611 TS Eindhoven +31 (0)6 43 01 76 46 info@lipsmax.net www.lipsmax.net Opening time Daily 9.30 – 18.30

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Presentation The new collaboration between Ineke Hans and Johanson is presented this spring. The result is barstool Aline: an outspoken stool with a distinctive silhouette. The metal ‘lining’ of ALINE creates functionality and a familiar archetypical character at the same time.

Atelier Max Lipsey

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Johanson & Ineke Hans Aline stool by Ineke Hans Designer Ineke Hans

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Opening time Daily 9.30 – 17.00

Location Fiera: Hall: 20 Stand: F20 Salone Internazionale del Mobile Strada Statale del Sempione 28 20145 Rho Milano

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Opening time Wed. 15 till Sat. 18 Apr. 14.00 – 19.00

Opening party Belgian Village: Wed. 15 Apr. 20.00 – 22.00

Designers Among others: Jorre van Ast, Ineke Hans, Bertjan Pot

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Dutch Satellite Consulate General of the Netherlands

Designer Elise Luttik Location Dutch Satellite Salone Internazionale del Mobile SaloneSatellite, Hall 24, stand B7 Strada Statale del Sempione 28 20145 Rho Milano Contact Elise Luttik Admiralengracht 49-1 NL - 1057 EN Amsterdam +31 (0)6 55 77 79 03 mail@eli5e.nl www.eli5e.nl

About A design studio founded by Elise Luttik. eli5e designs interactive products and furniture. And is specialized in designing for 3D printing and designing for emotion.

Presentation At the SaloneSatellite Elise Luttik will present the Upside Down Collection.

It is a complete interior concept consisting of the Upside Down Chair, Table and Lamp with a double function. Resulting in an interesting combination of high tech and handcrafted wooden design.

Opening time Daily 9.30 – 18.30

Photo Lisa Klappe

Fuori Mercato Via Savona 97 20144 Milan

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Studio Lorier

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Designers David Derksen, Ingrid Hulskamp, Elise Luttik, Phil Procter Location Dutch Satellite Salone Internazionale del Mobile SaloneSatellite, Hall 24, stand B7 Strada Statale del Sempione 28 20145 Rho Milano Contact Consulate General of the Netherlands c/o Margo Curto Via G. Donizetti 20 IT - 20122 Milan +39 02 48 55 84 30 mil-pcz@minbuza.nl www.olandiamo.it Opening time Daily 9.30 – 18.30

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PRESENTATIONS

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Opening time Daily 10.00 – 20.00

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Cocktail Wed. 15 Apr. 20.00 – 22.00

About Roos Soetekouw is a textile designer based in Amsterdam whose work is balancing between art, design and fashion. Her outspoken designs reflect her ability to look at life from a unique perspective. There is a growing demand for her dreamy style and feeling for tactile combinations, presented in luxurious fabrics.

Presentation Reflecting waves Curious and with a twinkly edge.

Overwhelming as the power of water.

Soetekouw presents reflecting waves.

A waterfall of fabrics welcomes you in an mystic underwater world. Dreams and fantasy come alive in fashionable and outspoken designs, showing a curiosity to life. Ride the wave!

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Contact Thea van Unen Strekkerweg 79 NL - 1033 DA Amsterdam +31 (0)6 45 07 22 25 thea@roossoetekouw.nl www.roossoetekouw.com

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Reduxdesign We Cast Furniture Designer Marcel van Heeswijk Location Ventura Station Via Privata Oslavia 7 20134 Milan Contact Marcel van Heeswijk Lijmbeekstraat 154 NL - 5612 NJ Eindhoven +31 (0)6 11 22 06 37 reduxdesign@marcelvanheeswijk.nl www.marcelvanheeswijk.nl Opening time Daily 10.00 – 20.00 Sun. 19 Apr. till 18.00 Cocktail Wed. 15 Apr. 20.00 – 22.00

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Studio Ineke van der Werff Single Glass About Reduxdesign and Marcel van Heeswijk stand for: exploring the edges of existing techniques and materials, to bring us new and better uses.

Presentation We Cast Furniture – With the Concrete Sofa, the design studio shows there’s more to the material. Concrete can be surprisingly smooth as skin and seemingly soft to touch.

Bulb TL – Effortless transition to LED. The transition from incandescent bulbs to low energy LED, serves as an inspiration to design a lamp to fit both types of lights.

Designers Ineke van der Werff

Maastricht Academy of Fine Arts and Design ‘Slow City’ Maastricht About Studio Ineke van der Werff is all about experimenting. With a main focus on ceramics, Ineke is constantly looking for new and exciting ways to combine and recycle materials.

Location Via Privata Oslavia 7 20134 Milano Contact Ineke van der Werff Europalaan 2B NL - 3526 KS Utrecht Netherlands +31 (0)6 20 63 42 34 info@inekevanderwerff.nl www.inekevanderwerff.nl

Presentation SINGLE GLASS is a study to develop a new way to recycle glass into a glaze for porcelain. Glass used for this project is processed glass from the bottle bank.

Opening time Daily 10.00 – 20.00 Sun. 19 Apr. till 18.00 Opening night Wed. 15 Apr. 20.00 – 22.00

Designers MAFAD presents a diversity of students, alumni designers and co-creations of the past 10 years Location Hedra 4 Via Privata Oslavia 17 20134 Milano Contact Nienke van Kordenoordt Herdenkingsplein 12 NL - 6211 PW Maastricht +31 (0)6 41 82 85 67 nienke.kordenoordt@zuyd.nl www.zuyd.nl/studeren/ studieoverzicht/vormgeving/english

Presentation Redefining our own position and profile we invited alumni of the past 10 years to show work which refers towards the profiles we will be focusing on for the upcoming years, putting them in specific contexts such as: food, hospitality and luxury.

Themes that are imbedded in Maastricht and where we as MAFAD will take our role in developing new definitions or values. The title Slow City refers to the way these themes are being experienced in this area and our students and Alumni.

Opening time Daily 10.00 – 20.00 Sun. 19 Apr. till 18.00 Opening Wed. 15 till 22.00

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Design Academy Eindhoven EAT SHIT Designers Various designers Location Corner Via Gaetano Crespi and Via Dei Canzi 20134 Milan Contact Design Academy c/o Danielle Arets Emmasingel 14, 3rd floor NL - 5611 AZ Eindhoven +31 (0)40 239 39 39 danielle.arets@designacademy.nl www.designacademy.nl Opening time Daily 10.00 – 21.00.

Sun. 19 Apr. till 18.00 Breakfast Talks 15, 16 and 17 April 10.00 – 11.00 (in collaboration with the Creative Industries Fund NL)

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PRESENTATIONS

Presentation This year our Milan presentation centers around the new Food Non Food department under the title EAT SHIT. It is a confronting headline that embraces all the various themes the exhibition explores. It is about what we eat, what we produce, but is also an expletive that captures the passion of protest. We look at secretion as a technique, disposal as a necessity and contemporary agriculture as a challenge.

We are transferring the entire Food Non Food department – 16 students plus their teachers – on site to Milan.

There they will continue their schooling in front of an audience in an authentic exploration of the relationship between education and exhibition.

We will also present a select group of alumni from the past four years whose projects connect to the theme.

This exhibition communicates the breadth of the topic of food and works as a sort of public laboratory for the department.

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HKU Design / HKU University of the Arts Utrecht Liminal Space

MU presents: Kneeling, Five years of We Make Carpets

Designers A collaboration between Lieke Jildou de Jong, Arlette Beerenfenger and Nicky Groenewoud, other alumni and students of HKU Design

About HKU Design trains designers who can stand firmly in this continually trans­ forming world, in which norms and values are changing at an ever-increasing speed. With clear insight and an open attitude, they create new designs for the right situation. The product is part of a dialogue with the environment.

Location Space Limbo Via dei Canzi 19 20134 Milano

Presentation HKU Design takes you into its daily reality: a flexible, multiform world in which young designers develop themselves. A liminal space where they experiment, explore and discover. Where questions are more important than answers. They move across the limits of what they were, into what they are to be.

Contact Marinda Verhoeven-Spek Ina Boudier-Bakkerlaan 50 NL - 3582 VA Utrecht +31 (0)6 18 35 96 14 marinda.verhoeven-spek@hku.nl www.hku.nl/hkudesignpresents

Designers Marcia Nolte, Stijn van der Vleuten and Bob Waardenburg Location Ventura XV Via Privata Giovanni Ventura 15 20134 Milano Contact Kyra Meilink Torenallee 40-06 NL - 5617 BD Eindhoven +31 (0)6 28 14 84 63 kyra@mu.nl www.mu.nl www.wemakecarpets.nl Opening time Daily 10.00 – 20.00 Sun. 19 Apr. till 18.00

Opening time Daily 10.00 – 20.00 Sun. 19 Apr. till 18.00

About MU Artspace, rooted in Eindhoven, is an adventurous guide in the suburbs of present and future contemporary art, for a diverse audience. MU allows hybrid talents to sprout and is proud to be present in Milan for the third year, with the retrospective exhibition of Kneeling: Five years of We Make Carpets.

Presentation Simple, everyday materials you can find in your kitchen drawer. For Marcia Nolte, Stijn van der Vleuten and Bob Waardenburg – the three artists behind We Make Carpets – anything from pasta to clothes pegs, drinking straws and even sponges can become part of the ingenious aesthetic patterns they build up from the inside outwards. On their knees.

In 5 years’ time, they created about 50 different temporary carpets, big and small, inside and outside, from deserts to art spaces. The carpets hardly ever lasted longer than a couple of weeks. Combining craft with contemporary critical design, they make concrete and crayons look smooth, while cold coffee and toy soldiers can suddenly be aesthetically appealing.

During the Salone del Mobile in Milan, MU presents the exhibition: Kneeling, Five years of We Make Carpets at Ventura Lambrate with a selection of their work and by presenting their first book, ‘Kneeling, 5 years of making carpets’.

Opening night Wed. 15 Apr. till 22.30

Photo Boudewijn Bollmann

Opening night Wed. 15 Apr. 20.00 – 22.00

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Project EGG Designer Michiel van der Kley Location Ventura XV Via Privata Giovanni Ventura 15 Milano 20134 Contact Michiel van der Kley Lanciersstraat 42 NL - 5017 CS Tilburg +31 (0)6 55 17 79 88 michiel@projectegg.org www.projectegg.org Opening time Daily 10.00 – 20.00 Sun. 19 Apr. till 18.00 Opening night Wed. 15 Apr. 20.00 – 22.00

About A new way of thinking, new possibilities. That’s what this is actually all about.

New in the way we produce, new in the way we collaborate, new in the outcome and new in the way it will evolve.

From the summer of 2012 Michiel van der Kley has been playing, muddling around and wondering with 3Dprinters and the fascinating possibilities of the new software at his fingertips. It made him want to do something new, really new. In a number of ways he has tried to shift boundaries with project EGG. If you are willing to have an eye for the fact that most large things often consists of a collection of small things you are suddenly not limited by the size of the printer itself. If you see the power of internet you can communicate and collaborate with people from all over the world and invite them to build together.

Presentation Combining all the ideas he had with technology, engineering, building, inventing, parametric 3D software and design turned the whole of the process into a lovely discovery that has become this organically shaped pavilion of 4760 slightly different – unique stones, measuring 4 x 5 x 3 meters. This project crosses bridges between art, design and architecture. Project Egg moves you, makes you wonder what it is you’re experiencing. It makes you wonder about what a next step in the process of design can be. Could it be an attempt to create a new shape language?

WANDSCHAPPEN COLOUR PLANT of WANDSCHAPPEN curated by IJMcolour Designers Ivo van den Baar, Nicole Driessens Location Ventura XV Via Private Giovanni Ventura 15 20134 Milan Contact Ivo van den Baar Gooilandsingel 11 NL - 3083 DP Rotterdam +31 (0)6 40 36 70 57 ivo@wandschappen.nl www.wandschappen.nl www.wandschappenwebshop.com

About WANDSCHAPPEN is a design studio, founded by Nicole Driessens & Ivo van den Baar in Rotterdam Charlois, The Netherlands. As designers they develop products, based on visual art concepts, transformed into producible design.

Their love for textiles and crafts has lead to high quality handmade design, shown and sold world wide.

Presentation In this fabulous presentation design label WANDSCHAPPEN connects its strong felt plants silhouettes to the visionary colour scheme of IJMcolour. With the warmth of the felt sculptural shapes will appear in the transparent world of a greenhouse in which the plants are cultivated.

Opening time Daily 10.00 – 20.00.

Wed. 15 Apr. till 22.00 Sun.19 Apr. till 18.00 Cocktail Thu. 16 Apr. 18.00 – 20.00

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Zuiderzee Museum Combers Cabinet by Studio Kranen/Gille Designers Johannes Gille, Jos Kranen Location Ventura XV Via Privata Giovanni Ventura 15 20134 Milano Contact Niels Lauwers Wierdijk 18 NL - 1601 LA Enkhuizen +31 (0)6 14 55 13 62 niels.lauwers@zuiderzeemuseum.nl www.zuiderzeemuseum.nl

About The Zuiderzee Museum is oriented toward art, culture and heritage around the former Zuiderzee area with an outdoor museum, and an indoor museum with several exhibition areas. The Museum keeps the history of this region up to date by asking artists and/or designers to give their views on its collection.

Presentation The Zuiderzee Museum in Enkhuizen presents its latest acquisition at Salone del Mobile. The Combers Cabinet, a design of studio Kranen/Gille, has been commissioned by this Museum. It consists of nine lamps with combed parts from the Museum’s storage department, presented in a special made cabinet.

Photo Erik & Petra Hesmerg

Opening time Daily 10.00 – 20.00 Sun. 19 Apr. till 18.00

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Little Owl Design From A Different Cloth Designers Marcello De Simone, Bruce Wayland Location Ventura XV Via Privata Giovanni Ventura 15 20134 Milano Contact Marcello De Simone Frederik Hendrik Plantsoen 106 huis NL - 1052 XZ Amsterdam +31 (0)6 18 11 76 89 info@littleowl.eu www.littleowl.eu Opening time Daily 10.00 – 22.00 Sun. 19 till 18.00

Faberhama About Bruce Wayland (American, New York City) and Marcello De Simone (Italian, Lecce) met in Amsterdam, and formed Little Owl Design in 2010.

The first project the duo created – ‘Altered Perspectives’ is a mixed media of Dutch plates and paintings combined together to form unique pieces.

They next developed a collection of wallpapers, inspired by nature, from the skies of Holland combined with 18th C. etchings, to 19th C. Dutch herbaria, and a 19th C. Dutch star chart of the Southern Hemisphere. They debuted the collection in 2014 at Ventura Lambrate in Milan.

Also in 2014 a new limited edition series – ‘Altered Histories’ was first shown. The linen canvas was cast into the ceramic, producing a tactile surface on the plates, which were then later decorated with transfers of paintings and ceramic décors.

The thread of the idea of textiles on ceramics has lead to their latest project.

Presentation ‘From A Different Cloth’ – sees the designers taking the idea developed in their first series, and moving it forward – combining two of their passions: ceramics and textiles.

Cast textiles become the sole decoration of the fine stoneware, which is coloured with pigments and fired at 1250°C making the collection both waterproof and dishwasher safe. In addition the non-glazed surface gives the finished pieces a wonderfully tactile feel with a mat surface.

Many of the different textiles used have a family connection, as they come from Marcello’s family in Puglia, Italy, and each dish is literally ‘cut from a different cloth’.

The collection features several small serving dishes and plates in an array of shapes and mouth-watering colours.

Designers Alberto Fabbian, Paola Amabile Location Ventura XV Via Privata Giovanni Ventura 15 20134 Milan Contact Paola Amabile Asterweg 123 NL - 1031 HM Amsterdam +31 (0)6 49 35 51 07 info@faberhama.com www.faberhama.com Opening time Daily 10.00 – 20.00 Sun. 19 Apr. till 18.00

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Studio Mieke Meijer & Studio Jeroen Wand Spatial Fragments in Uncharted Materiality Designers Mieke Meijer, Jeroen Wand Location Via Ventura 5 20134 Milan Contact Jeroen Wand Hallenweg 11-b NL - 5615 PP Eindhoven +31 (0)6 52 13 81 14 mail@jeroenwand.nl www.jeroenwand.nl, www.miekemeijer.nl Opening time Daily 10.00 – 20.00 Sun. 19 till 18.00

Contact Cor Unum c/o Charlotte Landsheer Veemarktkade 8 NL - 5222 AE ’s-Hertogenbosch +31 (0)73 303 00 58 info@corunum-ceramics.nl www.corunum-ceramics.nl Opening time Daily 10.00 – 20.00 Sun. 19 Apr. till 18.00 Opening night Wed. 15 Apr. 20.00 – 22.00

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Opening Wed. 15 till 22.30

Designers Premiere (launch) platform and marketplace for the world’s best designers and makers

Designer Morgan Ruben Jansen op de Haar

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Location Undai 5 Via Ventura 6 20134 Milan Contact Mark Studholme Brouwersgracht 246 NL - 1013 HE Amsterdam +31 (0)6 31 74 83 80 ms@crowdyhouse.com www.crowdyhouse.com

Morgan Ruben TERRA

Location Undai 4 Via Ventura 6 20134 Milan Contact Morgan Ruben Jansen op de Haar Hopakker 91 NL - 3514 BV Utrecht +31 (0)6 28 38 82 01 info@morganruben.com www.morganruben.com Opening time Daily 10.00 – 20.00. Sun 19 Apr. till 18.00 Opening Wed. 15 till 22.00

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Label BREED

Presentation In and around the Cor Unum Mobile Gallery we will present the unique products designed by the avant-garde of the Dutch Designers. They all are continuously in search of innovation within the ceramic craft. They all know there’s still a world to win when it comes to expressing designs in ceramics.

Opening time Daily 10.00 – 20.00 Sun. 19 till 18.00

Designers Rutger de Regt, Marlies van Putten

CROWDY HOUSE #DesignMadePossible

Opening time Daily 9.00 – 18.00 Sun. 19 Apr. till 17.00 Meet & Great every day after 18:00 for everyone and anyone

Location Via Ventura 14 20134 Milan

Contact Nienke Sybrandy Frans de Wollantstraat 66 NL - 1018 SC Amsterdam +31 (0)6 19 50 48 98 info@studiosybrandy.nl www.studiosybrandy.nl

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Opening time Daily 10.00 – 18.00

About The cross fertilization between professional designers of our time, the knowledge of the craft of ceramic artcenter Cor Unum and the talent trained on art schools in the Netherlands, will increasingly result in innovative products, new design traditions and fruitful collaboration between independent artists and the ceramic production process.

Location Via Ventura 5 20134 Milan

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Contact Rutger de Regt Lijsterbesstraat 61 NL - 2563 KR The Hague +31 (0)6 24 81 15 04 info@handmadeindustrials.com www.handmadeindustrials.com

Designers Alex de Witte, David Derksen, Floris Hovers, Floris Wubben, Jeroen Wand, Kranen/Gille, Mae Engelgeer, Roderick Vos. Special guest: Allessandro Mendini

Designer Nienke Sybrandy

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Location Via Ventura 2 20134, Milan

Cor Unum Collected

Studio Sybrandy The Infinite Finitude

Opening Wed. 15 till 22.30

HandMade Industrials Breaking the Mold

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Ineke Otte Design

Designers De Makers Van, Chris Kabel, Marleen Kaptein, Christien Meindertsma, Studio Wieki Somers Location Via Privata Massimiano 25 20135 Milan Contact Sanne Roodnat Van Diemenstraat 410-412 NL - 1013 CR Amsterdam +31 (0)6 24 27 93 35 info@labelbreed.nl www.labelbreed.nl

About BREED is a new design label creating an innovative collection through close dialogue between designer and factory – from the start of the design process, to the final result.

Designer Ineke Otte

Presentation Five in-depth collaborations will create products in which creativity combines with innovative production techniques to create works of unparalleled design. Insight in the process of collaboration and the resulting objects will be presented in Milan.

Contact Ineke Otte ‘s-Heer Elsdorpweg 39 NL - 4461 WJ Goes +31 (0)6 11 75 95 50 ineke@inekeotte.com www.inekeotte.com

Location Via Massimiano 6 20134 Milan

Opening time Daily 10.00 – 19.00

Opening time Daily 10.00 – 20.00 Sun. 19 Apr. till 18.00 Opening cocktail Tue. 14 Apr. 17.00 – invites only, request invite at info@labelbreed.nl Press lunch Wed. 15 Apr. 13.30 – invites only, request invite at info@labelbreed.nl

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TORTONA DESIGN WEEK

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Pikaplant Happy plants. Minimal effort.

Designers Dan Sutjahjo, Joost van Uden Location Tuttobene Officine della Torneria Via Novi 5 20144 Milan

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The Cottage Industry Kaleidos

Location Tuttobene Officine della Torneria Via Novi 5 20144 Milan

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Designer Giorgia Zanellato

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Presentation Pikaplant makes indoor gardening super easy. Pikaplant One is our vertical garden. It automatically waters your plants with an ebb-and-flow system. Tableau applies the same irrigation technique to water up to four plants on your table, counter, or window sill. Pikaplant Jar is the plant you never have to water.

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Contact Dan Sutjahjo, Joost van Uden Keizersgracht 203 NL - 1016 DS Amsterdam +31 (0)20 30 901 27 contact@pikaplant.com www.pikaplant.com

About At Pikaplant we envision a world where anyone can grow healthy plants with minimal effort. A plant rich environment makes people more creative and more productive. Plants also reduce stress levels and air pollution. Our products mimic nature to water your plants, so you don’t have to.

Tuttobene Meet & Matter About The Cottage Industry products tread a fine line between the ordinary and the extraordinary. Never settling for the mundane and always questioning the everyday objects that surround us. Not too witty, not too clever, just simple products that are guaranteed to bring a smile to your face. This year sees the launch of the Kaleidos vase. Other products from The Cottage Industry include the ON/OFF Mug and the Big Bloom vase.

Presentation When Giorgia Zanellato designs a vase, she starts by focusing on the functionality of the vase as an object. But what exactly is the function we attribute to a vase, she muses? To display flowers surely.

The Kaleidos vase uses a faceted mirror to draw attention to the flower. The highly polished geometrically arranged mirrored facets accentuate the flower, intensify and amplify its colored petals in a dizzyingly, kaleidoscopic floral explosion.

The flower becomes abstracted, distorted, mesmeric…a thoroughly enchanting effect. The flower as a work of art, a horticultural study, a scientific experiment?

You decide.

Kaleidos is derived from the ancient Greek words kalos, meaning beautiful, and eidos, that which is seen in shape and form.

Designers Alex de Witte, Beate Snuka, Buxkin, David Derksen Design, Fabian Seibert Sülzkotlett, Heetman|Patijn, Jamais Sans Toi, JavyDesign, Jolanda van Goor, knapontwerp, Lensvelt, Marco Iannicelli, NEO/CRAFT, Oato., Pikaplant, Stephan Siepermann, Stilst by Reinier de Jong, StoryTiles, Studio Kalff, The Cottage Industry Location Officine della Torneria Via Novi 5 20144 Milan

Press preview Mon. 13 Apr. 14.00 – 19.00 About Tuttobene encourages and works with designers who aim to develop their international ambitions. This year, Tuttobene will work with collectives and individual designers to create a dense & diverse group presentation.

Presentation ‘Meet & Matter’ emphasizes the encounters between designers and their audience, as the personal stories behind a design shape the relationship one develops with an object. Real-life encounters and getting to know a designer define the role an object plays in various contexts.

Contact Rozemarijn Koopmans Comeniuslaan 22 NL - 1412 GP Naarden +31 (0)6 21 70 15 77 info@tuttobene.nl www.tuttobene.nl Opening time Daily 10.00 – 19.00

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HEETMAN|PATIJN Designers Hans Heetman, Jaap Patijn Location Tuttobene Officine della Torneria Via Novi 5 20144 Milan Contact Hans Heetman Roostenlaan 63 NL - 5644 GB, Eindhoven +31 (0)624275466 info@heetmanpatijn.nl www.heetmanpatijn.nl Opening time Daily 10.00 – 19.00 Opening Party Wed 20.00 – 22.00

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Stilst About The designs of Heetman | Patijn stand their ground and show character, emphasized by the recognizable, somewhat human expressions.

The simplicity of the products and the transparent constructions in their designs makes them clear and easy to grasp, Their products put a smile on the users face and enliven the space.

Presentation New products at display: Usine, prototype version of a serie of pen trays made for the dutch label Soonsalon.

SpotOn, a table light made from glass and corck. Elbow, a copper wall candle. Tube Chair, a dining chair.

Coupe Soleil, a ceramic table light which is inspired by a typical woman’s haircut.

Designer Reinier de Jong Location Tuttobene Officine della Torneria Via Novi 5 20144 Milano Contact Reinier de Jong Voorhaven 57 NL - 3021 XL Rotterdam +31 (0)10 26 021 10 info@reinierdejong.com www.stilst.nl Opening time Daily 10.00 – 19.00

About Stilst is a design label with an optimistic outlook. It is part of a new era that is unfolding. It is part of a world appreciating the small-scale, the integrity and the dedication. The times are changing and so is the way we live. Stilst products are designed to last in our ever-changing world.

Presentation As part of the acclaimed Tuttobene exhibition, Stilst presents its col­ lection of furniture inspired by the simplicity and purity of wooden hand tools: a floor lamp, a pendant lamp, a folding chair, a folding table and side table.

Felicerossi International Ieri, oggi, domani Designers Jacco Bregonje, No Picninc, Riccardo Giovanetti, Marko Macura Location Superstudio / Emporio – Opificio 31 Via Tortona 31 20144 Milan Contact Jacco Bregonje Via Michelangelo 2 IT - 21021 Angera va +39 34 96 02 99 70 jaccobregonje@felicerossi.it www.felicerossi.it Opening time Daily 10.00 – 21.00

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NLXL Double Face, Paola Navone Addiction, Daniel Rozensztroch Obsession, Wallpaper Collections Designers Paola Navone, Daniel Rozensztroch, NLXL Location Via Tortona 31 – building 26 20144 Milan Contact Jopke Thijssen/Casper van Dort P.O. Box 11683 NL - 2502 AR, The Hague +31 (0)702500018 press@nlxl.com www.nlxl.com

About Known for Scrapwood Wallpaper (ICFF Editor‚ 2nd award 2011), brainchild of Piet Hein Eek and NLXL founders Rick&Esther Vintage.

Brooklyn Tins Wallpaper by Merci, Concrete Wallpaper by Piet Boon, Remixed. Wallpaper by Arthur Slenk, Scrapwood Wallpaper 1&2 by Piet Hein Eek, Archives Wallpaper by Studio Job, Biblioteca Wallpaper by Ekaterina Panikanova.

Opening time Daily 10.00 – 21.00 Press Opening Mon. 13 April

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graypants murmurations by graypants Designers Seth Grizzle, Jonathan Junker Location Via Tortona 31 20144 Milan Contact Bieke Groenink Keizersgracht 241 BG NL - 1016 EA Amsterdam +31 (0)6 50 64 71 78 bieke@graypants.com www.graypants.com

LEFF amsterdam Nobody really needs a clock.

About Graypants is a team of problem solvers. Anchored in Seattle and Amsterdam, graypants’ bold creativity leads to diverse designs in products, architecture, and other beautiful objects around the world. Our work expands globally with collaborations and custom designs for leading companies worldwide.

Presentation We’re pleased to announce our latest lighting collection: murmurations by graypants. More than just light, this collection is a led-system inspired by a breathtaking natural phenomenon. A spectacle translated into dynamic installations, captivating three-dimensional forms within space. Every light in the flock is connected, creating a different composition from every viewpoint.

Designers Piet Hein Eek, Richard Hutten Location Via Tortona 31 20144 Milan Contact Bieke Groenink Keizersgracht 241 BG NL - 1016 EA Amsterdam +31 (0)6 50 64 71 78 bieke@leffamsterdam.com www.leffamsterdam.com

Opening time Daily 10.00 – 19.00

Opening time Daily 10.00 – 19.00

Press preview Mon. 13 Apr. 14.00 – 19.00

Press preview Mon. 13 Apr. 14.00 – 19.00

Opening party Tue. 14 Apr. 18.00 (RSVP only bieke@graypants.com)

Opening party Tue. 14 Apr. 18.00 (RSVP only bieke@leffamsterdam.com)

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About LEFF amsterdam is a Dutch design brand, founded in 2011. The company decided to start making clocks in a world where nobody really needs one, because they feel this is where the real challenge lies: creating something beautiful that everyone still wants to have.

Presentation We’re very proud to announce our latest creations, one designed by Piet Hein Eek, the other by Richard Hutten. Due to the success of our first collaboration with Piet Hein Eek, we’ve decided to add an amazing series of wristwatches to this collection. Richard Hutten has designed our very first piece of time-related furniture.

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LINTELOO Designers Paola Navone, Sjoerd Vroonland, Niels Bendtsen, Roderick Vos, Bart Vos and Linteloo Lab, Marcel Wolterinck voor VERDEN

About From its headquarters in Zeist, The Netherlands, LINTELOO connects inter­ national designers and European craftsmen to create contemporary furniture that lasts. The collection is exclusively designed for LINTELOO and for sale through an international network of authorized dealers.

Location LINTELOO showroom Via Tortona 37 20144 Milan

Presentation After celebrating twenty years of LINTELOO with a spectacular presentation by Paola Navone in Milan last year, this year LINTELOO parties on. Paola Navone will create a new concept for the showroom and presents a new sofa. Dutch designer Sjoerd Vroonland launches his first design – a dining table – for LINTELOO. Niels Bendtsen presents sofa SETTEE and Roderick Vos will present a low, terrazzo casted side table called HEXAGON. Marcel Wolterinck created three new designs for the VERDEN Collection. Last, but not least, LINTELOO Lab introduces casual sitting systeem Southampton and beautiful new cushions and knitted plaids.

Contact Lars Nikolajsen Johannes Postlaan 6 NL - 3705 LN Zeist +31 (0)30 212 21 10 lars@linteloo.com www.linteloo.com Opening time Daily 10.00 – 21.00 Sun. 19 Apr. till 17.00

Text SETTEE • Design Niels Bendtsen • Photo Arjan Benning

Press preview Mon. 13 Apr. 14.00 – 18.00

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Piet Boon Collection Designer Studio Piet Boon Location Piet Boon Collection Showroom Via Tortona 37 20144 Milan Contact Joost van Ede Johannes Postlaan 6 NL - 3705 LN Zeist +31 (0)6 52 60 00 15 / +31 (0)30 212 `21 10 joost@pietbooncollection.com www.pietbooncollection.com Opening time Daily 10.00 – 21.00.

Sun. 19 Apr. till 17.00 Press preview Mon. 13 Apr. 14.00 – 18.00

About Piet Boon Collection is the exclusive furniture line of Dutch designstudio Studio Piet Boon and comprises of comfortable dining, living and outdoor furniture, offering authentic signature pieces that embody the Studio Piet Boon design philosophy of balancing functionality, aesthetics and individuality.

Presentation Piet Boon Collection was launched 10 exciting years ago, designed to capture the essence of the Studio Piet Boon identity. Each piece is passionately crafted with refined taste and in durable manner, bearing both aesthetics and intensive use in mind. This year the studio introduces, in the comfort of its permanent Italian home, a new chapter of Piet Boon Collection.

Inspiring new pieces convey the studio’s love for rich and natural materials, generous proportions, typical shape and eye for extraordinary detail.

A joy to have, a joy to see and most of all, a joy to use. Come see for yourself.

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Weltevree Explore your surroundings Designers Floris Schoonderbeek, Vanhoff­ ontwerpen, Thor ter Kulve, Walter van Beirendonck, Erik Stehmann, Studio Siem-Pabon, Raw Color, Scheublin & Lindeman Location Autofficina Via Voghera 8 20144 Milan Contact Rita Giesbers Westervoortsedijk 73 NL - 6827 AV Arnhem +31 (0)26 44 283 34 rita@weltevree.nl www.weltevree.nl

Workmates Good News About Weltevree is a Arnhem based product label with Dutch designs and boundless ideas.

The reason we exist is because we believe there are other solutions that fulfil your and our dreams about a better life and environment.

We stand for durable products and design and support sustainable behavior, without loosing our need for adventure and comfort.

Presentation Together with 10 designers we explored the boundaries of our collection and your surroundings.

The stunning result: 10 new products with a sustainable design and be­ haviour, that brings us further than we had ever thought.

After enjoying the new products you can slow down in our garden restaurant where we prepare food and drinks.

Opening time Daily 10.00 – 21.00

Contact Moooi c/o Laura Ramos Bello – Kluit Minervum 7003 NL - 4817 ZL Breda +31 (0)76 206 07 00 press@moooi.com www.moooi.com

Contact Anne-Marie Geurink Apeldoornsestraat 4 NL - 6828 AB Arnhem +31 (0)6 15 11 16 89 workmatespresents@gmail.com www.workmatespresents.com Weltevree and Workmates Release Party Tue. 14 Apr. 19.00 – 21.00 With launch of Workmates Good News-paper, Via Voghera 8, 20144 Milano

Presentation This year during Milan Furniture Fair, Dutch design collective Workmates will distribute Good News, a newspaper put together by the five members, celebrating the ideas and processes behind their work. Good News will take visitors into the workshops of the designers to show what happens behind-the-scenes.

Photo Juuke Schoorl

Moooi Find your way home to Moooi’s Unexpected Welcome

Location Area 56 Via Savona 56 20144 Milan

Locations Various location throughout the city Launch party at Weltevree Via Voghera 8 20144 Milano

About The open collective Workmates – currently Roos Meerman, Joris De Groot, Rick Tegelaar, Klaas Kuiken and Casper Tolhuisen – work independently of each other, and across subject areas. But all of the designers share a hands-on approach, practice in a workshop environment, and produce work that is experimental with a strong focus on process.

Weltevree + Workmates MeetUp Thu. 16 Apr. 19.00 – 21.00

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Designers Arihiro Miyake, Atelier Van Lieshout, Bas Kosters, Bertjan Pot, Broersen en Lukács, Edward van Vliet, Front, Jonas Forsman, Jurgen Bey, Klaus Haapaniemi, Maison Christian Lacroix, Marcel Wanders, Marian Bantjes, Moooi Works, Neri & Hu, Ross Lovegrove, Sonya Pletes, and Studio Job

Designers Joris de Groot, Klaas Kuiken, Roos Meerman, Rick Tegelaar, Casper Tolhuisen

Opening time 14 till 18 Apr. 10.00 – 21.00 Sun. 19 Apr. till 17.00 Press preview Mon. 13 Apr. 15.00 – 19.00 Press Breakfast Wed. 15 Apr 9.00 – 10.00 About Moooi welcomes you to be blown away by their presentation in via Savona 56! Showcasing an assembly of inspirational living quarters, timeless product haikus and launching Moooi Carpets, harmoniously absorbed into the breath-taking depths of Rahi Rezvani’s artistic photography.

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Kirsten Algera · 09 p.22 Alissa + Nienke · 03 p.20 Paola Amabile · 33 p.27 Arco · 17 p.23 Jorre van Ast · 17 p.23 Atelier Max Lipsey · 20 p.23 Atelier Van Lieshout · 55 p.31 Marjan van Aubel · 07 p.22

Alberto Fabbian · 33 p.27 Faberhama · 33 p.27 Felicerossi International · 47 p.29 Forbo Design Studio · 06 p.21 Forbo Flooring · 06 p.21 Jonas Forsman · 55 p.31 Front · 55 p.31 Fuori Mercato · 11 p.22

Oato. · 44 p.28 Maarten Olden · 16 p.23 Tijn van Orsouw · 11 p.22 OS ∆ OOS · 08, 10 p.22 Ineke Otte · 41 p.27

Joost van Uden · 42 p.28

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Ivo van den Baar · 30 p.25 Marian Bantjes · 55 p.31 Nina van Bart · 03 p.20 Bathroom Mania bv · 13 p.22 Arlette Beerenfenger · 27 p.25 Walter van Beirendonck · 53 p.31 Niels Bendtsen · 51 p.30 Anke Bernotat · 05 p.20 Bernotat&Co · 05 p.20 Jurgen Bey · 55 p.31 Piet Boon · 52 p.31 Jan Jacob Borstlap · 05 p.20 Jacco Bregonje · 47 p.29 Broersen en Lukács · 55 p.31 Buhtiq31 · 04 p.20 Buxkin · 44 p.28

Johannes Gille · 31, 39 p.26, 27 Riccardo Giovanetti · 47 p.29 Jolanda van Goor · 44 p.28 Lonneke Gordijn · 04 p.20 Davide Gramatica · 12 p.22 graypants · 49 p.29 Seth Grizzle · 49 p.29 Nicky Groenewoud · 27 p.25 Joris de Groot · 54 p.31

Chris Kabel · 09, 40 p.22, 27 Marleen Kaptein · 40 p.27 Michiel van der Kley · 29 p.25 knapontwerp · 44 p.28 Mindert de Koningh · 12 p.22 Bas Kosters · 55 p.31 Jos Kranen · 31, 39 p.26, 27 Kranen/Gille · 39 p.27 Aliki van der Kruijs · 03 p.20 Klaas Kuiken · 54 p.31 Thor ter Kulve · 53 p.31

C Chef Martin · 12 p.22 Commonplace · 10 p.22 Cor Unum Collected · 39 p.27 Gerd Couckhuyt · 01 p.20 Couvreur.Devos · 01 p.20 CROWDY HOUSE · 37 p.27

D David Derksen Design · 21, 39, 44 p.23, 27, 28 De Makers Van · 40 p.27 Dienke Dekker · 03 p.20 Delta Vaas · 13 p.22 David Derksen · 21, 39, 44 p.23, 27, 28 Design Academy Eindhoven · 26 p.24 DJ Deleau · 12 p.22 DJ Mulat · 12 p.22 Nicole Driessens · 30 p.25 Droog · 02 p.20 Dutch Invertuals · 03 p.20 Dutch Satellite · 21 p.23

E Edhv · 03 p.20 Piet Hein Eek · 50 p.29 eli5e · 19 p.23 Energies Unseen · 07 p.22 Mae Engelgeer · 39 p.27 eQ+ · 06 p.21 Germans Ermičs · 03 p.20

the dots #11

H Klaus Haapaniemi · 55 p.31 HandMade Industrials · 36 p.27 Ineke Hans · 17, 18 p.23 Marcel van Heeswijk · 23 p.24 Hans Heetman · 44, 45 p.28, 29 Heetman|Patijn · 44, 45 p.28, 29 David Heldt · 12 p.22 Niels Heymans · 10 p.22 HKU Design · 27 p.25 HKU University of the Arts Utrecht · 27 p.25 Ernst van der Hoeven · 09 p.22 Floris Hovers · 39 p.27 Ingrid Hulskamp · 21 p.23 Richard Hutten · 50 p.29

I Marco Iannicelli · 44 p.28 Ineke Otte Design · 41 p.27

J Jamais Sans Toi · 44 p.28 Laura Lynn Jansen · 03 p.20 Morgan Ruben Jansen op de Haar · 38 p.27 JavyDesign · 44 p.28 Lieke Jildou de Jong · 27 p.25 Johanson · 18 p.23 Reinier de Jong · 44, 46 p.28, 29 Jonathan Junker · 49 p.29

L Label BREED · 40 p.27 Daphna Laurens · 03 p.20 Victoria Ledig · 03 p.20 LEFF amsterdam · 50 p.29 Basten Leijh · 01 p.20 Geke Lensink · 06 p.21 Lensvelt · 44 p.28 LINTELOO · 51 p.30 Linteloo Lab · 51 p.30 Max Lipsey · 20 p.23 Little Owl Design · 32 p.27 Sander Lorier · 11, 15 p.22, 23 Ross Lovegrove · 55 p.31 Elise Luttik · 19, 21 p.23

M Maastricht Academy of Fine Arts and Design · 25 p.24 MacGuffin Magazine · 09 p.22 Marco Macura · 47 p.29 Maison Christian Lacroix · 55 p.31 Michiel Martens · 03 p.20 Roos Meerman · 54 p.31 Arnout Meijer · 03 p.20 Mieke Meijer · 34 p.27 Christien Meindertsma · 40 p.27 Allessandro Mendini · 39 p.27 Sophie Mensen · 08, 10 p.22 Mixing the Dots · 12 p.22 Arihiro Miyake · 55 p.31 MO,O · 16 p.23 Modular Lighting Instruments · 01 p.20 Moooi · 55 p.31 Moooi Works · 55 p.31 MU · 28 p.25 MVOS · 14 p.23

N Ralph Nauta · 04 p.20 Paola Navone · 48, 51 p.29, 30 NEO/CRAFT · 44 p.28 Neri & Hu · 55 p.31 Brit van Nerven · 10 p.22 NLXL · 48 p.29 Marcia Nolte · 28 p.25 NOMAN · 03 p.20 No Picninc · 47 p.29

P Emilie Pallard · 10 p.22 Jaap Patijn · 44, 45 p.28, 29 Oskar Peet · 08, 10 p.22 Piet Boon Collection · 52 p.31 Pikaplant · 42, 44 p.28 Sonya Pletes · 55 p.31 PlueerSmitt · 10 p.22 Bertjan Pot · 17, 55 p.23, 31 Phil Procter · 21 p.23 Project EGG · 29 p.25 Marlies van Putten · 36 p.27

R Raw Color · 53 p.31 Reduxdesign · 23 p.24 Rutger de Regt · 36 p.27 Daniel Rozensztroch · 48 p.29 Morgan Ruben · 38 p.27

S Scheublin & Lindeman · 53 p.31 Mart van Schijndel · 13 p.22 Meike van Schijndel · 11, 13 p.22 Floris Schoonderbeek · 53 p.31 Fabian Seibert Sülzkotlett · 44 p.28 Stephan Siepermann · 44 p.28 Marcello De Simone · 32 p.27 Tijmen Smeulders · 03 p.20 Beate Snuka · 44 p.28 Roos Soetekouw · 22 p.24 Erik Stehmann · 53 p.31 Stilst · 44, 46 p.28, 29 StoryTiles · 44 p.28 Studio Drift · 04 p.20 Studio Ineke van der Werff · 24 p.24 Studio Jeroen Wand · 34 p.27 Studio Job · 55 p.31 Studio Kalff · 44 p.28 Studio Lorier · 15 p.23 Studio Mieke Meijer · 34 p.27 Studio Piet Boon · 52 p.31 Studio Siem-Pabon · 53 p.31 Studio Sybrandy · 35 p.27 Studio Wieki Somers · 40 p.27 Dan Sutjahjo · 42 p.28 Nienke Sybrandy · 35 p.27 SYNOPSIS · 10 p.22

V Thomas Vailly · 03 p.20 Vanhoff­ontwerpen · 53 p.31 VERDEN · 51 p.30 Jesse Visser · 06 p.21 Jetske Visser · 03 p.20 Stijn van der Vleuten · 28 p.25 Edward van Vliet · 55 p.31 Bart Vos · 51 p.30 Mischa Vos · 11, 14 p.22, 23 Roderick Vos · 39, 51 p.27, 30 Sjoerd Vroonland · 51 p.30

W Bob Waardenburg · 28 p.25 Jeroen Wand · 34, 39 p.27 Marcel Wanders · 55 p.31 WANDSCHAPPEN · 30 p.25 Bruce Wayland · 32 p.27 Philipp Weber · 03 p.20 Weltevree · 53 p.31 Ineke van der Werff · 24 p.24 Jólan van der Wiel · 07 p.22 Alex de Witte · 39, 44 p.27, 28 Marcel Wolterinck · 51 p.30 Workmates · 54 p.31 Floris Wubben · 39 p.27

Z Giorgia Zanellato · 43 p.28 Zuiderzee Museum · 31 p.26

T Rick Tegelaar · 54 p.31 The Cottage Industry · 43, 44 p.28 Casper Tolhuisen · 54 p.31 Tuttobene · 44 p.28

PRESENTATIONS

31

METRO MILAN Fuori Salone M2 Porta Garibaldi 01 Modular Lighting Instruments 03 Dutch Invertuals M1 Porta Venezia 02 Droog 04 Studio Drift & Buhtiq31

M2 07 08 16

M1 06

09 10

Porta Genova FS Fuori Mercato Mixing the Dots Opening Cocktail Delta Vaas / Bathroom Mania bv MVOS Studio Lorier

Sant’ Ambrogio Energies Unseen OS ∆ OOS MO,O

Dante Cordusio eQ+ – Forbo Flooring – Jesse Visser – Geke Lensink MacGuffin Magazine SYNOPSIS

M3 Porta Romana 05 Bernotat&Co

M2 11 12 13 14 15

Rho Fiera TAV Arco Johanson & Ineke Hans eli5e by Elise Luttik Atelier Max Lipsey Dutch Satellite

Fiera M1 17 18 19 20 21

Ventura Lambrate M2 Lambrate FS 22 Roos Soetekouw 23 Reduxdesign 24 Studio Ineke van der Werff 25 M aastricht Academy of Fine Arts and Design 26 Design Academy Eindhoven 27 HKU Design / HKU University of the Arts Utrecht 28 MU 29 Project EGG 30 WANDSCHAPPEN 31 Zuiderzee Museum 32 Little Owl Design 33 Faberhama 34 Studio Mieke Meijer & Studio Jeroen Wand Studio Sybrandy HandMade Industrials CROWDY HOUSE Morgan Ruben Cor Unum Collected Label BREED Ineke Otte Design 35 36 37 38 39 40 41

Genova FS Pikaplant The Cottage Industry Tuttobene HEETMAN|PATIJN Stilst Felicerossi International NLXL graypants LEFF amsterdam LINTELOO Piet Boon Collection Weltevree Workmates Moooi

Tortona Design Week M2 42 43 44 45 46 47 48 49 50 51 52 53 54 55

FIERA 17–21 RHO-FIERA TAV

PERO

MOLINO DORINO

SAN LEONARDO

BONOLA

M1

INGANNI

Q.T.8.

LOTTO FIERA

M3

SONDRIO

CENTRALE FS

LIMA

CAIAZZO

REPUBBLICA TURATI

M1

SESTO RONDO

SESTO MARELLI

CIMIANO

22– 41 LAMBRATE FS

UDINE

VILLA SAN GIOVANNI

PRECOTTO

GORIA

TURRO

ROVERTO

PASTEUR

LORETO

PIOLA

VENTURA LAMBRATE

M3

M2

COLOGNO SUD

CASCINA GOBBA

SAN DONATO

CRESCENZAGO

ROGOREDO F.S.

PORTO DI MARE

CORVETTO

BRENTA

LODI TIBB FS

05 PORTA ROMANA

SAN BABILA

CROCETTA

ITALIA MISSORI

DUOMO

02, 04 PORTA VENEZIA PALESTRO MONTENAPOLEONE

GIOIA

FUORI SALONE

01, 03 PORTA GARIBALDI

MOSCOVA

07, 08, 16 SANT’AMBROGIO SANT’AGOSTINO

06, 09, 10 DANTE CORDUSIO

CADORNA FNM-TRIENNALE CAIROLI CASTELLO

LANZA BRERA PICCOLO TEATRO

ZARA

MACIACHINI

DERGANO

AFFORI CENTRO

AFFORI

COMASINA

AMENDOLA FIERA BUONARROTI PAGANO

TORTONA DESIGN WEEK

WAGNER CONCILIAZIONE DE ANGELI GAMBARA BANDE NERE PRIMATICCIO

LAMPUGNANO

URUGUAY

BISCEGLIE

ABBIATEGRASSO CHIESA ROSSA

11– 15, 42–55 PORTA GENOVA FS

ROMOLO

FAMAGOSTA

M2