Copenhagen Design Week paper

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COPENHAGEN DESIGN WEEK 11

CONTENT WELCOME THE HUMAN FACTOR CUSTOMISING THE STANDARDISED CO-HABITATION INDEX: DESIGN TO IMPROVE LIFE THE DANISH DESIGN PRIZE BIKES FOR A BETTER WORLD IN-BETWEEN SCALE DESIGNING THE LIFE CYCLE MATERIAL PERFORMANCE CHALLENGE SOCIETY HUMANS AS CO-CREATORS A LOT OF SMALL STEPS DESIGN PERSPECTIVE A WORLD OF PRAGMATIC UTOPIAS PRIMITIVE FUTURE?

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WELCOME A conglomerate of design, culture and commercial life is presented during Copenhagen Design Week, and we invite you to share networks, investigate new urban territories, attend conferences and talks on society challenges – and to check out social life in Copenhagen.

Copenhagen Design Week 2011 THINK HUMAN explores and raises awareness of the impact design, architecture and the environment leaves on human life.

In a world of constant change, design has the potential to transform ideas and social values, to meet both desires and needs – and not least create good business.

We hope you will enjoy living, biking, walking and exploring the many events – and spend some time re-thinking and re-creating in Copenhagen.

Merete Brunander Acting CEO Copenhagen Design Week

by The Danish Design Centre

COPENHAGEN HARBOUR BATH BY PLOT ARCHITECTS. PHOTO: CASPER DALHOFF COPENHAGEN DESIGN WEEK IS AN INTERNATIONAL INITIATIVE

BY THE DANISH MINISTRY OF ECONOMIC AND BUSINESS AFFAIRS DIRECTED BY THE DANISH DESIGN CENTRE.

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THE HUMAN FACTOR

’CO-HABITATION DOESN’T HAVE TO MEAN ... ’ BY JOHAN CARLSSON, ANETTE VÆRING AND MORTEN SØRENSEN. PHOTO: ANETTE VÆRING

Setting the future scene for creative societies is more complex than ever. Sharing, co-creation and connectivity are generating new operating systems as we enter the age of the human - the Anthropocene.

In a progressive society that recognizes this challenge and the impact human behaviour leaves on the environment, creative platforms are indispensable drivers in developing new mindsets. To escape dogmatic views, an anthropological and holistic approach provides important tools in the process of reformatting the standards of human life.

WIKIPIDIA: “THE ANTHROPOCENE IS A RECENT AND INFORMAL CHRONOLOGICAL TERM THAT SERVES TO MARK THE EVIDENCE AND

Design, art, architecture and urban planning have always been strong contributors in defining cultural behaviour, not least through the recognition of the interdisciplinary potential between the different domains. In addition to this, the continuous dialogue between theory and practice, combined with the constant urge to explore form and material, adds new dimensions to the future conception of design with a human imprint.

EXTENT OF HUMAN ACTIVITIES THAT HAVE HAD A SIGNIFICANT GLOBAL IMPACT ON THE EARTH’S ECOSYSTEMS. THE ANTHROPOCENE HAS NO PRECISE START DATE, BUT BASED ON ATMOSPHERIC EVIDENCE MAY BE CONSIDERED TO START WITH THE INDUSTRIAL REVOLUTION.”

TINA MIDTGAARD, INDEPENDENT CURATOR. GRADUATED AS AN ARCHITECT FROM THE ROYAL ACADEMY IN COPENHAGEN. HAS DEVELOPED AND MANAGED INTERDISCIPLINARY PROJECTS AND EXHIBITIONS IN COLLABORATION WITH A NUMBER OF INTERNATIONAL AND NATIONAL CULTURAL

Copenhagen Design Week 2011 challenges standardised practice, exhibiting new urban structures, experiments and idealistic creativity revolving around the idea of up-cycling in all fields of the multifacetted landscape of creative thinking.

INSTITUTIONS AND MUSEUMS. SENIOR LECTURER IN ARCHI-

Tina Midtgaard and Karen Kjærgaard Curators

DESIGN AND ARCHITECTURE, DEVELOPING AND PROCESSING

TECTURE AND DESIGN.

KAREN KJÆRGAARD, INDEPENDANT CURATOR. GRADUATED AS AN ARCHITECT FROM THE SCHOOL OF ARCHITECTURE IN AARHUS. WORKS IN THE CONCEPTUAL BORDERLAND BETWEEN CRAFT, PROJECTS AND EXHIBITIONS IN COLLABORATION WITH CULTURAL INSTITUTIONS AND MUSEUMS.

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CUSTOMISING THE STANDARDISED

by Claus Randrup, journalist

‘BIG LEGO BRICKS FOR ADULTS’: MADS MØLLER AND ERIK JUUL PLAY WITH CONTAINER STRUCTURES. PHOTO: ARCGENCY/ ERIK JUUL ARCHITECTS

CHEAP, EASY, STABLE, FLEXIBLE, SUSTAINABLE AND MOBILE. THE SHIPPING CONTAINER HAS BEEN GIVEN NEW LIFE WITH THE THEME ‘THINK HUMAN’. A HOME FOR THE HOMELESS AND A PAVILLION MADE OF CONTAINERS ARE AT THE CORE OF COPENHAGEN DESIGN WEEK.

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CONTAINER PAVILLION BY MAPT ARCHITECTS, 2009. PHOTO: LARS ENGELGAR

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HOMELESSHOME BY ERIK JUUL, DEN FRIE, COPENHAGEN 2011. PHOTO: ERIK JUUL

‘ARCHITECTURE SHOULD BE TRANSPORTED AND EXPORTED’. THAT’S THE MANTRA OF ARCHITECT MADS MØLLER, FOUNDER OF ARCGENCY. USING CONTAINERS IN CONSTRUCTION IS NOT NEW - IT BEGAN IN THE 70S. BUT WHAT IS NEW, IS THAT THE POSSIBILITIES OF THE CONTAINER AS A TRANSPORTABLE UNIT HAVE STARTED TO BE INCORPORATED INTO ARCHITECTURE. SOMETHING THAT MAKES ARCHITECTURE MORE DYNAMIC, BUT JUST AS IMPORTANT MORE SUSTAINABLE.

ing at industrialised products that could be reused,’ says Mads Møller.

A TRAVELLING STRUCTURE

The home for the homeless is 6x6m2 and located at Højbro Plads during Copenhagen Design Week. The architect Erik Juul has been fascinated by the container as a construction component for years. The challenge here was to see how much architecture could be created in such a small space on such a small budget:

Six containers form the framework for an exhibition space presenting design projects under the slogan ‘Think Human’ – just one example of container architecture during Copenhagen Design Week.

Mapt architects, Mads Møller and Anders Lendager, collaborated on the exhibition structure: ‘Our main focus has been durability and sustainability.

We’ve only used sustainable solutions, and what happens to the containers after the exhibition is key. Our container pavilion can be moved and travel to new places,’ says architect Mads Møller.

The point of using containers in construction is that the architect is forced to focus not only on the design and product, but also think about what will happen to the building afterwards.

WASTE FREE ARCHITECTURE Traditional buildings usually have a life span of 15-50 years. The container pavilion during Copenhagen Design Week has a life span of about a month: ‘The pavilion is like a speeded up version of the life span of a building, and our goal was to avoid all waste when the building was dismantled. So we started look-

)\PSKPUN ^P[O JVU[HPULYZ PZ H JOLHW HUK LMÄJPLU[ ^H` to create a lot of space. After being used in something like the exhibition pavilion, they can go back to being used as shipping containers again.

LEGO BRICKS FOR THE HOMELESS HomeLessHome is another container project during Copenhagen Design Week. Designed by the architect Erik Juul, the goal was to discover how cheaply and LMÄJPLU[S` H OVTL JV\SK IL JYLH[LK PUJS\KPUN H OVTL for the homeless.

º0[»Z KLZPNULK MVY Ä]L WLVWSL I\[ P[ JV\SK LHZPS` IL made for more. The container is a lot of fun, kind of like a big Lego brick for adults. Plus it’s hard to imagine a global economy without the container. It’s a symIVS VM NSVIHS HMÅ\LUJL ^OPJO HSZV THRLZ P[ PU[LYLZ[PUN to rethink it as a low-cost dwelling,’ says Erik Juul.

HomeLessHome is an architectural experiment, but Erik Juul would like to see container architecture really being used, both by the homeless and the rest of the WVW\SH[PVU /L UHTLZ JOLHW Z[\KPVZ VMÄJL JVTT\UPties or urban camping for tourists as just some of the possibilities.

THE CONTAINER IS THE FUTURE Today container architecture represents 2% of global architecture, but the architects Mads Møller and Erik Juul see it as having far greater potential.

It’s energy-saving, cheap and easy to move with a crane or truck:

‘A CONTAINER IS JUST A BOX, BUT IT HAS ENDLESS POSSIBILITIES. IN JAPAN, EARTHQUAKE-SECURE BUILDINGS ARE CONSTRUCTED USING THE CONTAINER PRINCIPLES OF SPATIAL MODULARITY. ON HAITI EMERGENCY CAMPS ARE BUILT USING STANDARDISED SHIPPING CONTAINERS. CONTAINERS CAN ALSO BE USED TO BUILD CHEAP STUDENT ACCOMMODATION AND SUSTAINABLE HOTELS,’ SAYS MADS MØLLER. 0[»Z HSZV HIV\[ SPML ZWHU HUK [OL ÅL_PIPSP[` [V L_WHUK With container construction, it’s easy to add more rooms or storeys if you need more space.

HEMP HOUSE FRONTS The container also opens up for the possibility of customised architecture. The container is just a skeleton. You can use any material - steel, wood, recycled hemp or glass - as a façade. You can basically dress your house in whatever shoes, jacket and pants you like.

For Erik Juul container architecture also challenges existing architecture. The essence of the container is its mobility. It can be moved anywhere in the world.

Something that makes container architecture dynamic rather than stationary.

MADS MØLLER, FORMER PARTNER AT MAPT ARCHITECTS, STARTED THE ARCHITECTURE BUREAU ARCGENCY IN COPENHAGEN TO FOCUS ON RESOURCE CONSCIOUS ARCHITECTURE. WWW.ARCGENCY.COM

ERIK JUUL ARCHITECTS IS AN INTERNATIONAL ARCHITECTURE COMPANY SPECIALISING IN CREATING SOLUTIONS INSPIRED BY ARTICLE 25 OF THE UN DECLARATION ON HUMAN RIGHTS: ‘EVERYONE HAS THE RIGHT TO A STANDARD OF LIVING ADEQUATE FOR HEALTH AND WELL-BEING’.

WWW.ERIKJUUL.COM

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HOW FAR AWAY IS

COPENHAGEN DESIGN WEEK 11

YOUR CLOSEST NEIGHBOUR?

CO-HABITATION STATEMENT

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’CO-HABITATION DOESN’T HAVE TO MEAN … ’ OPEN CALL WINNING ENTRY BY JOHAN CARLSSON, ANETTE VÆRING AND MORTEN SØRENSEN. PHOTO: IVAN MOLINA CARMONA

CO-HABITATION

72 FILMS ON DENSE DWELLING IN 2010 THE DANISH ARTS AGENCY LAUNCHED AN OPEN CALL TO KICK-START AN ARCHITECTURAL AND SOCIAL DEBATE. TITLED “CO-HABITATION”, THE CALL WAS AIMED AT RAISING AWARENESS OF THE ARCHITECTURAL, SOCIAL AND ENVI RONMENTAL CONSEQUENCES OF THE WAY WE LIVE TODAY. THE GOAL WAS TO GENERATE IDEAS FOR THE DEVELOPMENT OF OPTIMAL, SUSTAINABLE HOME DESIGN AND HOMES AND TOWNS THAT CAN INSPIRE PEOPLE TO LIVE AND WORK CLOSER TO EACH OTHER – TO ‘CO-HABIT’.

The call also focussed on the price we as a society pay for living in homes that are too big and too far apart: our consumption of energy, natural resources, time and money. The jury was looking for solutions where people can live closer together without surrendering the dream of having a place of their own: projects that highlight the human, social, economic and environmental advantages of living closer to each other. ;OL JHSS ^HZ MVY ZOVY[ ÄSTZ ¶ TH_ TPU\[LZ 0[ KPKU»[ TH[[LY PM [OL ÄSTZ ^LYL KVJ\TLU[HY` HUPTH[PVUZ ÄJ[PVU VY H TP_ VM HSS [OYLL >OH[ TH[[LYLK ^HZ [OH[ there was a relationship between form and content, HUK [OH[ [OL ÄSTZ OHK ZVTL[OPUN [V ZH` [OH[ WLVWSL could understand.

There were 72 entries from architects, artists, urban planners, landscape architects and other professionals. The jury selected 12 that challenge the ‘the bigNLY [OL IL[[LY» JYP[LYPH VM PKLHS OVTLZ ¶ ÄSTZ `V\ can see in the Co-Habitation exhibition.

THE BIGGER THE BETTER? The latest census of Denmark (2010) reveals that Danish homes are getting bigger. From 1980-2009 the average area each person lives in rose from 42m2 to almost 52m2. During the same period the average Danish home expanded from 106m2 to 111m2. And P[»Z Z[PSS NYV^PUN ¶ KLZWP[L [OL ÄUHUJPHS JYPZPZ HUK YPZPUN energy prices.

There are over 1 million single-family homes in Denmark, and the number continues to rise. Seven out of ten Danes say they want to move out of the city and into their own house in the countryside or suburbs when they have a family. For most Danes, the house of their dreams is still detached.

Since 70% of the population actually live in detached houses, their appeal must be based on real-life quali[PLZ 7LVWSL [HSR HIV\[ [OL MYLLKVT [V PUÅ\LUJL [OLPY physical surroundings, a garden for the kids to play in, nature and decent sports facilities nearby. They also mention having a place to call home and to return to – and the garden gate they can close behind them.

According to sociologist Cecilie Juul Jørgensen, researcher at Denmark’s Centre for Housing and Welfare, the single-family, suburban home is still an ideal – the place to live ‘the good life’: “Young couples who have just become parents or are about to have children really want to move to a house outside the city. And once they’ve moved they’re even more positive. They OH]L UV KYLHTZ VM YL[\YUPUN [V [OLPY [^V YVVT ÅH[ PU Copenhagen.’

town, work and shops. It costs time and energy to commute between home and work. It costs money and energy to heat single-family homes. And it creates mono-cultural neighbourhoods, where everyone looks like you – and might just have enough in themselves.

Yet most Danes, according to the anthropologist and H\[OVY VM .9,(; 30=05. :VÄL 2`SSLZILJO HYL \UHISL to conceive of living in less space: “A lot of people say they’d only move to a smaller place if it was absolutely necessary – because of money or old age. We like having space. It’s not something we’d give up lightly.

Yet it’s often the small rooms and corners that people talk about when describing what they like about their home: the small eat-in kitchen, a boxroom, a favourite corner of the lounge, a cosy study.”

But even though the relative density of urban living can create more architectural, social and environmental sustainability, that’s not the only truth about city living. Given how the cities we live in today are designed, people also live with crowds, pollution and noise – and in poorly built apartments that take a lot of energy to heat. Living in the city can mean living in areas with a bad reputation, in a home that cannot be adapted to the different phases of your life, and next to neighbours that you didn’t choose, but have to live with.

CO-HABITATION – THE DANISH ARTS AGENCY’S OPEN CALL – WAS FOR PROJECTS THAT: CHALLENGE OUR CULTURE, MENTALITY, WAY OF LIFE, AND WILLINGNESS TO CHANGE.

When it comes to our homes, we’re full of paradoxes.

What we say might be idealistic, but our actions don’t match our words. We all know that it doesn’t make sense socially, environmentally or economically for everyone to live in their own house behind a well-trimmed hedge: to live in standardised housing in sprawling suburbs, a long way from the centre of

ARE NATIONWIDE AND AIM AT IMPROVING OUR QUALITY OF LIFE IN PROXIMITY TO EACH OTHER. REPRESENT INNOVATIVE IDEAS AND REAL ALTERNATIVES – A PARADIGM SHIFT IN HOUSING IDEALS THAT CHALLENGES THE ‘DANISH DREAM’ OF A SINGLE-FAMILY HOME WITH ALTERNATIVE AND DENSER HOUSING. WWW.BOTAET.DK

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“DESIGN IS THE HUMAN CAPACITY TO SHAPE AND CREATE OUR ENVIRONMENTS IN WAYS THAT SATISFY OUR NEEDS AND GIVE MEANING TO OUR LIVES.” INDEX: Jury member, Professor John Heskett

W W W. D E S I G N T O I M P R O V E L I F E . C O M

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INDEX: DESIGN TO IMPROVE LIFE INDEX: dreams of a world that is designed to suit the needs and aspirations of mankind. Our ten years of experience have shown, through thousands of conversations and thousands of life-improving designs, that design is a decisive factor in creating a better world.

THE Â NEW Â INDEX: Â EXHIBITION Â PAVILLION. Â DESIGNED Â BY Â GREG Â LYNN Â & Â CHRISTIAN Â DITLEV Â BRUUN Â IN Â COOPERATION Â WITH Â VINK Â A/S. Â PHOTO: Â INDEX:

05+,?! PZ H +HUPZO IHZLK UVU WYVĂ„[ VYNHUPaH[PVU that  was  established  in  2002  and  coined  the  concept  “Design  to  Improve  Lifeâ€?.  We  work  globally  to  promote  and  apply  both  design  and  design  processes  that  have  the  capacity  to  improve  the  lives  of  people  worldwide.  Denmark  has  with  the  investment  in  INDEX:  taken  the  lead  in  a  global  movement  that  will  improve  life  for  future  generations  and  increase  economic  growth  right  now,  and  across  national,  political  and  economic  barriers.  INDEX:  Design  to  Improve  Life  is  deeply  rooted  in  the  Danish  tradition  for  system  design  that  ILULĂ„[Z SHYNL WYVWVY[PVUZ VM [OL WVW\SH[PVU Âś MYVT cooperatives  and  credit  unions  to  large  scale  recycling  systems  –  while  at  the  same  time  being  a  central  part  VM [OL Z[VY` [OH[ KLĂ„ULZ Z[ JLU[\Y` +LUTHYR 05+,?! PZ ^PKLS` YLJVNUPaLK MVY [OL NSVIHS IPLUUPHS design  award,  the  INDEX:  Award,  which  is  the  largest  JHZO KLZPNU WYPaL PU [OL ^VYSK ^VY[O Ă JV]LYPUN [OL Ă„]L JH[LNVYPLZ! Body,  Home,  Work,  Play,  and  Community.  INDEX:  promotes  the  application  of  designs  and  design  processes  to  improve  vital  areas  of  people’s  SP]LZ ^VYSK^PKL HUK [V \Z [OL ILZ[ KLĂ„UP[PVU VM

design  has  been  expressed  by  our  jury  member  Professor  John  Heskett,  who  said  that  “Design  is  the  human  capacity  to  shape  and  create  our  environments  in  ways  that  satisfy  our  needs  and  give  meaning  to  our  lives.�

Design  offers  environmental,  social,  and  economically  sustainable  tools  to  make  the  world  a  safe  and  better  environment  for  people,  and  design  processes  are  ways  of  working  that  identify  solutions  based  on  the  knowledge,  responsiveness,  and  methodology  of  designers.  In  practical  terms,  this  means  that  INDEX:   challenges  the  traditional  concepts  and  stereotypes  of  design  while  highlighting  the  complexity  of  the  KLZPNU Ă„LSK KLTVUZ[YH[PUN ]LY` KPMMLYLU[ ZVS\[PVUZ to  problems  like  HIV/AIDS,  scarcity  of  potable  water,  lack  of  education  and  carbon  emissions.  We  inspire,  collect,  advocate,  communicate,  evaluate,  connect,  and  discuss  Design  to  Improve  Life  on  a  global  scale.     Â

INDEX: AWARD 2011 05+,?! (^HYK ,_OPIP[PVU MLH[\YLZ [OL Ă„UHSPZ[Z MVY 05+,?! (^HYK ;OL Ă„UHSPZ[Z OHPS MYVT KPMMLYLU[ countries  and  represent  about  6  percent  of  the  total  number  (966)  of  nominations  for  this,  the  world’s  biggest  design  award,  and  were  selected  in  an  online Â

voting  process  by  the  International  INDEX:  Jury.

The  exhibition  demonstrates  the  scope  and  vast  WV[LU[PHS VM [OL KLZPNU ÄLSK HUK [OL L_OPIP[PVU KLZPNU for  2011  is  brand  new  –  a  collaboration  between  American  architect  Greg  Lynn  and  Danish  architect  Christian  Ditlev  Bruun.  Before  embarking  on  a  world  tour  including  India,  China  and  several  locations  in  Europe,  INDEX:  Award  Exhibition  will  be  shown  at  KvÌsthusmolen  in  Central  Copenhagen  from  September  2nd  to  September  25th.

Staged  before  a  black-tie  audience  led  by  INDEX:  Royal  Patron  HRH  the  Crown  Prince  and  HRH  the  Crown  Princess  of  Denmark,  INDEX:  Award  Ceremony  names  the  winners  of  INDEX:  Award  2011,  and  will  be  broadcast  on  both  national  Danish  television  and  to  a  worldwide  audience  in  an  online  live  stream  on  September  2nd  2011.

The  coveted  INDEX:  Award  carries  a  total  purse  of  à TVYL [OHU <: HUK [HRLZ WSHJL in  Copenhagenâ&#x20AC;&#x2122;s  new  breathtaking  Opera  House  in  front  of  an  audience  of  more  than  1,000  Danish  and  international  designers,  politicians,  business  leaders,  students  and  celebrities,  who  are  all  invited  to  the  ceremony  to  celebrate  design  that  makes  a  difference  to  peopleâ&#x20AC;&#x2122;s  lives.

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INDEX: Award Finalists 2011 AskNature Biomimicry Website

Anti Sleep Pilot

21st Century Nursing bag

Adlens Universal and the Vision for a Nation Program

Ambulight Photodynamic Therapy

Aquacube™

Design Seoul

Eating, Design & Dementia

E. chromi

Earthquake Disaster + design

High Line

Easy Latrine

Edheads.org

Konbit

UN Humani-­ tarian Aid Packaging JANMA – The Clean Birth Kit Hövding Imagination Playground in a Box

Novacem

OpenIDEO.com

Plumen 001

PUMA: Clever Little Bag

Pure water bottle Reclaim— the Bahrain national pavilion

T.27 City Car

The Cheong-­ gyecheon Restoration Project

The Copenhagen Wheel

The Secret Life Series

The Dream Ball Project

Tulip Siphon Water Filter

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BioLite HomeStove

Autarchy

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Bware water meter Business Model Generation

Design for Change

Autodesk Sustainability Workshop

Enviromesh

ELEMENTAL Monterrey | 70 Incremental Housing Complex

Glow Guardian

Embrace Infant Warmer

Green School

HackFWD

Lulan Artisans Business Strategy MycoBond™

Lifeplayer Learning Landscape

Shokay

she28

Refugees United

UN Global Compact Dilemma Game

NETRA

Lung-­on-­ a-­Chip

Sana

VerBien: See Better to Learn Better

Solio

Dasan Call Center

WASARA WatAir

X-­Halo Breath Thermometer

Yuneec E430

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THE DANISH DESIGN PRIZE

THE DANISH DESIGN PRIZE HAS EXISTED FOR 45 YEARS, AND REPRESENTS ONE OF THE BEST GUIDES TO THE INNOVATIVENESS OF DANISH COMPANIES AND ONE OF THE LEADING INDICES OF GOOD 21ST CENTURY DESIGN. THE DANISH DESIGN PRIZE CELEBRATES THE BEST DANISH DESIGN ON THE MARKET RIGHT NOW. THE GOAL OF THE PRICE IS TO MAKE THE VALUE OF DANISH DESIGN AS A CREATIVE AND ECONOMIC FORCE VISIBLE. The winning projects are not only the best in their design category, they also set new standards for design as a discipline and add new dimensions to the concept ‘Danish Design’. Ranging from visionary farming to an invisible drain, the projects demonstrate the scope of design in Denmark today. ;OL +HUPZO +LZPNU 7YPaL KVLZU»[ VUS` YL^HYK HLZ[OL[PJ and functional quality. The focus is broader, highlighting [OL WV[LU[PHS VM [OL ÄLSK VM KLZPNU HZ PU[LNYHS [V H NVVK life and good business.

Contemporary design goes way beyond traditional concepts, entering into complex, multidisciplinary processes that can transform society, change systems, and improve life. Design today is a mindset and a method [OH[ WSH`Z HU PUJYLHZPUNS` ZPNUPÄJHU[ YVSL PU JYLH[PUN HU economically, environmentally and socially sustainable

future - something the winners of the Danish Design 7YPaL HYL WYPTL L_HTWSLZ VM

DESIGN AND GOOD BUSINESS GO HAND IN HAND Good design is inextricably linked to good business.

Good design demands the courage to take risks and think out of the box – just like good business.

0U [OL ZPZ[LY WYPaL +LZPNU4H[[LYZ ^HZ MV\UKLK [V encourage Danish companies to become even more H^HYL VM [OL NYV^[O WV[LU[PHS VM KLZPNU ;OL WYPaL PZ awarded to companies that have invested consciously in design, with results that can be seen on the bottom line.

Working with design is a tried and tested route to business success, something proven by the 11 winners VM [OL +HUPZO +LZPNU 7YPaL (SS [OL ^PUULYZ have created competitive, aesthetic and functional solutions with strong international potential.

The three winner projects presented here represent the vast scope of Danish Design today, all of them sustainable solutions that can take us into the future.

THE DANISH DESIGN CENTRE (DDC) IS DENMARK’S KNOWLEDGE CENTRE FOR DESIGN. DDC DEVELOPS AND DISSEMINATES KNOWLEDGE ABOUT DESIGN AND WORKS TO PROMOTE THE USE OF STRATEGIC DESIGN IN DANISH COMPANIES AND PUBLIC SECTOR INSTITUTIONS. WWW.DDC.DK

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NAP DANISH DESIGN PRIZE WINNER 2010/11.

COMPANY / FRITZ HANSEN DESIGN / KASPER SALTO

JURY MOTIVATION NAP IS A CHAIR THAT PROVES THAT IT IS POSSIBLE TO CREATE A PRODUCT OF HIGH INTERNATIONAL QUALITY WITH ALL THE TRADEMARKS OF ESSENTIAL NORDIC DESIGN: SIMPLICITY, FUNCTIONALITY AND ATTENTION TO DETAIL. FRITZ HANSEN HAS NOT ONLY LAUNCHED A CHAIR THAT REAFFIRMS THE COMPANY’S DEDICATION TO QUALITY DESIGN, BUT IS ALSO PRICED AS A COMPETITIVE ALTERNATIVE TO OTHER SHELL CHAIRS ON THE MARKET. NAP OFFERS INCREDIBLY GOOD AND FLEXIBLE SEATING COMFORT, AND UNIQUE FOR SHELL CHAIRS, THE RIBBED SEAT PREVENTS THE USER FROM SLIDING. NAP CAN BE STACKED. IT IS ALSO STABLE AND ROBUST, BUT AS AN INDIVIDUAL PIECE OF FURNITURE IT ALSO HAS A SCULPTURAL QUALITY THAT MAKES IT A PLEASURE BOTH TO LOOK AT AND SIT IN.

PHOTO: REPUBLIC OF FRITZ HANSEN, OLE KONSTANTYNER

PIG CITY VISION AWARD WINNER 2010/11 COMPANIES / FARMER SØREN HANSEN, ALFRED PEDERSEN MARKET

GARDENERS & FARMS FOR THE FUTURE DESIGN / GOTTLIEB PALUDAN ARCHITECTS & NEE RENTZ-PETERSEN

PIG CITY IS ONE OF THE SIX WINNING PROJECTS FROM REALDANIA’S 2007 DESIGN AND ARCHITECTURE COMPETITION ‘FARMS FOR THE FUTURE’.

JURY MOTIVATION PIG CITY CREATES SUSTAINABLE SYNERGY BETWEEN PIG AND PRODUCE FARMING TO REDUCE CO2 EMISSIONS, SMELL AND WATER POLLUTION. THE PROJECT IS A BRILLIANT COMBINATION OF A VISIONARY AND DOWN-TO-EARTH APPROACH TO INNOVATIVE DESIGN ON A GRAND SCALE, INTEGRATING THE ENVIRONMENT, PRODUCTION TECHNOLOGY AND A BUSINESS PLAN. THE TALENTED COMBINATION OF ALL THREE IN A HOLISTIC AND ORIGINAL PROJECT GENERATES THE POTENTIAL FOR PIG CITY TO MAKE A REAL DIFFERENCE. AND IT’S NOT ONLY A VISION. TWO MANUFACTURERS HAVE ALREADY COMMITTED TO MAKING PIG CITY A REALITY. IMAGE: GOTTLIEB PALUDAN ARCHITECTS & NEE RENTZ-PETERSEN ARCHITECT PH.D.

REPUBLIQUE DANISH DESIGN PRIZE WINNER 2010/11.

COMPANY / REPUBLIQUE, COPENHAGEN’S NEW

CONTEMPORARY THEATRE. DESIGN / SCANDINAVIAN DESIGNLAB

JURY MOTIVATION THE NEW CORPORATE IDENTITY FOR REPUBLIQUE, A NEW CONTEMPORARY INTERNATIONAL THEATRE IN COPENHAGEN, HITS THE MARK SIMPLY AND EFFECTIVELY. A MERE GLIMPSE OF THE COLOR SCHEME OR GRAPHICS GENERATES INSTANT RECOGNITION. IT’S A REVITALIZATION OF POSTER ART ON THE STREET THAT PAYS TRIBUTE TO POSTER CLASSICS AND PHOTOMONTAGE WITHOUT BEING REMOTELY RETRO. THE DESIGN IS USED WITH MERCILESS CONSISTENCY AND EFFECTIVENESS IN EVERYTHING THE THEATRE PUBLISHES. WITHOUT MISSING A BEAT, IT STRIKES A PERFECT BALANCE BETWEEN BRANDING REPUBLIQUE AND PRESENTING EACH INDIVIDUAL PERFORMANCE. THIS IS GRAPHIC DESIGN THAT REALLY COMMUNICATES, AND IT HAS ESTABLISHED REPUBLIQUE AS A STRONG COPENHAGEN BRAND IN RECORD TIME. PHOTO: SCANDINAVIAN DESIGNLAB / REPUBLIQUE, COPENHAGEN’S NEW CONTEMPORARY THEATRE.

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BIKES FOR A BETTER WORLD

PHOTOS: BAISIKELI

BAISIKELI MEANS BICYCLE IN SWAHILI, AND IS THE NAME OF A SOCIAL ENTERPRISE THAT MAKES, SELLS, REPAIRS AND RENTS BIKES IN DENMARK TO FUND PROJECTS IN AFRICA.

the Sahara. The quality and design of Baisikeli bikes means they can still be used – also after they’ve done a tour of duty in Denmark.

Starting sustainable companies in Africa can be a challenge, but when it comes to bikes we’re proving that it can be done.

BUSINESS FOR DEVELOPMENT

MASANGA, SIERRA LEONE

Imagine a world where even the poorest people have access to basic healthcare, education, water, food and the chance to earn a living. Baisikeli might not build schools or hospitals or provide food or water, but we can help people get to them.

Mobility means access to healthcare, education and higher incomes. Making bikes for and in African countries – starting local production and repair stations, training staff and selling quality products at affordable prices – not only makes the population more mobile, it also creates an industry with skill-sharing, capital development, paid jobs, growth and local taxes.

Since December 2007 Baisikeli has sent 120 secondhand Danish bikes 4 times a year to their repair shop in the grounds of Masanga Leprosy Hospital. The IPRLZ HYL Ä_LK HUK ZVSK SVJHSS` VM [OL WYVÄ[Z HYL PU]LZ[LK PU Y\UUPUN [OL OVZWP[HS HUK PU [OL YLWHPY shop and staff.

Bikes can’t do it alone, but cheap mobility is a key factor. And as Baisikeli expands, more and more jobs are created, generating resources that can be invested in the local community.

A Baisikeli bike is made with built-in social innovation.

Take our ‘Bikes for Businesses’ concept. Once the bikes we supply to Danish companies need replacing, they’re sent to one of Baisikeli’s workshops south of

A VISION FOR AFRICA Our vision is to create a major industry, with sustainable development for the people who need it most. Through partnerships with people who share our vision, comTVU ZLUZL HUK H ÅHPY MVY JYLH[PUN J\Z[VTLY ]HS\L ^L»YL creating jobs and business on the African continent.

BAISIKELI IS A SOCIAL ENTERPRISE THAT BUYS USED DANISH BIKES, RESTORES THEM AT THEIR WORKSHOP IN COPENHAGEN, AND RENTS THEM TO TOURISTS AND COPENHAGENERS. THE BIKE RENTAL BUSINESS IN COPENHAGEN FINANCES THE COLLECTION AND TRANSPORTATION OF BIKES TO BAISIKELI’S WORKSHOPS IN SIERRA LEONE AND MOZAMBIQUE. WWW.BAISIKELI.DK

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CAN YOUR KIDS CYCLE TO SCHOOL?

CO-HABITATION STATEMENT

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IN-BETWEEN SCALE KRISTIAN BYRGE, CO-FOUNDER OF MUUTO, AND DESIGNER AND ARCHITECT JULIEN DE SMEDT TALK TO JANE ROWLEY ABOUT SUSTAINABILITY IN THE CONTEXT OF THEIR COLLABORATION ON CRUSHED BOWLS, WHERE BIG-SCALE ARCHITECTURE AND COMPUTER MODELLING ARE APPLIED TO SMALL-SCALE OBJECTS.

CRUSHED BOWL. HANDMADE FINE BONE CHINA, WHITE GLAZED. PHOTO: GILS FOTOGRAFI

WE TRY TO RE-FOCUS ON ENJOYMENT AND THE HEDONISTIC, THE PERFORMATIVE AND THE ACTIVE, RATHER THAN AESTHETIC CANONS AND DESIGN DOGMAS. Kristian, how does Muuto’s design perspective address sustainability and ´the human´?

We always start with the human – with who is going to use and hopefully enjoy the product. Design is about understanding human needs. If we succeed, we can make a product that is durable because it taps into a universal need rather than a passing trend. This creates a basis for long-term use, rather than perpetuating throwaway culture. /V^ KVLZ [OH[ PUÅ\LUJL `V\Y JOVPJL VM H KLZPNULY like Julien de Smedt?

Julien has the ability to address human needs with solutions that are thought through. He researches intensively before starting the design, and we have a good dialogue throughout the process. So far the end results are products that we can be proud of – in both the short and the long term.

Julien, you describe your projects as being ‘huTHUS` KLZPNULK WVSP[PJHSS` LUNHNLK ÄUHUJPHSS` viable, and structurally realistic’.

We try to re-focus on enjoyment and the hedonistic, the performative and the active, rather than aesthetic canons and design dogmas. When we were asked to design a 1,000 metre-high building we experimented and realised that what we were designing not a tower block, but a vertical city.

At a very down-to-earth and practical level our building had to provide what a city provides. If you live 1,000 meters above ground, are you going to go down to the street to walk your dog or take a stroll in the park?

The way buildings are constructed today, you wouldn’t

OH]L H JOVPJL :V ^P[O :OLUaOLU 3VNPZ[PJ *P[` ^L designed a tower that functions like a city.

Also because we believe that any building has some kind of civic responsibility to its context. Why should a bank be a pristine and inert block of glass and concrete? The building might not always be a bank, so architecturally it has a responsibility to be in dialogue with its surroundings.

How do these guiding principles come into play?

Change is good. Applying principles that are tried and [LZ[LK PU VUL ÄLSK [V HUV[OLY JHU IL H YLHS L`L VWLULY and gives us a platform to rethink design concepts.

With Crushed Bowls we used triangulated structures, ^OPJO HYL \Z\HSS` \ZLK MVY TH[LYPHS LMÄJPLUJ` PU HYJOP[LJ[\YL 4H[LYPHS LMÄJPLUJ` PZ UV[ ZVTL[OPUN `V\ \Z\HSS` [OPUR VM ^OLU ^VYRPUN ^P[O ÄUL IVUL JOPUH I\[ [OL triangles were an interesting working tool. The bowl developed organically, but throughout the process the intention remained clear due to the geometric presence of the triangle.

It was an experiment that resulted in the bowl. The idea was to use the geometric assembly of identical triangles like Bucky Fuller’s geodesic domes in a single form – here the bowl – and play with the potential of the triangles to create a spoon holder, a pouring spout, etc. Ergonomics is nothing new. What’s interesting is the potential of geometric, structural methods to realise the ergonomics of a given object.

What role does sustainability play in your work?

Sustainability, understood as the necessary equilibrium between needs, consumption and waste, is a crucial element of our design philosophy and methods.

We want to go beyond the guilt complex that is every designer’s due, and start thinking about production and pollution as part of a larger cycle where everything sustains something else. This starts with the decision about whether to take on a project – whether it plays a relevant role in co-creating societies we want to live in.

MUUTO’S DESIGN PHILOSOPHY IS INSPIRED BY THE FINNISH WORD ‘MUUTOS’, WHICH MEANS NEW PERSPECTIVE. THE

>OH[ HYL [OL KPMMLYLUJLZ IL[^LLU ^VYRPUN VU [OL ]HZ[S` KPMMLYLU[ ZJHSLZ VM *Y\ZOLK )V^SZ HUK Shenzhen Logistic City?

Everything is connected. The most interesting projects ZVTL[PTLZ LTLYNL PU HU PU IL[^LLU ZJHSL aVUL ¶ VY when working on an extreme scale. Like the multiTPSSPVU T ]LY[PJHS JP[` VM :OLUaOLU VY HU \YIHU VIQLJ[ that is too big to be furniture but too small to be a building. We’re currently working on a project for an urban object that has multiple social functions. It’s like working with a non-established scale – an in-between.

COMPANY IS FIRMLY ROOTED IN SCANDINAVIAN DESIGN, HAND-PICKING DESIGNERS FROM SWEDEN, NORWAY, FINLAND AND DENMARK, AND GIVING THEM THE FREEDOM TO EXPRESS THEIR PERSONAL DESIGN PHILOSOPHY IN EVERYDAY PRODUCTS FOR THE HOME. WWW.MUUTO.COM

JULIEN DE SMEDT IS FOUNDER & DIRECTOR OF JDS ARCHITECTS, A MULTIDISCIPLINARY COMPANY WORKING WITH ARCHITECTURE, URBAN PLANNING AND PRODUCT DESIGN. A GRADUATE OF THE BARTLETT SCHOOL OF ARCHITECTURE, BEFORE FOUNDING JDS ARCHITECTS IN 2006

@V\»]L [HSRLK HIV\[ \ZPUN [OL WYPUJPWSLZ VM IPN scale computer modelling on small objects, adding what you call ‘human ergonomics’. How? This is very much what happened with Crushed Bowls.

JULIEN CO-FOUNDED AND CO-DIRECTED PLOT ARCHITECTS IN COPENHAGEN. JDS ARCHITECTS HAS WON NUMEROUS PRESTIGIOUS INTERNATIONAL AWARDS AND COMMISSIONS, WWW.JDSA.EU

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MICHAEL ANKER, CEO LUCEPLAN DENMARK AND MADS KJØLLER DAMKJÆR, CREATIVE DIRECTOR AT GOODMORNING TECHNOLOGY. PHOTO: NICOLAI PERJESI

DESIGNING THE LIFE CYCLE MADS KJØLLER DAMKJÆR, CREATIVE DIRECTOR AT GOODMORNING TECHNOLOGY, TALKS TO JANE ROWLEY ABOUT SUSTAINABILITY, SOCIETY AND A HUMAN APPROACH IN THE GLOW OF THE SUCCESS OF THE ARCHETYPE LAMP

60% OF ALL NEW PRODUCTS FAIL ON THE MARKET. NONE OF US SHOULD BE PRODUCING MORE STUFF WE CAN’T OR WON’T USE. There’s lots to talk about, but first things first – why the name Archetype?

The name Archetype is based on the simplicity we were striving for using the archetypical shape of lampshades. LED lamps often look pretty futuristic, but we wanted something that gave us the 80% energy ZH]PUN VM 3,+ I\[ JV\SK Ä[ PU[V L]LY` OVTL :V L]LU though the technology is ‘new’ people feel comfortable with it because the lamp looks and feels familiar.

We also wanted it to be easy for people to use and understand – as easy as changing an old-fashioned light bulb.

Archetype combines innovation and classical Scandinavian design. How does sustainability come into play?

We always operate with sustainability guidelines.

For Archetype there’s the LED, which literally lasts years. But we also put a lot of thought into the manufacturing process, into making it easy to HZZLTISL HUK KPZHZZLTISL MYVT IHZPJ LSLTLU[Z! the (recycled) aluminium, the plastic diffuser, and the easily replaceable LED we developed with Phillips. Archetype is designed and built to last, but worst-case scenario all the components can be easily separated and safely disposed of in the right recycling bins.

There’s no individual designer’s name on Archetype. How does Goodmorning Technology’s teamwork influence the final product?

Our work is multidisciplinary. We always gather a team of people with different skills and approaches to develop our projects. We’ve discovered that this diversity of input – coming at things from different angles – is the only way we can really innovate and design for the future.

Archetype’s Italian producer, Luceplan, talk about ‘designing the life cycle’. How does that work for Goodmorning Technology?

We always think long-term – and most importantly about whether the product is needed. We turn down a lot of design work we don’t agree with or don’t think the world needs. So the match with Luceplan was perfect.

[OL ^OVSL WYVJLZZ MHU[HZ[PJ HUK 3\JLWSHU HTHaPUN They’re really positive, professional people.

Describing ‘Archetype’ you use the words ‘humanistic’ and ‘approachable’ to describe the design’…

Archetype is easy to welcome into your home, easy to understand and easy to use. It’s made for people.

At a broader level we think design should tell a story – be meaningful for the user and for society as a whole. 60% of all new products fail on the market.

None of us should be producing more stuff we can’t or won’t use.

GOODMORNING TECHNOLOGY WAS FOUNDED IN *67,5/(.,5 05 ( :;9(;,.0* +,:0.5 (.,5*@ .4;5 HELPS COMPANIES STRENGTHEN THEIR BRAND, SERVICES AND PRODUCT RANGE TO ACHIEVE BUSINESS SUCCESS

The Archetype story is a designer’s dream come true. How did the collaboration with Luceplan happen?

We’ve been developing LED designs and concepts with Denmark’s sustainable energy lab RISØ since 2005. In 2009 we developed and designed a lighting range, including Archetype. We showed it to Michael Anker, director of Luceplan here in Denmark. He immediately sent it Luceplan’s CEO in Italy. The CEO JHSSLK TL [V ZH` OL ^V\SK IVVR H ÅPNO[ HZ ZVVU HZ 0 had time to come to Milan! Two years of collaboration later and Archetype was launched at Milan Furniture Fair this year. The interest has been overwhelming,

THROUGH DESIGN AND INNOVATION. GMTN’S CLIENTS RANGE FROM LARGE CORPORATIONS TO SMALL START-UPS. WWW.GMTN.DK

LUCEPLAN WAS FOUNDED IN MILAN IN 1978 BY THE ARCHITECTS RICCARDO SARFATTI, PAOLO RIZZATTO AND SANDRA SEVERI TO CREATE AND PRODUCE LIGHTING TO ENHANCE QUALITY OF LIFE. ENERGY SAVING IS A TOP PRIORITY, AS IS THE ENVIRONMENTAL IMPACT OF THE ENTIRE OPERATION – FROM CHOICE OF MATERIALS TO PRODUCTION, FROM PRODUCT DURABILITY TO PRODUCT MAINTENANCE. WWW.LUCEPLAN.COM

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CITA | WORKING FOR AND WITH MATERIAL PERFORMANCE

BY METTE RAMSGAARD THOMSEN, MMA, PHD, ASSOCIATE PROFESSOR, HEAD OF CITA (CENTRE FOR INFORMATION TECHNOLOGY AND ARCHITECTURE), THE ROYAL DANISH ACADEMY OF FINE ARTS, SCHOOLS OF ARCHITECTURE, DESIGN AND CONSERVATION – SCHOOL OF ARCHITECTURE.

IT IS THROUGH MATERIAL UNDERSTANDING THAT WE COME TO SHAPE THE WORLD OF ARTEFACTS AND STRUCTURES THAT SURROUND US. The understanding of materials as active, whether JVTWYLZZLK \UKLY [LUZPVU VY ÅL_LK ^OPSL OHUKSLK PZ at the root of all craft traditions. The ability to work a material – to saw and chisel wood, to weld and hammer steel or to weave and knit yarn – relies on a proMV\UK \UKLYZ[HUKPUN VM P[Z WLYMVYTHUJL ;OL ZVM[ ÅL_ of wood, the sprung stiffness of steel, and the tensile elasticity of yarn are inherent properties that inform and shape our craft traditions:

to the richness of ornamentation, but rather a fundamental shift in our understanding of materials. Rather [OHU [OPURPUN VM TH[LYPHSZ HZ H ZL[ VM ÄUP[L JH[LNVYPLZ - timber, steel, concrete or glass - materials need to be seen through their capacity to perform; to bend, ÅL_ HUK Z[YL[JO 0U [OPZ ^H` KPNP[HS MHIYPJH[PVU PU]P[LZ architects to rethink the traditions of crafting and to investigate how new processes of folding, twisting or pleating materials can lead to new structural systems.

;OL SHZ[ `LHYZ OH]L ZLLU HU PUJYLHZPUN \ZL VM JVTputer driven fabrication technologies. Computer control now informs most western manufacturing across multiple scales and materials. This increasing application of digital fabrication technologies has optimised today’s industrialised building practice and created a new economic platform for our built environment.

The ideal of working with a performative understanding of materials also holds a reverse challenge to our design tools. To work well with material performance and to implement this in structural design requires good simulation tools by which these structural forces can be anticipated and calculated. Existing design tools are designed to calculate standardised materials in traditional load-bearing structures. As we start working with more complex structural performances, SPRL ZLSM IYHJPUN ÅL_PUN HUK [LUZPVUPUN ^L ULLK UL^ tools by which calibrate these. Here we are met with a ZL[ VM UL^ JOHSSLUNLZ ;OL ÄYZ[ WYVISLT [OH[ HYPZLZ PZ the sheer increase in complexity. Material simulation and continual variegation require more complex algorithmic calculations and greater computer power. We therefore need better computational tools by which to undertake these calculations. But a second, perhaps more fundamental problem, lies with the division of these design tools into carefully segregated professions each with their own culture of problem design HUK ZVS\[PVU ÄUKPUN 0M ^L HYL [V ^VYR PU[LSSPNLU[S` ^P[O material performance, and thereby take full advantage of the shared digital platform that forms the basis for digital fabrication, we need to develop new tools that support real collaboration between designers, engineers and craftsmen during the early design phases.

But digital fabrication is more than an optimisation tool. It also allows us as designers and architects to reconsider our conceptual and material practices.

Digital fabrication has direct consequences for the way material is thought in design by shifting material thinking to the centre of design intention. If architecture has predominantly been understood as a formalist tradition, where formal concerns preceded material thinking, designing for digital fabrication challenges this ideal. Instead, material, craft and performance become core questions present already at the start of the design phase.

Working with digital fabrication emphasises the presence of material and necessitates that the design embodies a fundamental understanding of the craft traditions that are included. What is at stake is not only the systematic control of variation or even a return

Working through the digital towards the material positions architecture and design in a new challenge of TH[LYPHS [OPURPUN 0M HZ WYHJ[P[PVULYZ ^L JHU ÄUK ^H`Z of implementing material performance in the design of our built environment and use traditional materials in new ways, we will be creating the tools by which we can develop a more sustainable and environmentally responsive building culture. To work intently with material performance is to work directly with an understanding of a material’s relation to its environment, its production, and its use. Working for and with material performance is therefore to work with a situated understanding of design.

THE PROJECTS ARE DEVELOPED WITH THE KIND SUPPORT OF THE REALDANIA FOUNDATION AND LISBON ARCHITECTURE TRIENNALE (THICKET), THE VELUX FOUNDATION, THE VILLUM KANN RASMUSSEN FOUNDATION VISITING PROFESSOR PROGRAMME (DERMOID) AND WITH THE SUPPORT AND COLLABORATION OF BITTEN HEGELUND,THE ROYAL DANISH ACADEMY OF FINE ARTS, SCHOOLS OF ARCHITECTURE, DESIGN AND CONSERVATION – SCHOOL OF DESIGN (BLUSH).

CITA (CENTRE FOR INFORMATION TECHNOLOGY AND ARCHITECTURE) IS A RESEARCH CENTRE AT THE ROYAL DANISH ACADEMY OF FINE ARTS, SCHOOL OF ARCHITECTURE. IDENTIFYING CORE RESEARCH QUESTIONS INTO HOW SPACE AND TECHNOLOGY CAN BE PROBED, CITA INVESTIGATES HOW THE CURRENT FORMING OF A DIGITAL CULTURE IMPACTS ON ARCHITECTURAL THINKING AND PRACTICE. CITA FOCUSES ON IT AS A TOOL FOR DESIGN, PRODUCTION AND COMMUNICATION WITHIN THREE KEY RESEARCH AREAS: DIGITAL FORMATIONS, BEHAVING ARCHITECTURES AND INTERFACE ECOLOGIES. WWW.CITA.KARCH.DK

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IN THE THREE RESEARCH PROBES THICKET, DERMOID AND BLUSH, THE PERFORMATIVE AND CRAFTS-BASED THINKING OF DESIGN CAN LEAD TO NEW WAYS OF THINKING STRUCTURAL DESIGN. PHOTOS: ANDERS INGVARTSEN

Thicket explores the computation of the soft bend of ash slats into a woven structure. Using a bespoke parametric design system, the wall is a pleated structure that creates a dense spatial weave.

Dermoid, a collaboration with Professor Mark Burry and the Australian research group SIAL, explores the PUOLYLU[ ÅL_PIPSP[` VM ^VVK ;OL Z[Y\J[\YL PZ THKL VM SHser cut plywood and each member is interwoven with the others in a hexagonal space frame.

Blush is a table project that queries formal design traditions in the context of variegated material realisation: the softness of the draped silk satin and the hardness of the CNC milled shuttering plywood. The tablecloth is developed as an integrated part of the table, draping the surface in rich folds.

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CAN DESIGN SAVE THE WORLD? NO, BUT IT CAN HELP! CHALLENGE SOCIETY. DESIGNING SIMPLE SOLUTIONS FOR A COMPLEX FUTURE The world we live in is changing at an incredible pace, creating complex societal challenges. The welfare state is under pressure. There are not enough hands to take care of the elderly, hospitals make people ill, and schools are getting lousy marks. There’s a lot to do, and we’re going to need a lot of new, creative solutions to get it done.

The exhibition CHALLENGE SOCIETY shows how design meets the challenge, not by designing new [OPUNZ MVY [OL ^VYSK I\[ I` ÄUKPUN UL^ ^H`Z [V design the world. Design has the capacity to reinvent and create systems and services that can take the indivi dual, society and companies into the future.

CHALLENGE SOCIETY encourages us to open our eyes to design as a creative force that can be crucial in how we shape the society of the future. The exhibition focuses on the humane and holistic qualities of design: design that adapts and facilitates processes, rejuvenates society, and creates better lives. Design that gets to grips with the things that really matter: people, life and the environment.

porary focus on all-embracing solutions in an environmental, cultural, social and ethical context. Today design has new relevance as an approach and mindset that puts life before the system and people before method - a way of thinking and acting in the world that generates meaning and creates real results in social innovation and societal change.

0U ÄSTZ ^VYKZ HUK PTHNLZ [OL L_OPIP[PVU ZOV^Z how design’s simple solutions to complex challenges can give a welfare state under pressure a necessary boost, create better solutions for the people who ILULÄ[ MYVT P[ HUK PUJYLHZLK ]HS\L MVY [OL JVTWHUPLZ who practice it.

The exhibition includes Danish prisons, hospitals and nursing homes that have met major challenges with ambitious public-private partnerships and collaborations with design bureaus.

CHALLENGE SOCIETY explores the potential and perspectives for designing a better future.

THE EXHIBITION CHALLENGE SOCIETY EXPLORES THE POSSIBILITIES OF DESIGNING A NEW FUTURE AND CAN BE SEEN AT THE DANISH DESIGN CENTRE UNTIL

The concept of design has expanded exponentially, from the creation of individual objects to the contem-

FEBRUARY 19TH 2012 WWW.DDC.DK

COPENHAGEN DESIGN WEEK 11

CASE: DESIGN SOLUTIONS FOR ‘COMPLEX’ PATIENTS The design company Hatch & Bloom has helped Randers Hospital to improve the treatment of JVTWSL_ WH[PLU[Z ^P[O LMÄJPLU[ HUK JVVYKPUH[LK treatment and better service for both patients and their relatives. Using design thinking as their starting point, the company aimed for a holistic, humancentred solution.

THE CHALLENGE A complex patient is a patient that has multiple diagnoses and needs both surgical and medicinal treatment. Complex diagnoses demand a series of simultaneous examinations and treatments. Many complex patients risk being passed from unit to unit, without anyone taking any real responsibility for their wellbeing. The risk of confusion and counteractive treatment is high, as is the risk of wasting precious time and expertise. As life expectancy rises, the number of complex (often elderly) patients will also rise.

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THE PROCESS The design company Hatch & Bloom followed the staff at the hospital 24/7 for four weeks, mapping treatmentrelated procedures and processes. Patients and their relatives were asked about their frustrations and worries - and what made them happy. It soon emerged that it wasn’t the patient but the organisation that was JVTWSL_ ,MÄJPLUJ` HUK º[OL Z`Z[LT» V]LYY\SLK O\THUP tarian considerations, blocking a thought-through process that met the needs of staff and patients.

On the basis of their observations, the ideas of the staff, and interviews with experts, Hatch & Bloom proposed new procedures that were then discussed by the staff, the patients and their relatives in workshops.

All the ideas that survived were incorporated in new solutions. It emerged that the best way to ensure improved treatment was a better collaboration between the medicinal and surgical units.

THE RESULT The process resulted in the creation of two wards reserved for patients needing both surgical and medicinal

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treatment. In describing the patients, the problematic HKQLJ[P]L ºJVTWSL_» ^HZ YLWSHJLK I` ºO`IYPK» YLÅLJ[PUN a more positive, human focus. A coordinating consultant and expert nurse were appointed to ensure that there was always a contact person with the relevant know ledge. An interdisciplinary collaboration PR campaign was launched, and physical products, like colour-coded medical records, InfoCard key rings, quick guides, manageable notice boards, new name badges, and a cosy day room were also part of the solution.

THE VALUE The solutions were creative but cheap and simple – and they work. Hybrid patients are given the right treatment and discharged much faster thanks to improved coordination.

Eight months after imple men tation, the average hospital stay had already been reduced by 18%. And most importantly, being in hospital has become a much more positive experience for the patients.

“SHOULD OUR SURGICAL DEPARTMENT AVOID CO-OPERATING WITH OUR MEDICAL DEPARTMENTS? YES OR NO?” ILLUSTRATION: HATCH AND BLOOM

HATCH & BLOOM IS A DANISH IDEA AND DESIGN AGENCY WHO OPERATES WITHIN THE FIELDS OF INSIGHTS, INNOVATION AND COMMUNICATION. HATCH & BLOOM WORK WITH PRIVATE CORPORATIONS, NON-PROFIT ORGANIZATIONS AND PUBLIC INSTITUTIONS IN ORDER TO IDENTIFY AND TRANSFORM THEIR BRANDS, PRODUCTS AND SERVICES. WWW.HATCHANDBLOOM.COM.

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CHALLENGE SOCIETY EXHIBITION AT THE DANISH DESIGN CENTRE. PHOTO: THE DANISH DESIGN CENTRE

NEW TIMES, NEW SOLUTIONS The social, economic, technological and environmental forces that created the industrial age of the past 250 years are being replaced by the forces that will create the socio-ecological age of the 21st century. ;OPZ UL^ HNL PZ UV[ KLÄULK I` THZZ WYVK\J[PVU HUK individual consumption, but by societal needs and social solutions. Critical social challenges, like chronic disease, care of the elderly, education and increased mobility, place new demands on the innovation of the future. It’s not only the solutions that are social – their creation is increasingly social too.

New digital and social media make the hierarchies of former times redundant: consumers have become producers, and open network collaborations between consumers, partners and companies are replacing closed, controlled systems. )` KLÄUP[PVU ZVJPHS ZVS\[PVUZ HUK ZVJPHS PUUV]H[PVU involve a lot of people. They’re not created behind the closed doors of corporate experts, but are by nature

inclusive, democratic, shared, open and creative. A ZOPM[ [OH[ PZ OPNOS` ZPNUPÄJHU[ MVY KLZPNU HUK PUUV]H[PVU >OPSZ[ [OLYL»Z UV KV\I[ [OH[ ^L ULLK [V ÄUK answers to the challenges of our age, how we’ll do it is still an open question. The increasing focus on society, shared values and social solutions increases the need to break free of traditional models. New times call for new solutions: new methods and a new mindset.

Design thinking is a mindset that sees things anew and as a whole. Design thinking can interpret social changes, run dynamic processes, and embrace complexity.

Design thinking is human-centred not technologycentred, and is perfectly suited to our age. People rule.

Technology is what makes that possible.

The new age will be dominated by multidisciplinary innovation processes. The people involved and investPUN PU [OLZL WYVJLZZLZ ^PSS ILULÄ[ MYVT [OL HIPSP[` VM designers to integrate and facilitate a complex process, just as the ability to develop real-life solutions to intangible issues will be a key, strategic tool.

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ARE DESIGN THINKING AND THE CHALLENGES OF SOCIETY ANY OF MY BUSINESS?

YES. IF YOU INTEND TO STAY IN BUSINESS!

CAN DESIGN SAVE THE WORLD?

NO. BUT IT CAN HELP!

WHAT IS DESIGN THINKING ?

DESIGN THINKING IS THE APPROACH AND ANSWER TO CHALLENGES WITH EVERYTHING IN MIND!

SHOULD WE BID FAREWELL TO BAD WELFARE?

YES. DESIGN THINKING CREATES SOLUTIONS THAT MAKE SENSE TO EVERYONE!

ILLUSTRATION AND STATEMENT: THE DANISH DESIGN CENTRE

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COPENHAGEN DESIGN WEEK 11

HUMANS AS CO-CREATORS

BY GITTE JONSDATTER, PARTNER AT CROSSROAD INNOVATION While co-creative design has been developing under various isms over the past half century, recent changes in technology and social life are changing the terms of engagement.

JVSSHIVYH[PUN ^P[O M\[\YL J\Z[VTLYZ [V YLÄUL [OL design and message.

GITTE JONSDATTER, PARTNER AT CROSSROAD INNOVATION, HAS BEEN BRINGING A HUMANCENTRED

In the early 20th century design was mainly practised by specialists. Philosophies of why and how designers decide to involve the people who will ultimately use their products or systems have evolved over time: from studying humans as just one factor in a complex Z`Z[LT [V ZLLPUN [OLT HZ H \UPVUPaLK SHIV\Y MVYJL [V negotiate with, to developing successful commercial products and services through

Rich media and social media are shifting the relationship of ‘designers’ to ‘humans’ once again. As people expand their networks of collaborators through online social channels like LinkedIn and Facebook, the lines between creator and consumer are blurring and NYV\WZ VM LU[YLWYLUL\YZ HYL ZLSM VYNHUPaPUN PU \UWYLdictable ways. Where is this going? No one knows for sure. The only guarantee is that it will disrupt business as usual – on a scale unprecedented since the Industrial Revolution.

1940s:

1970s-1980s:

HUMAN AS A UNIONIZED LABOUR FORCE

HUMAN AS COMMERCIAL TESTBED

PHOTO: SCANPIX

PHOTO: SCANPIX

PHOTO: THE DANISH DESIGN CENTRE

USABLE SYSTEMS A natural extension of Taylorism, Elias Porter and others at the RAND Corporation saw humans as one element in a system: any man-made system, such as air defence, could be studied as a single organism with sub-elements that could be optimised. Humans were just one of many factors in the design: physical and cognitive factors that interacted with other parts of the system.

DEMOCRATIC WORKPLACE The introduction of technology into the workplace in Scandinavia caused concern by unions about potential negative impacts on their members if the workers and their representatives were not included in design decisions. NJMF in Norway, DEMOS in Sweden, and DUE in Denmark mark Scandinavia as the birthplace of a democratically motivated and politically enforced inclusion of people in design.

COMMERCIAL DESIGN Involving customers in the creation of products and services either to identify concepts, estimate market adoption or guide design development has become standard. Used extensively by the majority of large companies, most design and innovation consultancies offer techniques to facilitate the involvement of end consumers in the design process.

HUMAN AS PART OF THE MACHINE

APPROACH TO DEVELOPMENT STRATEGY FOR OVER 10 @,(9: -69 *30,5;: 302, 4 *0;0.96<7 7,7:0 (5+ 3,.6 FOLLOWING HER FREELANCE CAREER IN NYC, IN 2001 SHE JOINED IDEO AS A RESEARCH SPECIALIST. SHE WORKED HERE UNTIL RELOCATING TO COPENHAGEN IN 2007. GITTE IS NOW A PARTNER AT CROSSROAD INNOVATION, FOUNDED IN 2009 TO HELP COMPANIES INTEGRATE EMERGING COLLABORATIVE TECHNOLOGIES INTO INNOVATION PROCESSES. WWW.CROSSROADINNOVATION.COM

1980+:

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PHOTO FROM WWW.MUUSE.COM. DESIGN: LAURA BARUËL’S DRESS: “JAPANESE WARRIOR”.

TOMORROW: HUMAN AS ... ?

Widespread access to the Internet means that an increasing number of people are using rich media to form new collaborations, share ideas, and voice their opinions about just about everything. As the global conversation becomes all-access, companies are becoming more porous in their team structures, more transparent in their communication, and are forced

to work harder to ensure consumers “like” them. As the global network offers entrepreneurs and customers easy access to each other and to suppliers, the competitive advantages of big companies are falling away. The power of the customer, and of individuals to ‘co-create’ value together in new ways, has never been greater.

MUUSE is on a mission to launch entrepreneurial designers and to change the way fashion is produced and sold. An online community for emerging design talent from top fashion schools and people who love fashion, www.MUUSE.com invites people to select, discuss and order limited edition pieces sewn in Copenhagen.

HOW IS NETWORKED CO-CREATION CHANGING INDUSTRIES? BORDERLESS ORGANIZATIONS Companies become dispersed collaborative environments that form a workforce of freelancers and enthusiasts. Teams are distributed globally and collaborate to design and produce without necessarily meeting face-to-face.

21ST-CENTURY COTTAGE INDUSTRIES Individual designers use web tools and access to rapid production to overcome barriers, launching ventures using their social networks. Funding, sales, promotion and production channels on the Internet mean that they now have the chance to compete with big players.

BOBLR Globally outsourcing design response to challenges by major companies creates a global pool of freelancers.

KICKSTARTER Crowd funding for LU[YLWYLUL\YZ VM HU` ZPaL MVY WLYsonal projects.

QUIRKY Self-selecting dispersed teams nominated by the crowd ^VYR MVY ZVJPHS HUK ÄUHUJPHS YLward.

CUUSOO Enthusiasts upload ideas for products. Popular ideas are produced by collaborating companies.

SELLABAND Fans invest in their favourite musicians for insider HJJLZZ VY H ZOHYL VM WYVÄ[Z MUUSE Emerging fashion designers launch collections using crowd-sourcing & pre-order

CAUSE-BASED BUSINESSES *P[PaLUZ HYV\UK [OL ^VYSK \ZL NYHZZ YVV[Z VYNHUPaHtions to create the change they would like to see and JVSSHIVYH[L HJYVZZ IVYKLYZ HUK V\[ZPKL VM VYNHUPaHtions to effect positive change that is economically sustainable.

COMMON A shared label brings PR/business talents together to launch social enterprises.

TOM’S SHOES Every pair sold equals a donation of a pair to the needy – the promise of guilt-free consumerism.

TED Globally connected set of conferences spreading good ideas for free to anyone with an Internet connection.

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A LOT OF SMALL STEPS

COPENHAGEN DESIGN WEEK 11

“GULLSPIRA” AND “PELLE”, DESIGN BY HELLA JONGERIUS. PHOTO: IKEA OF SWEDEN

THE IKEA VISION IS TO CREATE A BETTER EVERYDAY LIFE FOR MANY PEOPLE. IT’S NOT ONLY ABOUT MAKING GREAT HOME FURNISHINGS. IT’S ALSO ABOUT TAKING SOCIAL AND ENVIRONMENTAL RESPONSIBILITY FOR IKEA CUSTOMERS, COWORKERS AND THE PEOPLE WHO PRODUCE OUR MANY PRODUCTS.

Here’s a little local story from a big global company.

IKEA has decided to help create a world where the company can take better care of the environment, the earth’s resources, and each other. Lena Gaarde, Head of Communication at IKEA Denmark, explains: “We know that we’re sometimes part of the problem, but we work hard to be part of the solution too. It’s part of our culture to constantly ask ourselves how what we’re doing today can be done better tomorrow.

We weigh the pros and cons, continually examining and changing things. Lots of small steps in lots and lots of areas add up to something big and noticeable!

All the improvements we make for a better and more sustainable future is a never-ending job, but we’ve already started.”

Several years ago IKEA and UNICEF started setting up workshops for women in India. Workshops that helped the women set up small sewing businesses and helped their children to go to school. This collaboration was a huge inspiration for Dutch designer Hella Jongerius: “When I heard about the project in India that created work for women in workshops while their children could enter special schools in the meantime, I was

very enthusiastic. It offered me the opportunity to not only follow my own fascinations in work, but to make a contribution to a better world as well,” says Hella Jongerius.

Based on the IKEA-UNICEF programme, Hella Jongerius developed a series of decorative wall hangings. Inspired by the animals of Swedish fairy tales – drawing on the local roots of this global company – small-scale craft production in India is combined with large-scale industrial production by IKEA.

to learn and share experiences, accomplishing more than the company could ever do working alone.

At Copenhagen Design Week 2011 you can learn more about IKEA’s experiences and achievements, and what the future might bring when it comes to sustainable design and human thinking.

IKEA ALWAYS DESIGNS THE PRICE TAG FIRST. BUT THE PRICES ARE NOT LOW AT ANY COST. IKEA’S VISION ALSO INCLUDES TAKING AN ACTIVE RESPONSIBILITY FOR PEOPLE AND THE

The result is textiles that not only IKEA and Jongerius ILULÄ[ MYVT I\[ [OH[ HSZV OLSW [OL JYHM[Z^VTLU ^OV leave their mark in the making. Each individual wall hanging is handbroidered by one single woman. And each comes with a label with the names of IKEA, Hella Jongerius and the embroidered name of the woman who made it.

ENVIRONMENT. ESTIMATES OF THE ENVIRONMENTAL IMPACT

IKEA AND CSR At a global and national level IKEA co-operates with UNICEF, WWF and Save the Children. IKEA also cooperates with companies, trade unions, NGOs and other organisations to develop and reinforce the impact of the company’s social and environmental work. These collaborations make it possible for IKEA

HELLA JONGERIUS HAS BECOME KNOWN FOR HER UNIQUE

AND THE SOCIAL ASPECTS OF PRODUCTION HAVE BECOME A NATURAL PART OF THE DESIGN PROCESS. THE RESPECT FOR THE ENVIRONMENT MEANS THAT MATERIALS, PRODUCTION METHODS AND RECYCLABILITY ARE MANDATORY REQUIREMENTS IN IKEA’S DESIGNS. DESIGN FOR PEOPLE, CREATED BY PEOPLE WITH RESPECT FOR THE ENVIRONMENT. WWW.IKEA.DK

FUSION OF INDUSTRY AND CRAFT, HIGH TECH, LOW TECH AND THE CONTEMPORARY. HER WORK HAS BEEN WIDELY EXHI BITED AT MUSEUMS AND GALLERIES LIKE THE COOPER HEWITT NATIONAL DESIGN MUSEUM (NEW YORK), MOMA (NEW YORK), THE DESIGN MUSEUM (LONDON), GALERIE KREO (PARIS) AND MOSS GALLERY (NEW YORK). WWW.JONGERIUSLAB.COM

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Design Perspective Whatâ&#x20AC;&#x2122;s Yours?

Share your inspiration at the crowdsourced Design Perspectives Exhibition.

Upload a photo to www.designperspectives.dk

Powered by NOKIA

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COPENHAGEN DESIGN WEEK 11

A WORLD OF PRAGMATIC UTOPIAS ANDREAS KLOK PEDERSEN, PARTNER AT BIG ARCHITECTS, TALKS TO JANE ROWLEY ABOUT INJECTING HEDONISM INTO VISIONARY ARCHITECTURE THAT TRANSFORMS TRADITIONAL CONCEPTS OF SUSTAINABILITY.

â&#x20AC;&#x153;BUILDING SUSTAINABLY IS NOT ONLY ABOUT REDUCING THE ENERGY CONSUMPTION OF BUILDINGS, BUT ALSO ABOUT RECHANNELING WASTE PRODUCTS INTO OTHER USESâ&#x20AC;?

BIG  is  a  company  that  works  on  a  global  scale.  What  JOHUNLZ HUK KL]LSVWTLU[Z HYL `V\ J\YYLU[S` WHY[ VM& Right  now  weâ&#x20AC;&#x2122;re  building  in  Asia,  Europe  and  the  US.  In  New  York  weâ&#x20AC;&#x2122;re  working  on  the  W57  building  in  4HUOH[[HU [OL PUP[PHS YLHZVU ^L ZL[ \W HU VMĂ&#x201E;JL [OLYL Weâ&#x20AC;&#x2122;re  experiencing  a  lot  of  new  opportunities  in  the  US.  Itâ&#x20AC;&#x2122;s  a  great  climate  for  innovation,  and  in  the  wake  VM [OL Ă&#x201E;UHUJPHS JYPZPZ [OLYL ZLLTZ [V IL H UL^MV\UK ambition  to  address  real  urban  challenges.  0U (ZPH ^LÂť]L ZLLU H ZOPM[ MYVT WYVĂ&#x201E;[ KYP]LU MHZ[ paced  construction  to  the  emergence  of  much  higher  architectural  ambitions.  Maybe  the  2008  Olympics  in  Beijing  was  the  turning  point  for  this  change?  Later  this  `LHY ^L Z[HY[ [OL JVUZ[Y\J[PVU VM [OL :OLUaOLU ,ULYN` Mansion,  a  highly  ambitious  project  in  terms  of  both  architecture  and  sustainability.  We  expect  to  be  working  continuously  in  Asia  in  the  future,  meeting  the  challenges  of  the  still  explosive  urban  growth  in  the  region.

BIG  operates  with  the  term  Pragmatic  Utopias.  How  do  you  combine  down-to-earth  practicalities  ^P[O OPNO Ă&#x2026;`PUN ]PZPVUZ&

We  developed  the  term  Pragmatic  Utopias  during  a  YLZLHYJO WYVQLJ[ PU 0[ YLĂ&#x2026;LJ[Z V\Y HTIP[PVU [V YLVYNHUPaL VY YLKLZPNU ZVJPL[` [V KYHZ[PJHSS` PTWYV]L quality  of  life  â&#x20AC;&#x201C;  while  taking  all  practical  constraints  into  account.  Being  based  in  Denmark,  weâ&#x20AC;&#x2122;re  used  to  operating  in  a  pragmatic  and  strongly  consensus  driven  context.  The  importance  of  addressing  collective  and  public  interests,  in  both  design  and  communication,  has  always  fuelled  our  projects.  This  has  been  key  to  our  work  in  the  US,  where  architecture  has  traditionally  been  dominated  by  either  generic,  practical  developments  or  visually  sophisticated  and  expensive  buildings.  Here  the  intersection  of  the  practical  and  the  spectacular  represents  a  radically  new  approach.

What  role  does  sustainability  play  in  your  utopias?

One  of  the  Pragmatic  Utopias  we  developed  was  called  â&#x20AC;&#x2DC;Little  Denmarkâ&#x20AC;&#x2122;  -  a  small  self-sustaining  neighbourhood  with  a  broad  range  of  urban  programmes.  We  looked  at  the  technical  requirements  of  a  wide  range  of  city  functions,  and  tried  to  create  small  energy Â

loops  by  combining  them.  For  us  building  sustainably  is  not  only  about  reducing  the  energy  consumption  of  buildings,  but  also  about  rechanneling  waste  products  into  other  uses.  We  discovered,  for  example,  that  all  [OL MYLLaLYZ PU H Z\WLYTHYRL[ WYVK\JL LUV\NO Z\YWS\Z heat  to  heat  the  water  in  a  public  swimming  pool.  By  co-thinking  the  two  functions,  we  created  an  outdoor  heated  pool  on  top  of  the  supermarket  so  people  doing  their  shopping  could  look  up  and  see  people  diving  into  the  water  through  the  ceilings.

(Z ^LSS HZ [OL Z\WLYTHYRL[ ^L SVVRLK H[ VMĂ&#x201E;JL and  residential  buildings.  Danish  homes  take  a  lot  VM LULYN` [V OLH[ ^OLYLHZ VMĂ&#x201E;JLZ \Z\HSS` NLULYH[L surplus  heat.  By  combining  these  different  functions  PU H ZPUNSL I\PSKPUN ^L JV\SK TPUPTPaL LULYN` JVUsumption,  and  maybe  have  enough  excess  heat  for  new  recreative  functions.

How  do  these  ideas  play  out  in  the  Loop  City  project  BIG  has  developed?

Loop  City  is  a  new  growth  model  for  the  cross-border  region  between  Sweden  and  Denmark:  an  infrastruc-

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AMAGER BAKKE WASTE-TO-ENERGY PLANT. IMAGE: BIG & GLESSNER.

tural loop not only for people, but also for energy, waste, water and biodiversity.

While developing Loop City, we were invited to participate in a competition for the façade for a new Waste-to-Energy plant in Copenhagen. The director of the plant wanted to create a public attraction and integrate the plant in the recreational landscape of [OL OHYIV\Y >L ÄN\YLK [OL I\PSKPUN ^HZ [HSS LUV\NO make a 500m ski slope.

So the waste plant would not only supply CopenhaNLU ^P[O *6 UL\[YHS LULYN` P[ ^V\SK HSZV IL [OL ÄYZ[ ski slope on this scale in Denmark.

The energy plant in Copenhagen being a ski slope represents a new fusion of the functional and the recreational in urban architecture. Here industry is no longer displaced to the periphery of the city, but starts to blend with cultural and recreational areas. In Copenhagen we have two large waste-to-energy plants in the heart of the city, burning all our garbage and turning it into green energy and clean smoke. Something that could become the basis for new landmark buildings in cities all over the world. Not necessarily ski slopes, but projects formed by the local climate and context as new utopian recreational facilities for Hedonistic Sustainability.

CAREFUL ANALYSIS OF HOW CONTEMPORARY LIFE CONSTANTLY EVOLVES AND CHANGES, NOT LEAST DUE TO THE INFLUENCES OF MULTICULTURAL EXCHANGE, GLOBAL ECONOMIC FLOWS AND COMMUNICATION TECHNOLOGIES. IN DEVELOPING NEW ARCHITECTURE AND URBAN ORGANIZATION THE GROUP CONSTANTLY SHIFTS FOCUS FROM THE LITTLE DETAILS TO THE BIG PICTURE.

ANDREAS KLOK PEDERSEN, PARTNER AT BIG, MANAGES MANY OF THE PARTNERSHIP’S MASTER PLANS AND LARGESCALE PROJECTS. ANDREAS LED THE WINNING SUBMISSION FOR THE NEW NATIONAL ART GALLERY IN GREENLAND, AS WELL AS THE 1,000,000 M2 CO2 NEUTRAL ZIRA ISLAND MASTER PLAN IN AZERBAIJAN. HIS PROJECTS ALSO INCLUDE

This project is the ultimate symbol of what we call Hedonistic Sustainability. The concept is that sustainability is not only about reducing our consumption of resources by reverting to a less modern lifestyle, but actually about improving the quality of modern SPML 0[»Z HSZV [OL ÄYZ[ YLHS L_HTWSL PU 3VVW *P[` VM HU energy plant being truly integrated in the urban environment.

BIG – BJARKE INGELS GROUP – FOUNDED IN 2005, IS A

THE NEW TAMAYO MUSEUM, REN PEOPLE’S BUILDING, LEGO

LEADING INTERNATIONAL PARTNERSHIP OF ARCHITECTS,

TOWERS, KLØVERMARK, SCALA LIBRARY, ARLANDA HOTEL

DESIGNERS, BUILDERS AND THINKERS OPERATING WITHIN

AND BIG’S CONTRIBUTIONS TO THE VENICE BIENNALE IN

THE FIELDS OF ARCHITECTURE, URBANISM, RESEARCH AND

2004 AND 2008. IN ADDITION TO MANAGING INTERNATIONAL

DEVELOPMENT. WITH OFFICES IN COPENHAGEN AND NEW

COMPETITIONS AT BIG, ANDREAS TEACHES ARCHITECTURE AT

YORK, BIG IS CURRENTLY INVOLVED IN A LARGE NUMBER OF

THE ROYAL DANISH ACADEMY OF FINE ARTS AND LECTURES

PROJECTS THROUGHOUT EUROPE, NORTH AMERICA AND

INTERNATIONALLY ON BIG’S RESEARCH AND PROJECTS.

ASIA. BIG’S ARCHITECTURE EMERGES OUT OF A

WWW.BIG.DK

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PRIMITIVE FUTURE?

BY BENEDICTE BROCKS, CURATORIAL COORDINATOR AT LOUISIANA MUSEUM OF MODERN ART.

CHILDREN´S CENTRE FOR PSYCHIATRIC REHABILITATION, HOKKAIDO, JAPAN, 2006. PHOTO: HISAO SUZUKI

A NEW TOPOGRAPHY OF ARCHITECTURE Visiting Louisiana Museum of Modern Art in Denmark inspired Sou Fujimoto to conceptualise three entirely new projects. As an architect, he was inspired by the museum’s relationship to topography, and the wealth of experiences generated by what he saw as the reciprocal relationship between the natural and the manmade. As he said when visiting the museum at Louisiana, you can explore the natural landscape, wandering across the rolling hills and through a rich palette of trees, before descending into the valley formed by the museum’s glass corridor. Here the height VM [OL JLPSPUN Å\J[\H[LZ HUK [OL ÅVVY SL]LS JOHUNLZ creating a pulsating space on the way to alien landscape of the subterranean. It was these experiences and his memories of them that inspired the projects TOWER, CLOUD and GLASS FOREST. Fujimoto doesn’t consider architecture as distinct form, but sees architecture, the landscape and urban life as an integrated continuum. Whereas architects often see buildings as objects rather than elements in the landscape, Fujimoto looks for forms where architecture and nature can coexist harmoniously, combining the ‘inside’ with the ‘outside’.

He has developed his personal approach to architecture by returning to what he calls the primitive states of architecture in both elements and materials. In his best-selling book Primitive Future (2008), he develops his ideas about the cave and nest as the origins of our concepts of dwelling, using these primitive forms to YL[OPUR HUK YLKLÄUL HYJOP[LJ[\YL HZ ZVTL[OPUN ILtween nature and artefact.

Combined with the Internet, smartphones and an increasing awareness of sustainability, Fujimoto explores new ways for us to live our lives – combining these ‘primitive’ forms with architecture to create something new for the future. His design philosophy is based on translating the potential of a new lifestyle into architecture. But, as he says: “I don’t know if these kinds of buildings will be widespread in a hundred years, or if they’ll just seem weird. Architects can’t predict the future.”

Whilst the future might be hard to predict, Fujimoto’s design philosophy is already making a difference in the present. At his award-winning Children’s Center for Psychiatric Rehabilitation in Hokkaido, his unique sensitivity to ‘the spaces in between’ is very clear. Hospitals are usually planned with long corridors leading to small rooms on either side: a system clearly designed from the doctor’s rather than the patient’s side of the desk.

Fujimoto switches perspective. Using a small village as his model, he spent a lot of time thinking about people’s wellbeing, and especially the wellbeing of the children who would be patients at the hospital. He decided to create small hiding places in corners, giving the children the choice of when to join the group or game – creating compatibility and connections between separation and participation.

He wanted to make a space of possibility instead of limiting the function of the rooms to a single activity.

Together with the hospital authorities, he developed a multiple space that could have many different meanings depending on the situation.

Instead of the usual grid, the ground plan of the hospital was conceptualised as a forest. In a forest trees grow randomly, but it is still possible to navigate the terrain.

According to Fujimoto, this combination of randomness and orientation can generate positive expectations.

Maybe something exciting is waiting just around the corner? An unpredictability that can stimulate people to explore the space. There are no demands superimposed by the architecture. Instead, people should be able to inhabit the space in the same way as they would navigate the forest or landscape.

The article is based on the author’s interview with Sou Fujimoto, excerpts of which were published in Louisiana Magasin (May 2011).

Other sources include: Sou Fujimoto, Primitive Future (INAX Publishing, 2008), Sou Fujimoto 2003-2010 (EL Croquis, May 2011), and Jeanne Rank Schelde, ’Architecture as Ritualised Nature’ (University of Copenhagen, 2011).

IN 1994 SOU FUJIMOTO GRADUATED AS AN ARCHITECT FROM TOKYO UNIVERSITY, WHERE HE NOW TEACHES. IN 2000 HE FOUNDED SOU FUJIMOTO ARCHITECTS, AND HAS SINCE WON NUMEROUS AWARDS INCLUDING THE PRIVATE HOUSE AWARD AT THE WORLD ARCHITECTURE FESTIVAL, THE JAPANESE INSTITUTE OF ARCHITECTURE’S GRAND PRIZE (2008) AND THE WALLPAPER DESIGN AWARDS (2009). IN 2008 SOU FUJIMOTO PUBLISHED THE BEST-SELLING BOOK ‘PRIMITIVE FUTURE’.

LOUISIANA – THE WORK OF SOU FUJIMOTO IS PART OF THE EXHIBITION LIVING: ‘FRONTIERS OF ARCHITECTURE III-IV’ PRESENTING ARCHITECTURE THAT RELATES TO SHARED HUMAN IDEAS OF THE INDIVIDUAL AND SOCIAL NETWORKS. LOUISIANA MUSEUM OF MODERN ART, JUNE 1ST - OCTOBER 2ND, 2011. WWW.LOUISIANA.DK

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Louisiana TOWER is a tower of cells that can be built on multiple, co-existing and interrelated scales, ranging from furniture to buildings to public spaces. Sometimes the space is condensed, and sometimes it is more open HUK Å\PK ;OL [V^LY YLÅLJ[Z -\QPTV[V»Z WOPSVZVWO` [OH[ the constant interaction of contrasts can generate a multilayered and unifying experience.

PLAN, CHILDREN´S CENTRE FOR PSYCHIATRIC REHABILITATION, HOKKAIDO, JAPAN, 2006

Louisiana CLOUD is an installation that explores the ZPNUPÄJHUJL VM ºZWHJLZ IL[^LLU ZWHJLZ» ;OL ^VYR explores the meaning of the space between rooms and buildings – in the city and the home. It also explores the space between people, representing an interpretation of new dwelling forms that connect people.

GLASS FOREST, LOUISIANA. PHOTO: KIM HANSEN

Louisiana GLASS FOREST consists of a complex structure of glass cells piled like soap bubbles. It suggests a new architectural terrain where multiple, JOHUNPUN [YHUZP[PVU aVULZ HYL SPURLK HUK \USPURLK PU a transparent whole. The model has potential for architecture on vastly different scales, from a single apartment to the skyscrapers of the future.

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COPENHAGEN DESIGN WEEK 11

TOGETHER - OR SEPARATELY?

CO-HABITATION STATEMENT

COPENHAGEN DESIGN WEEK 11

THINK HUMAN

COLOPHON EDITORS ANNEGRETHE RISE THOMSEN / Marketing Manager / Copenhagen Design Week 2011 by DDC KRISTINE ANTHONI PETERSEN / Project Assistant / Copenhagen Design Week 2011 by DDC

EDITORIAL CURATORS TINA MIDTGAARD / Curator / Copenhagen Design Week 2011 by DDC KAREN KJÆRGAARD / Curator / Copenhagen Design Week 2011 by DDC

ENGLISH EDITOR JANE ROWLEY / M.A., M.Res.

GRAPHIC ART DIRECTORS TUSS

PRINT ONE2ONE GRAPHIC PRODUCTION

CONTRIBUTORS ERIK JUUL / Architect / Erik Juul Architects MADS MØLLER / Architect / Arcgency KARL MALLING GRANOV / Communications Director / INDEX: Design to improve life HENRIK SMEDEGAARD MORTENSEN / Owner / Baisikeli KRISTIAN BYRGE / Co-founder of Muuto JULIEN DE SMEDT / Designer & Architect / JDSA METTE RAMSGAARD THOMSEN / PHD, Associate Professor / Head of CITA GITTE JONSDATTER / Partner / Crossroad Innovation MICHAEL ANKER / Scandinavian CEO / Luceplan MADS KJØLLER DAMKJÆR / Creative Director & Partner / Goodmorning Technology ANDREAS KLOK PEDERSEN / Partner / BIG BENEDICTE BROCKS / Curatorial Coordinator / Louisiana Museum of Modern Art CLAUS RANDRUP / Journalist SANNE HEDESKOV / Project Manager / Copenhagen Design Week 2011 by DDC LENE TANGHØJ / Project Manager / Danish Design Centre SUSANNE SØNDAHL WOLFF / Business Development Officer and PR / Danish Design Centre SOLVEIG THRANE-MØLLER / Project Manager / Copenhagen Design Week 2011 by DDC MERETE BRUNANDER / Acting CEO / Danish Design Centre TINA MIDTGAARD / Curator / Copenhagen Design Week 2011 by DDC KAREN KJÆRGAARD / Curator / Copenhagen Design Week 2011 by DDC RIKKE HOFF / Executive Secretary / Danish Design Centre CO-HABITATION (VI OS HVORDAN VI SKAL BO TÆT) / The Danish Arts Foundation IKEA NOKIA

GRID

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COPENHAGEN DESIGN WEEK 11