Made by The Danish Design School 2011

Danmarks Designskole

Made by The Danish Design School

2011

FORORD - ANDERS BYRIEL

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MADE BY US! - ANNE-LOUISE SOMMER

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Forskning i fremtiden

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Internationale strategier

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Involverende design

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AFGANG 2011 - MØD DE NYE DESIGNERE

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Danmarks Designskole flytter til Holmen

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DESIGNUDDANNELSENS DNA - CENTRE OG SPECIALER

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DESIGN TALKS - NYUDDANNEDE DESIGNPROFILER

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DECADE ONE - BORNHOLM

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Tak til

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FOREWORD - ANDERS BYRIEL

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MADE BY US! - ANNE-LOUISE SOMMER

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Researching the future

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International strategies

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Involving design

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GRADUATION 2011 - MEET THE NEW DESIGNERS

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The Danish Design School relocates to Holmen

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THE DNA OF DESIGN EDUCATION - CENTRES AND SPECIALIZATION

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DESIGN TALKS - NEW DESIGN GRADUATES

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DECADE ONE - BORNHOLM

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Thanks to

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Forord

Made by Danmarks Designskole The Danish Design School 2011

Danmarks Designskole er en af Skandinaviens bedste designskoler.

Skolen har formået at bygge bro mellem en stærk kreativ og håndværkspræget tradition og de postindustrielle krav om fleksible og forskningsbaserede kompetencer.

I næsten alle erhvervsmæssige sammenhænge er det nødvendigt med kreativt råmateriale fra idéudviklingen til den endelige distribution – her er der intet, der kommer i nærheden af anders byriel, CEO, Kvadrat A/S, Formand for Danmarks Designskoles Aftagerpanel, Formand for Designen god designskolekandidat. rådet, Medlem af Regeringens Visionsudvalg Design 2020 Flytningen til Holmen og den igangværende fusion med Kunstakademiets Arkitektskole og Konservatorskolen åbner muligheder for at uddanne endnu mere komplette og globalt adrætte kandidater, som kan hjælpe med at løse fremtidens komplekse, teknologiske og indholdsmæssige designudfordringer.

Foreword

The Danish Design School is one of the best design schools in Scandinavia.

The school has managed to combine a strong tradition for creativity and quality craftsmanship with the postindustrial demand for flexible and research-based qualifications.

Practically any business context requires creativity as a raw material, from ideation to the distribution stage – and here, nothing can compete with a good design school graduate. anders byriel, CEO, Kvadrat A/S, director of the Business Panel of The Danish Design School, director of the The relocation to Holmen Danish Design Council, member of the Danish Governand the ongoing merger with the ment’s Vision Committee, Design2020 Royal Danish Academy of Fine Arts, Schools of Architecture and Conservation opens opportunities for producing even more complete and globally capable candidates to help address the complex, technological and content-related design challenges of the future.

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Made by Danmarks Designskole The Danish Design School 2011

Made by us!

Introduktion

Studieåret 2010/2011 blev på mange måder et magisk år. Fuldt af forandringer, fuldt af store begivenheder og fuldt af skelsættende dagsordener. For skolen, for uddannelserne og for forskningen. Vores studerende satte afgørende fingeraftryk på internationale messer og vandt prestigefyldte konkurrencer både herhjemme og i udlandet. Vores undervisere og forskere prægede designdebatten på mange måder: gennem bidrag til udstillinger med designprodukter og anne-louise sommer, rektor for Danmarks kunsthåndværk af højeste standard, Designskole. gennem modtagelse af fornemme priser og hædersbevisninger, gennem deltagelse i internationale konferencer og gennem udgivelse af publikationer af højeste kvalitet. Det indflydelsesrige magasin Monocle lavede en feature om fremtidens designuddannelser i deres dec10/ jan11-nummer, hvor Danmarks Designskole var med som én ud af fem skoler i et internationalt felt. Skolen blev blandt andet fremhævet for sin unikke balance mellem tradition og fornyelse og mellem den nye forskningsbasering af uddannelsen og den gennemgående værkstedsbaserede tilgang. Derfor er vi stolte og synes, der er god grund til at markere de mange succeser, vi har nået. Alt dette og meget mere kan du læse om i “Made by Danmarks Designskole 2011” – vores årspublikation.

Made by us!

Introduction

The school year 2010/2011 proved a magical year in many ways. Full of changes, full of major events and full of landmark agendas. For the school, for the education programmes and for research. Our students participated in important international trade shows and won prestigious competitions both at home and abroad. Our teachers and researchers contributed to the design debate in a variety of ways: through contributions to exhibitions with highanne-louise sommer, rector, The Danish Design School quality design products and crafts, by receiving important awards and honours, by participating in international conferences and by publishing outstanding publications. The influential magazine Monocle did a feature on the future of design education in their Dec10/Jan11 issue, which included The Danish Design School as one out of only five schools in an international field. Among other things, the school was commended for its unique balance between tradition and renewal and between the new emphasis on research and the continuation of the workshop approach. We are proud of these achievements and think there is reason to celebrate our many successes. You can read more about this and many other accomplishments in “Made by The Danish Design School 2011” – our year-book.

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Introduktion: Made by us! Introduction: Made by us!

2010 var året, hvor Danmarks Designskoles femårige designuddannelse fik en succesfuld akkreditering, og vi blev en gradsgivende institution, en højere videregående uddannelsesinstitution, der uddanner bachelorer og kandidater. Og også forskningen ved Danmarks Designskole blev positivt evalueret af et nordisk ekspertpanel.

Panelet hæftede sig ved, at forskningen i flere tilfælde havde en fremragende international standard – og fandt det beundringsværdigt, at designforskning på højeste niveau er etableret og konsolideret på ganske få år. Danmarks Designskole fik ros for at have opbygget et sundt og lovende forskningsmiljø med en glimrende formidling af viden fra forskningen.

I 2010/2011 blev vi samlokaliseret med Arkitektskolen. Vi flyttede til Holmen og startede forårssemesteret 1. februar i nye og ganske fantastiske fysiske rammer. Det er svært at finde et vindue uden en spektakulær havneudsigt eller anden skøn inspiration. Det er et åbent og imødekommende miljø med høj grad af synlighed – med studiepladser på åbne, gennemgående dæk eller vores store rum i Vandflyverhangaren. Her ser man tydeligt, hvem der er til stede, man lader sig inspirere og udveksler ideer. Denne transparens og dynamik skal blive et af Designskolens særlige kendetegn og styrker.

I forbindelse med flytningen er værkstederne blevet større og bedre. Alle er blevet opgraderede på udstyr og boltrer sig på større arealer. Vores nye flagskib inden for værkstederne er SuperFormLab, hvor keramikspecialet har sit hovedsæde, men hvor der også i bedste tværfaglige ånd er skabt ideelle rammer for 3D-formeksperimenter på tværs af materialer.

At være en del af Holmen-miljøet er i sig selv inspirerende, og jeg håber, at alle studerende og medarbejdere vil gribe muligheden for at skabe mere synergi mellem skoler, uddannelser og fag. Tænk på, hvor meget nyt der kan opstå i et kreativt campusmiljø, hvis drivkraften er nygerrighed, gensidig åbenhed og interesse – og lysten til sammen at udforske nye områder på tværs af fag og traditioner.

In 2010, the five-year degree programme of The Danish Design School was successfully accredited and recognized as a university-level educational institution, providing bachelor’s and master’s degrees. The research at The Danish Design School also received a positive evaluation from a Nordic panel of experts. The panel stated that in several areas the research was of an excellent international standard – and that it was admirable to see such a high level of design research being established and consolidated in such a short span of years. The Danish Design School was commended for developing a sound and promising research environment with excellent dissemination of research-based knowledge.

In 2010/2011 we relocated to facilities shared with the Royal Danish Academy of Fine Arts, School of Architecture at Holmen, where we began the spring semester on 1 February in this wonderful new setting. It is hard to find a window that does not offer a spectacular view or other great sources of inspiration. The environment is open, welcoming and transparent – with study spaces in continuous open spaces or in the large rooms in the Seaplane Hangar. It is easy to see who else is present, and inspiration and ideas are exchanged freely. This dynamic transparency will be one of the characteristics and strengths of The Danish Design School.

In connection with the move, the workshops have been expanded and improved. Everybody has access to upgraded equipment and a larger workspace. Our new workshop flagship is SuperFormLab; this is the main lab for ceramics, but in true interdisciplinary spirit it also offers an ideal setting for 3D form experiments across materials.

Being part of the environment at Holmen is inspiring in itself, and I hope that all our students and staff will seize this opportunity to create more synergy among schools, programmes and disciplines. Imagine the degree of innovation that can arise in a creative campus environment driven by curiosity and mutual openness and interest – and the desire to explore new areas together across disciplines and traditions.

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Introduktion: Made by us! Introduction: Made by us!

Fremtidens designuddannelse Dansk designs dna udfolder sig i spændingsfeltet mellem tradition og fornyelse. Sådan er det også med vores uddannelse. Vi skal fastholde det bedste af det bedste, der traditionelt har knyttet sig til dansk design, som materialenærhed, formbeherskelse og et socialt og menneskeligt engagement, der sætter brugeren i centrum for designløsningen. Funktionalitet, æstetik og enkelhed.

Men vi bliver ikke ved traditionen. Vi er fjernt fra den tid, hvor designprocessen handlede om formgivning i den snævre og mest bogstavelige betydning af ordet, og hvor design altid var en genstand – og materiel og konkret i sit udtryk. I dag kan vi vel næsten tale om et paradigmeskift, hvor begrebet trues med at sprænges i sin altfavnende karakter. Gennem det seneste tiår har debatten om det såkaldt udvidede designbegreb ført vidt omkring, og flere designteoretiske koryfæer går i brechen for altinkluderende definitioner. Det kan på den baggrund være svært at forestille sig en aktiv handling, der ikke kan defineres som design. Og det præger selvfølgelig også uddannelserne. Uddannelser karakteriseres af en særegen kombination af at aflæse tidens konjunkturer, trends, behov og potentialer med seismografisk følsomhed og så at være forvalter af et kulturbærende element – baseret på en dybt rodfæstet identitet, der ikke lader sig forandre i det helt korte perspektiv. Sådan er det også på Danmarks Designskole, hvor vi på en og samme tid er omstillingsparate, forandringsvillige og ‘first movers’, men også kontinuitetens vogtere og garanter for videreførelse af kulturbærende værdier.

Som skole flytter vi os – og skal flytte os – vedvarende. Der er fremadrettet meget fokus på designs potentialer i et overordnet samfundsmæssigt perspektiv. Og der lægges alle vegne op til, at design skal løse både konkrete og strategiske udfordringer. Hvor står vi henne i alt dette? Er vi parate til at møde de store forventninger, som de mange og forskellige stakeholders har til designuddannelserne i Danmark?

Vores femårige designuddannelse har ændret sig meget over de sidste 10 år.

Og den vil utvivlsomt ændre sig meget i årene, der kommer. Vi har oplevet, at teori, metode og en mere akademisk tilgang til design er blevet faste ingredienser, men vi

Future design education The DNA of Danish design unfolds in a field of tension between tradition and renewal. That is also true of our education programme. We should maintain the best of the best that is traditionally associated with Danish design, such as the firm grasp of materials and form and a dedication to social and human needs that aims for usercentred design solutions. Functionality, aesthetics and simplicity.

But we move beyond tradition. We are long past the days when the design process was about form-giving in the most narrow and literal sense of the word, and when design was always an object – with a concrete and material expression. Today, we are virtually seeing a shift in paradigm, where the concept has expanded almost to the point of breaking up. Over the past decade, the debate about the so-called expanded concept of design has gone in many different directions, and some leading design theorists advocate very inclusive definitions, which make it difficult to imagine any active act that would not qualify as design. This of course also affects the education programmes. They are characterized by a unique combination of decoding current market and cultural trends, needs and potentials with seismographic sensitivity on the one hand and the stewardship of a culture-bearing element on the other, based on a deeply rooted identity that does not change in the short-term perspective. That is also true of The Danish Design School, where we are simultaneously ready and willing to embrace change – briefly put, ‘first movers’ – and guardians of continuity and the continuation of culture-bearing values.

As a school we are continually changing, as we should be. Future trends include a strong emphasis on the potentials of design in a larger, societal perspective.

And there is a general call for design to address concrete as well as strategic challenges. What is our position in all this? Are we ready to meet the great expectations that the many different stakeholders have of design education in Denmark?

Our five-year education programme has changed considerably in the past ten years. And undoubtedly it will continue to change in the years to come. We have seen

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Introduktion: Made by us! Introduction: Made by us!

har også opprioriteret værkstedsfaciliteter og hands on-tilgangen i forbindelse med vores flytning til Holmen – vigtige elementer at fastholde for en designuddannelse under Kulturministeriet, der hviler på et kunstnerisk fundament.

Er praksis og teori modsætninger? Står en kreativ tilgang i modsætning til en mere akademisk? På ingen måde. De designere, der er produkt af den nye uddannelse, mestrer i bedste fald ubesværet denne kompleksitet. Og bliver dermed vigtige aktører i fremtidige processer, hvor tværgående team, der samler mange faglige tilgange, står centralt.

For designere i 2011 er en holistisk forståelse af helheden en vigtig forudsætning for at kunne skabe designløsninger af værdi. Det er nødvendigt at have redskaber til at håndtere komplekse problemstillinger. I den forbindelse er både konkret viden, teoretisk indsigt og analytisk sans vigtige kompetencer. Derudover er research, eller en forskningsrelateret tilgang, et vigtigt afsæt for idégenerering og procesudvikling. Teori og kreativitet bliver derfor ikke modsætninger, men to komplementære størrelser, der gensidigt beriger hinanden.

Danmarks Designskoles historie begynder i 1875, og skolen er i sig selv et produkt af fusioner mellem forskellige skoler med hver deres fagligheder. Det viser en kontinuerlig udvikling, hvor traditioner er blevet udfordret, og hvor kulturmøder på godt og ondt har sat dagsordenen. Danmarks Designskole befinder sig her i 2011 i de indledende faser af fusionen med Arkitektskolen og Konservatorskolen. Vi skal sammen skabe noget helt nyt og aldrig før set: Det Kongelige Danske Kunstakademis Skoler for Arkitektur, Design og Konservering. Det glæder vi os til. Vi kan som en designskole af international standard bidrage til den nye fælles, fusionerede institution på substantiel vis. En institution, der vil bidrage til at sætte synergier mellem hovedfagområderne på dagsordenen – og Tak til medarbejdere og studerende. Tak til vores mange gennem nytænkende pædagogisk praksis og basamarbejdspartnere i 2011 og en særlig tak til nebrydende forskning vise vejen for fremtidens PrinfoHolbæk-Hedehusene-Køge a/s og til Arctic Paper kreative uddannelser. En institution, der gør en Danmark a/s for velvillig hjælp og assistance. forskel – også i en international sammenhæng.

theory, method and a more academic design approach become regular features, but we have also increased our emphasis on workshop facilities and the hands-on approach in connection with our relocation to Holmen. These are essential aspects to maintain for a programme under the Ministry of Culture that rests on an artistic foundation.

Are theory and practice opposites? Is a creative approach in opposition to a more academic approach? Not at all. At best, the designers who emerge from the new programme will master this complexity with ease. This will enable them to be key participants in future processes where the emphasis is on interdisciplinary teams that combine a wide variety of professional approaches.

For designers in 2011, a holistic grasp of the big picture is a key condition for creating meaningful design solutions. Having the tools for handling complex issues is a necessity. Here, specific knowledge, theoretical insights and analytical skills are key competences. In addition, research or a research-oriented approach is an important basis for the generation of ideas and process development. Thus, theory and creativity are not opposites but complementary elements that mutually enrich each other.

The history of The Danish Design School begins in 1875, and it is in itself the product of mergers of schools with distinctive disciplinary profiles. This reflects an ongoing development process where traditions are challenged, and cultural encounters set the agenda, for better or worse. Now, in 2011, The Danish Design School is embarking on a merger with the Royal Danish Academy of Fine Arts, Schools of Architecture and Conservation. Together, we will create something new: The Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation. We are looking forward to this. As a design school of international standing, we have substantial contributions to make to the new institution. An institution that will help put synergy between the main disciplines on the agenda – and point the Thanks to our staff and students. Thanks to our many way for creative programmes in the future with incooperation partners in 2011 and a special thanks to novative educational practices and groundbreakPrinfoHolbæk-Hedehusene-Køge a/s and Arctic Paper ing research. An institution that makes a differDanmark a/s. ence – also in an international context.

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Forskning i fremtiden: Vi skaber ny viden til mennesker, samfund og verden

Researching the future: generating new knowledge for people, society and the world

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Som forskningsinstitution er Danmarks Designskole relativt ung. Første fase i opbygningen af et forskningsmiljø blev gennemført i perioden 2003-2007 med fokus på konstituering og udvikling. I den efterfølgende periode har forskningen ved Danmarks Designskole konsolideret sig yderligere – og i en sådan grad, at den i 2010 blev evalueret med rosende ord af et nordisk ekspertpanel. Panelet udtaler om skolens forskning, at den er: “af god og på nogle områder fremragende kvalitet, på trods af den korte historie for forskningen på denne forholdsvis lille designskole. Forskningen lader til at have relevans både internt og eksternt… Vi finder således, at skolen har nået en god international standard inden for det globale designforskningsmiljø.”

Danmarks Designskole har netop som en del af “Danmarks Designskoles designforskning sin mission at drive forskning på højeste niveau inden for designområdet – en forskning, der udblev evalueret i 2010, og vi har nu også det føres dels med henblik på at styrke dansk design formelle stempel på vores internationale og kunsthåndværk ved at frembringe ny designniveau. Vi tror på, at fremtidens udfordrin- viden, dels som grundlag for skolens forskningsger kan løses i samspillet mellem design og baserede uddannelse. Den øgede forskningsunderstøttelse af undervisningen har i øvrigt været forskning. Forskningen skal ikke kun bimed til at danne grundlag for akkreditering af drage med ny viden om design til glæde for uddannelsen i 2010.

Det er vores ambition til stadighed at uddannelsen, designerhvervene og samfunvære med til at fremme udvikling og formiddet. Forskningen skal også lære fremtidens ling af viden inden for designforskning – med designere at forholde sig kritisk og reflekte- henblik på at sikre et solidt fagligt fundament ret til den måde, man tænker design, verden for udviklingen af uddannelsen i overensstemmelse med behovet på arbejdsmarkedet lokalt og sig selv på.” set og verden globalt set. Den meget positive Troels Degn Johansson, forskningsleder, lektor, ph.d. evaluering af designforskningen åbner nye veje for Danmarks Designskole, der nu i højere grad

As a research institution The Danish Design School is relatively young. Phase one in building a research environment was completed 2003 to 2007, with an emphasis on establishment and development. In the subsequent period, the research at The Danish Design School has been further consolidated – to the extent that in 2010, it was evaluated with praise by a Nordic panel of experts. In a statement about the research at the school, the panel says that it is: “of very good, and in some areas excellent, quality, in spite of the short history of the research of this rather small design school. The research appears to have relevance both internally and externally… We thus find that within the global framework of design research the school has, generally spoken, reached a good international standard.”

“The design research at The Danish Design It is part of the mission of The Danish Design School to carry out research on the School was evaluated in 2010, and we now highest level within the field of design. The goal have official acknowledgement of our inter- of this effort is to strengthen Danish design national level. We believe that the challeng- and crafts by generating new design knowledge and to contribute to the basis for the school’s es of the future can be solved through the research-based education activities. The fact interaction between design and research. that the education activities are increasingly Research should not only contribute new de- research-based has also facilitated the accreditation of the degree programme in 2010. sign knowledge to the benefit of education, It is our constant ambition to promote the design professions and society. Research the development and dissemination of knowlshould also teach future designers to take a edge within design research – in order to secure a firm academic basis for developments of the critical and reflective stance in their thinkdegree programme that match the needs of the ing about design, the world and themselves.” labour market in a local context as well as the Troels Degn Johansson, head of research, associate needs of the world in a global context. The very professor, Ph.D. positive evaluation of the design research opens

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end tidligere kan indgå som selvstændig partner i forhold til eksterne forskningssamarbejder nationalt og internationalt.

Skolen tiltrækker i høj grad ekstern finansiering til forskningsprojekter, og det er vi stolte over og glade for, for det er en afgørende faktor i realiseringen af forskningsprojekterne. Centralt står en række partnerskaber med erhvervsliv i både ind- og udland. I 2011 har vi f.eks. udviklet nye metoder til Alzheimer-området i samarbejde med Johnson & Johnson, og i 2010 udviklede vi ny, afgørende viden om brugerinddragelse og problemudvikling i designprocessens tidligste faser. Det skete i regi af DAIM-projektet sammen med både virksomheder, designbureauer og partnere inden for affalds- og genbrugsområdet.

Men også fra offentlige og private puljer hentes der i stigende grad midler til forskningen, og både ph.d.-, erhvervs-ph.d.- og diverse seniorforskningsprojekter er igangsat via midler fra f.eks. Erhvervs- og Byggestyrelsen, Det Strategiske Forskningsråd, Arbejdsmiljøforskningsfonden, Carlsbergfondet, Nykredits Fond, Kulturministeriets forskningspulje, Center for Designforsknings forskningspulje samt det af Forsknings- og Innovationsstyrelsen finansierede Innovationsnetværket Livsstil – Bolig & Beklædning.

Danmarks Designskoles strategi for forskning og udvikling er tilrettelagt, så den udvikler skolens undervisning, formgivning og designtænkning – og understøtter designfaget i hele dets bredde. Vi har opdyrket et dynamisk forskningsmiljø, der skaber erhvervsrettet forskning med samfundsrelevans og giver de studerende nye, innovative metoder med ud i erhvervslivet. Vores forskning udfolder sig inden for fem designklynger: Co-design, Mode, Form:Lab, Steder og Rum samt Designfilosofi.

Her forskes i alt fra brugerdreven udvikling og CSR over computerspil og digital udvikling af kunsthåndværk til mode og designfilosofi.

Vil du vide mere?

Forskningsleder Troels Degn Johansson, tdj@dkds.dk, +45 2523 1216.

new possibilities for The Danish Design School, which is now even better equipped to act as an independent partner in national and international external research projects.

The school has been very successful in securing external research funding.

This is a source of pride and joy to us, as it is a key factor in realizing the research projects. Partnerships with businesses in Denmark and abroad play a central role.

In 2011, for example, in cooperation with Johnson & Johnson, we have developed new methods for dealing with Alzheimer’s disease, and in 2010 we generated important new knowledge about user involvement and problem development in the initial stages of the design process as part of the DAIM project together with private companies, design agencies and partners in the field of waste management and recycling.

But public and private funds also increasingly contribute to research, and both Ph.D., Industrial Ph.D. and senior research projects have been launched with funds from the Danish Enterprise and Construction Authority, The Danish Council for Strategic Research, The Danish Working Environment Research Fund, Carlsberg Foundation, Nykredits Fond, the respective research funds of the Danish Ministry of Culture and the Danish Centre for Design Research, and Innonet Lifestyle – Interior & Clothing, which is funded by The Danish Agency for Science, Technology and Innovation.

The Danish Design School’s strategy for research and development aims to develop the school’s education activities, design and design thinking – and to support the full scope of the design profession. We have cultivated a dynamic research environment that generates business-oriented research with social relevance and gives students new, innovative methods to be applied in the world of business and industry. Our research unfolds within five design clusters: Co-Design, Fashion, Form:Lab, Sites and Space, and Design Philosophy. The research efforts in the clusters cover everything from user-driven development and CSR over computer games and the digital development of crafts to fashion Contact person for additional information and design philosophy.

Head of Research Troels Degn Johansson, tdj@dkds.dk, +45 2523 1216

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Forskningsklynger på Danmarks Designskole Forskningen på Danmarks Designskole er organiseret i fem forskellige forskningsklynger: Co-design Udgangspunktet for Co-designklyngen er, at design er en social proces, og at de bedste og mest innovative resultater opnås ved at involvere potentielle brugere og andre interessenter aktivt i designprocessen. De overordnede mål for klyngens forskere er at producere viden og bidrage til en stadig forbedring af feltet gennem udvikling af designtilgange, metoder og værktøjer. Helt centralt er en eksperimenterende forskningstilgang, der bl.a. søger at udforske nye muligheder ved at lade delta“The DAIM team has crafted an invaluable gerne ‘øve sig på fremtiden’.

resource for researchers and designers looking for new ways to support each other...”

Mode De fleste har et forhold til mode, og netop derfor er der et udtalt beBrian Rink, design planner & human factors specialist, IDEO hov for at få belyst moden og dens mange facetter som kultur, identitet, praksis, økonomi og trends. Modeklyngens forskere genererer viden om mode gennem konkrete projekter om globale modebyer, modetrends, modekommunikation og talent – en viden, der er stor efterspørgsel efter bl.a. i modebranchen, der gerne vil vises den samme interesse, som andre designproducerende brancher bliver vist.

Form:Lab Form:Lab forsker i form og formgivning med udgangspunkt i eksperimentel, kunstnerisk praksis. Interessefeltet spænder fra udforskning af tekniske og materialemæssige muligheder over undersøgelsen af formgivningsprocesser til refleksion over formgivningens æstetiske udtryk og kulturelle sammenhænge. Der forskes altså ikke kun i, hvordan form fremkommer og fornyes, men også i, hvordan form indgår i kulturelle praksisser og har udviklet sig inden for bl.a. filosofi og kunst- og designteori.

Research clusters AT THE DANISH DESIGN SCHOOL The research at The Danish Design School is organized in five design clusters: Co-Design The Co-Design cluster is based on the notion of design as a social process and the idea that the best and most innovative results can be achieved by actively involving the potential users and other stakeholders in the design process. The overall goals for the researchers in this cluster are to generate knowledge and to contribute to the ongoing improvement of the field by developing design approaches, methods and tools. A key component is an experimental approach to research, which, for example, explores new possibilities by letting participants ‘rehearse the future’.

“The DAIM team has crafted an invaluable resource for researchers and designers looking for new ways to support each other...”

Fashion Most people have a relationship with fashion, and hence there is a strong need to examine fashion and its many facets such as culture, identity, pracBrian Rink, design planner and human factors specialist tice, economic aspects and trends. The researchers in the fashion cluster at IDEO generate knowledge about fashion through specific projects on global fashion cities, fashion trends, fashion communication and talent – knowledge that is in high demand, for example in the fashion industry, which would like to attract the same degree of interest as other design-producing industries.

Form:Lab Form:Lab studies form and design within the context of experimental, artistic practice.

The field of interest spans from the exploration of technical and material possibilities over the study of form-giving processes to reflections on the aesthetic expression of form-giving and its cultural contexts. Thus, the research in this cluster is not limited to the emergence and renewal of form but also includes the role of form in cultural practices and its development within, for example, philosophy and art and design theories.

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Forskning i fremtiden Researching the future

Steder og Rum Rummet, der omgiver os, optager de fleste – uanset om det handler om valg af nyt køkken, nærmiljøets fysiske og sociale udvikling eller den by og den region, vi har valgt at slå os ned i. Designere har en stor indflydelse på dette rum – ikke bare på dets inventar og indretning, men i stigende grad også på visionerne for dets udvikling, overordnet set. Klyngen Steder og Rum forsker i måder at forstå steder og rum på.

Desuden forskes der i designeres bidrag til vores rumlige omgivelser og den måde, hvorpå vi forvandler rumlige omgivelser til vore hjem, men også til passagerum eller tvetydige zoner.

Designfilosofi Design er uden tvivl bestemmende for vor tilværelse i lige så høj grad som videnskab og teknologi. Men hvad er bestemmende for design? Design kan opfattes som afhængig af viden fra andre fag, men en forståelse af design kan ikke alene bygges på en sådan viden. At udvikle en tilfredsstillende forståelse af design kræver seriøse filosofiske overvejelser. Der forskes i grundlæggende spørgsmål som f.eks. – Hvad adskiller designpraksis fra andre slags praksisser? – … og designforskning fra andre slags forskning? Klyngen huser i øvrigt CEPHAD (Centre for Philosophy and Design).

Sites and Space Our spatial surroundings are important to most of us – in relation to our choice of a new kitchen design, the physical and social development of our local environment or the city and the region where we choose to settle. Designers have substantial influence on this space – not only on its furnishings and physical design but increasingly also on the visions for its overall development. The research cluster Sites and Space studies designers’ contributions to our spatial surroundings and how we turn these surroundings into our sites and homes.

Design Philosophy Indisputably, design affects our lives as much as science and technology. But what determines design? Design may be seen as dependent on knowledge from other disciplines, but an understanding of design cannot be based on such knowledge alone.

Developing a satisfactory understanding of design requires serious philosophical reflections. The research in this field studies basic questions such as, What sets design practice apart from other types of practice? And design research from other types of research? This cluster also includes CEPHAD (Centre for Philosophy and Design).

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Internationale strategier: Studerende øver sig pü verden

International strategies: students preparing for the world

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Internationale strategier International strategies

Design bevæger sig over landegrænser, og udfordringerne er globale for dansk design. Danmarks Designskole udveksler nye idéer, viden og løsninger med et stort internationalt netværk. Vi stræber efter at uddanne designere, der på verdensbasis kan indgå i virksomheder og organisationer, løse globale designudfordringer og sætte dansk design på verdenskortet. Med en status på universitetsniveau og forskning, der benchmarker på højeste niveau, er skolen klar til at løfte nye udfordringer.

I de senere år har skolen været vækstmotor for en række internationale initiativer: Et af dem er Marokko-dialogprojektet, hvor studerende og undervisere skaber nye økonomiske og kreative muligheder og fair designvækst for kvindelige kunsthåndværkere i Marokko. Et andet er det strategiske samarbejde om velfærdsdesign og sundhedsudvikling med medicinalvirksom“Design education is crucial to this develop- heden Johnson & Johnson. I 2011 var vi værter for ment, breeding a new generation of students en række store konferencer, som udforsker de nyeste tendenser inden for design som “Design & who might not be able to make a chair but The Social – Design and design research in partiknow how to spot a problem and solve it.” cipatory design” (april og juni 2011) og “InternaTidsskriftet Monocle udvalgte i sit december/januar-nummer tional Fashion Seminar: The Future of Innovation and Creativity in Fashion” (maj 2011), for blot at 2010/2011 Danmarks Designskole blandt fem af verdens nævne nogle. mest interessante designskoler, der kan kombinere den Gæsteundervisere, industrisamarbejder, historiske tradition med kreativ nytænkning. åbne workshops, konferencer, talks og arrangementer med skolens mange partnerskaber udgør unikke platforme, hvor Danmarks Designskole udvikler og formidler viden om design, forskning og uddannelse. Danmarks Designskoles campus danner et kreativt, dynamisk og internationalt studiemiljø med 650 studerende fra Danmark og hele Norden, hvor undervisere, forskere og foredragsholdere fra hele verden sætter designfaget i et internationalt perspektiv.

Hvert år modtages over 60 udvekslings- og gæstestuderende, og selv sender vi vores studerende på udveksling over hele verden.

Design reaches across national borders, and the challenges facing Danish design today are global. The Danish Design School exchanges new ideas, knowledge and solutions with a large international network. We strive to train designers who are able to work with companies and organizations on a global basis, address global design challenges and put Danish design on the world map. With university status and research that benchmarks on the highest level, the school is ready to meet new challenges.

In recent years, the school has served as a growth engine for several international initiatives. One of them is the Morocco dialogue project, where students and educators create new economic and creative opportunities and fair design growth for female artisans in Morocco. Another project in“Design education is crucial to this develop- volves the strategic collaboration on welfare design ment, breeding a new generation of students and health development with the pharmaceutical company Johnson & Johnson. In 2011 we hosted who might not be able to make a chair but several major conferences to explore the latest know how to spot a problem and solve it.” design trends, such as “Design & The Social - Design and design research in participatory design” In the December/January issue 2010/2011, the Monocle (April and June 2011) and “International Fashion magazine selected The Danish Design School as one of Seminar: The Future of Innovation and Creativity the world’s five most interesting design schools, capable in Fashion” (May 2011), to mention a few. of combining historical tradition with creative innovation.

Guest teachers, industrial partnerships, open workshops, conferences, talks and events involving our many partnerships create unique platforms for developing and disseminating knowledge about design, research and education. The Danish Design School campus forms a creative, dynamic and international study environment with 650 students from Denmark and other Nordic countries, where teachers, researchers and lecturers from all over the world put the design discipline into an international perspective. Each year, we accept more than 60 exchange and guest students and place our own students in exchange programmes around the world.

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Design-cases 2011: internationale designstrategier

I 2011 har Danmarks Designskole fortsat sikret nye internationale relationer, løsninger og projekter, der åbner døre til hele verden. Design, uddannelse og innovation bevæger sig over landegrænser, og vi har udvalgt et lille udpluk af cases, der viser bredden af Danmarks Designskoles internationale satsning. Strategisk, konceptuelt og praktisk.

Design cases 2011: international design strategies

In 2011 The Danish Design School has continued to develop new international relations, solutions and projects that open doors to the world. Design, education and innovation go beyond borders, and we have selected a small sampling of cases to illustrate the range and scope of The Danish Design School’s international outreach in strategic, conceptual and practical terms.

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Fair trade, ligestilling og vækst via design Designudvikling i Mellemøsten Bedre vilkår for kvindelige kunsthåndværkere i Marokko! Det er udgangspunktet for et succesfuldt udviklings- og designprojekt, hvor designstuderende underviser kvinder i Marokko. I samarbejde med KVINFO og PlaNet Finance har Danmarks Designskole på få år gjort design til et vigtigt udviklingsredskab i det bilaterale partnerskabsprojekt “Women Decision Making and Leadership in the Public Sphere”.

Hvorfor er Marokko-projektet så vellykket? Lene Ingvartsen fra KVINFO: “Kvinderne trænes i selv at udvikle nye designs på baggrund af egne traditioner.

Og vi underviser kvinderne i selv at varetage samtlige funktioner i det at drive en virksomhed, så der ikke er behov for andre mel“Vores studerende opnår til gengæld komlemled. Det gør dem i stand til selv at styre, hvor profitten ender.” petencer, der gør dem i stand til at bidrage Der arbejdes nu på at udbrede projekttil at skabe øget ligestilling og vækst i den modellen til bl.a. Syrien og Libanon.

globale verden – eller med andre ord: skabe design, der forbedrer liv.”

Projektleder Grete Weber

Fair trade, equal opportunities and design-generated growth Design development in the Middle East Improved conditions for female artisans in Morocco! That was the basic concept for a successful development and design project, where design students teach women in Morocco. In cooperation with KVINFO and PlaNet Finance, in just a few years The Danish Design School has made design a key tool for development in the bilateral partnership project “Women Decision Making and Leadership in the Public Sphere”.

What makes the Morocco project so successful? Lene Ingvartsen from KVINFO: “The women are trained to develop new designs based on their own traditions. And we train the women to handle all the functions involved in running a company, so they don’t need any middlemen. That “In return, our students acquire competen- gives them control over the earnings.”

Efforts are now underway to expand ces that enable them to help promote equal the project model to Syria and Lebanon, among opportunities and generate growth in the other places.

global world – or, in other words: create design that improves lives.”

Project Manager Grete Weber

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Dansk velfærds- og medico-design til Kina EXPO 2010 Danmarks Designskole satte danske fingeraftryk på EXPO 2010 med konferencer, udstillinger og udvekslingsmøder i Kina. Skolen deltog på årets store Cumulus Conference i Shanghai under overskriften “Young Creators for Better City and Better Life”. Og som en del af konferencen viste Danmarks Designskole det nyeste fra årets nyuddannede designere på en rejseudstilling med årets afgangsprojekter, hvor konferencegæster kunne opleve nogle af de nyeste og lovende danske designere.

“EXPO og Kina er et vigtigt sted at vise dansk design, og vi giver vores mange internationale relationer meget høj prioritet,” sagde rektor Anne-Louise Sommer fra konferencen i Shanghai. “Vi ønsker naturligvis at dyrke de mange relationer og netværk, som vi har over hele verden. Men det er også vigtigt, at vi som designnation viser vores eksempler på, hvad der rører sig i design netop nu.”

To nyudsprungne designere blev også udvalgt til at vise deres bud på dansk velfærdsdesign som del af EXPOs Better City, Better Life-tema på udstillingen “The Creative North”. Med et kølesystem til brandsår og en løsning til medicindosering viste Sylvia Holthen og Rune Rex eksempler på brugerorienteret medico-design, der ikke kun forbedrer, men direkte kan redde liv. Kølesystemet, der er udviklet i samarbejde med ambulancefolk, er et redskab til førstehjælpsbehandlinger – en håndholdt, selvrensende forstøver, der kan vaske, køle og rense brandsår. Medicindoseringsenheden, der er udviklet i samarbejde med sygehuspersonale, gør det hurtigere og sikrere at dosere medicinen i den rette mængde – til stor gavn for plejepersonale og ældre medicinbrugere.

Danish welfare and medical design in China EXPO 2010 The Danish Design School left a Danish fingerprint on EXPO 2010 with conferences, exhibitions and exchange meetings in China. The school took part in the major Cumulus Conference Shanghai 2010 under the heading “Young Creators for Better City and Better Life”. And as part of the conference, The Danish Design School presented the latest designs by the graduates of 2010 in a travelling exhibition of graduation projects that showcased some of the latest up-and-coming Danish designers.

“EXPO and China make an important venue for showcasing Danish design, and we put a high priority on our many international relations,” Rector Anne-Louise Sommer commented from the conference in Shanghai. “Of course, we want to cultivate our many relations and networks around the world. But it’s also important for us as a design nation to illustrate what is happening in design right now.”

Two brand-new design graduates were selected to present their visions for Danish welfare design as part of EXPO’s theme Better City, Better Life in the exhibition “The Creative North”. With a cooling system for burn injuries and a drug dosage solution, Sylvia Holthen and Rune Rex presented examples of user-driven medical designs that not only improve life but may even help save lives. The cooling system, which was developed in cooperation with ambulance staff, is a first-aid device – a handheld, self-cleaning atomizer for rinsing, cooling and cleaning burns. The drug dosage unit, which was developed in cooperation with hospital staff, makes it quicker and safer to dispense medicine in the right doses – to the benefit of nursing staff and elderly patients.

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Tommy Hilfiger fandt talenter Internationale udviklingssamarbejder “I wanna take it home with me. But it was difficult to choose – there is a lot of talent.” – Tommy Hilfiger Danmarks Designskoles internationale samarbejder kan antage mange former. Ved udgangen af 2010 udvalgte den amerikanske designer Tommy Hilfiger eksklusivt Danmarks Designskole til at genfortolke den amerikanske designers kendte ikoner.

Danmark er et vigtigt marked for Hilfiger-brandet, og Tommy Hilfiger ønskede med konkurrencen at finde nye talenter og eksempler på amerikansk design omsat til ‘dansk’. Opgaven for de studerende var at fortolke Hilfigers design og skabe egne unikke versioner af ikonisk amerikansk mode. Førstepladsen gik til Trine Maja Kristoffersen, der med sin rygsækfortolkning af Hilfigers klassiske weekend bag tog Tommy Hilfiger og resten af juryen med storm. Trine vandt bl.a. en arbejdstur til Hilfigers studio i New York.

Udstillinger på verdenskortet – They like it!

Udstillinger over hele verden Danmarks Designskole fortsatte i 2010-2011 med at sætte dansk møbeldesign på verdenskortet. Fra Milano til Japan. På Stockholm Furniture Fair 2011 satte både FRAME, SVT og den internationale presse spot på Danmarks Designskoles udstilling “Det Tekstile Møbel”. Som en vigtig del af uddannelsen arbejder skolens studerende med alt fra udstillingsdesign og grafik til film og kommunikation, så udstillingerne fungerer som et hele.

Underviser Andreas Lund forklarer i et interview til FRAME, hvorfor Stockholm-projektet tiltrak så stor interesse: “The mission was to investigate the language of textile structures and translate it into static structures. The 20 creations explored knitting, upholstering and plaiting mixed with plastic, metal, rubber and willow.” Og studerende Åsa Kärner supplerer: “It was inspiring as we were students from the furniture, textile and product design programs, all working together. It is a very creative atmosphere where we help each other with the intense projects.”

Tommy Hilfiger WENT TALENT-SPOTTING International development projects “I wanna take it home with me. But it was difficult to chose - there is a lot of talent” – Tommy Hilfiger The Danish Design School is involved in many different types of international projects. In late 2010, the American designer Tommy Hilfiger exclusively selected The Danish Design School to reinterpret his familiar design icons.

Denmark is an important market for the Hilfiger brand, and with this competition Tommy Hilfiger set out to spot new talents and examples of American design ‘translated into Danish’. The students were asked to create their own unique interpretations of Hilfiger’s iconic fashion design. The first prize went to Trine Maja Kristoffersen, whose rucksack interpretation of Hilfiger’s classic weekend bag took Tommy Hilfiger and the other members of the jury by storm. Among other things, Trine won a working visit to Hilfiger’s studio in New York.

Exhibitions on the world map – they like it!

Exhibitions around the world In 2010-2011, The Danish Design School continued its efforts to put Danish furniture design on the world map. From Milan to Japan. At the Stockholm Furniture Fair 2011, FRAME, STV and the international press focused on The Danish Design School’s exhibition “Moving Texures”. As a key element of the education programme, the school’s students work with everything from exhibition design and graphic design to film and communication, so the exhibitions work as a whole.

In an interview with FRAME, Lecturer Andreas Lund explains why the Stockholm project attracted so much attention: “The mission was to investigate the language of textile structures and translate it into static structures. The 20 creations explored knitting, upholstering and plaiting mixed with plastic, metal, rubber and willow.” And student Åsa Kärner adds, “It was inspiring as we were students from the furniture, textile and product design programs, all working together (…) It’s a very creative atmosphere where we help each other with the intense projects.”

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Internationale priser, ros og anerkendelse til film og spil Spilbranchens nye håb Danmarks Designskole er partner i spiluddannelsen DADIU, der i de senere år har vist, at Danmark kan levere store spiltalenter. Efter et år, hvor skolens spilproduktioner har været udvalgt til IndieCade og Penny Arcade Expo i Seattle og nærmest ryddet bordet til en festival til ære for årets Kulturby, Turku i Finland, er seks nye spil klar til at erobre verden. Også filmbranchen har bemærket de nye talenter fra Danmarks Designskole. Rasmus Berggreen modtog Det Danske Filmakademis Robert-pris for sit afgangsprojekt i samarbejde med studerende fra filmskolen. Filmen “To venner” modtog prisen som årets korte fiktion/animation med Rasmus som art director. Rasmus arbejder nu med spil hos IO-Interactive.

“Hvis ikke årets afgangsspil fra den danske spilskole DADIU igen igen sætter Danmark på verdenskortet inden for spiludvikling, så er der noget galt. For i år er niveauet det højeste til dato, og det gælder også ambitionerne bag alle seks spil, der netop er udkommet online til både Windows og Mac.” Politiken

International awards, praise and recognition for films and games The new hope of the gaming industry The Danish Design School is a partner in DADIU, the computer game academy, which has demonstrated in recent years that Denmark has great game design talents. After a year when the school’s game productions were selected for IndieCade and Penny Arcade Expo in Seattle and practically cleaned out at a festival for Turku, Finland, the European Capital of Culture in 2011, six new games are now ready to take on the world. The film industry too has spotted the new talent from The Danish Design School. Rasmus Berggreen received the Robert award from Det Danske Filmakademi for his graduation project in cooperation with students from “If this year’s graduation games from the the National Film School of Denmark. The film “To venner” (Two friends) received the award Danish gaming academy DADIU don’t put for best short fiction/animation of the year with Denmark on the world map of game develRasmus as the art director. Rasmus currently opment – again – something is very wrong. works with game design for IO-Interactive.

This year’s level is higher than ever, and that is also true of the ambitions behind all six games, which have just been released online in Windows and Mac versions.”

Politiken

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Menstruationshygiejne til piger i udviklingslandene INDEX: Design Challenge 2010 – Designing for Education Sådan lød det, da INDEX: DESIGN TO IMPROVE LIFE i 2010 inviterede til en designudfordring i samarbejde med Unicef. Formålet med INDEX: Design Challenge er at udfordre studerende til at udvikle løsninger til bedre uddannelse og uddannelsesmiljøer i udviklingslandene. Design Challenge 2010 bød på i alt fem udfordringer, heriblandt “Menstrual Hygiene and Management of Consumables”, som studerende fra Danmarks Designskole bød ind på. Løsningen blev et strikkegrej – The KNIT KIT, der indeholder information, redskaber og materialer til at producere personlige, hygiejniske, vaskbare og genanvendelige hygiejnebind. “The KNIT KIT skal, ud over at være en praktisk løsning der forbedrer livet for pigerne, opmuntre dem til at dele viden og erfaringer imellem sig, således at det ellers så tabubelagte emne menstruation bliver anskuet med en større grad af åbenhed,” fortalte de studerende om projektet The KNIT KIT, “Knitting for education”.

Kære København, Dear Tokyo, Liebes Berlin!

Fra studieprojekt til verdenssucces Ud over skolens undervisning og forskningsprojekter markerer skolens studerende sig med spændende initiativer over hele verden. Et af dem var i 2011 “Kære KBH” – en mikropolitisk platform for borgere og politikere. Studerende Philip Battin og afgænger Mikael Stær Nathan er to af designerne bag hjemmesiden “Kære København”, der i 2011 blev lanceret for at give byens borgere en stemme. Målet er at tilbyde et enkelt online redskab til borgere, der ikke føler, de har indflydelse på byens udvikling. Og idéen er så god, at vi allerede nu kan skrive Dear NYC, Dear London og Hej Hillerød. www.kaerekbh.dk var nomineret til INDEX:award 2011.

Menstrual hygiene for girls in developing countries INDEX: Design Challenge 2010 – Designing for Education That was the motto for the design presented by INDEX: DESIGN TO IMPROVE LIFE together with Unicef. The goal of INDEX: Design Challenge is to challenge students to develop solutions for improved education and educational environments in developing countries. Design Challenge 2010 had five challenges, including “Menstrual Hygiene and Management of Consumables”, which was taken on by students from The Danish Design School.

The solution was a knitting kit – The KNIT KIT – which contains the necessary information, tools and materials to produce personal, hygienic, washable and reusable menstrual pads. “In addition to offering a practical solution that improves these girls’ lives, The KNIT KIT should also encourage them to share knowledge and experiences to help bring this taboo topic into the open,” as the students explained about the project KNIT KIT, “Knitting for education”.

Kære København, Dear Tokyo, Liebes Berlin!

From study project to global success In addition to the school’s education and research projects the students are also involved in exciting initiatives around the world. One of them was the 2011 project “Kære KBH” (Dear CPH) – a micro-political platform for citizens and politicians. Student Philip Batttin and graduate Mikael Stær Nathan were two of the designers behind the website “Kære København” (Dear Copenhagen) which was launched in 2011 to give the residents of the city a voice.

The goal is to provide a simple online tool for residents who want a say in the city’s development. The idea was so convincing that it has already spread to other cities: Dear NYC, Dear London and Hej Hillerød. www.kaerekbh.dk was nominated for INDEX:award 2011.

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Danmarks Designskole blandt verdens fem bedste!

Design på verdenskortet Det toneangivende britiske magasin Monocle satte ved årsskiftet 2010/2011 Designskolen på top fem over internationale designskoler, der uddanner fremtidens designere til at løse verdens problemer – uden at give køb på traditionen.

Monocle var magasinet, der i 2008 udråbte København til at være “verdens bedste by at bo i”. Dengang var det ikke bare parametre som leveomkostninger, skolesystem og sygehusvæsnet, der blev kigget på, men også livsstilsfænomener, som design og kultur.

I portrættet beskriver Monocle designuddannelsers store betydning for verdens velbefindende med disse ord: “Design education is crucial to this development, breeding a new generation of students who (…) know how to spot a problem and solve it.”

Studerende headhuntet til Alexander McQueen Stine Linnemann fik i 2010 en drømmepraktik hos Alexander McQueen i London.

Stemningen var fra start travl og intens, men det britiske modehus fik hurtigt øjnene op for den danske designstuderende. I en grad, så Stine – sammen med medstuderende Signe Rand Ebbesen – i 2011 blev headhuntet som ekspert i et hektisk opløb til den parisiske modeuge.

Udfordringen var at ramme en krævende vævning. Et unikt udtryk, som ingen andre kunne løse. “Vi lavede prøver i ét væk i et rum fuld af praktikanter og med modeskabere løbende ind og ud. Kravene til kollektionen var en kæmpe opgave. I de første dage måtte jeg bygge min egen væv på stedet, da det stod klart, at ingen andre kunne ramme den vævning, som head of design, Womenwear, Christine Nielsen – og i sidste ende chefdesigner Sarah Burton – ville have,” forklarer Stine. “Vi tog et tigerspring i forhold til de andre praktikanter. Og jeg tror, at vi som danske designere kan bidrage med stor selvstændighed. Vi tør kæmpe for at bevise vores værd – og tør bevise, at vores idéer og løsningerne holder.”

Danmarks Designskoles beskæftigelsesundersøgelse for 2010 viser, at praktik åbner nye døre og baner vejen ud på arbejdsmarkedet. Historien om McQueen er derfor blot én af mange om gode praktik-ophold.

The Danish Design School in the global Top 5!

Design on the world map In its December/January issue 2010/11, the leading British magazine Monocle included The Danish Design School in the international Top 5 of design schools that train tomorrow’s designers to address global issues – without compromising on tradition. Monocle was the magazine that, in 2008, picked Copenhagen as the world’s “most liveable city”, not based purely on parameters such as costs of living, school system and health care but also on lifestyle phenomena such as design and culture. In the portrait, Monocle describes the key importance of design education for the world: “Design education is crucial to this development, breeding a new generation of students who (…) know how to spot a problem and solve it.”

Students headhunted for Alexander McQueen In 2010, Stine Linnemann landed a dream work placement at Alexander McQueen’s in London. The atmosphere was busy and intense from day one, but the British fashion house soon began to notice the Danish design student’s talent. So much so that Stine and fellow student Signe Rand Ebbesen were headhunted in 2011 to serve as experts in the hectic run-up to the Paris fashion week.

The challenge was to do a demanding weave. A unique expression that no one else could achieve. “We did sample after sample in a room full of interns and with fashion designers constantly coming and going. The demands to the collection were staggering. I spent our first days there building my own loom on site, as it became clear that no one else could do the weave that Head of Design, Womenwear Christine Nielsen – and, ultimately, Creative Director Sarah Burton – was looking for,” Stine explains.

“We did a tiger leap in comparison with the other interns. And I think that as Danish designers we can contribute with a high degree of independence. We’re not afraid to fight to prove our worth – and to prove that our ideas and solutions are viable.”

The 2010 employment survey carried out by The Danish Design School found that work placements open new doors and facilitate employment. Therefore, this is only one among many good examples of work placements.

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Fremtidens innovation og kreativitet i mode Modeforskning I 2010 og 2011 har Danmarks Designskole fortsat sat dansk mode, innovation og modeforskning på dagsordenen. I 2010 var skolen platform for lanceringen af en stor erhvervsundersøgelse, samlet i rapporten “Mode og Forretningssans” i regi af Modezonen, og skolen har udklækket en række af de førende forskere på området. I årets løb har skolen huset en række store modeseminarer, bl.a. det internationale seminar “Fremtidens innovation og kreativitet i mode” i maj 2011. Blandt de udenlandske gæstetalere var Anneke Smelik fra Radboud University Nijmegen (Holland), José Teunissen fra ArtEZ hogeschool voor de kunsten i Arnhem (Holland), Agnes Rocamora fra London College of Fashion, University of the Arts London (UK) og Catarina Midby fra “Vores mål med seminaret var at få diskuH&M (Sverige), der debatterede med bl.a. Martine Gram Barbry fra Eksportrådet og trendteret modens kreativitet på et kvalificeret og modeforsker Maria Mackinney-Valentin fra og dybt niveau. Vi ønskede at se på kreatiDanmarks Designskole.

vitet og innovation i et bredere perspektiv end vanligt – for kreativitet og innovation opstår ikke kun i selve idéfasen, men også i produktionen, brugen og mediernes arbejde med tøjet.”

Julie Sommerlund, centerleder, lektor og ph.d.

Future innovation and creativity in fashion Fashion research In 2010 and 2011 The Danish Design School has continued its efforts to put Danish fashion, innovation and fashion research on the agenda.

In 2010 the school was the platform for a large-scale business study, which resulted in the report “Mode og Forretningssans” (Fashion and business acumen) within the framework of “Modezonen”, and some of the leading researchers in the field are graduates of the school. Over the year, the school has hosted several major fashion seminars including the international event “The Future of Innovation and Creativity in Fashion” in May 2011. Among the invited speakers from outside Denmark were Anneke Smelik of Radboud University Nijmegen (The Netherlands), José Teunissen of ArtEZ hogeschool “Our goal with the seminar was to discuss voor de kunsten in Arnhem (The Netherlands), Agnes Rocamora of London College of Fashion, fashion creativity on a qualified and proUniversity of the Arts London (UK) and Catarina found level. We wanted to address creativMidby of H&M (Sweden), who debated with Marity and innovation in a wider perspective tine Gram Barbry from the The Danish Trade than normal – because creativity and inno- Council and trend and fashion researcher Maria Mackinney-Valentin from The Danish Design vation don’t emerge only in the idea stage School, among others.

but also in production, in use and in the way the media address the clothes.”

Julie Sommerlund, head of centre, associate professor and Ph.D.

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Internationale gæsteforelæsninger 2011 En vigtig rolle for en moderne designskole er at samle folk, der søger og vil dele ny viden. Danmarks Designskole byder gæster fra hele verden velkommen til åbne forelæsninger i et åbent netværk, hvor idéudveksling foregår på tværs af miljøer og fagligheder. I det seneste år har en række prominente gæster besøgt og bidraget til skolens sprudlende læringsmiljø på Holmen: Design og CSR I december 2010 inviterede vi til en workshop om, hvordan virksomheden Social Action og Udenrigsministeriet arbejder systematisk med samfundsansvar (CSR). I to åbne forelæsninger kunne man blive klogere på Massive Change og sammenhængen mellem CSR og bæredygtighed.

Seminar: Infrastructuring & strategies of democratization I april og juni 2011 husede Danmarks Designskole tre ph.d.-seminarer under titlen “Design & The Social”. Seminarrækken diskuterede designudvikling og designforskning inden for brugerdreven design, der beskæftiger sig med social, kulturel og teknologisk innovation i den offentlige sfære med deltagelse af en række internationale gæsteforelæsere. De tre velbesøgte seminarer satte brugerdreven innovation til debat: “How can designers work with infrastructures of social innovation in the public space?”, “What is the role of the designers who engage in creating infrastructures of participatory design?” og “How can participatory design traditions and methods contribute to a democratization of innovation?” 14. april, 14. juni og 16. juni 2011.

Taking responsibility for sustainable products Bæredygtige løsninger er en del af svaret på fremtidens samfundsmæssige udfordringer. Og det er en del af en moderne designskole at tage stilling til aktuelle problemstillinger. Men hvordan kan design gøre en forskel? Designchef Chris Hacker fra medicinalvirksomheden Johnson & Johnson var 11. april 2011 inviteret til skolen for at diskutere problemstillingen under titlen “making the world a better place”. Studerende, skolens Co-designklynge

International guest lecturers in 2011 An important task for a modern design school is to bring people together who are looking to share and seek new knowledge. The Danish Design School welcomes guests from all over the world to give lectures in an open network, where ideas are exchanged across environments and disciplines. Over the past year, several prominent guests have visited, contributing to the school’s exuberant learning environment at Holmen: Design and CSR In December 2010 we hosted a workshop on the systematic efforts of the company Social Action and the Danish Ministry of Foreign Affairs to address corporate social responsibility (CSR). Two open lectures focused on Massive Change and the link between CSR and sustainability.

Seminar: Infrastructuring & strategies of democratization In April and June 2011 The Danish Design School hosted three Ph.D. seminars titled “Design & The Social”. The seminar series, which featured international guest speakers, discussed design development and design research in the field of user-driven design in relation to social, cultural and technological innovation in the public sphere. The three well-attended seminars put user-driven innovation to the debate: “How can designers work with infrastructures of social innovation in public space?”, “What is the role of the designers who engage in creating infrastructures of participatory design?” and “How can participatory design traditions and methods contribute to a democratization of innovation?” 14 April, 14 June and 16 June 2011.

Taking responsibility for sustainable products Sustainable solutions are part of the answer to society’s future challenges. And it is essential for a modern design school to address pressing contemporary issues. But how can design make a difference? On 11 April 2011, Chief Design Officer Chris Hacker of the pharmaceutical company Johnson & Johnson visited the school to for a talk on “making the world a better place”. Students, the school’s Co-Design cluster and other interested partici-

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og andre interesserede mødte den engagerede designchef til en dag med diskussion af designernes og virksomhedernes ansvar for bæredygtige produkter.

Moving Brands og magasindesign Danmarks Designskoles Center for Kommunikationsdesign huser en del af skolens åbne forelæsninger, f.eks. workshoppen “Brands i Bevægelse”, 7. april 2011, hvor designchef Jon Hewitt fra Moving Brands afholdt til en forelæsning og workshop om open source-baseret tilgang til design i en virkelighed, der i stigende grad er social, mobil og interaktiv. Danmarks Designskole har også haft et langt samarbejde med Mervyn Kurlansky, tidligere leder af designfirmaet Pentagram, der i 2011 resulterede i en række workshops og forelæsninger på skolen. For tredje år i træk har Visuel Kommunikation gennemført en succesfuld workshop med art director Arem Duplessis fra New York Times Magazine; hvor de færdige løsninger til forsider og spreads fik meget ros med på vejen.

Grønt bildesign i 2011 Også de mere industrielle emner sættes til debat. 25. februar inviterede Danmarks Designskole Philipp Haban fra Art Center College of Design og industriel designer Mikkel Venge fra Bang & Olufsen Automotive til en snak om, hvordan vi designer biler i 2011. Et tema, som skolen også i 2010 tog op i et projekt med design af ladestandere til elbiler i samarbejde med ChoosEV. Verden rundt fra Milano og Kina til Grønland Mens gæster fra hele verden rejser til skolen, tager skolens specialer også ud og møder fagspecifikke messer, personligheder og kreative hubs. I 2011 tog et hold studerende på besøg i Milano hos førende tekstilproducenter samt showrooms og events. Kina trækker løbende studerende til bl.a. skolens partnerinstitutioner – og en gruppe studerende tog i 2011 til Grønland for at gennemføre et tiugers designprojekt.

Vil du vide mere?

Centerleder Tine Kjølsen, tkj@dkds.dk International koordinator Marianne Gyldendal, mgy@dkds.dk

pants met the engaging chief design officer for a debate about designers’ and companies’ responsibility for sustainable products.

Moving Brands and magazine design The Danish Design School’s Centre for Communication Design has been the venue for some of the school’s open lectures, including the workshop “Moving Brands” on 7 April 2011, when Senior Designer Jon Hewitt of Moving Brands gave a lecture and a workshop on open-source approaches to design in a world that is becoming increasingly social, mobile and interactive. The Danish Design School also has a long-standing collaboration with Mervyn Kurlansky, former head of the design firm Pentagram, which in 2011 led to a series of workshops and lectures at the school. For the third consecutive year, Visual Communication carried out a successful week-long workshop with Art Director Arem Duplessis of the New York Times Magazine.

The resulting proposals for covers and spreads were very well received.

Car design in 2011 More industrial topics are also put to the debate. On 25 February, The Danish Design School hosted an event with Phillipp Haban of the Art Center College of Design and industrial designer Mikkel Venge of Bang & Olufsen Automotive, which looked at car design in 2011, a theme that the school also addressed in 2010 in a project to design charging stations for electric cars in cooperation with ChoosEV. Around the world from Milan and China to Greenland While visitors from all over the world come to the school, the school’s areas of specialization also take to the road to visit relevant trade fairs, individuals and creative hubs. In 2011, a group of students visited leading textile manufacturers, showrooms and events in Milan.

China continues to attract students, for example to visit the school’s partner institutions – and in 2011 a group of students went to CONTACT FOR ADDITIONAL INFORMATION Greenland to do a ten-week design project.

Head of Centre Tine Kjølsen, tkj@dkds.dk International Coordinator Marianne Gyldendal, mgy@dkds.dk

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Involverende design.

Rundt om brugeren, bĂŚredygtighed og bundlinjen.

Co-design, co-operation og coolness

Involving design.

User focus, sustainability and the bottom line.

Co-design, co-operation and coolness.

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Brugerinddragelse, bæredygtighed samt socialt og samfundsmæssigt ansvar er nøgleord i nutidens designtilgang. Design er mere end nytteværdi – det er materiale, idé, hensigt og kompromisløse materialeeksperimenter, der til enhver tid forholder sig til verden. På Danmarks Designskole er det naturligt at involvere brugeren for på den måde at indsamle viden om behov og ønsker – og at bruge denne viden i udviklingen af produkter, services og holdbare løsninger. For brugerinddragelse er ikke bare design i øjenhøjde – det er også en værdifuld metode til at udvikle nye produkter, der imødekommer aftagerne. Ved at inddrage de potentielle aftagere og brugere kan man målrette designet og sikre bedre vækstbetingelser. Sikre at løsningen slår an og skaber forbedringer, ansvarlighed og gode tal på bundlinjen.

Også bæredygtighed. Det at skabe de “Design students can contribute greatly to bedst mulige betingelser for mennesker og miljø har længe været indlejret i uddannelsen areas of healthcare. As science advances på Danmarks Designskole. At skabe design, der around the world, new therapies will allow forbedrer livet og imødekommer cradle to cradlepeople to live a long and quality life if they tankegangen. På Danmarks Designskole tager vi ansvaret på os – ansvaret for at skabe produkter adhere to therapy. Designing experiences og services, der faktisk er brug for. Vi underviser that enable good health behavior is og forsker med blik og ansvar for ikke at belaste an emerging field and one where design miljøet – og opfordrer studerende til at tænke bæredygtighed med hele vejen i udvikling, destudents are well equipped to make sign, produktion og bortskaffelse.

contributions.”

Lisa Nugent, global creative director, Johnson & Johnson

User involvement, sustainability and social responsibility are key terms in contemporary design approaches. Design goes beyond utility: It is material, idea, intention and uncompromising material experiments, always aimed at the real world. At The Danish Design School it is a natural approach to involve the user in order to learn about needs and desires – and to use this knowledge in the development of products, services and viable solutions. User involvement is not only design at eye level – it is also a valuable method for developing new products that meets the users’ needs.

By involving the potential buyers and users, designers can target their designs and ensure better growth conditions. This improves the chances of a successful solution and helps designers achieve indisputable improvements, promote responsibility and ensure black numbers on the bottom line.

“Design students can contribute greatly to The principles of sustainability, of achieving the best possible conditions for people areas of healthcare. As science advances and environment, now and in the future, have around the world, new therapies will alalso long been a natural aspect of the education low people to live a long and quality life if programme at The Danish Design School with the goal of creating design to improve life within they adhere to therapy. Designing experia cradle-to-cradle mindset. At The Danish Design ences that enable good health behavior School we accept the responsibility for creating is an emerging field and one where design products and services that are actually needed.

In our teaching and research we emphasize the students are well equipped to make need to minimize environmental impact and we contributions.” encourage our students to consider sustainability Lisa Nugent, global creative director, Johnson & Johnson throughout the cycle, including development, design, production and scrapping.

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Design cases 2011: involverende design

Skolen har i 2011 bragt det at designe involverende til mennesker, samfund og menneskers skiftende livsvilkår ind i skolens uddannelsesplaner, tiltag og satsningsområder.

Danmarks Designskoles udviklingsprojekter er med til at drive udviklingen frem på væsentlige områder, som Danmark skal leve af i fremtiden. Skolen har mere end 135 års tradition for at sammentænke brugere, bæredygtighed og bundlinje, hvilket naturligvis sker på andre præmisser i 2011 end i 1875. Vi har udvalgt en stor håndfuld cases, der viser, hvordan innovation og nyudvikling i 2011 blev skabt i fin balance med traditionen – og har sat præg på Danmark og resten af verden.

Design cases 2011: involving design

In 2011 the school has incorporated an involving design approach that accommodates people, society and our varying living conditions into the school’s education plans, initiatives and focus areas.

The Danish Design School’s development projects help drive the development in key areas that are to provide Denmark’s livelihood in the future. The school has more than 135 years of tradition for considering users, sustainability and the bottom line as a whole. Naturally, this occurs under different conditions in 2011 than it did in 1875. We have selected a handful of cases to illustrate how innovation and new developments were achieved in 2011 in a delicate balance with tradition – and how they affected Denmark and the rest of the world.

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Ti designløsninger, der forbedrer tilværelsen for patienter med Alzheimers Danmarks Designskole præsenterede i 2011 en innovationsboks med nye bud på velfærdsdesign, hvor innovativ forskning og design forbedrer livet for Alzheimerspatienter og pårørende. Dette skete i et tæt uddannelsessamarbejde med det internationale medicinalfirma Johnson & Johnson og danske organisationer som Alzheimerforeningen.

Formålet med samarbejdet var at skabe forståelse for demens gennem design og at forbedre livet for patienter og pårørende med Alzheimers og andre demenssygdomme. Resultatet blev en boks fuld af værktøjer og praktiske og kreative løsninger på livet med Alzheimers samt en bogudgivelse med de studerendes resultater.

Anne Arndal, Alzheimerforeningen: “Jeg blev imponeret og opløftet. De studerende har på relativt kort tid lokaliseret problemerne og afkodet området på en meget indfølende måde. Vi ser her en række hjælpemidler, der kan åbne op for samtaler mellem patienter, pårørende og resten af befolkningen.

Vi er glade for at bidrage til et projekt, hvor helt unge designere kommer med løsningsforslag og produkter, der kan kommunikere og vise, at der faktisk er et liv med demens og Alzheimers. Det kan hjælpe os med at skabe forståelse. Og hjælpe os, patienter og pårørende, med støtte til at leve livet.”

Johnson & Johnson var så begejstrede for forløbet, at de har inviteret alle involverede studerende i praktik i New York i 2011.

Ten design solutions to improve life for patients with dementia and Alzheimer’s disease In 2011, The Danish Design School presented an innovation kit with new ideas for welfare design, where innovative research and design improve life for people with Alzheimer’s disease and their families. This took place in a joint education effort with the international pharmaceutical firm Johnson & Johnson and Danish organizations such as the Danish Alzheimer’s Association.

The goal of the cooperative effort was to use design to build awareness of dementia and to improve life for patients with dementia, including Alzheimer’s disease, and their families. The outcome was a kit with tools and practical and creative solutions for living with Alzheimer’s disease and a book presenting the students’ results.

Anne Arndal of the Danish Alzheimer’s Association: “I was impressed and excited. In a relatively short amount of time the students have managed to locate the problems and decode the field with great sensitivity. We are seeing here a range of tools to help patients, relatives – and the general public – broach the topic. We are happy to have contributed to a project where young designers offer ideas for solutions and products to aid communication and demonstrate that one can actually have a life with dementia and Alzheimer’s. That can help us raise awareness more broadly in the general public. And it can help us, as patients and relatives, live our life.”

Johnson & Johnson has offered all the participating students work placements in New York in 2011.

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Design to improve life Tre nomineringer til INDEX:award Studerende fra Danmarks Designskole er godt med, når det handler om at skabe ‘design to improve life’. I 2011 med hele tre nomineringer til den prestigefyldte INDEX:award. Sylvia Holthen, der tog afgang i 2010, har udviklet et redskab til førstehjælpsbehandling af brandsår – en håndholdt, selvrensende ‘forstøver’, der kan både vaske, køle og rense sår. Tre i én-forstøveren, der fylder ganske lidt og kan betjenes med kun én hånd, er nomineret i kategorien ‘Body’.

I ‘Community’-kategorien er studerende Philip Battin og Mikael Stær Nathan (afgang 2010) repræsenteret med websitet www.kaerekbh.dk – en mikropolitisk social platform for både borgere og politikere, der ønsker at udtrykke holdninger til den by, de bor i. Endelig er babybestikket Toddler nomineret i kategorien ‘Home’ – et design, der tager afsæt i, hvordan babyer griber om ting. Toddler er designet af Josefine Bentzen (afgang 2006); det lader barnet bevæge hænderne frit og instinktivt og styrker dermed finmotorikken.

I INDEX:award 2009 nåede studerende hele vejen til finalen med miljøkampagne-projektet Penguin Army.

Design to improve life Three nominations for INDEX:award Students from The Danish Design School are good at creating ‘design to improve life’. In 2011 this earned them three nominations for the prestigious INDEX:award. Sylvia Holthen, who graduated in 2010, developed a first-aid device for the treatment of burns – a handheld, self-cleaning ‘atomizer’ that rinses, cools and cleans burns. The small three-in-one atomizer, which can be operated with one hand, was nominated in the ‘Body’ category.

In the ‘Community’ category, design student Philip Battin and Mikael Stær Nathan (graduated in 2010) were represented with the website www.kaerekbh.dk – a micro-political, social platform for citizens and politicians who wish to debate the city they live in. Finally, the children’s cutlery Toddler was nominated in the ‘Home’ category. Toddler was designed by Josefine Bentzen (graduated in 2006); the design reflects a toddler’s grip and lets the child use his or her hands in a free and instinctive way that enhances fine motor skills.

In the 2009 INDEX:award, students from The Danish Design School went all the way to the final with the environmental campaign project Penguin Army.

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Challenge Waste – Design-Antropologisk InnovationsModel (DAIM) Innovation med blik for brugerne Affald vedrører os alle, og Danmarks Designskole har i løbet af 2010-2011 afsluttet forskningsprojektet DAIM under Erhvervs- og Byggestyrelsens program om brugerdreven innovation. DAIM er en forkortelse for design-antropologisk innovationsmodel – en innovationsmodel, der er udviklet i et tværfagligt forskningsprojekt ledet af Danmarks Designskole. Formålet er at skabe ny viden gennem brugerdreven innovation og at udforske brede samfundsmæssige problemstillinger, der konkretiseres med en designbevidst tilgang. Det sker ud fra en design-antropologisk forskningsvinkel og gennem forskellige projektforløb som f.eks. et projekt om affaldshåndtering, hvor virksomheder, designbureauer og partnere inden for affalds- og genbrugsområdet har udviklet nye måder at tilgå affaldsområdet på. Et andet projekteksempel er ‘Affaldets Helte’, der sætter fokus på skraldemændene og deres arbejde og har resulteret i et bedre samarbejde og en mere effektiv sagsbehandling takket være DAIM. “Rehearsing the Future” er navnet på en bog udgivet på Danmarks Designskoles forlag om netop DAIM. Og DAIM-projektet blev udstillet på Dansk Design Centers Challenge Waste-udstilling i marts-august 2011.

Challenge Waste – Design-Anthropological Innovation Model (DAIM) User-centred innovation Waste management concerns us all, and in 2010-2011 The Danish Design School carried out the research project DAIM as part of the programme for user-driven innovation under the Danish Enterprise and Construction Authority. DAIM stands for Design-Anthropological Innovation Model, an innovation model that was developed in an interdisciplinary research project headed by The Danish Design School. The goal was to generate new knowledge through user-driven innovation and to explore broad social issues through concrete examples that were addressed with a design-conscious approach. The process applies design-anthropological research in a number of component projects, for example a project on waste management where companies, design agencies and partners in the field of waste management and recycling developed new approaches to waste management.

Another example is ‘Heroes of Recycling’, which highlighted the refuse collectors and their work, and which resulted in improved cooperation and more efficient case management, thanks to DAIM. “Rehearsing the Future” is the title of a book published by The Danish Design School about DAIM. The DAIM project was also included in the Danish Design Centre’s exhibition Challenge Waste in March-August 2011.

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Design af den kollektive trafik Kampagne for den kollektive trafik Designstuderende tog i begyndelsen af 2011 to af de københavnske buslinjer, 1A og 3A, under kærlig, visuel behandling i samarbejde med ArtRebels og Københavns Kommune. Overborgmester Frank Jensen om projektet: “Mere end 350.000 daglige passagerer efterspørger kortere rejse- og ventetid og mere præcise afgange. Vi ønsker med dette projekt at skabe en slags ny opmærksomhed, og jeg er glad for, at Danmarks Designskole vil hjælpe os med at skabe ny opmærksomhed om busserne.” De redesignede busser kunne opleves i bybilledet i 2011, i virale kampagner og i præsentationer i busserne.

“Jeg er glad for, at Danmarks Designskole vil hjælpe os med at skabe en helt ny slags opmærksomhed om busserne og den kollektive trafik.”

Frank Jensen, overborgmester, Københavns Kommune

Designing public transport A study project on public transport In early 2011, design students gave the two Copenhagen bus lines 1A and 3A a visual makeover together with ArtRebels and the City of Copenhagen.

Copenhagen’s Lord Mayor Frank Jensen comments, “More than 350,000 daily passengers want to reduce both their travel time and their waiting time, and they want more reliable schedules. With this project we aim to raise a new kind of awareness, and I am very pleased that The Danish Design School is helping us raise new awareness about the buses.” In 2011, the redesigned buses were visible on the streets of Copenhagen, in viral campaigns and in presentations on the buses themselves.

“I am very pleased that The Danish Design School will help us create an entirely new form of awareness of buses and public transport in general.”

Frank Jensen, lord mayor, City of Copenhagen

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Klima- og miljøministeren uddelte priser til ladestandere til elbiler Miljøprojekter og infrastruktur “Jeg er sikker på, at hvor det i det 20. århundrede var Wegner, Utzon, Jacobsen og Henningsen, der gjorde dansk design verdensberømt, så kan det blive jer, der bliver det 21. århundredes danske pionerer inden for ‘grønt design’!”

Danmarks klima- og energiminister Lykke Friis overrakte priserne, da Danmarks Designskole i samarbejde med ChoosEV udbød et projektforløb om design til fremtidens ladestandere til elbiler. Frem til år 2015 vurderer ChoosEV, at der i alt bliver installeret ca. 25.000 ladestandere i Danmark. Derfor er designet og infrastrukturen en vigtig del af løsningen, som studerende gav 18 “Hos ChoosEV har vi allerede udviklet den bud på løsninger af. Bud, der kan gøre det nemt intelligente indmad, der skal til for at oplade og trygt at køre elbil.

elbiler miljørigtigt – og med de 18 konkurrenceforslag vurderer vi at have fundet det nye design, som vil præge Danmarks gadebillede i fremtiden.”

Adm. dir. Henrik Isaksen fra ChoosEV

Climate and energy minister presented awards to charging stations for electric cars Environmental projects and infrastructure “I am certain that while in the 20th century, it was Wegner, Utzon, Jacobsen and Henningsen who made Danish design world-famous, in the 21st century you may well become the Danish pioneers for ‘green design!’”

Lykke Friis, Danish minister of climate and energy, presented the awards when The Danish Design School together with ChoosEV launched a project on the design of future charging stations for electric cars. By 2015 ChoosEV expects to see some 25,000 charging stations installed in Denmark. Therefore, the design and the infrastructure form essential components of the solution, which “ChoosEV has already developed the intelstudents offered 18 different visions for. Visions that aim to make it simple and safe to drive an ligent systems required to charge electric electric car.

cars in an environmentally sustainable manner – and with the 18 competition entries we believe that we have found the new design that will be put up on Danish streets in the future.”

Managing Director Henrik Isaksen, ChoosEV

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Forskning med rødder i fremtiden Trendteorier og 3D digital formgivning I 2010 forsvarede ph.d.-studerende Maria Mackinney-Valentin og Flemming Tvede Hansen deres ph.d.-afhandlinger. Førstnævntes bærer titlen “On the Nature of Trends: A Study of Trend Mechanisms in Contemporary Fashion” og søger at kortlægge, udfordre og udvikle trendteorier inden for især mode. Titlen på sidstnævntes afhandling er “Materialedreven 3d digital formgivning – Eksperimenterende brug og integration af det digitale medie i det keramiske fagområde”. Afhandlingen undersøger, hvordan keramikeren kan udnytte sin erfaring med fysiske materialer i brugen af og samspil med digital teknologi.

I 2011 forsvarer Cecilie Bendixen og Annette Højlund deres ph.d.-afhandlinger, “Lydregulering med tekstil” (om, hvordan tekstil kan formgives og placeres for både at regulere lyd og fungere arkitektonisk) og “Mind the gap! Om tegning og tilblivelse – Udkast til en tegnefilosofi” (som med udgangspunkt i praksis argumenterer for et tegnebegreb, der definerer tegning som ‘en tegnen sig’ frem for ‘afbildning’).

Miljøvenligt print på glas Miljøhensyn på nye måder Danmarks Designskole iværksætter løbende udviklingsprojekter med skolens undervisere og forskere. I 2010-2011 indledtes f.eks. et erhvervssamarbejde med Cerama High Temperature Products A/S, hvor traditionelle oliebaserede trykfarver udskiftedes med vandbaserede teknikker. Samarbejdet førte til en database over miljøvenlige farver til print på glas, der fremover kan sikre miljøvenlige tryk i industrien. Resultatet er et godt eksempel på, hvordan en offentlig vidensinstitution i samarbejde med et privat firma kan udvikle ny viden og nye miljøvenlige teknikker.

Basen er nu tilgængelig til brug i undervisningssammenhænge, og i 2011 er resultaterne blevet udstillet på messer og udstillinger over hele landet.

Research that is firmly rooted in the future Trend theories and 3D digital design In 2010, Ph.D. student Maria Mackinney-Valentin and Flemming Tvede Hansen both successfully defended their Ph.D. dissertations. Mackinney-Valentin’s dissertation, “On the Nature of Trends: A Study of Trend Mechanisms in Contemporary Fashion” aimed to chart, challenge and develop trend theories, particularly in the field of fashion. Tvede Hansen’s dissertation, “Materialdriven 3D digital form giving. Experimental use and integration of digital media in the field of ceramics”, uses discussion and experiments to examine how ceramists may apply their experience with physical materials in using and interacting with digital technology.

In 2011, Cecilie Bendixen and Annette Højlund will defend their Ph.D. dissertations: “Lydregulering med tekstil” (about designing and positioning textile to regulate sound and serve architectural purposes) and “Mind the gap! Om tegning og tilblivelse – Udkast til en tegnefilosofi” (a practice-based thesis proposing a concept that defines drawing as ‘drawing out’, bringing into being, rather than ‘depicting’).

Environmentally sound printing on glass New methods to achieve environmental sustainability The Danish Design School regularly launches development projects involving the school’s teachers and researchers. For example, in 2010-2011 we engaged in a business project with Cerama High Temperature Products A/S to replace traditional oil-based printing ink with water-based techniques. The project resulted in a database with environmentally sustainable ink for printing on glass, which can facilitate sustainable printing methods in industry. The outcome illustrates how a public-sector knowledge institution can work with a private company to develop new knowledge and new environmentally sustainable techniques.

The database is accessible now for educational purposes, and in 2011 the project outcome was presented in trade shows and exhibitions all over Denmark.

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Made by Danmarks Designskole The Danish Design School 2011

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Involverende design Involving design

Præg på Danmark Fra Fritz Hansen til Widex I mere end 135 år har Danmarks Designskole sat sit præg på Danmark. 2011 er ingen undtagelse. I undervisningsprojekter har skolen bidraget med nye løsninger til virksomheder – løsninger, der skaber identitet og æstetisk kvalitet i offentlige og private rum. I 2011 udbød Danmarks Designskole f.eks. et studieforløb med Post Danmark og Kunstakademiets Arkitektskole om typografi og design af nye frimærker med emnet “Danmark 40 år i EU”. Christopher Schmidt fra Danmarks Designskole modtog prisen for bedste frimærke, der udstilles og udgives i 2011.

I 2011 har studerende designet dialogmøbler til Carlsberg Byen. Vi har desuden samarbejdet med Kvadrat, LEGO, Royal Copenhagen, INDEX, Carlsberg og mange, mange flere. Og i landsdækkende konkurrencer markerer studerende og medarbejdere sig med design, der ikke kun giver form til æstetiske objekter og industriprodukter, men som også skaber kataloger til videreudvikling, nye forretningsplaner og kunstneriske helheder. Eksempelvis vandt studerende Bine Jo Mortensen i 2011 ECCO-360-challenge, der omhandlede fremtidens Ecco-butik: Dommernes ord til vinderen: “Forslaget håndterer opgaven på en overraskende måde, fordi det opstiller et katalog af analyser på forskellige niveauer og giver bud på løsninger hertil.

Det er således hverken et helhedskoncept eller et bud på et udsnit af et butikskoncept, men snarere en opsummering af de mange centrale diskussioner. Forslaget kan således ses som et virkelig godt og stærkt udgangspunkt for ECCOs videre arbejde.”

Leaving our mark on Denmark From Fritz Hansen to Widex For more than 135 years, The Danish Design School has been leaving its mark on Denmark. 2011 is no exception. With educational projects the school has contributed with new solutions for companies – solutions that create identity and aesthetic quality in the public and private space. In 2011, for example, The Danish Design School offered a course on typography and the design of new postage stamps with the theme “Denmark 40 years in the EU”. The course was developed in cooperation with Post Danmark and the Royal Danish Academy of Fine Arts, School of Architecture. Christopher Schmidt of The Danish Design School received the award for best postage stamp, which will be exhibited and released in 2011.

In 2011 students have designed dialogue furniture for the Carlsberg site. We have also worked with Kvadrat, LEGO, Royal Copenhagen, INDEX, Carlsberg and many, many others. And in national competitions students and staff have participated with designs that not only include aesthetic objects and industrial products but also catalogues of development potentials, new business plans and holistic artistic solutions. For example, design school student Bine Jo Mortensen won the 2011 ECCO-360 challenge for best design.

The jury’s statement about the winning entry: “The proposal takes a surprising approach to the assignment by establishing a catalogue of analyses on various levels and offering solutions within this framework. Thus, it is neither a holistic concept nor a proposal for a partial store concept but rather a summary of the many essential discussions. Thus, the proposal may be viewed as a very promising and strong basis for continued development by ECCO.”

Graduation 2011: Meet the new designers

Afgang 2011: Mød de nye designere

66 Made by Danmarks Designskole The Danish Design School 2011

Kamilla Hoffmann Beklædningsdesign Fashion Design

Milla Nordlund Beklædningsdesign Fashion Design

Sarasiff Kjærgaard Freemover Freemover

Anne Remien Thomasen Beklædningsdesign Fashion Design

Louise Boye Andersen Beklædningsdesign Fashion Design

Maria Albertsen Freemover Freemover

Sidsel Rudolph Freemover Freemover

Nynne Winther Christensen Beklædningsdesign Fashion Design

Karoline Birkedal Thomsen Beklædningsdesign Fashion Design

Anne Lundsfryd Industriel Design Industrial Design

Rebecca Louise Frederiksen Beklædningsdesign Fashion Design

Leanne Nielsen Beklædningsdesign Fashion Design

Gitte Hede Madsen Industriel Design Industrial Design

Urd Moll Gundermann Beklædningsdesign Fashion Design

Lisa Våglund Beklædningsdesign Fashion Design

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Mads Sukhdev Hindhede Industriel Design Industrial Design

Mille Brinck Lange Keramikdesign Ceramics

Clinton Stewart Møbel- og Rumdesign Furniture and Spatial Design

Jenny Sara Bergstrand Industriel Design Industrial Design

Marie Thilde Pedersen Keramikdesign Ceramics

Benjamin Nordsmark Møbel- og Rumdesign Furniture and Spatial Design

Christian Dyrman Hansen Møbel- og Rumdesign Furniture and Spatial Design

Sidse Wolf Stouenborg Keramikdesign Ceramics

Sara Møllegaard Flyvbjerg Industriel Design Industrial Design

Cæcilie Telling Møbel- og Rumdesign Furniture and Spatial Design

Allan Nøddebo Møbel- og Rumdesign Furniture and Spatial Design

Helle Grejsen Nissen Keramikdesign Ceramics

Jasper Overgaard Møbel- og Rumdesign Furniture and Spatial Design

Anne Kathrine Touborg Møbel- og Rumdesign Furniture and Spatial Design

Kristina Vildersbøll Keramikdesign Ceramics

68 Made by Danmarks Designskole The Danish Design School 2011

Lisa Trapp Møbel- og Rumdesign Furniture and Spatial Design

Stine Olund Hammer Møbel- og Rumdesign Furniture and Spatial Design

Maria Tran Larsen ProductionDesign Production Design

Line Falk Møbel- og Rumdesign Furniture and Spatial Design

Sille Jarner Møbel- og Rumdesign Furniture and Spatial Design

Margit Hau ProductionDesign Production Design

Mathias Biro ProductionDesign Game and Interaction Design

Toke Thye Olsson Møbel- og Rumdesign Furniture and Spatial Design

Magdalena Ekström Møbel- og Rumdesign Furniture and Spatial Design

Mine Neumann ProductionDesign Production Design

Veronica Müller Møbel- og Rumdesign Furniture and Spatial Design

Pia Schytz Møbel- og Rumdesign Furniture and Spatial Design

Nana Pavelics Simonsen ProductionDesign Production Design

Katja Chan-Mee Frederiksen ProductionDesign Production Design

Silla Herbst Møbel- og Rumdesign Furniture and Spatial Design

69 Afgang 2011 Graduation 2011

Tajs Holm ProductionDesign Production Design

Anne Louise Bahn Tekstildesign Textile Design

Marie Hugsted Tekstildesign Textile Design

Rikke Tvillum ProductionDesign Textile Design

Stephanie Degiorgio Spil- og Interaktionsdesign Game and Interaction Design

Louise Salling Tekstildesign Textile Design

Rikke Hymøller Tekstildesign Textile Design

Cæcilie Parfelt Vengberg Tekstildesign Textile Design

Dennis Art Andersen Spil- og Interaktionsdesign Game and Interaction Design

Jens Dan Johansen Visuel Kommunikation Visual Communication

Line Damgaard Stramer Tekstildesign Textile Design

Jakob La Cour Spil- og Interaktionsdesign Game and Interaction Design

Kim Frydenlund Grane Visuel Kommunikation Visual Communication

Liv Heckmann Tekstildesign Textile Design

Simone Cecilie Møller Spil- og Interaktionsdesign Game and Interaction Design

70 Made by Danmarks Designskole The Danish Design School 2011

Marianne Dedenroth Larsen Visuel Kommunikation Visual Communication

Silke Brandes Visuel Kommunikation Visual Communication

Lene Charlotte Tangen Glas, Bornholm Glass, Bornholm

Mai Modvig Visuel Kommunikation Visual Communication

Sara Houmann Mortensen Visuel Kommunikation Visual Communication

Jennie Olofsson Glas, Bornholm Glass, Bornholm

Lisa Alm Glas, Bornholm Glass, Bornholm

Stine Norup Poulsen Visuel Kommunikation Visual Communication

Marie Willumsen Visuel Kommunikation Visual Communication

Marte Kartfjord Glas, Bornholm Glass, Bornholm

Stine Westergaard Visuel Kommunikation Visual Communication

Mie Arndt Larsen Visuel Kommunikation Visual Communication

Matilda Kästel Glas, Bornholm Glass, Bornholm

Anna Mlasowsky Glas, Bornholm Glass, Bornholm

Naja Lone Jørgensen Visuel Kommunikation Visual Communication

71 Afgang 2011 Graduation 2011

Marianne Gerlach Keramik, Bornholm Ceramics, Bornholm

Maria Holm Keramik, Bornholm Ceramics, Bornholm

Olga Milczynska Keramik, Bornholm Ceramics, Bornholm

Siri Gran Stokkeland Glas, Bornholm Glass, Bornholm

Monica Alvestad Amundsen Glas, Bornholm Glass, Bornholm

Mette Møjbæk Duedahl Keramik, Bornholm Ceramics, Bornholm

Benjamin Brogaard Winther Keramik, Bornholm Ceramics, Bornholm

Mette Thyrsted Kristensen Keramik, Bornholm Ceramics, Bornholm

Christina Schou Christensen Keramik, Bornholm Ceramics, Bornholm

Nina Kirkebæk Nielsen Keramik, Bornholm Ceramics, Bornholm

Louise Kragh Hansen Keramik, Bornholm Ceramics, Bornholm

72 Made by Danmarks Designskole The Danish Design School 2011

Trends 2011: Happily ever after maria mackinney-valentin, Forskningsadjunkt, ph.d., Danmarks Designskole

Et af årets afgangsprojekter har titlen “Happily ever after”. At leve lykkeligt til vore dages ende. Lykken er som bekendt både lunefuld og kort. Men derfor kan man jo godt gøre sit for, at den varer så længe som muligt. Dette lykkelige udgangspunkt virker som den mentale Gaffa-tape, der binder årgang 2011 fra Danmarks Designskole sammen på tværs af faglighed, materiale og metode. Det handler om mental bæredygtighed med både sanselige, politiske og fysiske implikationer. Det handler om at genfinde en kontinuitet, der er positiv, organisk og måske endda sjov.

En del af de 106 nye designere har set på vores fælles kulturarv som inspiration.

Specielt litteraturen kan bruges til at sætte ord på verden. En måde at skabe et fælles sprog med tyngde og varighed på. Det litterære spænd har strakt sig fra Biblens lignelser og eventyret om Snehvide over Jean-Paul Sartres teaterstykker til mere samtidige forfattere som Svend Aage Madsen og Ursula Andkjær Olsen – alle sammen med både skarpe, poetiske og nærværende designresultater.

Men også den sociale sammenhængskraft er fremme i flere projekter. Det handler om empowerment af kvinder i udviklingslande, en bedre oplevelse af menstruation, en problematisering af indfødsretsprøven, emotionel design på hospitaler, måltidsritualer, velfærdsteknologi til hjemmeplejen og videokommunikation på afstand. I samme kategori er et fokus på design til børn – med møbler, udsmykning af en skole, kommunikation i børnehøjde om skov og klima og en sanselig skolegård. Hvert projekt vil på sin måde bidrage til et mere solidarisk og positivt liv. At der så tilføjes humoristisk kant, siger noget om det overskud, designerne har.

Søgen efter kontinuitet kan også ses i en række projekter, der arbejder med at genopdage fortiden på forskellige måder. Det kan være i form af en reaktualisering af for eksempel stop motion eller stentøj, en undersøgelse af traditionens rolle i design, en opdatering af stempelkanden eller en genopfindelse af stegesoen. At arbejde videre med eksisterende ting, teknikker og materialer er en måde at redefinere den fælles historie på. En ny mental platform, hvor fordybelse, betydning og langsomhed er i højsædet.

Jeg kan ikke mindes en mere sympatisk årgang af afgængere. De giver verden deres sanselige, nærværende og poetiske bud på, hvordan vi kan leve lykkeligere til vores dages ende. Og vi ønsker det samme for dem til gengæld.

Trends 2011: “Happily ever after”

maria mackinney-valentin, Ph.D., assistant professor at The Danish Design School

One of this year’s graduation projects is called “Happily ever after.” As we all know, happiness is both fickle and brief. But that does not mean one cannot strive to make it last as long as possible. This happy notion appears to be the mental duct tape binding the graduation class of 2011 from The Danish Design School together across disciplines, materials and methods. The key concept here is mental sustainability with sensuous, political and physical implications. The goal is to rediscover a continuity that is positive, organic and maybe even fun.

Some of the 106 new designers have sought inspiration in our shared cultural heritage.

Literature in particular can be used to articulate the world. A means of creating a shared language with gravity and durability. The literary approach ranges from the use of biblical parables and the fairytale about Snow White over Jean-Paul Sartre’s plays to more contemporary writers such as Svend Aage Madsen and Ursula Andkjær Olsen – throughout with design results that are distinct, poetic and relevant.

But the concept of social cohesion is also addressed by several projects. Key topics here involve the empowerment of women in third-world countries, a better menstruation experience, a critical look at the Danish citizenship test, emotional design in hospitals, meal-time rituals, welfare technology for visiting nurses, and remote video communication.

Another topic in this category is design for children; this includes furniture, the decoration of a school, communication aimed at children about forests and climate issues, and a sensuous schoolyard. Each project seeks to contribute to a more compassionate and positive life. The added touch of humour is testimony to the creative power of the designers.

The search for continuity is also evident in projects seeking to rediscover the past in various ways, including a reintroduction of, say, stop-motion animation or stoneware, a study of the role of tradition in design, an updated version of the bistro coffee-maker or a reinvention of the earthenware casserole. Addressing and refining existing things, techniques and materials is a way of redefining our common history. A new mental platform that emphasizes reflection, meaning and slowness.

I cannot recall a more likeable batch of graduates. They offer the world their sensuous, relevant and poetic ideas for how we can live more happily ever after. And we wish them the same in return.

73 Afgang 2011 Graduation 2011

Afgang 2011: Nye tendenser og stærke traditioner anne-louise sommer, rektor for Danmarks Designskole

Det er et særligt højdepunkt, når vi står foran årets samlede afgængere, der er sprængfyldt med design og kunsthåndværk i alle formater. 2011 er ingen undtagelse. Årets portfolioer kendetegnes af talent, idéer og fornemmelse for materialitet – så der er noget på spil i repertoiret! Voksende professionalisme, stærk materialeforståelse og samfundsrelevans præger årets projekter på tværs af størrelse og medie. Det er med stor forventning og glæde, at jeg byder velkommen til årets store hold nyuddannede, der nu skal ud og levere nye stærke bidrag til en stærk dansk designtradition.

Til at udvikle en dynamisk designskole hører også dét hele tiden at give mulighed for at skabe nyt. Det er vigtigt at etablere vækstrum, hvor kreative talenter kan finde udfoldelse og grobund. I år folder et helt nyt hold nyuddannede designere sig ud. Og hvilken vækstkraft! Når jeg ser mig om i designernes rugekasse her på Holmen og på skolen på Bornholm, er der power på processerne, på designet og på de mange kreative løsninger, som Årgang 2011 har forfinet til sidste afgørende aflevering. Succesfulde idéer og afgangsprojekter handler ikke kun om planlægning og klog projektudvikling, men også om at gøre det komplekse enkelt, overskueligt og tilgængeligt for alle omkring sig. Det ser vi rigtigt mange eksempler på, som vi viser her på siderne og på årets udstillinger og shows. Idéerne bobler godt og grundigt i rugekassen og antager mange former. Og heldigvis for det!

Design har ikke ét svar og én definition, men er lykkeligvis et levende mylder af måder at svare på problemstillinger, oplevelser og verden på. På Danmarks Designskole ser vi det som en styrke.

Jeg ser det som vores fornemste opgave at bidrage til at løse de store samfundsmæssige udfordringer, som vi står over for i disse og i de kommende år. Der er klimamæssige, sociale og sundhedsmæssige udfordringer i meget stor skala over hele verden. Hvis design kan bidrage til at forbedre og skabe balance, vil det være et stort betydningsfuldt bidrag. Der skal findes nye svar på både forurening, forbrug og forretningsplan. Men der skal også udforskes mange andre

Graduation 2011: new trends and strong traditions

anne-louise sommer, rector, The Danish Design School

It is always a unique experience to stand before the assembled graduates, all bursting with design and crafts talent in every form. 2011 is no exception. This year’s portfolios are characterized by talent, ideas and a firm grasp of material properties, and they master a powerful repertoire.

Growing professionalism, a strong sense of materials and a concern for social relevance permeate this year’s projects, across scale and medium. It is with great expectation and pleasure that I welcome this year’s graduates, who will now go out into the world to make new strong contributions to a strong Danish design tradition.

Developing a dynamic design school involves always making room for new things to emerge. It is important to establish growth zones where creative talents can thrive. This year, a new batch of design graduates are about to bloom. And I see great potential! When I see what is going on here in the ‘designer incubator’ at Holmen and at the Bornholm school, I see high-powered processes and designs in the many creative solutions that the Class of 2011 has kept refining down to the final deadline. Successful ideas and graduation projects are not only about planning and good project processes; it is also about taking something complex and making it simple, manageable and accessible to everyone. This is exemplified in many of the solutions that are showcased in these pages and in the exhibitions and shows of the year. The incubators are chock-full of ideas, in a wide variety of forms. Fortunately! Design is not about one answer and one definition but a vibrant multitude of possible responses to issues, experiences and the world. At The Danish Design School we view this diversity as a source of strength.

I view it as our most important task to help address the major challenges that society is facing right now and in the years to come. The world is facing huge global, climate-related, social and health-related challenges. If design can help improve things and achieve a balance, that would be a substantial contribution.

We need new answers to deal with pollution, consumption and business plans.

But we also need to explore a wide variety of other questions and answers, and

74 Made by Danmarks Designskole The Danish Design School 2011

this year we are seeing the full range. We are now releasing this year’s new talents into the world to continue to develop, renew and future-proof Danish design and the organizations and companies where they will work.

We know that they are ready to leave new important marks in our long design tradition. Please welcome the Class of 2011, the designers and craftspeople of the future! spørgsmål og svar, og vi ser hele bredden i år. Vi slipper nu årets nye talenter løs, så de kan videreudvikle, forny og fremtidssikre dansk design og de organisationer og virksomheder, som de skal agere i.

For vi ved, at de er parate til at sætte nye markante aftryk i vores lange designtradition. Byd velkommen til fremtidens designere og kunsthåndværkere anno 2011!

75 Afgang 2011 Graduation 2011

Graduation Projects 2011

Afgangsprojekter 2011

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Made by Danmarks Designskole The Danish Design School 2011

Leanne Nielsen Objects of Desire Beklædningsdesign Fashion Design

Milla Nordlund To interrogate things around you to find out what they may become Beklædningsdesign Fashion Design

Karoline Birkedal Thomsen Unlike me you are you Beklædningsdesign Fashion Design

Louise Boye Andersen Between dream and reality Beklædningsdesign Fashion Design

Rebecca Louise Frederiksen Less Is Not Enough Beklædningsdesign Fashion Design

Lisa Våglund I wear you out Beklædningsdesign Fashion Design

77 Afgang 2011 Graduation 2011

Sarasiff Kjærgaard Telemedicin og ældre borgere i eget hjem Freemover Freemover

Gitte Hede Madsen Spin Mate Industriel Design Industrial Design

Urd Moll Gundermann Memory Theater Beklædningsdesign Fashion Design

Anne Lundsfryd fremtidens skoletaske Industriel Design Industrial Design

Jenny Sara Bergstrand BUOYO Industriel Design Industrial Design

Sidsel Rudolf og Maria Albertsen Gæsten fra Rødby Freemover Freemover

78 Made by Danmarks Designskole The Danish Design School 2011

Sara Møllegaard Flyvbjerg Mødet bag murene Industriel Design Industrial Design

Marie Thilde Pedersen Keramiske funktioner Keramik Ceramics

Mads Sukhdev Hindhede Be2 Industriel Design Industrial Design

Kristina Vildersbøll Fortiden For Tiden Keramik Ceramics

Mille Brinck Lange Tekande Keramik Ceramics

Helle Grejsen Nissen På Kanten Keramik Ceramics

79 Afgang 2011 Graduation 2011

Allan Nøddebo Rundt om bordet Møbel- og Rumdesign Furniture and Spatial Design

Clinton Stewart Connected Increments Møbel- og Rumdesign Furniture and Spatial Design

Sidse Wolf Stouenborg Æstetisk medicin, keramisk design til det ny hospital Keramik Ceramics

Benjamin Nordsmark Eksperimenter med materialer og metoder Møbel- og Rumdesign Furniture and Spatial Design

Cæcile Telling De Urene Hænder Møbel- og Rumdesign Furniture and Spatial Design

Anne Kathrine Touborg Stol front Møbel- og Rumdesign Furniture and Spatial Design

80 Made by Danmarks Designskole The Danish Design School 2011

Line Falk Hvor kreativiteten gror Møbel- og Rumdesign Furniture and Spatial Design

Silla Herbst Tryghed under-vejs Møbel- og Rumdesign Furniture and Spatial Design

Jasper Overgaard og Christian Dyrman High Chair5 Møbel- og Rumdesign Furniture and Spatial Design

Peter Balch Berthelsen Et udstillingskoncept for moesgård museum Møbel- og Rumdesign Furniture and Spatial Design

Sille Jarner Et foldemøbel Møbel- og Rumdesign Furniture and Spatial Design

Magdalena Ekström HOLMES Møbel- og Rumdesign Furniture and Spatial Design

81 Afgang 2011 Graduation 2011

Toke Thye Olsson Mother Møbel- og Rumdesign Furniture and Spatial Design

Margit Hau Troll Bridge ProductionDesign Production Design

Stine Olund Hammer Fra Jord Til Bord Møbel- og Rumdesign Furniture and Spatial Design

Flemming Anton Schmidt Albert Løber Hjemmfra ProductionDesign Production Design

Maria Tran Larsen Ronnie Rocket ProductionDesign Production Design

Veronica Müller Briks Møbel- og Rumdesign Furniture and Spatial Design

82 Made by Danmarks Designskole The Danish Design School 2011

Mine Neumann Animalen ProductionDesign Production Design

Tajs Holm RĂŚdslen i skyerne ProductionDesign Production Design

Mattias Biro Opera Foxes ProductionDesign Production Design

Rikke Tvillum Tjenerindens FortĂŚlling ProductionDesign Production Design

Bidda Camilla Solvang Poulsen Style my way Spil- og Interaktionsdesign Game and Interaction Design

Nana Pavelics Simonsen Den Store Bastian - Historien om Sutteper ProductionDesign Production Design

83 Afgang 2011 Graduation 2011

Jakob la Cour Masque Society Spil- og Interaktionsdesign Game and Interaction Design

CĂŚcilie Parfelt Vengberg The color collection Tekstildesign Textile Design

Dennis Art Andersen Branch and Branch The Nebula Domination Spil- og Interaktionsdesign Game and Interaction Design

Anne Louise Bahn Between senses Tekstildesign Textile Design

Line Damgaard Stramer Mirror Mirror On The Wall Tekstildesign Textile Design

Stephanie Degiorgio Board & ComputerGame Spil- og Interaktionsdesign Game and Interaction Design

84 Made by Danmarks Designskole The Danish Design School 2011

Marie Hugsted Teaching Moroccan Women Tekstildesign Textile Design

Kim Frydenlund Grane Skandinavisk tidsskrift for lyrikk Visuel Kommunikation Visual Communication

Liv Heckmann Tidsrum Tekstildesign Textile Design

Jens Dan Johansen Rigtig Dansk Visuel Kommunikation Visual Communication

Mai Modvig Skønheden hænger på træerne Visuel Kommunikation Visual Communication

Rikke Hymøller Juxtaposed tekstile relieffer til moderne arkitekturs rum Tekstildesign Textile Design

85 Afgang 2011 Graduation 2011

Marie Willumsen og Stine Norup Poulsen OPUS skolemadprojekt Visuel Kommunikation Visual Communication

Sara Houmann Mortensen Dage med Diam Visuel Kommunikation Visual Communication

Marianne Dedenroth Larsen Drengestreger og pigefnidder Visuel Kommunikation Visual Communication

Naja Lone Jørgensen Lignelserne i det nye testamente Visuel Kommunikation Visual Communication

Silke Brandes Gisela Visuel Kommunikation Visual Communication

Mie Arndt Larsen Magasinkoncept Visuel Kommunikation Visual Communication

86 Made by Danmarks Designskole The Danish Design School 2011

Anna Mlasowsky Contemporary Traditions Glas, Bornholm Glass, Bornholm

Lisa Alm Interaction Glas, Bornholm Glass, Bornholm

Stine Westergaard The Forest Mission Visuel Kommunikation Visual Communication

Lene Tangen Mitt Unika Glas, Bornholm Glass, Bornholm

Marte Kartfjord Glas, Bornholm Glass, Bornholm

Jennie Olofsson Face a Prejudice Glas, Bornholm Glass, Bornholm

87 Afgang 2011 Graduation 2011

Monica Alvestad Amundsen Mellom Linjene Glas, Bornholm Glass, Bornholm

Christina Schou Christensen Viskositet Keramik, Bornholm Ceramics, Bornholm

Matilda K채stel Glas, Bornholm Glass, Bornholm

Benjamin Brogaard Winther Livets oprindelse Keramik, Bornholm Ceramics, Bornholm

Louise Kragh Hansen Keramik, Bornholm Ceramics, Bornholm

Siri Gran Stokkeland Glas, Bornholm Glass, Bornholm

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Marianne Gerlach Layer on layer Keramik, Bornholm Ceramics, Bornholm

Nina Kirkebæk Nielsen I Rum Og Tid Keramik, Bornholm Ceramics, Bornholm

Maria Holm Den private krop Keramik, Bornholm Ceramics, Bornholm

Mette Thyrsted Kristensen Brændende kærlighed Keramik, Bornholm Ceramics, Bornholm

Olga Milczynska Time is real Keramik, Bornholm Ceramics, Bornholm

Mette Møjbæk Duedahl Porcelænsbokse med akryllåg Keramik, Bornholm Ceramics, Bornholm

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Branche, virksomheder, beslutningstagere og publikum mødes på udstillingerne for at spotte de nyeste talenter, tendenser og morgendagens designprofiler. Og skabe designdebat. I 2011 afholdes blandt andet designtopmøde og gå hjem-møder med branchen. Udstillingerne viser det bedste af fem års studier i idéer, produkter og services på vej ud i verden. I den historiske bygning Meldahls Smedie udstiller årets afgængere i 2011 deres svar på design, der kommer til at påvirke vores liv nu og i fremtiden. Med alt fra miljøvenlige mobiltelefoner, Wii-læringsspil, hospitalsudstyr, unika-løsninger og visuelle koncepter til bæredygtig mode, møbler, servicedesign og nye digitale, interaktive prototyper.

Målgruppen er designere, indkøbere, meningsdannere og journalister fra hele verden, der vil stifte bekendtskab med den nyeste og yngste del af dansk design og danske designkompetencer.

For første gang udstiller Danmarks Designskoles ca. 100 designkandidater side om side med 20 kunsthåndværksafgængere fra Danmarks Designskole, Bornholm.

I en årrække har Danmarks Designskole skabt ny debat og frugtbare kontakter mellem vores nyuddannede designere og virksomheder og samfund på skolens afgangsudstilling i de rå industrihaller på Carlsberg-området i København – og fra 2011 i historiske bygninger på Holmen i hjertet af København.

For a number of years, The Danish Design School has been generating new debate and useful contacts between our new design graduates and companies and society in general in our annual graduation exhibition in the raw industrial halls at the Carlsberg site in Copenhagen – and from 2011, in the historic buildings at Holmen in the heart of Copenhagen.

The design profession, companies, decision-makers and members of the general public meet at these exhibitions to spot new talents, trends and tomorrow’s design profiles.

And to generate design debate. In 2011, we will host design summits and after-work meetings with the design profession. The exhibitions showcase the best outcomes of five years of studying in the form of ideas, products and services that are ready to enter the world. In the former forge, Meldals Smedie, the graduates of 2011 present their visions of design that will affect our lives now and in the future. Everything from environmentally sustainable mobile phones, Wii learning games, hospital equipment, one-off solutions and visual concepts to sustainable fashion, furniture, service design and new digital, interactive prototypes.

The target group for the exhibitions includes designers, buyers, opinion leaders and journalists from all over the world who want to meet the newest and youngest segment of Danish design and Danish design competences.

For the first time, this year, the 100 or so design graduates from The Danish Design School exhibit alongside 20 graduates from The Danish Design School, Bornholm.

Danmarks Designskoles afgangsudstilling og -show: lovende brændpunkter i morgendagens designfelt

The Danish Design School’s graduation exhibition and show: promising focal points in tomorrow’s field of design

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Danmarks Designskoles modeshow: fashion and fashion thinking “Like sensitive seismographs, the new fashion designers from The Danish Design School stand out by being able to sense the small waves that will eventually become the great fashion quakes of tomorrow.”

Maria Mackinney-Valentin, forskningsadjunkt, ph.d.

Danmarks Designskoles modeshow er en vigtig del af det danske modebillede og af Copenhagen Fashion Week. Altid på jagt efter nye spændende rammer har skolen vist morgendagens mode på steder som Københavns Rådhus, Cinemateket, Carlsberg, Øksnehallen og mange andre cutting edge-lokaliteter. Inden for feltet markerer skolen sig stærkt. Studerende og afgængere hentes direkte til samarbejder hos London Fashion Week, H&M, Tommy Hilfiger, Mittelmoda og Alexander McQueen, mens medarbejdere viser vejen i modeforskningen, de nyeste modeudgivelser, konferencer og encyklopædier verden over.

The Danish Design School’s fashion show: fashion and fashion thinking

“Like sensitive seismographs, the new fashion designers from The Danish Design School stand out by being able to sense the small waves that will eventually become the great fashion quakes of tomorrow.”

Maria Mackinney-Valentin, trend analyst, assistant research professor, Ph. D.

The Danish Design School’s fashion show is an important part of the Danish fashion scene and of the Copenhagen Fashion Week. We are always on the lookout for new exciting settings, and in the past, venues for this event have included Copenhagen City Hall, the Cinematheque, Carlsberg, Øksnehallen and many other cutting-edge locations. The school has a strong position in the field. Students and graduates are actively invited to take part in projects for the London Fashion Week, H&M, Tommy Hilfiger, Mittelmoda and Alexander McQueen, while staff members lead the way in fashion research, fashion publications, conferences and encyclopaedias around the world.

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Danmarks Designskole flytter til Holmen: fra flådebase til kreativt vækstrum i verdensklasse

Danmarks Designskole flyttede i 2011 fra Østerbro til nye historiske rammer på Holmen. 1. februar 2011 slog skolen dørene op til en nyindrettet designskole som første vigtige skridt på vej mod fusionen med Kunstakademiets Arkitektskole og Konservatorskole. På kanten til Københavns Havns gamle industriområder er Danmarks Designskole den nyeste nabo i Holmens fællesskab af kreative uddannelser – og genopstår som ny kreativ vækstmotor i de gamle flådebygninger.

The Danish Design School relocates to Holmen. from naval base to worldclass creative growth centre

In 2011, The Danish Design School moved from Østerbro to historic buildings at Holmen in Copenhagen. On 1 February 2011, the school officially opened in the renovated buildings as the first major step toward the upcoming merger with the Royal Danish Academy of Fine Arts, Schools of Architecture and Conservation. At the outskirts of the old industrial area in Copenhagen Harbour, The Danish Design School is the most recent neighbour in Holmen’s community of creative educational institutions – a new creative growth engine in the old naval buildings.

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Danmarks Designskoles nye rammer vidner om Holmens flådehistorie. Skolen har nu til huse i Kedelsmedjen, Vandflyverhangaren og Lærlingeskolen ved det gamle B&W Værft, mens bygningerne “47” og “90” huser Danmarks Designskoles specialer – med højt til loftet og plads til inspiration, talent og kreative ideer, idet vi styrer mod målet: at skabe design, der gør en forskel!

Fra klassisk industri til nye møder mellem kreativ tænkning og intelligente løsninger Holmen, som vi kender det i dag, huser ud over Designskolen og Arkitektskolen også Det Rytmiske Musikkonservatorium, Den Danske Filmskole og Statens Teaterskole.

Men også nyopførte, mondæne boligbebyggelser, “Vores håb er, at Holmen inspirerer til rekreative områder og Operaen (2005) præger området. Med andre ord: et område, der er fuld nye visioner, intelligente løsninger og af liv og kreativitet, og som også tegner sig for en holdbar nysgerrighed i et tæt samarbejde mangfoldighed i anvendelse. med vores nye naboer. Med plads til store I mere end 300 år var Holmens små øer eller holme base for den danske flåde. Først armbevægelser og inspiration langt ud med klassiske sejlskibe, senere med innovative over kajkanten.” konstruktioner inden for dampskibe. Holmen Rektor Anne-Louise Sommer var gennem flere århundreder eksempel på et kraftcenter, hvor teknologi og industriel fagkundskab gik hånd i hånd. Således var Holmen i perioder førende på det teknologiske og industrielle område – og den første dampmaskine, der blev opstillet i Danmark, var at finde her (1788-90). Ny viden og ny teknologi kom altså til Danmark via Holmen, og fra Holmen spredte denne viden sig videre ud.

I dag er der ikke meget flådeaktivitet tilbage på Holmen – dog vidner flere af bygningerne og reminiscenser som f.eks. Søværnets Officersskole og Søværnets Teknikskole om områdets historie og den danske flådes storhedstid. I midten af 1990’erne flyttede hovedparten af søværnets aktiviteter fra Holmen, og det var i

The Danish Design School’s new setting reflects the naval history of Holmen. The school is now located in the Boiler Shop, the Seaplane Hangar and the School for Apprentices by the old B&W Shipyard, while the buildings “47” and “90” are home to the areas of specialization of The Danish Design School – a spacious setting with room for inspiration, talent and creative ideas in our quest for the goal: creating design that makes a difference!

From classic industry to new encounters between creative thinking and intelligent solutions In addition to The Danish Design School and the Royal Danish Academy of Fine Arts, School of Architecture, Holmen is currently “We hope that Holmen will inspire new also home to the Rhythmic Music Conservatory, The National Film School of Denmark and the visions, intelligent solutions and lasting Danish National School of Theatre and Contemcuriosity in close collaboration with our new porary Dance. But the area also features new, neighbours. With room for big ideas and instylish residential architecture, recreational areas and the Opera (2005). In other words, this spiration that can make a real difference.” is an area that is full of life and creativity with a Rector Anne-Louise Sommer wide diversity of activities.

For more than 300 years, the small islets that gave the area its Danish name formed the royal dockyards. Originally with classic sailing ships, later with innovative steamship constructions. For centuries, Holmen was a powerhouse where technology and industrial skill went hand in hand. Thus, during some periods Holmen was a technological and industrial leader – and the first steam engine that was installed in Denmark was installed at Holmen (1788-90). Thus, new knowledge and technology reached Denmark via Holmen, and from here it spread to the rest of the country.

Today, there is little naval activity at Holmen – although several buildings and facilities, such as the Danish Defence Personnel Service, The Naval Academy

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denne forbindelse, at der blev åbnet op for Holmen, og området langsomt begyndte at antage den skikkelse, det har i dag. Det, vi i dag forstår ved Holmen, udgøres af Nyholm, Frederiksholm, Arsenaløen, Christiansholm og Dokøen. Danmarks Designskole ligger hovedsageligt på Frederiksholm, hvor Danmarks Designskole nu genererer nyt liv i de gamle historiske flådebygninger.

and The Naval Technical School, bear testimony to the area’s history and the golden age of the Danish navy. In the mid 1990s most of the naval activities left Holmen. This made Holmen available for other purposes, and the area gradually began to take on its current form. What we call Holmen today includes the islets of Nyholm, Frederiksholm, Arsenaløen, Christiansholm and Dokøen. The Danish Design School is mainly located on Frederiksholm, where the school has breathed new life into the historic naval facilities.

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Værksteder i verdensklasse

På Danmarks Designskole sker mødet mellem akademisk metode og praksisbaseret forskning ude på gulvet. Vi har et levende uddannelsesmiljø, hvor indsigt, idéer og inspiration testes i praksis. Fra mode til produktdesign og over i de nyere områder som service- og interaktionsdesign. En central del af undervisningen foregår på skolens værksteder, hvor den materialenære designproces kan følges fra skitse og skærm til form og koncepter i 1:1-skala.

World-class workshops

At The Danish Design School, the encounter between academic method and practice-based research is a hands-on affair.

We have a dynamic educational environment where insight, ideas and inspiration are tested in practice. From fashion to product design over the more recent additions of service design and interaction design. An essential part of the training takes place in the school workshops where the material-based design process unfolds from draft and computer screen to full-scale forms and concepts.

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Danmarks Designskoles værkstedsfaciliteter er én af de gode grunde til, at så mange fra hele verden søger til skolen. I forbindelse med flytningen til Holmen har skolen i 2010-2011 investeret yderligere i værkstederne, så de i dag fremstår med unikke faciliteter, der på nogle områder matcher industrien og på andre områder skaber egne unikke, kreative frirum.

Danmarks Designskoles værksteder er vitale omdrejningspunkter for udvikling, eksperimenter og tværfaglig dialog – og dækker blandt andet: Træværksted, Metalværksted, The Roland Academy, SuperFormLab, Tekstilværksted, Serigrafi, Beklædningsværksted, Computerspil-laboratorium, AV-værksted, Letterpress-værksted, Foto- og videostudie, Printcenter, It-faciliteter og Bibliotek.

SuperFormLab Skolens nyeste værksted er resultatet af en opprioritering, da skolen flyttede til Holmen. SuperFormLab er et avanceret værksted for 3D-form, keramik og nye materiale- og formeksperimenter. SuperFormLab giver unikke muligheder for at arbejde tværfagligt med industriel design og arkitektur i alt fra beton, gips, ler, glas, bygningskomponenter til digital og eksperimentel produktudvikling.

Biblioteket for Kunstakademiets Arkitektskole og Danmarks Designskole Fra 2011 fungerer Biblioteket som fælles bibliotek for de to skoler. Det er et offentligt forskningsbibliotek, som er åbent for alle, der interesserer sig for design, arkitektur og byggeri. Online ressourcer, billedbaser, afgangsprogrammer og 160 tidsskrifter står klar til brugerne – sammen med boghandel, udstillinger og studiepladser.

The workshop facilities of The Danish Design School are one of the features that attract students from all over the world. In connection with the relocation to Holmen, the school has made substantial improvements to the workshops in 2010-2011. They now offer unique facilities, in some areas matching those found in industry, in others providing unique creative settings.

The Danish Design School’s workshops are vital platforms for development, experimentation and interdisciplinary dialogue. The list of workshops includes: Wood workshop, Metal workshop, The Roland Academy, SuperFormLab, Textile workshop, Serigraphy, Fashion workshop, Computer game lab, AV workshop, Letterpress workshop, Photo and video studio, Printing centre, IT facilities and Library.

SuperFormLab The school’s latest new workshop reflects an increased priority on workshop facilities in connection with the relocation to Holmen. SuperFormLab is a sophisticated workshop for 3D form, ceramics and new experiments in material and form. SuperFormLab provides unique possibilities for taking an interdisciplinary approach to industrial design and architecture in anything from concrete, plaster, clay, glass and building components to digital and experimental product development.

Library for the Royal Danish Academy of Fine Arts, School of Architecture and The Danish Design School From 2011 the Library serves as a joint library for the two schools. It is a public research library with access for anyone with an interest in design, architecture and construction. Library users have access to online resources, image databases, graduation programmes and 160 magazines – along with a book store, exhibitions and study space.

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Kreative dialoger Nye netvĂŚrk udspringer fra Holmen

2011 har vĂŚret et nyskabende ĂĽr for studenterdrevne initiativer. Vores studerende har en inspirerende lyst til vise, udstille og dele viden. Vi viser her fem nye studenterinitiativer, der skaber kreativ sparring og videndeling, som smitter langt ud over Danmarks Designskoles rammer.

Creative dialogues New networks based at Holmen

2011 was an innovative year for student-driven initiatives. Our students have an inspiring drive to present, exhibit and share knowledge. Here, we showcase five new student initiatives generating creative sparring and knowledge sharing that reach far beyond The Danish Design School itself.

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Made In School – deling af kreativ viden “Vi vil være som Hovedbiblioteket, blot for kreative. Vi samler det bedste fra landets kreative studerende og hjælper dem ved at skabe et fagligt og billedbaseret projektlandskab med deres egne uvurderlige kreative arbejder. Vi vil være den fest, du ville ønske, du var med til!”

Made In School er en ny hjemmeside skabt af en gruppe studerende på Danmarks Designskole. Siden fungerer som et online udstillingsrum for studerende på landets videregående kreative skoler samt landets kunstakademier. Målet med Made in School er at skabe større forståelse og netværk mellem Danmarks kreative studerende. Siden kan bruges til sparring og vidensdeling og er gratis for alle studerende, som opretter sig med en personlig profil: www.madeinschool.dk.

“Her er plads og rum til at lave noget som studerende, fordi der er plads til én selv. Sådan er det i industribygninger med højt til loftet og store åbne rum,” siger studerende Rasmus Michaëlis. Marie Sølyst tilføjer: “Der er overvejende gode ting ved de nye lokaler. Sammenholdet kommer forhåbentligt til at blive endnu bedre. Samtidig er det også interessant at følge mine medstuderende i deres arbejdsprocesser.

Nu kan vi jo følge dem fra start til slut.”

DKDS Caféen – brugernes café “Vi savnede et sted at mødes. Caféen er et sted, hvor man kan mødes og følge med i, hvad folk laver – på tværs af årgang og specialisering,” fortæller Maria Sølvtofte og Rune Flensted, der tog initiativ til en ny faglig og social netværkscafé på Danmarks Designskole. Caféen ligger med udsigt over Operaen og Københavns havn og danner i dag en central ramme om studenterdrevne arrangementer, gå hjem-møder og uformelle events, der sætter uddannelsen i perspektiv.

D10 – Design10. Design på 10 minutter D10 er et nyt initiativ, som blev startet i 2011 af deStuderende Rasmus og Marie i interview med Kulturarvsstysignstuderende Are Brandt og Ola Gilgren. D10 er en relsen til projektet “25 Fantastiske Industrier” månedlig åben event, der giver skolens studerende 10 minutter til at præsentere aktuelle projekter, idéer og kreative indtryk i 10 minutters inspirerende talk. “Målet med D10 er at vise vores specialer og de projekter, vi går og arbejder med.

Made In School – sharing creative knowledge “We want to be like the Main Library, only for creative people. We collect the best of the best from Denmark’s creative students and help them build a creative, imagebased project landscape with their own invaluable creative works. We want to be the party that you are dying to go to.”

Made In School is a new website designed by a group of students at The Danish Design School. The site works as an online exhibition venue for students in Denmark’s art academies and post-secondary creative schools. The goal of Made in School is to generate increased mutual understanding and facilitate networking for creative students in Denmark. The site can be used for sparring and knowledge sharing, and access is free for students who establish a personal profile: www.madeinschool.dk.

“As a student you can really work here, because there’s room for you as an individual.

That’s the way it is in industrial buildings with tall ceilings and large open spaces,” says student Rasmus Michaëlis. Marie Sølyst adds, “The new rooms offer improvements in most respects. Hopefully, it will boost team spirit even more. It’s also interesting for me to follow the other students’ work, since now we can watch the process from start to finish.”

Students Rasmus and Marie in an interview with the Heritage Agency of Denmark for the project “25 Fantastiske Industrier i Danmark” (25 amazing industries in Denmark)

The Danish Design School Café “We needed a meeting place. The café offers a place to meet and learn what other people are working on right now – across year groups and areas of specialization”, say Maria Sølvtofte and Rune Flensted, who initiated a new social networking café at The Danish Design School. The café offers a view of the Opera House and Copenhagen Harbour and serves as a crucial platform for student-driven events, after-work meetings and informal exchanges that put the education activities into perspective.

D10 – Design10. Design in ten minutes D10 is a new initiative that was founded in 2011 by design students Are Brandt and Ola Gilgren. D10 is a recurring monthly event that gives the school’s students ten minutes each to present current

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D10 er en platform, hvor vi øver os i at pitche. Men i et tilbagelænet miljø. D10 kan sammenlignes med det veletablerede ‘Pecha Kucha’ – bortset fra, at vi giver 10 minutter i stedet for 20 slides på 20 sekunder. Vi giver derfor mulighed for videre snak mellem dem, der præsenterer, og publikum på en tilbagelænet facon.” D10 har nye talere hver måned og er åben for offentligheden.

Showgun – studiemagasiner i storformat Showgun er et studiemagasin i plakatstort format, der tilbyder en platform for vidensdeling, netværk og inspiration for Danmarks Designskoles studerende. Showgun fremviser og synliggør studerendes resultater, idéer og kreativitet. Fra studerende til studerende – til medarbejdere – og til alle med interesse for Danmarks Designskole.

For studerende Matthias J.E. Horneman-Thielcke og Thomas Casander Jeppesen, der er idémænd til Showgun, er målet at skabe en “samlende kollektiv platform, der styrker og beriger studerendes horisont, studiemiljø og læretid på Danmarks Designskole”. Magasinet er studenterdrevet og skabes og udgives på frivillig basis. I 2011 følges Showgun op af et nyt studentermagasin, “Hornet”, i samarbejde med studerende fra bl.a. Kunstakademiets Arkitektskole. Begge kan ses på Biblioteket.

Kære DKDS – Power to the people I 2010 vakte afgænger Mikael Stær, studerende Philip Battin og Henrik Ralf Nielsen opsigt over hele verden med konceptet Kære København, der hurtigt blev udvidet til en række storbyer på platformen: Dear NYC, Dear London, Liebes Berlin og, mere lokalt, Hej Hillerød. www.dearcity.org Websitet anvender det verdenskendte post-it-format og er en enkel måde at skabe mikropolitisk engagement, hvor brugerne kan komme med hurtige ideér og input til de byer, de elsker og bor og færdes i. I 2011 besluttede de to tidligere studerende så at give noget tilbage til Danmarks Designskole og lancere en helt ny variant: Kære DKDS. “Vi håber, at alle – studerende, medarbejdere og fremtidens fusionerede ledelse – på Danmarks Designskole vil skrive med og lade sig inspirere til at skabe en endnu bedre skole.

projects, ideas or creative impressions in an inspiring ten-minute talk. “The goal with D10 is to present our areas of specialization and the projects we are working on. In the designers’ universe of nuanced particles, perfection and creative energy we have to be able to offer straightforward communication that people can understand.”

“D10 is a platform where can practice pitching in a relaxed environment. D10 might be compared to the familiar ‘Pecha Kucha’ concept – except that we do ten minutes instead of twenty slides in twenty seconds. That leaves room for more dialogue between the presenter and the audience in a relaxed format.” D10 features new presenters every month, and the event is open to the public.

Showgun – student magazines in a large format Showgun is a student magazine in a poster-size format, which offers a platform for knowledge sharing, networking and inspiration for students at The Danish Design School. Showgun presents and showcases the students’ results, ideas and creativity. From student to student – and to the staff and anyone else with an interest in The Danish Design School.

Students Matthias J.E. Horneman-Thielcke and Thomas Casander Jeppesen, who initiated Showgun, describe the goal as building a “shared collective platform to enhance and enrich the students’ horizon, study environment and general experience at The Danish Design School.” The magazine is student-driven and put together and published by volunteers. In 2011 Showgun is followed up by a new student magazine, “Hornet”, in cooperation with students from the Royal Danish Academy of Fine Arts, School of Architecture.

Both are available for on-site use at the Library.

Dear Danish Design School – power to the people In 2010, Danish Design School graduate Mikael Stær and students Philip Battin and Henrik Ralf Nielsen attracted attention from around the world with the concept Kære København (Dear Copenhagen), which was soon expanded to include new cities on the same platform: Dear NYC, Dear London, Liebes Berlin and, in a more local context: Hej Hillerød. www.dearcity.org The website uses the well-known Post-it format and offers a simple way of generating

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Vores vision er at give vækst til gode ideer, som kan bruges nu og i fremtiden for Danmarks Designskole. Tag del i Kære DANMARKS DESIGNSKOLE, hvor du ikke kommunikerer til politikere, borgere eller ansvarlige, men derimod snakker til skolen, som var den din bedste ven. Giv din stemme en post-it.” Siden kan besøges på www. kaeredkds.dk.

Netværk, der beriger samfund og erhvervsliv Danmarks Designskole har i det hele taget øget fokus på erhvervskontakt, matchmaking og forretningsforståelse, der sikrer, at vores kandidater kommer ud over rampen og er klædt på til nye netværk.

Alle studerende tilbydes praktik, nationalt og internationalt, og vi inviterer erhvervslivet, designfaget og branchen indenfor i designkonkurrencer, workshops og forskning og som gæsteundervisere og erhvervspartnere. I 2010-2011 har Danmarks Designskole iværksat en række nye initiativer: karrierevejledning og matchmakingevents, hvor erhvervsfolk og designkyndige står klar som personlige sparringspartnere for skolens studerende. Skolen har praktikaftaler med de mest innovative og de helt nye. Vi har styrket den obligatoriske undervisning i forretningsplan og designjura samt rådgivningsordningen designVAGT i samarbejde med Patent- og Varemærkestyrelsen.

Vi får hele tiden nye internationale partnerinstitutioner, der sikrer international udveksling og netværk, og er hele tiden i kontakt med aftagerne via Danmarks Designskoles Aftagerpanel.

micro-political involvement, where residents can post ideas and input for the cities that they love, and where they live and work. In 2011 the two former students decided to give something back to The Danish Design School by launching a new version: Kære DKDS (Dear Danish Design School).

“We hope that everybody – students, staff and the post-merger management – at The Danish Design School will post here and seek inspiration for building an even better school.

We hope to facilitate good ideas that can be used now and in the future for the benefit of The Danish Design School. Take part in Kære Danmarks Designskole, where you are not communicating with politicians, citizens or decision-makers but instead chatting with the school as if it were your best friend. Give your voice a Post-it.” The site was launched in 2011 at www.kaeredkds.dk Networks that enrich society, business and industry Generally, The Danish Design School is putting increased priority on matchmaking, business competence and relations with companies to ensure that our graduates are ready to connect with the world of business and industry and enter into new networks.

All students are offered work placement, both in Denmark and abroad, and we invite business, industry and design professionals to get involved by means of design competitions, workshops and research and as guest lecturers and business partners. In 20102011 The Danish Design School launched a number of new initiatives: Career guidance and matchmaking events, where design professionals and people from business and industry offer personal advice or sparring for the school’s students. The school has work placement arrangements with highly innovative and newly established companies. We have improved the mandatory courses in business plan and design law as well as the counselling service designVAGT (designWATCH) in cooperation with the Danish Patent and Trademark Office.

We regularly add international institutions to our partnership network to secure international exchange and networking – and we are in ongoing contact with business and industry via The Danish Design School’s Business Panel.

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Designuddannelsens dna: centre og specialer

Danmarks Designskole uddanner designere og kunsthåndværkere og har i mere end 135 år bidraget til udviklingen af dansk design og kunsthåndværk med international rækkevidde. Men hvor er skolen på vej hen i dag? Vi kan lave lange lister med succesfulde design og designere, der har skabt løsninger, hvor både form og funktioner danmarks designskoles centerledere Christian Heide Petersen, Julie Sommerlund, Troels Degn Johansson, Tine Kjølsen og Jens Overbye appellerer til brugerne. Blik for bæredygtighed, brugerinvolvering, mennesker og velfærdsteknologi har skabt de elskede familiemedlemmer i dansk design. I dag uddanner vi designere, hvor stjernedesigneren og navnet ikke nødvendigvis er vigtigt, men hvor det tværfaglige og innovative team er den kreative kraft, der skal føre design ind i det 21. århundrede.

The DNA of design education: centres and areas of specialization

The Danish Design School educates designers and craftspeople, and for more than 135 years, the school has been involved in developing Danish design and crafts with international reach. But where is the school headed today? We could draw up long lists of successful designs and designers who have crethe heads of centres at the danish design school Christian Heide Petersen, Julie Sommerlund, Troels Degn Johansson, Tine Kjølsen and Jens Overbye ated solutions where both form and functions appeal to the users. An understanding of sustainability, user involvement, people and welfare technology has produced the beloved family members in the Danish design family. Today, our focus in design education is less on star designers and big names and more on the interdisciplinary and innovative team as the creative power that is to bring design into the 21st century.

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Designuddannelsens dna The DNA of design education

I dag bygger Danmarks Designskole på et dna, der udfolder sig igennem vores treårige bachelor- og toårige kandidatuddannelse. Dna’et er en levende organisme, der præger vores nyuddannede designere og kunsthåndværkere, som kan matche fremtidens behov og kan indgå reflekteret i designprocesser, brugerstudier og udveksling med verden. Hvert år optages der 105 nye designstuderende på første år på vores designuddannelse og 28 på den treårige kunsthåndværkeruddannelse på Bornholm.

Vores dna betyder, at de nyuddannede designere og kunsthåndværkere kan omsætte teori til praksis, generere ny viden og metoder og sætte sig ind i andre menneskers og kulturers behov og mindset. Det sker i et stærkt samspil mellem vores tre “ben”: projekter + redskaber + teori og metode. Vores studerende undervises gennem en kreativ læringsproces i at teste deres metoder og værktøjer og forholde sig til brugerne, omverdenen og designets relevans. Uanset om udfordringen hedder velfærdsdesign, virksomhedsdrift og visuel innovation – eller fattigdom, forurening og fossil energi.

I 2011 udfolder vores design-dna sig mellem Danmarks Designskoles fem centre. Centrene er fem dynamiske indgange til skolens designudvikling, -undervisning og -forskning. Skolens specialeområder udspringer af de fem centre, hvor stærke fagligheder udfolder sig med stor kreativitet og innovationskraft.

Today, The Danish Design School is working on the basis of a DNA that unfolds through our three-year bachelor programme and our two-year master’s programme.

The DNA is a living organism that affects our new design and crafts graduates, who are capable of matching the needs of the future and of engaging as reflective partners in design processes, user studies and exchanges with the world. Every year, 105 new design students are accepted into the basic year of our design programme, and 28 into the three-year crafts programme on the island of Bornholm.

Thanks to this DNA, new design and crafts graduates are able to translate theory into practice, generate new knowledge and methods, and relate to the needs and mindsets of other people and cultures. This occurs in a powerful interaction between our three core areas: projects + tools + theory and method. In a creative learning process, our students learn to test their methods and tools and to relate to the users, their world and the relevance of the design. Regardless whether the challenge is welfare design, corporate management and visual innovation – or poverty, pollution and fossil fuels.

In 2011 our design DNA unfolds in the five centres of The Danish Design School. The centres offer five dynamic portals to the school’s design development, teaching and research. The school’s areas of specialization spring from the five centres, where firmly anchored disciplines unfold with great creativity and innovation power.

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Center for Kommunikationsdesign

Nye teknologier og digitale mediers rivende udvikling udfordrer hele tiden vores måde at kommunikere og interagere på. Center for Kommunikationsdesign er Danmarks Designskoles største uddannelsesområde, hvor der undervises, forskes og nytænkes i visuelt baserede kommunikations- og designløsninger.

Centre for Communication Design

The rapid development in new technologies and digital media is constantly challenging the way we communicate and interact. Communication Design is The Danish Design School’s largest centre; it combines education, research and innovation related to visually based communication and design solutions.

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Visuel Kommunikation Vi dækker et stort og bredt fagområde med mange specialiseringsmuligheder inden for grafisk design, branding og identitetsdesign, illustration, webdesign, oplevelsesdesign, co-design og billedkommunikation. Vi arbejder både teoretisk og praktisk med udvikling og planlægning af kommunikationsdesign, visuelle koncepter og designstrategi – og med, hvordan visuel kommunikation påvirker vores liv og samfund.

ProductionDesign Design til tv, film og computerspil. Specialeområdet ProductionDesign uddanner unge og talentfulde studerende inden for design til film, tv, animation, motion graphics, musikvideo og computerspil. Production“Mit fokus er til stadighed at sikre den bedst Designerens opgave er bl.a. via visuelt konceptmulige og mest opdaterede designundervis- arbejde at skabe sammenhængende kvalitet i et fortællende billedmæssigt udtryk.

ning inden for centrets specialeområder.”

Tine Kjølsen, centerleder, Center for Kommunikationsdesign, grafisk designer

Spil- og Interaktionsdesign Spil- og Interaktionsdesign er et hastigt voksende fagområde. Vi udforsker de nye teknologier og anvender dem i designløsninger, som er tilpasset menneskets behov nu og i fremtiden.

Der arbejdes med en bred vifte af fagområder: fra design af spil, mobile applikationer og web-services til interaktionsdesign og udvikling af digitale koncepter med udgangspunkt i mennesket – og med særlig inddragelse af brugeren i designprocessen.

Visual Communication We cover a large and broad area with many possibilities for specialization in traditional graphic and illustrative disciplines such as art direction, identity design, advertising, branding, and web design. We address the development and planning of communication design, visual concepts and design strategy from a theoretical as well as a practical angle. And we address the impact of visual communication on our life and society.

ProductionDesign Design for TV, film and computer games. ProductionDesign is an area of specialization that trains young and talented students “My focus is always on securing the best to make design for film, TV, animation, motion graphics, music videos and computer games. Part possible and most updated design educaof the production designer’s work involves creattion in the centre’s areas of specialization.” ing a coherent quality in a narrative visual expresTine Kjølsen, head of Centre for Communication Design, sion by means of conceptualization. graphic designer

Game and Interaction Design Game and Interaction Design is an expanding and rapidly growing discipline. We explore new technologies and apply them in design solutions that match human needs now and in the future. The work involves a wide range of disciplines, from the design of games, mobile applications and web services to interaction design and the development of digital concepts based on the human user – with particular emphasis on user involvement in the design process.

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Center for Tekstil og Beklædning

Dansk mode og tekstil står stærkt internationalt. Center for Tekstil og Beklædning rummer hele spektret i arbejdet med beklædning og tekstil – fra det konceptuelle til det kommercielle inden for felter som mode, interiør og arkitektur, hvor Danmarks Designskole markerer sig stærkt.

Centre for Textile and Fashion

Danish fashion and textile have a strong international position.

The Centre for Textile and Fashion encompasses the full spectrum of fashion and textile – from conceptual to commercial work within the fields of fashion, interior design and architecture.

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Beklædningsdesign Beklædningsdesign beskæftiger sig bredt med beklædning og mode. Fra mode som kulturelt fænomen til beklædning som kommunikation af identitet og tilhørsforhold. Fra det overordnede koncept til den konkrete udvikling af form. Vi arbejder med beklædningsdesign på højt kunstnerisk, teknisk og fagligt niveau og danner det rette faglige, teoretiske og kunstneriske springbræt til morgendagens mode og beklædning.

Tekstildesign Vi arbejder med udvikling af tekstiler til beklædning, interiør og arkitektoniske sammenhænge. Generelt dækker faget over opgaver, “Mit fokus er brobygning. Mellem kunst, hvor farve, taktilitet og mønsterdannelse er en del af det formdannende element. Uddannelsen håndværk og forskning og mellem æstetik, fokuserer typisk på enten interiør- og boligomerhverv og samfund.” rådet eller mode og beklædningsområdet. Vi Julie Sommerlund, centerleder, Center for Tekstil og arbejder med hele bredden af tekniske, formBeklædning, lektor, ph.d. mæssige og strategiske kompetencer og bidrager til en opdateret brug og forståelse af tekstiler. Fra beklædning over intelligente tekstiler til ny banebrydende arkitektur.

Fashion Design Fashion design deals with fashion and clothing in a broad sense. From fashion as a cultural phenomenon to clothing as a means of expressing identity and group membership. From the overall concept to the concrete development of form. We work with clothing design on a high artistic, technical and professional level and provide the right professional, theoretical and artistic spring board for tomorrow’s fashion and clothing.

Textile Design We work with the development of textiles for clothing, interior design and architectural contexts. Generally, the discipline includes “My focus is on building bridges. Between assignments where colour, tactile properties and pattern formation are part of the form-building art, craft and research, and between aeselement. We work with the full range of technical, thetics, business & industry and society.” form-related and strategic skills and contribute Julie Sommerlund, head of Centre for Textile and Fashion, to an updated use and understanding of textiles. associate professor, Ph.D. From fashion over intelligent textiles to new, groundbreaking architecture.

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Center for Møbel, Rum og Industriel Design

Nye livsformer, ny viden, teknologier og materialer udfordrer hele tiden måden, vi tænker rum, møbler og industriel design på. Danmark og Danmarks Designskole har i mere end 50 år markeret sig nationalt som internationalt og skabt en stærk tradition inden for møbeldesign, rumindretning og industrielle designløsninger. Vi bidrager til fortsat udvikling. Fra en stolt dansk tradition opbygget på møbler, indretning og industriel produktdesign til nye teknologier, interaktionsmuligheder, brugerflader og krav til social og miljømæssig bæredygtighed.

Centre for Furniture, Spatial and Industrial Design

New ways of living and new knowledge, technologies and materials constantly challenge our perceptions of space, furniture and industrial design. For more than 50 years, Denmark and The Danish Design School have held a prominent international position, building a strong tradition for furniture, interior and industrial design solutions. From a proud Danish tradition based on furniture, interior design and industrial product design to new technologies, interaction possibilities, user interfaces and demands for social and environmental sustainability.

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Møbel- og Rumdesign Et traditionsrigt specialeområde, hvor kendskab til processer, metoder og udtryksformer, der knytter sig til design af møbler og rum, er i centrum. Vi arbejder både med udvikling af møbler og inventar og med indretning af rum til boliger, institutioner, arbejdspladser, byens offentlige rum og udstillings- og formidlingsdesign. Alt sammen på et klart fagligt, teoretisk og kunstnerisk fundament.

Industriel Design Industriel design beskæftiger sig med alt fra udvikling af livsstilsprodukter og brugsting til hjemmet til komplekse services og ”intelligente” produkter med avanceret teknologi. Vi forener nye teknologiske mulig“Design skal medvirke til at skabe en heder og industriel produktion med æstetiske produktkvaliteter, brugerhensyn, kulturel værdi bedre tilværelse for mennesker i alle dele og samfundshensyn. Vi underviser i udvikling af af verden ved at prioritere løsninger, som alt fra mobiltelefoner, biler og grøn transport til gennem brugerinddragelse, nytænkning, design, der redder liv, og tager hensyn til digitalisering, globalisering, fokus på brugerne, innovaansvarlig brug af ressourcer og teknologi tionskrav, CSR, nye materialer og bæredygtighed.

samt satsning på æstetisk og brugsmæssig kvalitet skaber bedre produkter, rum og kommunikation.”

Jens Overbye, centerleder, Center for Møbel, Rum og Industriel Design, indretningsdesigner mDD

Furniture and Spatial Design A field with rich traditions with an emphasis on the knowledge of processes, methods and expressions related to the design of furniture and space. We work with the development of furniture and furnishings and with spatial design for homes, institutions, workplaces, public urban spaces, and exhibition and presentation design.

All based on a clear professional, theoretical and artistic foundation.

Industrial Design Industrial design deals with everything from the development of lifestyle products and objects for everyday use in the home to complex services and “smart” products with sophisticated technology. We combine new “Design should help improve life for people technological possibilities and industrial proeverywhere in the world by prioritizing so- duction with aesthetic product qualities, user concerns, cultural values and society’s needs. lutions that create better products, spaces We teach the development of anything from moand communication by means of user bile phones and green transportation to design that saves lives and addresses the issues of digiinvolvement, innovation, a responsible tization, globalization, user-centred concerns, use of resources and technology and an innovation requirements, CSR, new materials emphasis on aesthetic and utility quality.” and sustainability.

Jens Overbye, head of Centre for Furniture, Spatial and Industrial Design, interior designer mDD

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Center for Glas og Keramik

Center for Glas og Keramik spænder fra industrielle processer til det nære arbejde med den enkelte form. Glas og keramik har i flere år udviklet sig, så det traditionelle unika-fokus er suppleret med eksperimenterende arbejde med koncepter, der rækker ind i både kunsthåndværket og industrielle processer. Danmarks Designskole giver mulighed for at dyrke kunsthåndværk af høj kvalitet og rum til at udforske, teste og tilføre nye perspektiver til forståelsen af området.

Centre for Glass and Ceramics

The Centre for Glass and Ceramics ranges from industrial processes to hands-on work with the individual shape. Over several years, Glass and Ceramics has developed to expand the traditional one-off focus with experimental work on concepts that reach into both crafts and industrial processes. We work with crafts on a high level and explore, test and add new perspectives to the understanding of the field.

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Keramikdesign Udspringer af arbejdet med keramik af høj kvalitet. Fagområdet udforsker, tester og tilfører nye perspektiver til forståelse af materialerne, deres grænser og nye sammenhænge. Der arbejdes med det eksperimenterende, nyskabende og innovative inden for både unika, serieproduktioner, brugsting og helhedsløsninger.

Keramik og Glas på Danmarks Designskole, Bornholm Danmarks Designskole, Bornholm danner rammen om et af Europas små, men førende uddannelsesmiljøer inden for glas og keramik. Her udbyder vi en selvstændig treårig kunsthåndværkeruddannelse. Skolen er et levende væksthus for undervisning, forskning og eksperimenter af høj kvalitet, “Jeg er optaget af håndværket, materialet der tilfører nye perspektiver til området i tæt samarbejde med resten af Danmarks Designskoles og det innovative, af æstetikken og af det centre og specialeområder.

formålstjenlige.”

Christian Heide Petersen, centerleder, Center for Glas og Keramik, uddan. v. Det Kgl. Danske Kunstakademi, Billedkunstskolerne

Ceramic Design Based on experience with high-quality glass and ceramics, this area of specialization explores, tests and adds new perspectives to our understanding of the materials, their limitations and new contexts. The students work with experimental, creative and innovative approaches in one-offs, serial productions, utilitarian objects and holistic solutions.

In 2011, the school’s workshops have been expanded with the SuperFormLab, which offers additional space for material experiments in a broad range of materials, from the digital field to concrete, clay and plastic.

Glass and Ceramics on the island of Bornholm Since 2010, The Danish Design School, Bornholm has been a key part of Centre for Glass and Ceramics. The school forms the setting for one of Europe’s small but leading educational enChristian Heide Petersen, Head of Centre for Glass and vironments for glass and ceramics and offers a Ceramics, edu. The Royal Danish Academy of Fine Arts, specialized three-year crafts degree. The school Schools of Visual Arts is a new dynamic growth centre for education, research and quality experiments that brings new perspectives to the area in close collaboration with our other centres and areas of specialization.

“My interest lies with craftsmanship, materials and innovation, with aesthetics and purpose.”

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Center for Teori og Metode

Design handler om at skabe værdi og løse problemer. Som sådan bliver design stadigt vigtigere for samfundet, og der stilles stadigt større forventninger til, hvordan design kan gøre en forskel for virksomheder, organisationer og menneskers velfærd og livskvalitet. Samtidig bliver designbegrebet stadigt mere omfattende og komplekst. Det er vigtigt for samfundets udvikling, at der forskes i, hvordan nutidens virksomheder og fremtidens designere bedst muligt kan forstå og agere i dette designfelt.

Centre for Theory and Method

Design is about creating value and solving problems. This makes design increasingly important to society, and there are growing expectations of the capacity of design to make a difference for companies, organizations, human welfare and our quality of life. At the same time, the concept of design is expanding in scope and complexity. It is essential for the development of society to study how today’s companies and tomorrow’s designers can best comprehend and address this field of design.

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Center for Teori og Metode er rammen for designforskningen ved Danmarks Designskole. Centret udgør et af landets stærkeste miljøer inden for designforskning og søger at være internationalt førende på skolens særlige indsatsområder. Skolens forskning udfolder sig i tæt samspil med undervisningen og omkring vores udviklingsbevidste forskningsklynger.

“Vi ønsker med vores forskningsprofil at bidrage til et levende designfelt, fremme designviden og udvide rammerne for, hvordan design udvikles og anvendes i teori og praksis.”

Troels Degn Johansson, center- og forskningsleder, Center for Teori og Metode, lektor, ph.d.

Centre for Theory and Method forms the setting for design research at The Danish Design School. The centre is one of Denmark’s strongest environments within the field of design research, and in certain areas we aim to be a global leader.

“With our research profile we seek to contribute to a dynamic field of design, promote design knowledge and expand the framework for developing and using design in theory and practice.”

Troels Degn Johansson, head of Research and Head of Centre for Theory and Method, associate professor, Ph.D.

Design Talks: nyuddannede designprofiler Vi har fulgt en hündfuld nyuddannede designere ind i de første job, nomineringer, priser og bureauer. Se starten pü et udfoldet arkiv over tidligere studerende fra Danmarks Designskole. Hvad laver de nu? Hvad designer de? Og hvad skal design i dag?

Design Talks: new design graduates

We have followed a group of new design graduates into their first jobs and their first nominations, awards and agencies. See the beginnings of a comprehensive archive of former students from The Danish Design School. What are they doing now? What are they designing? And what is the role of design today?

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www.stineladefoged.com www.danskfashionawards.com

Center for Tekstil og Beklædning Stine tog afgang fra Danmarks Designskole i 2009 og er nu på banen med eget brand. I dag er hun en anerkendt tekstil- og beklædningsdesigner, et navn på vej op. DANSK Fashion Awards har nomineret hende til Årets Danske Designtalent 2011, hvor også afgænger David Andersen er shortlistet blandt “danske designere med maximalt seks kollektioner bag sig”, som – ifølge DANSK-nomineringen – “kreerer innovative, fremadtænkende kollektioner, hvor det primære fokus er på det visuelle udtryk.”

Centre for Textile and Fashion Stine graduated from The Danish Design School in 2009 and has now launched her own brand. Today she is an acknowledged textile and fashion designer, an up-and-coming design name.

DANSK Fashion Awards nominated her for Best Danish Design Talent of the Year 2011. Together with Danish Design School graduate David Andersen she was shortlisted among “Danish designers with a history of a maximum of six collections” who – according to the DANSK nomination – “create innovative, forward-thinking collections, where the primary focus is on the visual expression.” www.stineladefoged.com www.danskfashionawards.com

Stine Ladefoged Finalist til DANSK Årets Danske Designtalent

Stine Ladefoged Finalist in the DANSK Fashion Awards, Best Danish Design Talent of the Year

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Hvad er den sjoveste og den sværeste del af at være designer med eget brand?

Det er dejligt at have friheden til at kunne designe ud fra mine egne visioner og udtryk, men samtidig kan det også være rigtig hårdt at skulle have alle “hatte” på selv og sørge for, at der er styr på økonomi, salg, pr mv.

Hvor ser du dig selv om fem år?

Forhåbentligt er mit brand vokset – og samarbejdet med andre virksomheder.

What is your best advice to someone who wants to make it as a designer?

Follow your gut instinct, and make sure to be well prepared if you want to start your own company. Talk it over with someone who can bring a different set of competences to the table.

What is your best advice to other young people who dream of studying at The Danish Design School?

Be persistent and hard-working, and consider taking additional courses in drawing or other related skills, and find your own niche/area of interest as early as possible.

Where do you see yourself five years from now?

Hopefully, my brand has expanded – and I am collaborating with other companies.

What is the best part, and what is the hardest part of having your own brand as a designer?

It’s great to have the freedom to create designs based on my own visions and expressions, but it can also be really hard to have to wear all the “hats” all the time, taking care of finances, sales, PR, etc.

Hvad er dit bedste råd til andre unge, der drømmer om at blive optaget på Danmarks Designskole?

Vær vedholdende og arbejdsom, tag evt. forberedende tegnekurser eller lignende, og find din niche så tidligt i forløbet som muligt.

Hvad er dit bedste råd til andre, der gerne vil frem i branchen?

Følg din mavefornemmelse, og sørg for at være velforberedt, hvis du vil starte egen virksomhed. Rådfør dig med andre, der har andre kompetencer end dig selv.

Hvad er din største styrke som designer fra Danmarks Designskole?

Det er helt sikkert arbejdsproces og idéudvikling. Jeg synes, det er en kæmpe fordel, at vi lærte at være procesorienterede og ikke kun have fokus på slutproduktet. Derudover er den kreative tilgang og friheden til at eksperimentere også en rigtig god ballast at have med i bagagen.

What is your main strength as a designer from The Danish Design School?

Definitely working process and idea development. I think it’s a huge benefit that we learned to take a process-oriented approach instead of focusing exclusively on the result. The creative approach and the freedom to experiment also serve as great ballast.

Where do you find inspiration?

That varies a lot. Usually I find a general theme that I use as a visual point of departure both in the drafting stage, the mannequin experiments and the development of knit samples.

What does it mean for you as a designer to be nominated for a DANSK Fashion Award?

It means something in terms of increased awareness of my brand, and of course it’s nice to have the confirmation that someone else likes my work.

Hvor finder du inspiration?

Det er meget forskelligt. Jeg finder som regel et overordnet tema, som jeg bruger som visuelt udgangspunkt både i skitsefasen, gineeksperimenter og udviklingen af striktekniske prøver.

Hvad betyder det for dig som designer at blive nomineret i DANSK Fashion Awards?

Det betyder noget i forhold til at sprede kendskabet til mit mærke, og så er det jo rart at blive bekræftet i, at der er andre, der kan lide det, jeg laver.

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www.rasberg.com www.ioi.dk

Center for Kommunikationsdesign Rasmus Berggreen vandt i 2011 en Robert med sit afgangsprojekt, udviklet i samarbejde med Filmskolen, og arbejder nu i spilfirmaet IO Interactive, der står bag spil som Hitman, Kane and Lynch, MiniNinjas etc. Firmaet har været med til at gøre dansk spildesign til en verdenssucces og har allerede en del designere fra Danmarks Designskole på holdet.

Centre for Communication design In 2011, Rasmus Berggreen received a Robert award for his graduation project, which was developed in cooperation with the National Film School of Denmark; today he works for the game developer IO Interactive, which has launched games like Hitman, Kane and Lynch, MiniNinjas and others. The company has helped make Danish game design a global success, and the team already includes several graduates from The Danish Design School. www.rasberg.com www.ioi.dk

Rasmus Berggreen Fra Robert-pris til spilbranchen

Rasmus Berggreen From a Robert award to the gaming industry

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Hvad er det næste projekt, vi kan forvente at se fra din hånd?

Jeg er nu ansat hos spiludvikleren IO Interactive som concept artist, hvor jeg er med til at skabe det visuelle univers til det næste store projekt. Jeg laver mange forskellige opgaver og en stor del af præ-produktionen på spillets filmsekvenser. Det er et rigtigt stort projekt, så jeg glæder mig helt vildt til den dag, det kommer ud.

Hvordan opdagede du, at du gerne ville arbejde med design?

Jeg har altid været fascineret af visuelle universer og været interesseret i at tegne, især påvirket af Disney som barn. Men jeg er vokset op med den store grønne “Hvad kan jeg blive” i skolen, så jeg vidste reelt ikke, at det var en mulighed at leve af det. Det var først i gymnasiet, det gik op for mig, at der var noget, der hed Danmarks Designskole, og så vidste jeg, at jeg skulle den vej på den ene eller anden måde.

What is the next project we can expect to see from you?

Today, I am working for the game developer IO Interactive as a concept artist, where I am involved in creating the visual universe for the next big project. I do many different types of tasks and much of the pre-production for the film sequences in the game. It’s a huge project, so I’m really looking forward to the day when it’s released.

How did you discover that you would like to work with design?

I’ve always been fascinated with visual universes and loved to draw, especially with the influence from Disney when I was a kid. But in school, we were exposed to more traditional career guidance, so I didn’t actually know that it could lead to gainful employment. It was not until my upper secondary years that I realized there was something called The Danish Design School, and then I knew that I had to go that way, somehow.

Hvad er den sjoveste og den sværeste del af at være designer hos IO Interactive?

IO Interactive er en fantastisk arbejdsplads. Det er super fedt at arbejde sammen med så mange forskellige spændende mennesker i et spændingsfelt mellem teknik og kreativitet. Det er implicit, at der er begrænsninger ved, hvad der reelt kan lade sig gøre, hvilket til tider kan være frustrerende, men samtidigt også super udfordrende og lærerigt. På film kan man næsten få det, man vil have – i spil skal man tænke en smule anderledes for at opnå det bedste resultat.

Da vi kun er få concept artists, har jeg stor indflydelse på mange arbejdsopgaver, og det elsker jeg. Opgaverne spænder over cinematiske sekvenser, storyboard, arenaer, karakterer, marketing materiale etc. Og det giver mig altid en varieret dag.

Hvad vil du gerne huskes for som designer?

Jeg vil gerne huskes for at have rørt mange mennesker med mine universer.

Hvad synes du er din største styrke som designer fra Danmarks Designskole?

Man lærer en proces, hvor man er god til at igangsætte og udvikle, så man ikke går i stå og kun tænker på slutresultatet. Jeg har taget en god balance mellem teori og praksis med mig. Som en del af større teams synes jeg, at det har været uundværligt og ofte gjort det let for mig at bidrage til en diskussion.

Hvad betød det at vinde en Robert?

Det var en fantastisk oplevelse at vinde prisen. “To venner” er en 2D-afgangsanimationsfilm fra Den Danske Filmskole, hvor jeg som designer stod for at udvikle filmens visuelle univers.

Det var fantastisk, at vores vision for filmen blev set og forstået af Filmakademiet og publikum. Da en Robert er den største filmpris, man kan vinde i Danmark, er der selvfølgelig ingen tvivl om, at det er godt på cv’et. Jeg er glad for anerkendelsen og oplevelsen.

What did it mean for you to win a Robert award?

It was an amazing experience to win the award. To venner (Two friends) is a 2D graduation animation film from the National Film School of Denmark, and as a designer I was in charge of developing the visual universe of the film.

It was great that our vision for the film was seen and understood by the Danish Film Academy and the audience. Since the Robert is the biggest film award in Denmark, there is of course no doubt that it’s a good thing to have on one’s CV. I really appreciate the recognition and the experience.

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Where do you see yourself five years from now?

My goal then is to work as an art director. Whether on a film or a game, time will tell.

What is your best advice for someone who wants to make it as a designer?

Take a super targeted approach, talk to people in the industry, and set specific goals.

What is the best part, and what is the hardest part of working as a designer at IO Interactive?

IO Interactive is a great workplace. It’s super cool to work with so many different interesting people in a field of tension between technical and creative aspects.

There are implicit limitations in terms of what is actually possible, and sometimes that can be frustrating, but it’s also a great challenge and a learning experience. In film you can do almost anything you want; in a game you have think a little differently to achieve the best result.

Since we are only a small number of concept artists, I have considerable influence on many work tasks, and I love that. The tasks range from cinematic sequences, storyboards, arenas, characters, marketing materials, etc. This means that my workdays offer a lot of variation.

How would you like to be remembered as a designer?

I would like to be remembered for touching many people with my universes.

What do you see as your greatest strength as a designer from The Danish Design School?

We learn a process where we’re good at initiating and developing, so that we don’t get stuck and focus exclusively on the end-result. I have acquired a good balance between theory and practice. When working in larger teams I find this to be a crucial skill, which has often made it easy for me to contribute to a discussion.

Hvad er dit bedste råd til andre, der gerne vil frem i branchen?

At arbejde super målrettet, snakke med mennesker, som arbejder i branchen, og sætte sig mål.

Hvor ser du dig selv om fem år?

Mit mål er til den tid at arbejde som art director. Om det bliver på en film eller et spil, må tiden vise.

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www.lego.com www.herofactory.lego.com

Industriel Design blandet med spil Brian Nielsen var i løbet af sin uddannelse i praktik hos LEGO, og det førte til et langvarigt samarbejde. Allerede inden han udstillede sit afgangsprojekt, var han ansat i LEGOs Hero Factory, hvor han i dag arbejder med design af det verdenskendte produkt. Brians afgangsprojekt var en fusion af computerspil og legetøj: computerspil, der kan printes ud og foldes til legetøj. Et koncept, hvor legen og spiloplevelsen integreres i det fysiske rum, hvor børn kan røre sig. I dag udfolder han sin legende designtilgang hos LEGO.

Industrial design mixed with games As part of his studies, Brian Nielsen did a work placement with LEGO, which led to a long-term engagement. Even before he exhibited his graduation project he had been offered a job in LEGO’s Hero Factory, where he now works as a designer for the world-famous product. Brian’s graduation project was a fusion of computer game and toy: computer games that can be printed and folded into toys. The concept integrates play and the game experience in physical space and lets children move. Today he unfolds his playful design approach at LEGO. www.lego.com www.herofactory.lego.com

Brian Nielsen Kreativ leg hos LEGO

Brian Nielsen Creative playtime at LEGO

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Hvad er din største styrke som designer fra Danmarks Designskole?

Et svært spørgsmål. Jeg vil mene, at min største styrke må være den metodiske tilgang til processen. Den evne kan bruges i stort set alle tilgange til design. Men om der er en generel styrke, som alle Danmarks Designskole-designere besidder, ved jeg ikke noget om. Måske er det netop det, der er vores styrke – at vi er alle ret unikke og så vidt muligt prøver at finde vores helt egen vej. Skolen favner meget bredt, hvilket afspejler sig i os. Det er måske en styrke.

What is your biggest strength as a designer from The Danish Design School?

A tough question. I think that my biggest strength would have to be a methodical approach to the process. That is a skill that’s useful in virtually any design context. But whether there is a general strength that all graduates from The Danish Design School possess, I don’t know. Maybe that’s our strength – that we’re all fairly unique and try to find our own special path as much as we can. The school embraces diversity, which is reflected in us. Maybe that’s a strength.

Can a designer take a deliberate stance with his or her design?

Definitely. Even if we try to be objective in a subjectively charged field of interest, we are all ultimately subjective. Design is about seducing and convincing. We have to be able to persuade others to see that what we have made is better than what they’ve already got. I don’t think that it’s possible to do that without taking a stance to or with one’s work and the outcome. We often think that we are close to the top of manufacturing pyramid – and that implies that we have a responsibility for what we do and how it is produced. We have to take that responsibility on and take it seriously.

Please describe your design approach in five words.

I can do it in two: Have fun!

What’s the best part of working at LEGO? It’s extremely rewarding to be involved in creating new products from start to finish, and it’s great to be able to go to the local toy store and see one’s own designs on the shelf.

Hvordan blev du involveret i LEGO? Da jeg afsluttede uddannelsen, fik jeg tilbudt et freelancejob hos LEGO. Jeg fik min kontakt til LEGO tilbage i 2008, hvor jeg var i fem måneders praktik. I januar 2011 blev jeg så fastansat. Mit praktikophold var helt klart meget skelsættende for min uddannelse, da det gav mig en indsigt i, hvad det er, der kræves af os, hvis vi vil have et arbejde, når vi er færdige på skolen.

Har du altid vidst, at du gerne ville arbejde med design?

Jeg har nok altid kredset om det – og er endt med at have rejst “full circle” fra en seksårig, der sad på sit værelse og byggede med LEGO, til en 33-årig, der sidder i sit studie og bygger med LEGO. Det har aldrig været planlagt, men det giver mening.

How did you get involved with LEGO? When I graduated, I was offered a freelance job at LEGO. I got in touch with LEGO back in 2008, when I did a five-month work placement there. In January 2011 they offered me a job. My work placement obviously helped define my training, as it gave me insights into what is required of us if we want a job after graduation.

Did you always know that you wanted to work with design?

I guess I’ve always been drawn in that direction – and I wound up going full circle from a six-year-old who sat in his room building with LEGOs to a thirty-threeyear-old who sits in his studio building with LEGOs. I never planned it that way, but it does make sense.

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What is your best advice for someone who wants to make it as a designer?

Two things come to mind: As a student, try to connect with design studios and companies as much as possible – in the form of work placements or projects where you meet students from other schools, for example the Copenhagen Business School. My second piece of advice would be to remember to draw! That may be our most important skill, and people expect us to be able to draw if we call ourselves designers. And remember one more thing: Be a contrarian!

What is the best thing you have taken with you from The Danish Design School?

One of the main things I have taken with me is a strong personal process and a good conceptual approach to design. I have found teamwork to be incredibly important for designers. Both with colleagues and in a wider context. We are very dependent on other people’s skills. For example, at LEGO we work closely with both engineers and marketing people. It’s helpful to be able to cooperate across professional boundaries. That is where the magic happens, so to speak.

As designers we have to be very aware of this fact when we step into the world outside the safe context of the school. It’s about communication – on many different levels. This is where our theoretical approach from the school comes in as a strength, especially in combination with good drafts.

Hvad er dit bedste råd til andre, der gerne vil frem i branchen?

Der er to ting, der falder mig ind: Som studerende bør man forsøge at komme så meget ud på tegnestuer og i virksomheder som muligt – det kan være i praktikophold eller via projekter, hvor man møder studerende fra andre skoler, f.eks. CBS. Mit andet råd må være aldrig at glemme at tegne! Det er nok den vigtigste evne, vi har, og folk regner med, at vi kan tegne, når vi kalder os for designere. Og husk endnu en ting: Vær kontrær!

Hvad er det bedste, du har taget med videre fra Danmarks Designskole?

En af de primære ting, jeg har taget med mig, er netop en stærk personlig proces og en god konceptuel tilgang til faget. Jeg har oplevet, at gruppearbejde er utroligt vigtigt for designere. Både blandt kolleger og udadtil. Vi er nemlig meget afhængige af andre folks kompetencer. Eksempelvis arbejder vi hos LEGO tæt sammen med både ingeniører og marketingfolk. Det er en styrke at kunne arbejde frit på tværs af faggrænser. Det er dér, magien sker, så at sige. Vi skal som designere være meget opmærksomme på dette forhold, når vi træder ind i verden uden for skolens trygge rammer. Det handler om kommunikation – og om kommunikation på flere planer. Det er her, vores teoretiske tilgang fra skolen kan bruges som en styrke, især hvis man kombinerer den med nogle gode skitser.

Kan designere have en holdning?

Det vil jeg i den grad mene. Selv om vi prøver på at være objektive i et subjektivt ladet interesseområde, så er vi alle i sidste ende subjektive. Design handler om at forføre og overbevise. Vi skal kunne overtale andre, så de kan se, at det, vi laver, er bedre end det, de allerede har. Jeg tror ikke, at man kan dette uden at have en holdning til – og om – det man laver. Vi tænker tit, at vi sidder tæt på toppen af produktionspyramiden – og heraf følger et ansvar for det, vi laver, og for, hvordan det bliver lavet. Det skal vi tage alvorligt og bære med os.

Beskriv din designtilgang med fem ord.

Jeg kan gøre det med tre: Ha’ det sjovt!

Hvad er det bedste ved at arbejde hos LEGO? Det er en kæmpe glæde at være med til at skabe nye produkter fra start til slut og en fed ting at kunne gå ned i den lokale legetøjsbutik og finde sine ting på hylderne.

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www.gryfager.dk www.normann-copenhagen.com

Center for Glas og Keramik Gry Fager slog allerede sit navn fast med sit afgangsprojekt, køkkenserien Mormor, der fangede Normann Copenhagens blik og nu er på vej til nyklassikerstatus side om side med Mega Mussel. Med Mormor-serien har Gry Fager bragt det gamle blåternede køkkenlinned til ny ære og værdighed. Moderne, rene linjer møder trygge, traditionelle rammer, og køkkenserien har et humoristisk og charmerende strejf. Gry Fager tog afgang fra Danmarks Designskole i 2008 og Danmarks Designskole, Bornholm (tidligere Glas- og Keramikskolen) i 2006.

Centre for Glass and Ceramics Gry Fager made her name already with her graduation project, the Mormor (Granny) tableware, which captured Normann Copenhagen’s attention and is now headed for neo-classic status alongside Blue Fluted Mega. With the Mormor series, Gry Fager has reinvigorated a traditional kitchen linen pattern. Clean, modern lines meet a comfortable, traditional setting, and the collection has a humorous and charming quality. Gry Fager graduated from The Danish Design School in 2008 and from The Danish Design School, Bornholm (formerly the Glass and Ceramics School on Bornholm) in 2006.

www.gryfager.dk www.normann-copenhagen.com

Gry Fager Fra Mormor til nye virksomheder

Gry Fager From Mormor (Granny) to new companies

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What is your best advice to someone who wants to make it as a designer?

To study and prioritize the craft aspects in order to master product and prototype development. My best advice to future design students would be to foster

Please describe your design approach.

My emphasis is clearly on function. I am very aware of function, and it’s very important to me that the things I make are practical. They have to be a pleasure to use. So my main work area is experimenting with objects of utility! I put priority on function, ergonomics, form and the visual expression. I love to work with old familiar objects within a new expressive framework.

What is the best part, and what is the hardest part of your work as a designer?

It’s fun to work with a company on new designs. You have to be yourself and believe in your ideas, also in a professional design perspective. You have to be prepared to roll up your sleeves and demonstrate, hands-on, how a design problem might be solved. That said, it is also important to be able to listen and to compromise with respect to the company’s suggestions and requests. You have to be able to communicate on every level, with CEOs, heads of sales and the entire company in a good and constructive way. The hardest part is that things and decisions take time in production.

What is your biggest strength as a designer and craftsperson from The Danish Design School?

I’m so happy that I studied both at The Danish Design School, Bornholm and subsequently in Copenhagen, where I picked up very different types of knowledge and experience. Bornholm let me get a really thorough grasp of the craft aspects, and there was time to do in-depth work. The school had a good social environment, and I received good and useful project feedback because the school has excellent teachers with great knowledge, insight and experience with ceramics.

Copenhagen in particular gave me theoretical input. I also learned to work more independently, and I had to develop and use my own network to complete projects and assignments. I learned about interdisciplinary collaboration and was able to work with other materials besides ceramics. I also had more experience with presenting my projects.

How did you get involved with Normann Copenhagen in connection with the Mormor tableware?

The Mormor tableware was my graduation project from The Danish Design School. I exhibited it at the Formland fair in Herning, where I met representatives from Normann Copenhagen. The encounter quickly developed into an arrangement where I expanded the concept into a complete tableware series – and since then things have developed further. I was given a huge opportunity which I am still excited about.

Hvad er den sjoveste og den sværeste del af at designe det, du gør?

Det er sjovt at samarbejde med en virksomhed om nye design. Du skal være dig selv og tro på dine idéer, også i et designfagligt perspektiv. Du skal være klar til at smide overtøjet og demonstrere i praksis, hvordan et fagligt problem kan

Hvad er din største styrke som designer og kunsthåndværker fra Danmarks Designskole?

Jeg er utrolig glad for at have studeret både på Danmarks Designskole, Bornholm og efterfølgende i København, hvor jeg har fået vidt forskellig viden og erfaring med mig. Bornholm gav mig muligheden for at lære håndværket grundigt, og der var tid til fordybelse. Skolen gav et godt socialt liv, og jeg fik god sparring på projekter, da skolen har tilknyttet gode lærerkræfter med stor faglig viden, indsigt og erfaring fra det keramiske fagområde.

I København fik jeg især teoretiske input. Jeg lærte også at arbejde lidt mere selvstændigt og måtte især udvikle og bruge mit netværk for at gennemføre projekter og opgaver. Jeg lærte noget om tværfagligt arbejde og havde god mulighed for at arbejde med andre materialer end bare det keramiske. Jeg fik også mere erfaring i at præsentere mine projekter.

Hvordan blev du involveret i Normann Copenhagen med Mormor-stellet?

Mormor-stellet var mit afgangsprojekt fra Danmarks Designskole Jeg udstillede det på Formlandmessen i Herning, og dér mødte jeg repræsentanter for Normann Copenhagen. Det blev hurtigt til en aftale om at samarbejde, hvor jeg skulle videreudvikle konceptet til et komplet stel – og så har det taget fart siden da. Det var en fantastisk chance jeg fik, som jeg stadig glæder mig over.

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What do you think the future holds for you as a designer?

Today I have my own small ceramic workshop where I work on a daily basis, designing and developing new projects. My work includes working independently on my own small-scale serial production as well as product development in cooperation with various companies. That lends dynamics and flexibility to my work as a designer.

In addition to Normann Copenhagen I also work on new designs for other companies, for example Kähler Design and the children’s design firm Sebra, for whom I designed a pillow collection, and most recently I have embarked on a new project for a Danish furniture maker. I am also working on producing some of my own designs, which should be ready for launch in autumn.

What is the best thing you have taken with you from your studies?

One of the best things I have taken with me is the interdisciplinary approach, both within the school between areas of specialization and in developing projects with companies because it offers a chance to see the “real world of design.”

drive and persistence. It takes considerable self-discipline to work creatively and independently – and a certain degree of stubbornness to develop one’s ideas until one arrives at the end-result.

It’s also important to develop a good network, both at the school and with partners you meet in other contexts – you never know where the next project might take you!

Hvordan ser fremtiden ud for dig som designer?

I dag har jeg fået etableret mit eget mindre keramiske værksted, hvor jeg arbejder til daglig med at designe og udvikle nye projekter. Mit arbejde består dels af at arbejde selvstændigt med egne mindre serieproduktioner og dels af at samarbejde om produktudvikling af forskellige produkter med forskellige virksomheder. Det giver en dynamik og fleksibilitet i mit arbejde som designer.

Ud over Normann Copenhagen samarbejder jeg også med andre virksomheder om nye designs, f.eks. Kähler Design samt børnefirmaet Sebra, som jeg har designet en pudekollektion til, og senest et nyt projekt til et dansk møbelhus. Desuden arbejder jeg på at producere egne design, der gerne skulle være klar til efteråret.

Hvad er det bedste, du har taget med videre fra din uddannelse?

En af de bedste ting, jeg har taget med, er det tværfaglige samarbejde, både på skolen mellem forskellige specialer og i det at udvikle projekter i samarbejde med virksomheder, fordi det giver mulighed for at opleve “den virkelige designverden”.

Hvad er dit bedste råd til andre, der gerne vil frem i branchen?

At studere og prioritere sit håndværk for at kunne produktudvikle og arbejde med prototypeudvikling. Mit bedste råd til kommende designstuderende er at have gåpåmod og være ihærdige. Det kræver stor selvdisciplin at arbejde kreativt og selvstændigt og en vis portion stædighed at arbejde med at udvikle sine idéer, til man står med det færdige resultat.

Det er også vigtigt at opbygge et godt netværk både på skolen og med samarbejdspartnere, du møder i forskellige sammenhænge – du ved aldrig, hvor det næste projekt bærer dig hen!

Beskriv din designtilgang.

Jeg er en funktionspige. Jeg er meget bevidst om funktion, og det er af stor betydning for mig, at mine ting kan bruges. Det skal være en glæde at bruge tingene.

Så mit arbejdsområde er hovedsagligt at eksperimentere med brugsting! Jeg lægger vægt på funktion, ergonomi, form og det visuelle udtryk. Jeg elsker at arbejde med gamle kendinge i et nyt formsprog.

løses. Når det så er sagt, er det også vigtigt at kunne lytte og gå på kompromis i forhold til virksomhedens forslag og ønsker. Du skal kunne kommunikere på alle niveauer med direktører, salgschefer og hele virksomheden på en god og konstruktiv måde. Det sværeste er, at ting og beslutninger tager tid i produktionen.

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www.scaffidi.dk

Center for Møbel, Rum og Industriel Design Antonio Scaffidi tog afgang i 2008 fra specialet Møbel- og Rumdesign. I dag arbejder han på egen tegnestue som møbel- og produktdesigner i et arbejdsfællesskab med Mads Johansen og Jonas Lundby Jensen. Alle tre er uddannet fra Danmarks Designskole og har markeret sig på den unge skandinaviske designscene med design med kant og udstråling, der skaber en god balance mellem progressiv og kommerciel design.

Centre for Furniture, Spatial and Industrial Design Antonio Scaffidi graduated in 2008 with Furniture, Spatial and Industrial Design as his area of specialization. Today he works in his own studio as a furniture and product designer together with Mads Johansen and Jonas Lundby Jensen. They are all graduates from The Danish Design School and have stood out on the young Scandinavian design scene with striking design that has a strong presence and masters the balance between progressive and commercial design.

www.scaffidi.dk

Antonio Scaffidi Nye skandinaviske møbeldesignere

Antonio Scaffidi New Scandinavian furniture designers

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Hvad synes du er din største styrke som designer fra Danmarks Designskole?

Det, jeg altid har sat pris på, er den frihed, der lå i vores studieforløb. Jeg har kunnet arbejde med det, jeg syntes var mest interessant. Derigennem har jeg lært at arbejde meget selvstændigt og målrettet. Vi bliver multidisciplinære, dvs. at vi kan lidt af hvert – og det er godt. Men friheden i mit studieforløb gav mig også mulighed for at fordybe mig i meget specifikke områder. Det er ingen hemmelighed, at jeg har en forkærlighed for siddemøbler...

What do you see as your greatest strength as a designer from The Danish Design School?

What I have always appreciated is the freedom in the programme. I have been able to work with the things that interest me the most. That has taught me to take a very independent and determined approach. We become multidisciplinary because we master a little of everything – and that’s a good thing. But the freedom I enjoyed during my studies also allowed me to immerse myself in very specific areas. It’s no secret that I have a special preference for seating furniture...

Can designers take a deliberate stance with their design?

I hope so; otherwise a designer doesn’t have much to offer.

Please describe your design approach in three words.

Analytical, objective and functional.

Which part of your work as a designer is the hardest part?

Designing is fun, if you can call it that. What may be hard has to with factors beyond my control – a recession, for example... Designing products is almost like an investment, and unfortunately a very risky one. But if we manage to make a good product, then it’s fun again.

How would you like to be remembered as a designer?

For creating something that was relevant. We don’t need any more irrelevant stuff..

Hvordan og hvorfor blev det til egen tegnestue?

Det ligger mig nær at være selvstændig, men det var ikke meningen, at det skulle ske så hurtigt. Jeg mener faktisk, at et par års arbejde hos en erfaren designer eller producent kunne gøre noget godt i forhold til at flytte den viden, vi får på Danmarks Designskole, i en retning, som er mere anvendelig. Men når det er sagt, så er jeg i dag rigtig glad for at have etableret et professionelt arbejdsmiljø sammen med nogle kolleger fra studiet. Og det var jo også nødvendigt, hvis man vil arbejde som møbeldesigner for velrenommerede firmaer, hvor man skal kunne levere varen – det kræver en professionel tilgang.

How and why did you establish your own studio?

I like the idea of being independent, but I never intended it to happen so quickly.

Actually, I think that spending a few years working with an experienced designer or manufacturer would be helpful in terms of shifting the knowledge we acquire at The Danish Design School into a direction that is more applicable. That said, today I am really excited about having established a professional work environment with colleagues from the Danish Design School. And it’s necessary if one wants to work as a furniture designer for respected companies, where one has to be able to deliver – that requires a professional approach.

Hvad er den sjoveste og den sværeste del af at designe det, du gør?

At designe er sjovt, hvis man kan kalde det det. Det, der kan være svært, er faktorer der ligger uden for min indflydelse – for eksempel en finanskrise... At designe produkter er nærmest som en investering, som desværre er forbundet med en stor risiko. Men lykkes det at frembringe et godt produkt, så er det jo sjovt igen.

Hvad vil du gerne huskes for som designer?

At jeg har lavet noget, der er relevant. Ligegyldige ting har vi nok af.

Har du altid vidst, at du ville arbejde med design?

Det har jeg naturligvis ikke altid vidst, men jeg vil mene, at jeg altid har haft en kreativ tilgang til det, jeg beskæftigede mig med. Jeg har tegnet og malet, bygget alt muligt og prøvet at få ting til at fungere. Da jeg skulle beslutte mig for, hvad jeg ville arbejde med, var design for mig nærliggende. Og så gælder det om at være målrettet og ihærdig.

Have you always known that you wanted to work with design?

Of course, I haven’t always known, but I do think that I have always had a creative approach to whatever I did. I have drawn and painted, and I have built all sorts of things and tried to make things work. When I had to decide what I wanted to do for a living, design was an obvious choice. And then you have to be determined and persistent.

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What is your best advice to someone who wants to make it as a designer?

If you want to succeed, you have to be ready to give it 110%.

Can design save the world?

As I said, I believe in things that are relevant as opposed to an abundance of things that don’t make a difference. But then I guess it’s up to the user to save the world by being more selective. If a design is relevant, hopefully it also solves a problem and thus contributes to a better world.

What is the best thing you have taken with you from your studies?

I have learned and tried a great deal, and I have developed a good network. The Danish Design School has opened many doors to me. I couldn’t ask for more.

Hvad er dit bedste råd til andre, der gerne vil frem i branchen?

Hvis I vil det, skal I være parate til at yde 110 %.

Hvad er det bedste, du har taget med fra din uddannelse?

Jeg har lært og afprøvet meget og fået et godt netværk. Danmarks Designskole har åbnet mange døre for mig. Jeg kunne ikke kræve mere.

Kan design redde verden?

Som nævnt tror jeg på ting, som er relevante, i stedet for en overflod af ligegyldige ting. Men så er det vel brugeren, der kan redde verden ved at være mere selektiv. Er design relevant, løser det formodentligt også et problem og bidrager derved til en bedre verden.

Kan designere have en holdning?

Det håber jeg, ellers har en designer ikke noget at byde på.

Beskriv din designtilgang med tre ord.

Analytisk, objektiv og funktionel.

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www.surpluswonder.com www.danskdynamit.dk

Centre for Communication design In 2011, Dansk Dynamit (Danish Dynamite) selected Surplus Wonder as one of the most interesting new design agencies in Copenhagen. Among other things, they are known for their shop KÆP (STICK) in the Copenhagen neighbourhood Østerbro and for the exhibition design for the The Danish Design School’s graduation exhibition 2009-10. Partners Christian Smed and Frederik Ibfelt graduated from The Danish Design School in 2009 and are now developing CSR solutions and design for Danish Red Cross.

Surplus Wonder Designing processes that change human behaviour

www.surpluswonder.com www.danskdynamit.dk

Center for Kommunikationsdesign Dansk Dynamit udvalgte i 2011 Surplus Wonder som et af de mest interessante nye designbureauer i København. De er blandt andet kendt for deres butik KÆP på Østerbro og udstillingsdesignet til Danmarks Designskoles afgangsudstilling 20092010. Partnerne Christian Smed og Frederik Ibfelt tog afgang fra Danmarks Designskole i 2009 og laver i dag f.eks.

CSR-løsninger og design til Røde Kors.

Surplus Wonder Design af adfærdsændrende processer

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How do you define design?

Design has to be more than just an attractive exterior. To us, good design is synergy between idea and form. The underlying idea and concept behind the design are essential to us. We aim to ask relevant, critical questions rather than merely providing solutions and the “right” answer. In other words: Is it possible to imagine design that does not result in a concrete product but which may instead be about asking a good question?

Who is Surplus Wonder?

Surplus Wonder is a design studio where we experiment and develop progressive visual communication solutions. What drives our work is the desire to challenge, explore unconventional ideas, and develop innovative visual communication aimed at generating interaction, debate and reflection.

Hvordan definerer I design?

Design skal være mere end en flot skal. Godt design er for os synergi mellem idé og formgivning. Idéen og tanken bag designet er vigtig for os.

Ambitionen er at stille aktuelle, kritiske spørgsmål frem for kun at give løsninger og det “rigtige” svar. Med andre ord: Kan man forestille sig, at design ikke ender med et konkret produkt, men at man også kan designe et godt spørgsmål?

Hvem er Surplus Wonder?

Surplus Wonder er et design-studio, hvor vi eksperimenterer og udvikler progressive løsninger inden for visuel kommunikation. Drivkraften i vores arbejde er lysten til at udfordre, tænke skævt og udvikle nytænkende visuel kommunikation, der skal skabe interaktion, debat og refleksion.

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Hvordan hænger dette sammen med jeres tilgang?

Udgangspunktet for vores design er at udfordre og skabe debat. Det kommer til udtryk i visualiseringen og den historie, vi fortæller, hvor vi implementerer elementer, der vender op og ned på rigtigt og forkert. Det er vigtigt, at kommunikationen er stærk og i øjenfaldende. Her bruger vi progressivt grafisk design som en tilbagevendende ingrediens. Den visuelle kommunikation skal fungere som en umiddelbar øjenåbner og dialogstarter, men er ligeledes del af en langsigtet strategi. Målet er, at vores design og interaktionen med modtageren kan skubbe til indgroede bevægemønstre og tankegange.

Beskriv jeres æstetik med fem ord.

Drilsk, poetisk, udfordrende, humoristisk og opsøgende.

Kan designere have en holdning?

I en gængs designforståelse er design funktionelle løsninger på konkrete behov.

Vi mener, at design kan og skal mere end det. Design kan også vække undren, stille spørgsmål til det givne og opfordre til refleksion. Fordi vi med design også kan anfægte og udfordre det givne, indeholder design et kritisk potentiale.

Denne designtilgang kan især udnyttes, når man står over for komplekse og uhåndgribelige problemstillinger som f.eks. lykkebegrebet og den udmattende jagt på lykke. Eller som vores seneste projekt for Røde Kors, hvor vi visualiserede ensomhedsproblematikken.

Kan design redde verden?

Nok ikke alene, men design kan som sagt være med til at belyse problemstillinger og give bud på, hvordan man kan løse dem. Design kan fungere som en kickstarter for en adfærdsændrende proces.

Hvad er det bedste, I har taget med videre fra jeres uddannelse?

Det bedste, vi har taget med os fra Danmarks Designskole, er vores venskab og arbejdsfællesskab. Designskolen har givet os mulighed for at fordybe os i visuel kommunikation. Vi har fået mulighed for at udvikle og afprøve vores ideer og design.

How is this related to your approach?

Our design springs from the desire to challenge and to spark debate. This is reflected in the visualization and in the story we tell, where we implement elements that turn right and wrong upside down. Communication should be powerful and striking. We use progressive graphic design as a recurring ingredient.

Visual communication should work as an initial eye-opener that kicks off the dialogue, but it is also part of a long-term strategy. Our goal is to have our design and the ensuing interaction with the recipient challenge ingrained thought patterns and actions.

Please describe your aesthetics in five words.

Mischievous, poetic, challenging, playful and engaging.

Can designers take a deliberate stance with their design?

In a conventional sense, design means functional solutions to specific needs. We think that design can and should go beyond that. Design can also make people wonder, question the status quo and encourage reflection. Because we can use design to contest and challenge the status quo, design contains a critical potential.

This design approach is particularly useful in relation to complex and intangible issues, such as the concept of happiness and the exhausting quest for happiness. Or our latest project for the Danish Red Cross, where we visualized the issue of loneliness.

Can design save the world?

Probably not unaided, but as we said, design can help shed light on issues and suggest possible solutions. Design can serve to kick-start a process that may ultimately alter behaviour patterns.

What is the best thing you have taken with you from your studies?

The best thing we have taken with us from The Danish Design School is our friendship and the relations that led to our joint studio. The Danish Design School let us explore visual communication in depth. We were given the opportunity to develop and test our ideas and designs.

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Decade ONE Danmarks Designskole, Bornholm

Decade ONE The Danish Design School, Bornholm

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I 2010-2011 kunne vi på Danmarks Designskole, Bornholm se tilbage på et fantastisk årti i rivende udvikling. Skolen har været katalysator for en moderne udvikling af glas- og keramikfagene, som udfolder sig i vores treårige uddannelse.

Vores unikke værksteder er udviklet til at give rum til fordybelse og plads til eksperimenter i materialer og metoder. Vi har uddannet mange af de nye talenter inden for kunsthåndværk, der har sat markante aftryk i ind- og udland. Vi er stolte af at christian heide petersen, centerleder præsentere et område, der supplerer dansk design med en særlig tilgang til den udforskende og nytænkende praksis – tæt på materialet.

In 2010-2011, The Danish Design School, Bornholm was able to look back at an amazing decade with major changes and developments. The school served as the catalyst for a modern development in the glass and ceramics disciplines that unfolded in our three-year education programme. Our unique workshops have been enhanced to facilitate in-depth work and experiments with materials and methods. We have trained many of the new crafts talents christian heide petersen, head of Centre who have made strong showings in Denmark and abroad. We are proud to present an area that provides Danish design with a unique approach to explorative and innovative practice – close to the material.

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Bare i løbet af 2010-2011 har vi deltaget på succesfulde messer, bl.a. Formland, og udstillinger rundt om i Skandinavien. I 2010 åbnede vi udstillingen DECADE ONE med bidrag fra 12 tidligere studerende, der er brudt igennem og har gjort sig bemærket på scenen hjemme og i udlandet. DECADE ONE markerer et årti, hvor Glas- og Keramikskolen bliver til Danmarks Designskole, Bornholm i fusionen med Danmarks Designskole. Og i 2011 kan erhverv, partnere og turister igen møde årets netop færdiguddannede på vores afgangsudstilling på Bornholms Kunstmuseum. En udstilling, der vandrer videre til København, Jylland og Malmø og bringer kunsthåndværket rundt i hele Skandinavien.

Bare i løbet af det sidste år har vi både budt verden indenfor på Danmarks Designskole, Bornholm og bragt moderne kunst“Jeg vil have svært ved at finde to dage, håndværk ud i landet og rundt i hele verden.

European Ceramic Context er bare ét af de steder, der er ens på Danmarks Designskole, hvor vi har sat fingeraftryk det seneste år. For Bornholm. Det er jo så fantastisk, at vi har skolen er naturligvis med, når det nyeste inden tilgang til skolen 24 timer i døgnet. Og for området skal diskuteres, testes og afprøves. Vi Bornholm giver samtidig tid til fordybelse.” deltager med udstillinger, konferencer og arbejdende værksteder – og Bornholm danner naturligt Louise R. Jakobsen, førsteårsstuderende, Keramik centrum for internationale biennaler for keramik og glas i verdensklasse, hvor kunsthåndværkere, designere, forskere og eksperter sætter kunsthåndværk i kontekst. Vi arbejder sammen med et stærkt lokalmiljø for at trække folk fra hele verden til Bornholm.

I 2010-2011 har Kulturministeriet og Danmarks Designskole foretaget en skarpere prioritering på glasområdet. Mens glasspecialet er lukket i København, er området styrket på skolen på Bornholm med vores værksteder, som ikke har deres lige andre steder i Danmark. Vi har et tæt uddannelsessamarbejde, hvor designstuderende fra uddannelsen i København kan følge undervisningen i kortere eller længere perioder – eller blot benytte de unikke værkstedsfaciliteter. Vi vil i den kommende tid arbejdere endnu stærkere på at forskningsbasere uddannelsen, ligesom vi vil under-

In 2010-2011 alone we have taken part in successful trade fairs, including Formland, and exhibitions around Scandinavia. In 2010 we opened the exhibition DECADE ONE with contributions from 12 former students who broke through and stood out in Denmark and abroad. DECADE ONE marks a decade where the Glass and Ceramics School became The Danish Design School, Bornholm in a merger with The Danish Design School. And in 2011, once again, business and industry, partners and tourists can meet this year’s graduates in our graduation exhibition at Bornholm Art Museum. An exhibition that moves on to Copenhagen, Jutland and Malmö and then takes crafts on tour throughout Scandinavia.

In the past year alone we have welcomed the world at The Danish Design School, Bornholm and taken modern crafts to the “I would have a hard time finding two days that rest of Denmark and around the world. European Ceramic Context is just one of the venues where were alike at The Danish Design School, Bornwe have had a strong presence over the past year. holm. Amazingly, we have access to the school For of course, the school is present when the lataround the clock. And Bornholm also offers time est developments in the field are debated, tried and tested. We contribute with exhibitions, conto immerse oneself in one’s work.” ferences and active workshops – and Bornholm Louise R. Jakobsen first-year student, Ceramics forms a natural centre for international biennials for world-class ceramics and glass, where craftspeople, designers, researchers and experts place crafts into a larger context. We cooperate with a strong local community to attract people from all over the world to the island of Bornholm.

In 2010-2011 the Danish Ministry of Culture and The Danish Design School sharpened the priorities in the field of glass. While glass as an area of specialization has been closed down in Copenhagen, it has been strengthened on Bornholm with workshops that are unrivalled anywhere in Denmark. There is close collaboration between the two locations, so that design students from the programme in Copenhagen can take courses on Bornholm for shorter or longer durations – or simply use

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søge mulighederne for at udvikle en toårig overbygning på kandidatniveau i glas.

Danmarks Designskole, Bornholm er i dag en unik del af Danmarks Designskoles Center for Glas og Keramik. Skolen danner rammen om et af Europas små, men førende uddannelsesmiljøer inden for glas og keramik. Med Bornholm som stærk ramme danner skolen et levende væksthus for kunsthåndværk af høj kvalitet. Vi udvikler eksperimenter og originalitet og prioriterer plads til at udforske, teste og tilføre nyt til fagets fremtidige potentiale.

Håndplukket til Formlands New Note-hal To uddannelser hånd i hånd New Note er Formlandmessens rugekasse “Det finns ingen typisk dag på Danmarks for specialudvalgte designere og visionære firmaer, der repræsenterer det mest banebrydende design og kunsthåndværk på højt internationalt niveau.

Designskole, Bornholm. Det de har gemenI februar 2011 kunne man i messens New Note-hal møde glasstuderende samt är att det alltid är mycket fart på!

Marte Kartfjord fra Danmarks Designskole, Bornholm med tre glasprodukter, Oavsett om det är glasblåsning från tidig hvor f.eks. plastperler optræder indstøbt i glasset i skålen og vækker undren og nysgerrighed og bringer legen ind i glasset. Hun udstillede side om side morgon till sen eftermiddag, föreläsningar med studerende fra Keramikdesign i København, der viste resultaterne af et och kursförlopp, arbete sent in på natten, samarbejde med Kähler Design – en række nye bud på den klassiske tepotte.

social samvaro på skolan eller isolerad koncentration på arbetsplatsen, så tar det en alltid i samma riktning, framåt.”

Karin Forslund, førsteårsstuderende, Glas

our unique workshop facilities. In the near future we will be increasing our efforts to make the programmes research-based, and we will look into the possibilities of developing a two-year advanced, master’s level programme.

Today, The Danish Design School, Bornholm is a unique part of The Danish Design School’s Centre for Glass and Ceramics. The school forms the setting for one of Europe’s small but leading educational environments in the field of glass and ceramics. With Bornholm as an amazing setting, the school forms a living growth centre for high-quality crafts. We develop experiments and originality – and put priority on making room for exploring, testing and adding to the future potential of the field.

“There is no typical day at The Danish Design School, Bornholm. One thing the days all have in common is that it’s always fast-paced! Whether it’s glassblowing from early morning till late afternoon, lectures and courses, working late into the night, socializing at the school or solitary concentrated work, it’s always the same direction: forward.”

Karin Forslund, first-year student, Glass

Hand-picked for the New Note hall at Formland Two educational programmes hand in hand At Formland, New Note is the incubator for specially selected designers and visionary companies representing groundbreaking design and crafts on a high international level.

In February 2011, the New Note hall featured glass student Marte Kartfjord from The Danish Design School, Bornholm, who presented three glass products, including a bowl with plastic beads embedded in the glass, which intrigues the beholder, sparks curiosity and demonstrates a playful attitude to glass. She exhibited alongside students from Ceramics Design in Copenhagen, who presented the outcome of a joint project with Kähler Design – new takes on the classic teapot.

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Tak til alle involverede i 책r 2011

Thanks to everyone who contributed in 2011

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Medarbejdere – det samlende link Our staff – the unifying link Anders Søndergaard, Anette Højlund, Ann Merete Ohrt, Anne Damgaard, Anne Tophøj, Anne-Louise Sommer, Annemette Lichtenberg, Annette Jensen, Annette Kjær, Araz Kaczmarek, Ariel Abainza, Arthur Steijn, Barbara Adler, Bendt Sørensen, Bente Skjøttgaard, Berthe Forchhammer, Betina Kjerulff Rasmussen, Birgitte Læsøe, Bitten Hegelund, Bjarne Jespersen, Bo Haugesen, Bo Pepke, Camilla Ryan Sørensen, Carsten Schmidt, Carsten Skjoldborg, Caspar Ruge, Cecilie Bendixen, Charlie Meaker, Charlotte Restrup Hansen, Christan Heide, Christina Lundsgaard, Debora Domela, Denis Virlogeux, Elinor Andersson, Else Kallesøe, Eskil Hauchrog, Eva Brandt, Eva Simoni Lomholdt, Eydna Jarnskor, Flemming Tvede Hansen, Frank Cerri, Gert Haugbøl, Gitte Lunde Christophersen, Grethe Weber, Hanne Kalsgaard Knudsen, Hans Christian Holmstrand, Helga Kjærbye Kristensen, Helle Bendsen, Helle Lyse, Henrik Karsbøl, Henrik Lund-Larsen, Henrik Mathorne, Herdis Skafte, Ida Ravn Eriksen, Jakob Ion Wille, Jens Overbye, Jens-Peter Kellermann, Jesper Juul, Joachim Halse, John Gibson, Joy Fonseca, Julie Sommerlund, Karin Cloos, Kathe Volck, Katrine Rastad, Kirsten Marie Raahauge, Klaus Kristensen, Kristian Rise, Kræsten Kusk, Lara Juhl Jakobsen, Lena Frederiksen, Li Jönsson, Magnus Hølzner, Malene Kristiansen, Malene Lytken, Maria Foverskov, Maria Mackinney-Valentin, Maria Sparre-Petersen, Marianne Gyldendal, Marie Lund, Marie Stender, Mark Tingkov, Martin Bodilsen Kaldahl, Mary-Ann Hansen, Melissa Jespersen Carlos, Mette Mechlenborg, Michael Ovesen, Michel Guglielmi, Morten Noer Andersen, Nanna Kirstine Brøndsted, Nina Husted Erichsen, Nina Lynge, Ole Gormsen, Ole Sørensen, Per Galle, Pernille Bloch Lynbech, Peter Dammand, Peter Gyllan, Peter Kromand Larsen, Peter Mackeprang, Poul Søby, Rasmus Spanggaard Troelsen, Remi Mosko, Rikke Jo Tholstrup, Robert Jakobsen, Robert Jensen, Samer Hanna, Sandra Vally Jørgensen, Signe Rasmussen, Sissel Olander, Sofie Beier, Sofie Hee Thornberg, Stig Lyngaard Hansen, Stina Teilmann, Søren Brandt, Søren Holst, Søren Obel, Tau Ulv Lenskjold, Thomas Alken, Thomas Binder, Thomas Tvegaard, Tim Nøhr Elkær, Tine Elten, Tine Kjølsen, Tommy Damgaard, Tommy Jensen, Torben Kristian Hansen, Trine Paludan, Troels Degn Johansson, Ulf Morell, Ulla Heegaard og and Viki Noorman Kert.

Aftagerpanel Business panel Ditte Hammerstrøm Ditte Hammerstrøm Studio, Christian Stadil Hummel, Mette Kynne Frandsen Henning Larsen Architects, Mikkel B. Rasmussen Red Associates, Jannik Schack Linnemann Dansk Erhverv, Malene Sihm Vejlsgaard Boblr, Anders Byriel Kvadrat Gæsteundervisere 2011Guest lecturers 2011 Abelone Warming, Adrian Täckmann, Allan Daastrup, Anders Gade, Anders Hermund, Anders Valentin, Andreas Emenius, Andreas Lund, Anja Backe, Ann Lilja, Anna Høg Gulmann, Anna Porse, Anna Sofie Madbjerg, Anne Folehave, Anne K. Roepstorff, Anne Tophøj, Annika N., Antonio Scaffidi, Arem Duplessis, Birgitte Greve, Birgitte Haar Lund, Bjarke Hvass, Bjarne A., Carl Emil Carlsen, Caroline Wilkenschildt Fossum, Carsten Brandt, Charlotte Thompson, Christa Brønd, Christian Brandt, Christian Kaaber, Christian Smed Rasmussen, Christian Stadsgaard, Christian Westphal, Christina Halstrøm, Christina Maria Fromberg, Christina Olsson, Claus Asp, David Sjunnesson, Dorthe Andersen, Ekhardt Sauer, Elisabeth Topsøe, EPEA Kopenhagen, Erik Linnet, Esben Rahbek Gjerdrum Pedersen, Eva Grell Frederiksen, Eva Louise Nielsen, Eva Nitschke, Ferdinan Ahm-Kragh, Flemming Christiansen, Flemming Dupont, Frederik Bjørn Nellemann, Frederik Ibfelt, Gerard Unger, Gitte Andersen, Gunhild Bønlykke Pedersen, Hanne Bartholin, Hanne Davidsen, Hanne Louise Johannesen, Helena Lindberg, Helle Hove, Helle-Pia Morell, Henriette Aarsen, Henrik Christiansen, Henrik Stech, Henrik Vejlgaard, Herman Bailey, Ib Kjeldsmark, Inger Houbak, Jacob Fløchte, Jakob Monefelt, Jan Berg, Jan Köchermann, Jane Hamilton, Janne Wendt, Jeanette List Amstrup, Jens Jørgen Hansen, Jesper Clement, Jesper Højberg Christensen, Jesper Kongshaug, Jesper Pedersen, Jira Barta, Joakim Eskildsen, Johan Carlsson, Johan Linneballe, Jonas Wagner, Joy Boutrup, Julie Ellegaard, Julie Henriksen, Jørgen Teik Hansen, Jørn Villumsen, Kasper Hammer, Kenneth Schultz, Kim Bak, Kirsten Abitz, Kirsten Fribert, Kristina Søndergaard Andersen, Laura Baruël, Lene Ulrich, Lina Matz, Line Bjerregaard, Louise Birch Sørensen, Louise Mazanti, Louise Sidenius, Ludger Schwarte, Mads Berg, Mads Johansen, Mads Quistgaard, Magnus Hølzner, Margrethe Odgaard, Marianne With, Marie Skinbjerg,

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Mark Tingkov, Markus Huber, Martin Fagerlund, Martin Pingel, Martin Thaulow, Martin Tom Dieck, Mathias Lerche, Mathilde Aarhus, Matz Laten, Mervyn Kurlansky, Mette Kragh, Michael Bloch, Michael Brinch, Mie Femø Nielsen, Mikael Fock, Mirjam Bastian, Morten Lyhne, Morten Voigt, Nicole Johansson, Niels Bo Bojesen, Niels Laub, Nils Erik Gjerdevik, Nina Kampman, Nina Voltelen, Ole Jensen, Ole Ystaas, Olga Popovic, Palle Jensen, Peder Rasmussen, Per Halstrøm, Per Ingemann, Pernille Stockmarr, Peter Krogh-Hansen, Peter Møller Jensen, Pia de Arce, Pia Odgaard, Pleks, Poul Christiansen, Poul Lange, Pulsk Ravn, Rasmus Bregnholt, Rasmus Fenhann, Rasmus Koch, Regitze Steinbruch, Remi Mosko, Ricardo Marchesi, Rikke Luther, Rune Balle, Rune Knudsen, Sabine Hviid, Sanne Olsen, Sidsel Damkjær, Signal Arkitekt, Simon Løvind, Spild af Tid, Steen Høyer, Steen Nepper-Larsen, Steffen RayburnMaarup, Stine Diness, Stine Illum, Stine Ladefoged, Stine Schultz, Sune Kjems, Sune Knudsen, Susanne Christophersen, Susanne Jøker Johnsen, Svend Nissen, Søren Essendrop, Søren Gram, Søren Tomas Rasmussen, Thomas Albertsen, Thomas Bentzen, Thomas Pålsson, Tobias Harboe, Tom Heinemann, Torben Lenau, Trine Rask, Ulla Heegaard, Ulrik Martin Larsen, Uwe Brücker og and Åse Eg Jørgensen Karrierevejledere Career mentors Vi vil gerne takke vores store hold af karrierevejledere. Blandt andet: We would like to thank all our career mentors. Among these: Abelone Lilholt Varming Punktum Design, Aleksej Iskos Selvstændig, Ane Cortzen DR, Carsten Brandt Art Director, Cecilia Therkildsen Éthique, Christian Leifelt Christian Leifelt, Christina Bruun Olsson Krogh&Co, Clea Simonsen 1508, Dorrit Shoshan Selvstændig, Dorte Bo Bojesen Moltex, Elisabeth von Eyben Von E design/Bonnier Publications, Eskild Hansen CISCO, Fie Heise Timeline, Gunnar Näsman DSB’s designafdeling, Helle Grangaard Institut for Ædelmetal, Henrik Stech Andelsmobil, Iben Høj, Jakob Kühnel Kühnel A/S, Jens Møller Motionwork GmbH, Johannes Foersom Foersom og Hiort-Lorentzen, Julie Henriksen, Karen Bagge Selvstændig, Kjetil Aas, Klaus Wilhardt Wilhardt Design, Kristian Bluff, Kristine Hanghøj Carl Bro, Kristoffer Gudbrand MAKE, Lars Bent Petersen Det Kongelige Danske Kunstakademi, Lesia M. Zuk Holmegaard, Lovorika Banovic Selvstændig, Louise Hindsgavl Selvstændig, Lykke Bloch Kjær Poypoy, Mads Kjøller Damkær Goodmorning Technology ApS, Malene Sakskilde Workshopscenen, Maria Berntsen Selvstændig, Maria Elskjær Selvstændig, Maria Knappe Selvstændig, Marie d’Origny Lübecker Louisiana, Martin Pingel Post Danmark, Mette Bager Selvstændig, Mia Gammelgaard Selvstændig, Michael Rud Jakobsen IO Interactive, Morten Brudholm MAKE, Neel Dich Abrahamsen Selvstændig, Niels Clausen Stuck Designit A/S, Niels Rinder DR Design, Per Christiansen Bysted A/S, Pernille Kaagaard Selvstændig, Peter Højer DR, Peter Ravn Selvstændig, Rasmus Fenhann Selvstændig, Rikke Astorri Noa Noa, Sebastian Holmbeck Selvstændig, Stine Bang Lomholdt Gode Vibrationer, Søren Buus, Thomas Hjorth, Bolius, Thomas Howalt IO Interactive, Ulrik Heltoft Selvstændig og mange flere Tak til alle afgængere 2011 Graduating students 2011 Danmarks Designskole The Danish Design School Allan Nøddebo Nielsen, Anders Hald, Anne Kathrine Touborg, Anne Louise Bahn, Anne Lundsfryd, Anne Remien Thomsen, Benjamin Nordsmark, Bidda Camilla Solvang Poulsen, Christian Dyrman Hansen, Christian Peter Nymark Hegnhøj, Clinton Stewart, Cæcilie Else Telling, Cæcilie Parfelt Vengberg, Denice Veronica Rydenfors, Dennis Børdik Andersen, Flemming Anton Schmidt, Gitte Hede Madsen, Helle Grejsen Nissen, Irene Birkeland, Jakob la Cour, Jasper Overgaard Schlichting, Jenny Sara Bergstrand, Jens Dan Johansen, Kamilla Hoffmann, Karoline Birkedal, Thomsen, Katja Chan-Mee Lundvig Frederiksen, Kim Frydenlund Grane, Kristina Vildersbøll, Lars Olav Dybdal, Leanne Nielsen, Line Damgaard Stramer, Line Falk, Lisa Trapp, Lisa Våglund ,Liv Heckmann, Louise Boye Andersen, Louise Salling ,Mads Sukhdev Hindhede, Magdalena Ekström, Mai Julie Wulff Modvig, Malene Stilling, Margit Hau, Maria Fogh Albertsen, Maria Tran Larsen, Marianne Dedenroth Larsen, Marie Hugsted, Marie Møller Willumsen, Marie Thilde Pedersen, Martin Nebelong Henningsen, Mathias Severin, Mattias Biro, Max Fielder, Mie Arndt Larsen, Milla Jamilla Nordlund, Mille Brinck Lange, Mine Anne Sofie Neumann, Naja Lone Jørgensen, Nana Pavelics Simonsen, Niels Ole Frandsen, Nynne Winther Christensen, Peter Balch Berthelsen Rasmus Snabb, Rebecca Louise Frederiksen, Rikke Hymøller, Rikke Tvilum, Ronald Jensen,

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Tak til alle involverede i år 2011 Thanks to everyone who contributed in 2011

Sara Houmann Mortensen, Sara Møllegaard Flyvbjerg, Sarasiff Kjærgård, Sidse Wolf Stouenborg, Sidsel Rudolph, Silke Kristine Brandes, Silla Herbst, Sille Agnete Kristine Rosa Bruus Jarner, Simone Cecilie Møller, Stephanie Degiorgio, Stine Munkesø Kjærbøll, Stine Norup Poulsen, Stine Olund Hammer, Stine Westergaard, Tejs Holm, Therese Wold, Thomas Kerff, Toke Thye Olsson, Urd Moll Gundermann, Veronica Müller.

Danmarks Designskole, Bornholm The Danish Design School, Bornholm Anna Mlasowsky, Benjamin Brogaard Winther, Christina Schou Christensen, Jennie Olofsson, Lene Charlotte Tangen, Lisa Alm, Louise Kragh Hansen, Maria Holm, Marianne Gerlach, Marte Kartfjord, Matilda Kästel, Mette Møjbæk Duedahl, Mette Thyrsted Kristensen, Monica Alvestad Amundsen, Nina Kirkebæk Nielsen, Olga Milczynska, Siri Gran Stokkeland.

Og stor tak til alle vores samarbejdspartnere Thanks to all our cooperation partners

Alzheimerforeningen (Danish Alzheimer’s Association), Arctic Paper, ArtRebels, Carlsberg, Center for Designforskning Danish Centre for Design Research, ChoosEV, CIID Copenhagen Institute of Interaction Design, DADIU The National Academy of Digital, Interactive Entertainment, Danish Design Association, Danish Fashion Institute, Dansk Design Center Danish Design Centre, Dansk Erhverv The Danish Chamber of Commerce, Dansk Industri Confederation of Danish Industry, Dansk Mode & Textil Dansk Fashion & Textile, Danske Designere Danish Designers, Danske Forskerskoler i Arkitektur og Design The Danish Doctoral Schools of Architecture & Design, Den Danske Ambassade i Washington Royal Danish Embassy in Washington D.C., Den Frie Centre of Contemporary Art, Development Centre UMT, DR (Danish Broadcasting Corporation), Erhvervs- og Byggestyrelsen Danish Enterprise and Construction Authority, Goodmorning Technology, Guldagergaard Guldagergaard International Ceramic Research Center, Hay, H&M, Hold Danmark Rent (Keep Denmark Tidy), IDEO, IO Interactive, Johnson & Johnson, Kunstindustrimuseet Danish Museum of Art & Design, Kvadrat, KVINFO, Kähler Design, Københavns Kommune City of Copenhagen, Lange Production, Innovationsnetværket Livsstil – Bolig & Beklædning Innonet Lifestyle – Interior & Clothing, LEGO, MAKE, Moving Brands, Patent- og Varemærkestyrelsen Danish Patent and Trademark Office, PlaNet Finance, Post Danmark, Réseau Femmes Artisanes, Tommy Hilfiger, Vestforbrænding, 1508, 3part og mange, mange flere!

Vi vil særligt takke alle skolerne på Holmen og alle vores dygtige danske og internationale uddannelsespartnere samt alle vores udvekslings- og praktiksteder.

We would like to give our special thanks to all the schools at Holmen as well as our highly qualified Danish and international education partners and our exchange and work placement partners.

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Det betyder, at hensynet til miljøet og produkternes kvalitet varetages igennem hele fremstillingsprocessen.

Vi leverer alt fra visitkort til årsberetninger og bøger - til tiden!

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Svanemærket tryksag

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Men hvad betyder miljø

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KØGE tlf. 56 65 01 01 · koege@prinfohhk.dk

Made by Danmarks Designskole The Danish Design School 2011

Udgivet af Published by Danmarks Designskole The Danish Design School Danmarks Designskoles Forlag The Danish Design School Press, August 2011 Danmarks Designskole The Danish Design School Philip de Langes Allé 10 DK-1435 København K T +45 35 27 75 00 F +45 35 27 76 00 info@dkds.dk www.dkds.dk vimeo.com/danmarksdesignskole www.facebook.com/pages/Danmarks-Designskole www.flickr.com/photos/danmarksdesignskole

Trykkeri Printer PrinfoHolbæk-Hedehusene-Køge a/s Grafisk design og AD Graphic design & AD Stefan Thorsteinsson, Cecilie Nellemann og and Rasmus Spanggaard Troelsen Oplag Number of copies printed 2.500 Foto Photo Balthazar Hertel, Jes Nelander, Jan Søndergaard, Nilas Andersen, Niels Madsen, Jeppe Sophus Lai, Frank Cerri, Carsten Skjoldborg og and Danmarks Designskole The Danish Design School Redaktionsudvalg Editorial committee Anne-Louise Sommer, Katrine Rastad, Lara Juhl Jakobsen og and Kristian Rise Tekster Text Anders Byriel, Anne-Louise Sommer, Maria Mackinney-Valentin, Julie Sommerlund, Tine Kjølsen, Jens Overbye, Troels Degn Johansson, Christian Heide Petersen, Philip Battin (Dansk Dynamit) Oversættelse og korrektur English translation and Danish proofreading Dorte Herholdt Silver En særlig tak til Special thanks Tak til alle afgængere, medarbejdere og studerende, der har bidraget til publikationen. En særlig tak til PrinfoHolbæk-Hedehusene-Køge a/s og til Arctic Paper Danmark a/s for velvillig hjælp og assistance. Thanks to all the graduates, staff and students who have contributed to the publication. Special thanks to PrinfoHolbæk-Hedehusene-Køge a/s and Arctic Paper Danmark a/s

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