d a ssn i s h 2 012 De s i g n2 012 The Milan Issue – volume 1
Danish Design 2012
During this year’s Il Salone Internazionale del Mobile and Fuori Salone in Milan, the entire spectrum of Danish design will be on display both physically and as this comprehensive publication. By highlighting Danish creative potential in a broad perspective and providing a rich variety of articles and discussions, the publication adds perspective to the history of Danish Design.
Guide & map of all Danish exhibitors page 99-112
The Milan Issue – Volume 1, Danish Design 2012 is distributed from The Temporary Museum for New Design – Superstudio Piu, Via Tortona 27 and from all Danish exhibitors. B
Preface 3
Milan 2012 The MINDCRAFT concept 6 MINDCRAFT12 8 Mathias Bengtsson 10 A Milanese lamp adventure 12 Ole Jensen maker & designer 14 From galleries to design stores 16 A stackable beetle 18 Reviving rattan 20 Presenting the power of partnerships 24 The Tube, an exhibition 26 Vernacular veneer 28 Face to Face 30 Kvadrat celebrates icon fabric 32 DANISH LIVINGroom 34 Frama 36 We do Wood: Honest talk 37 ATTENZIONE the Dennis Pop-up Design Center is visiting Milan 40 True stories 46 4 questions for Nille Juul-Sørensen 48 New aesthetics for new generations 50 Three minds one idea 52
Why are the Danes so obsessed with chairs? One Chair a Week 56 Living furniture in architecture 60 Sofie Brünner 62 Amanda Betz 64 benandsebastian 66
Dialogue Designing dialogue Turning the notion of design upside down In search of the future
76 78 82
The Big Picture Possible Greenland A new lifesaver Real life beats classroom learning Success on three wheels
86 90 92 94
Guide
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DDC.DK/MILAN2012
During this year’s Il Salone Internazionale del Mobile and Fuori Salone in Milan, the entire spectrum of Danish design will be on display both physically and as this comprehensive publication. By highlighting Danish creative potential in a broad perspective and providing a rich variety of articles and discussions, the publication adds perspective to the history of Danish Design.
Guide & map of all Danish exhibitors page 99-112
The Milan Issue – Volume 1, Danish Design 2012 is distributed from The Temporary Museum for New Design – Superstudio Piu, Via Tortona 27 and from all Danish exhibitors. B
Preface 3
Milan 2012 The MINDCRAFT concept 6 MINDCRAFT12 8 Mathias Bengtsson 10 A Milanese lamp adventure 12 Ole Jensen maker & designer 14 From galleries to design stores 16 A stackable beetle 18 Reviving rattan 20 Presenting the power of partnerships 24 The Tube, an exhibition 26 Vernacular veneer 28 Face to Face 30 Kvadrat celebrates icon fabric 32 DANISH LIVINGroom 34 Frama 36 We do Wood: Honest talk 37 ATTENZIONE the Dennis Pop-up Design Center is visiting Milan 40 True stories 46 4 questions for Nille Juul-Sørensen 48 New aesthetics for new generations 50 Three minds one idea 52
Why are the Danes so obsessed with chairs? One Chair a Week 56 Living furniture in architecture 60 Sofie Brünner 62 Amanda Betz 64 benandsebastian 66
Dialogue Designing dialogue Turning the notion of design upside down In search of the future
76 78 82
The Big Picture Possible Greenland A new lifesaver Real life beats classroom learning Success on three wheels
86 90 92 94
Guide
99
DDC.DK/MILAN2012
Preface Danish design has always been known for its pure lines and excellent craftsmanship in the use and treatment of materials. To highlight their technical and expressive qualities, the materials are treated with great respect. Another important feature that remains valid today is the aim of creating useful objects that are both beautiful and functional, whether they are low-key and discreet or high-profile products. One of the principal objects in Danish design is seating furniture: chairs for homes as well as the public space. Chairs are virtually an obsession for Danish designers and manufacturers, who thus grapple with one of the most difficult products to design and manufacture, an object that must meet criteria of beauty, functionality and, above all, comfort. This focus has led to some of the most beautiful chairs in design history, which retain their beauty and their air of modernity even today, so many years after their creation. A chair can be strict and simple or curvy and sinuous. It can invite us to assume a natural position, relax or have fun. It is no coincidence that Danish designers have chosen to focus on chairs: After all, this is the piece of furniture that we use the most. Over the years, Danish design has grown and matured and adopted an international outlook, but it has retained its clear and lucid matrix. Comparing a contemporary Danish chair with one that was designed fifty years ago, it is easy to identify a common thread that links the two. This bond between past and present gives Danish designers the perfect background for being innovative and contemporary. And this is the exact characteristic that I see in the extraordinary Danish products of yesterday and today, along with a growing respect for the environment in which we live. Giulio Cappellini
Since 1979 the Milanese architect has worked with the spirit and the aims of a man in continuous renewal. Over the years, his work has turned to be the designer’s one, proposing a personal reading of contemporary design, both for the brand bringing his name in the world, and as art director of other important design brands. His most important project, the company Cappellini, transformed him into one of the biggest trend setters worldwide. Big interest is always present for his lectures at the Milan Architecture University, at the Domus Academy and worldwide, from Montreal to Valencia.
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Photo: Elodie Dupois
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Preface Danish design has always been known for its pure lines and excellent craftsmanship in the use and treatment of materials. To highlight their technical and expressive qualities, the materials are treated with great respect. Another important feature that remains valid today is the aim of creating useful objects that are both beautiful and functional, whether they are low-key and discreet or high-profile products. One of the principal objects in Danish design is seating furniture: chairs for homes as well as the public space. Chairs are virtually an obsession for Danish designers and manufacturers, who thus grapple with one of the most difficult products to design and manufacture, an object that must meet criteria of beauty, functionality and, above all, comfort. This focus has led to some of the most beautiful chairs in design history, which retain their beauty and their air of modernity even today, so many years after their creation. A chair can be strict and simple or curvy and sinuous. It can invite us to assume a natural position, relax or have fun. It is no coincidence that Danish designers have chosen to focus on chairs: After all, this is the piece of furniture that we use the most. Over the years, Danish design has grown and matured and adopted an international outlook, but it has retained its clear and lucid matrix. Comparing a contemporary Danish chair with one that was designed fifty years ago, it is easy to identify a common thread that links the two. This bond between past and present gives Danish designers the perfect background for being innovative and contemporary. And this is the exact characteristic that I see in the extraordinary Danish products of yesterday and today, along with a growing respect for the environment in which we live. Giulio Cappellini
Since 1979 the Milanese architect has worked with the spirit and the aims of a man in continuous renewal. Over the years, his work has turned to be the designer’s one, proposing a personal reading of contemporary design, both for the brand bringing his name in the world, and as art director of other important design brands. His most important project, the company Cappellini, transformed him into one of the biggest trend setters worldwide. Big interest is always present for his lectures at the Milan Architecture University, at the Domus Academy and worldwide, from Montreal to Valencia.
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Photo: Elodie Dupois
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milan 2012
In 2012 a number of danish designers, companies and institutions are represented during Il Salone internazionale del mobile and fuori salone in milan. check out page 99 for the full danish program.
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milan 2012
In 2012 a number of danish designers, companies and institutions are represented during Il Salone internazionale del mobile and fuori salone in milan. check out page 99 for the full danish program.
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Danish Crafts
the MINDCRAFT concept
Interview with Birgitte Jahn, CEO, Danish Crafts by Journalist Claus Randrup
DANISH CRAFTS • Danish Crafts promotes awareness of Danish design and craft in Denmark and abroad and lends new craftspeople and designers a helping hand in marketing their products. •
MINDCRAFT presents Danish craft and design on the international scene
It is the responsibility of Danish Crafts to market these stories and products and select the finest among them to represent Denmark to the rest of the world at the world’s largest creative trade show in Milan.
The MINDCRAFT exhibition in Ventura Lambrate is a collective story about outstanding Danish design and craft told at the world’s leading design scene in Milan.
“We want to Denmark has competences and mastery
For the fifth consecutive year, Danish Crafts – an institution under the Danish Ministry of Culture – promotes the MINDCRAFT concept, which aims to market the thriving Danish craft and design scene. With MINDCRAFT Danish Crafts explores the mindset that characterizes both the new generation of designers and some of the greatest names in design history. “They are among the finest in their field. All the participants draw on the Danish design and craft traditions in order to create innovative works,” says Birgitte Jahn, CEO of Danish Crafts.
Drawing on an extensive international network, and a large number of Danish and international journalists, Danish Crafts has been generating
visibility and press coverage for Danish craft and design since 2000. • Danish Crafts presents the MINDCRAFT exhibition for the fifth consecutive year to promote outstanding Danish craft and design. • Danish Crafts also launches the annual Crafts Collection,
which gives a varying number of craftspeople and designers an opportunity to market some of their products as part of a joint collection.
• Every year, Danish Crafts releases publications that highlight the quality and originality in Danish craft and design. www.danishcrafts.dk
tell the world that, many talents with unique in form-giving, design of materials.”
We provide the setting Danish Crafts offers a common curated platform for the Danish craft and design scene. This gives Danish craft and design an opportunity for a breakthrough in areas where the individual performer alone does not have enough clout. “We provide the platform and the setting. We select a curator for MINDCRAFT and handle press relations, communications and contacts to the larger network,” says Birgitte Jahn.
Stories with personality and potential “Denmark is rich in talent and quality in craft and design – and has been for years. The products are steeped in personality and have a huge potential for telling a good story.”
At Ventura Lambrata you can see this year’s MINDCRAFT exhibition at 6 Via Ventura, Ventura Lambrate. 6
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Danish Crafts
the MINDCRAFT concept
Interview with Birgitte Jahn, CEO, Danish Crafts by Journalist Claus Randrup
DANISH CRAFTS • Danish Crafts promotes awareness of Danish design and craft in Denmark and abroad and lends new craftspeople and designers a helping hand in marketing their products. •
MINDCRAFT presents Danish craft and design on the international scene
It is the responsibility of Danish Crafts to market these stories and products and select the finest among them to represent Denmark to the rest of the world at the world’s largest creative trade show in Milan.
The MINDCRAFT exhibition in Ventura Lambrate is a collective story about outstanding Danish design and craft told at the world’s leading design scene in Milan.
“We want to Denmark has competences and mastery
For the fifth consecutive year, Danish Crafts – an institution under the Danish Ministry of Culture – promotes the MINDCRAFT concept, which aims to market the thriving Danish craft and design scene. With MINDCRAFT Danish Crafts explores the mindset that characterizes both the new generation of designers and some of the greatest names in design history. “They are among the finest in their field. All the participants draw on the Danish design and craft traditions in order to create innovative works,” says Birgitte Jahn, CEO of Danish Crafts.
Drawing on an extensive international network, and a large number of Danish and international journalists, Danish Crafts has been generating
visibility and press coverage for Danish craft and design since 2000. • Danish Crafts presents the MINDCRAFT exhibition for the fifth consecutive year to promote outstanding Danish craft and design. • Danish Crafts also launches the annual Crafts Collection,
which gives a varying number of craftspeople and designers an opportunity to market some of their products as part of a joint collection.
• Every year, Danish Crafts releases publications that highlight the quality and originality in Danish craft and design. www.danishcrafts.dk
tell the world that, many talents with unique in form-giving, design of materials.”
We provide the setting Danish Crafts offers a common curated platform for the Danish craft and design scene. This gives Danish craft and design an opportunity for a breakthrough in areas where the individual performer alone does not have enough clout. “We provide the platform and the setting. We select a curator for MINDCRAFT and handle press relations, communications and contacts to the larger network,” says Birgitte Jahn.
Stories with personality and potential “Denmark is rich in talent and quality in craft and design – and has been for years. The products are steeped in personality and have a huge potential for telling a good story.”
At Ventura Lambrata you can see this year’s MINDCRAFT exhibition at 6 Via Ventura, Ventura Lambrate. 6
7
Mindcraft12
In Your Big Sunny Window by Anne Fabricius Møller
The Dandies by benandsebastian
Danish Crafts
Fictile 12.1 by Anne Tophøj
Frieze P7 by Bente Skjøttgaard
After her graduation from The Royal Danish Academy of Fine Arts, School of Design in Copenhagen in 1997 with additional studies at the University of Art and Design in Helsinki, Cecilie Manz founded her own studio in Copenhagen in 1998. Here, Cecilie Manz designs furniture, glass, lamps and related products. In addition to her work with industrial products, her experimental prototypes and more sculptural one-offs make up an important part of her work and approach. Cecilie Manz has curated Mindcraft 11 and 12. www.ceciliemanz.com
Georg by Christina Liljenberg Halstrøm
Photo: 2012 Danish Crafts/Jeppe Gudmundsen.com
Beetle Chair by GamFratesi
Space Meter by Eske Rex
Suitnest Dinner by Henrik Vibskov
Poet’s Book Hanger by Jakob Jørgensen
Field of Interference by Kaori Juzu
Hook by Line Depping
Papercuts by Louise Campbell
Ash by Thomas Bentzen
Pink Elephants by Louise Sass
All Good Things Come in Threes by Peter Johansen
Tumblers & Plates by Tora Urup
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Mindcraft 2012 Interview with Cecilie Manz by Claus Randrup & Tina Midtgaard This years Mindcraft exhibition presents sixteen examples of experimental creativity made by eighteen passionate designers and makers, says this year’s curator, Cecilie Manz. The Danish curator Cecilie Manz has worked with eighteen of the top talents in Danish craft and design. They exhibit pieces created specifically for Il Salone del Mobile in Milan. The works cover a wide disciplinary range, including one-off pieces, prototypes, experiments and trials of new techniques.
The concept Cecilie Manz has articulated a particular set of premises for the exhibition and followed the working process of all the performers. Whether they work in ceramics, jewellery, clothing or furniture design, all the participants have unique knowledge of their craft, which enables them to immerse themselves and challenge the boundaries of their field. It has been a privilege to follow their working process, says Cecilie Manz. She has encouraged the craftspeople and designers to move freely within their creative universe and feel motivated to test new boundaries and possibilities in relation to materials, function, quality and other aspects.
Photo: Mikkel Heriba
The main task has been to create an experimental platform that lets the crafts-people and designers work on their own terms towards the goal of being part of an exhibition with a disciplinary diversity. Exactly what is at the core of the Mindcraft concept.
The exhibition space The exhibition will be experienced as a long, narrow procession, where the wall surfaces play a role in tying everything together, providing a spatial element that the works relate to in various ways. In narrative and material terms, numerous connections between the elements of the exhibition help to build a coherent, organic impression. In the basement, drafts, models and experiments from the working process are on display. “I am really looking forward to seeing all the works put up together; after all, I’ve only seen bits and pieces and fragments,” says this year’s Mindcraft curator, Cecilie Manz.
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Mindcraft12
In Your Big Sunny Window by Anne Fabricius Møller
The Dandies by benandsebastian
Danish Crafts
Fictile 12.1 by Anne Tophøj
Frieze P7 by Bente Skjøttgaard
After her graduation from The Royal Danish Academy of Fine Arts, School of Design in Copenhagen in 1997 with additional studies at the University of Art and Design in Helsinki, Cecilie Manz founded her own studio in Copenhagen in 1998. Here, Cecilie Manz designs furniture, glass, lamps and related products. In addition to her work with industrial products, her experimental prototypes and more sculptural one-offs make up an important part of her work and approach. Cecilie Manz has curated Mindcraft 11 and 12. www.ceciliemanz.com
Georg by Christina Liljenberg Halstrøm
Photo: 2012 Danish Crafts/Jeppe Gudmundsen.com
Beetle Chair by GamFratesi
Space Meter by Eske Rex
Suitnest Dinner by Henrik Vibskov
Poet’s Book Hanger by Jakob Jørgensen
Field of Interference by Kaori Juzu
Hook by Line Depping
Papercuts by Louise Campbell
Ash by Thomas Bentzen
Pink Elephants by Louise Sass
All Good Things Come in Threes by Peter Johansen
Tumblers & Plates by Tora Urup
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Mindcraft 2012 Interview with Cecilie Manz by Claus Randrup & Tina Midtgaard This years Mindcraft exhibition presents sixteen examples of experimental creativity made by eighteen passionate designers and makers, says this year’s curator, Cecilie Manz. The Danish curator Cecilie Manz has worked with eighteen of the top talents in Danish craft and design. They exhibit pieces created specifically for Il Salone del Mobile in Milan. The works cover a wide disciplinary range, including one-off pieces, prototypes, experiments and trials of new techniques.
The concept Cecilie Manz has articulated a particular set of premises for the exhibition and followed the working process of all the performers. Whether they work in ceramics, jewellery, clothing or furniture design, all the participants have unique knowledge of their craft, which enables them to immerse themselves and challenge the boundaries of their field. It has been a privilege to follow their working process, says Cecilie Manz. She has encouraged the craftspeople and designers to move freely within their creative universe and feel motivated to test new boundaries and possibilities in relation to materials, function, quality and other aspects.
Photo: Mikkel Heriba
The main task has been to create an experimental platform that lets the crafts-people and designers work on their own terms towards the goal of being part of an exhibition with a disciplinary diversity. Exactly what is at the core of the Mindcraft concept.
The exhibition space The exhibition will be experienced as a long, narrow procession, where the wall surfaces play a role in tying everything together, providing a spatial element that the works relate to in various ways. In narrative and material terms, numerous connections between the elements of the exhibition help to build a coherent, organic impression. In the basement, drafts, models and experiments from the working process are on display. “I am really looking forward to seeing all the works put up together; after all, I’ve only seen bits and pieces and fragments,” says this year’s Mindcraft curator, Cecilie Manz.
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Danish Crafts
By Journalist Claus Randrup
mathias bengtsson The experimental furniture designer A chair with zebra stripes made of recycled paper and a chair constructed along the same principles as the bonestructure of the human body. The Danish furniture designer Mathias Bengtsson truly knows how to push the frame in furniture design. The Danish furniture designer Mathias Bengtsson was educated in Copenhagen and London but has lived in London since 1993. His main source of inspiration for new furniture has always been a passionate curiosity toward new materials and new ways of making furniture.
Born in Copenhagen in 1971, Mathias Bengtsson studied furniture design at The Royal Danish Academy of Fine Arts, School of Design. From 199293, Bengtsson attended the Art Centre College in Switzerland.
In 2010 and 2011 Mathias took part in the Mindcraft exhibition in Milan. The first year he made a chair out of recycled paper, which was sponsored by a Swedish paper factory. Heat and pressure were used to laminate the paper and make the chair strong enough to support the weight of a person. The second year he made a chair that was inspired by the human bonestructure. Taking part in Mindcraft two years in a row gave Mathias increased exposure to the world press, and “few could have done it better,” as he puts it.
Bengtsson Design was founded in 2002 and creates concepts inspired by the time we live in. The need to interpret the promise of technology for the human being has not changed, and Mathias Bengtsson is using new technology and new materials to create innovative objects with a huge impact.
Photo: Claus Randrup
A foot in each camp
www.bengtssondesign.com
Mathias Bengtsson is always trying to come up with new designs for our times and is constantly exploring new ways of producing furniture. He often uses computers in his work but also relies on analogue tools: “I draw with charcoal, pencil and paper. I have to have that physical aspect. But after that process we digitize the product on a computer,” Mathias Bengtsson explains.
MINDCRAFT10, Paper Chair. Photo: 2010 Danish Crafts / Mathias Bengtsson
To him, the digital and the analogue tools are closely linked – and they should stay that way: “I’m very hands-on – I also know how to use a drill and a screwdriver,” he says with a laugh.
Back-burner projects will have to wait Mathias Bengtsson has just returned from Japan, where he received an award in connection with the 100th anniversary of the birth of the Danish furniture designer Finn Juhl. Currently, he is developing a new collection of furniture, which will be sold in galleries in Los Angeles and Paris, among other places.
MINDCRAFT11, Cellular Chair. Photo: 2011 Danish Crafts / Mathias Bengtsson
So there is precious little time for what Mathias calls his ‘back-burner projects’. They will have to wait. However, he still makes time to challenge technology and help set new standards for chair design. 10
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Danish Crafts
By Journalist Claus Randrup
mathias bengtsson The experimental furniture designer A chair with zebra stripes made of recycled paper and a chair constructed along the same principles as the bonestructure of the human body. The Danish furniture designer Mathias Bengtsson truly knows how to push the frame in furniture design. The Danish furniture designer Mathias Bengtsson was educated in Copenhagen and London but has lived in London since 1993. His main source of inspiration for new furniture has always been a passionate curiosity toward new materials and new ways of making furniture.
Born in Copenhagen in 1971, Mathias Bengtsson studied furniture design at The Royal Danish Academy of Fine Arts, School of Design. From 199293, Bengtsson attended the Art Centre College in Switzerland.
In 2010 and 2011 Mathias took part in the Mindcraft exhibition in Milan. The first year he made a chair out of recycled paper, which was sponsored by a Swedish paper factory. Heat and pressure were used to laminate the paper and make the chair strong enough to support the weight of a person. The second year he made a chair that was inspired by the human bonestructure. Taking part in Mindcraft two years in a row gave Mathias increased exposure to the world press, and “few could have done it better,” as he puts it.
Bengtsson Design was founded in 2002 and creates concepts inspired by the time we live in. The need to interpret the promise of technology for the human being has not changed, and Mathias Bengtsson is using new technology and new materials to create innovative objects with a huge impact.
Photo: Claus Randrup
A foot in each camp
www.bengtssondesign.com
Mathias Bengtsson is always trying to come up with new designs for our times and is constantly exploring new ways of producing furniture. He often uses computers in his work but also relies on analogue tools: “I draw with charcoal, pencil and paper. I have to have that physical aspect. But after that process we digitize the product on a computer,” Mathias Bengtsson explains.
MINDCRAFT10, Paper Chair. Photo: 2010 Danish Crafts / Mathias Bengtsson
To him, the digital and the analogue tools are closely linked – and they should stay that way: “I’m very hands-on – I also know how to use a drill and a screwdriver,” he says with a laugh.
Back-burner projects will have to wait Mathias Bengtsson has just returned from Japan, where he received an award in connection with the 100th anniversary of the birth of the Danish furniture designer Finn Juhl. Currently, he is developing a new collection of furniture, which will be sold in galleries in Los Angeles and Paris, among other places.
MINDCRAFT11, Cellular Chair. Photo: 2011 Danish Crafts / Mathias Bengtsson
So there is precious little time for what Mathias calls his ‘back-burner projects’. They will have to wait. However, he still makes time to challenge technology and help set new standards for chair design. 10
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Danish Crafts
MINDCRAFT09, Wet Bell.
A Milanese lamp adventure
MINDCRAFT10, Yellow Fin.
Interview with Kasper Salto and Thomas Sigsgaard by Journalist Claus Randrup
Photo: 2009 Danish Crafts/jeppegudmundsen.com
Photo: 2010 Danish Crafts/jeppegudmundsen.com
For industrial designer Kasper Salto and architect Thomas Sigsgaard the first encounter with Mindcraft ended as a bit of an adventure. The duo was spotted by a distinguished Italian manufacturer, and their lamp design was put into production. In 2009, Salto & Sigsgaard created the lamp ‘Wet Bell’ for Mindcraft. Made from steel and aluminum, the lamp stands out because it doesn’t have a visible suspension. After having shown the new project at the Mindcraft exhibition, the designers were contacted by Italian lamp manufacturer: Nemo Cassina. “They wanted to produce our lamp. That was a blast,” Kasper Salto explains. “We both agreed what the lamp should look like, and after about a month it was finished and lit up.” The year after ‘Wet Bell’ Salto & Sigsgaard were once again invited to take part in the Mindcraft exhibition. This time they made the lamp ‘YellowFin’, which is a flat wallmounted lamp in aluminum that blends into one with the wall when it is folded.
Mindcraft creates room to play Kasper Salto was born in Copenhagen 1967. Graduated cabinet maker in 1988. Masterpiece honoured with a silver medal. Graduated in 1994 from The Royal Danish Academy of Fine Arts, School of Design. Photo: Salto/Sigsgaard
Today, Salto & Sigsgaard are very mindful of what Mindcraft gave them, and they always try to make time for experiments and the opportunity to do projects that continue to create inspiration. Mindcraft is reminding us of the importance of playing with ideas and materials, and the concept provides plenty of room to investigate as the designers don’t have to deliver to a specific client.
Thomas Sigsgaard was born in Copenhagen 1966. Graduated from The Royal Danish Academy of Fine Arts, School of Architecture in 1995. Salto & Sigsgaard recently won the prestigious Danish competition to design the new furniture for the UN headquarters in New York. A large and prestigious project for the two-man firm based in Copenhagen. www.saltosigsgaard.com
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Danish Crafts
MINDCRAFT09, Wet Bell.
A Milanese lamp adventure
MINDCRAFT10, Yellow Fin.
Interview with Kasper Salto and Thomas Sigsgaard by Journalist Claus Randrup
Photo: 2009 Danish Crafts/jeppegudmundsen.com
Photo: 2010 Danish Crafts/jeppegudmundsen.com
For industrial designer Kasper Salto and architect Thomas Sigsgaard the first encounter with Mindcraft ended as a bit of an adventure. The duo was spotted by a distinguished Italian manufacturer, and their lamp design was put into production. In 2009, Salto & Sigsgaard created the lamp ‘Wet Bell’ for Mindcraft. Made from steel and aluminum, the lamp stands out because it doesn’t have a visible suspension. After having shown the new project at the Mindcraft exhibition, the designers were contacted by Italian lamp manufacturer: Nemo Cassina. “They wanted to produce our lamp. That was a blast,” Kasper Salto explains. “We both agreed what the lamp should look like, and after about a month it was finished and lit up.” The year after ‘Wet Bell’ Salto & Sigsgaard were once again invited to take part in the Mindcraft exhibition. This time they made the lamp ‘YellowFin’, which is a flat wallmounted lamp in aluminum that blends into one with the wall when it is folded.
Mindcraft creates room to play Kasper Salto was born in Copenhagen 1967. Graduated cabinet maker in 1988. Masterpiece honoured with a silver medal. Graduated in 1994 from The Royal Danish Academy of Fine Arts, School of Design. Photo: Salto/Sigsgaard
Today, Salto & Sigsgaard are very mindful of what Mindcraft gave them, and they always try to make time for experiments and the opportunity to do projects that continue to create inspiration. Mindcraft is reminding us of the importance of playing with ideas and materials, and the concept provides plenty of room to investigate as the designers don’t have to deliver to a specific client.
Thomas Sigsgaard was born in Copenhagen 1966. Graduated from The Royal Danish Academy of Fine Arts, School of Architecture in 1995. Salto & Sigsgaard recently won the prestigious Danish competition to design the new furniture for the UN headquarters in New York. A large and prestigious project for the two-man firm based in Copenhagen. www.saltosigsgaard.com
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www.olejensendesign.com
He lives and works in Copenhagen. Extensive participation in various exhibitions as well as being part of a number of permanent museum collections.
Ole Jensen graduated from Kolding School of Design in 1985.
Today Ole Jensen is busy designing new products for our everyday life.
“With the bathtub I created an object that the users allready know the purpose of as soon as they are confronted with it. So there’s no need for a user manual.”
In the process of developing the big rubber bathtub, Ole Jensen proceeded gradually. Initially, he made little drafts and miniature versions of the bathtub because the actual bathtub was much too large for his workshop. But the overall idea was to make something that conveys its function as soon as one looks at it:
No user manual
“I haven’t sold that many hot-water bottles or bathtubs, but the fact that I made them enabled me to sell some of my other designs. Taking part in Mindcraft gave me a push forward and a lot of exposure,” as he puts it.
Photo: Claus Randrup
Photo: 2008 Danish Crafts/jeppegudmundsen.com
MINDCRAFT08, Rubber Tub.
Today, Ole Jensen has had several products in production that have become major successes, including the wellknown dustpan and broom and the washing-up bowl for the Danish design brand Normann Copenhagen. In other words, he has become a recognised and sought-after name in the design world. He attributes much of the demand for his products to Mindcraft:
Ole Jensen has many prominent clients on his CV, including Royal Copenhagen, Louis Poulsen, Muuto and Normann Copenhagen. And the award-winning maker and designer has exhibited at Mindcraft in Milan twice over the years. The first time he took part in the exhibition he was able to realise one of his dreams: making a big bathtub out of rubber. The second year he presented a series of hot-water bottles.
Ole’s creative enterprise could perhaps aptly be described as artistic design, either as objects in their own right or in the creative approach are his designs ever purely the result of an artistic eye, of the design process, or his skills as a craftsman – we are talking of hybrids.
By Journalist Claus Randrup
Ole Jensen maker & designer
Danish Crafts
14 15
www.olejensendesign.com
He lives and works in Copenhagen. Extensive participation in various exhibitions as well as being part of a number of permanent museum collections.
Ole Jensen graduated from Kolding School of Design in 1985.
Today Ole Jensen is busy designing new products for our everyday life.
“With the bathtub I created an object that the users allready know the purpose of as soon as they are confronted with it. So there’s no need for a user manual.”
In the process of developing the big rubber bathtub, Ole Jensen proceeded gradually. Initially, he made little drafts and miniature versions of the bathtub because the actual bathtub was much too large for his workshop. But the overall idea was to make something that conveys its function as soon as one looks at it:
No user manual
“I haven’t sold that many hot-water bottles or bathtubs, but the fact that I made them enabled me to sell some of my other designs. Taking part in Mindcraft gave me a push forward and a lot of exposure,” as he puts it.
Photo: Claus Randrup
Photo: 2008 Danish Crafts/jeppegudmundsen.com
MINDCRAFT08, Rubber Tub.
Today, Ole Jensen has had several products in production that have become major successes, including the wellknown dustpan and broom and the washing-up bowl for the Danish design brand Normann Copenhagen. In other words, he has become a recognised and sought-after name in the design world. He attributes much of the demand for his products to Mindcraft:
Ole Jensen has many prominent clients on his CV, including Royal Copenhagen, Louis Poulsen, Muuto and Normann Copenhagen. And the award-winning maker and designer has exhibited at Mindcraft in Milan twice over the years. The first time he took part in the exhibition he was able to realise one of his dreams: making a big bathtub out of rubber. The second year he presented a series of hot-water bottles.
Ole’s creative enterprise could perhaps aptly be described as artistic design, either as objects in their own right or in the creative approach are his designs ever purely the result of an artistic eye, of the design process, or his skills as a craftsman – we are talking of hybrids.
By Journalist Claus Randrup
Ole Jensen maker & designer
Danish Crafts
Interview with Louise Hindsgavl by Journalist Claus Randrup
She creates mythical and erotic one-off ceramic works that are on display at leading galleries all over the world. But for Danish ceramicist Louise Hindsgavl Mindcraft has been instrumental in facilitating the launch of a serial production. With three consecutive exhibitions under her belt, Danish ceramicist Louise Hindsgavl is a bit of a Mindcraft veteran. In 2008 and 2009 she stuck to her home ground of ceramics, but in 2010 she was asked by Mindcraft to take on a new field of her own choice. She chose furniture design: “It was hard. I made a small upholstered pouf with a threelegged wooden frame, which I called ‘The Pet’. That was quite a challenge but also stimulating on a professional level,” says Louise Hindsgavl.
Currently, Louise Hindsgavl is working on a series of works to be put on display in a Parisian gallery in April this year, and one of the pieces depicts a hanged man receiving a blowjob. The piece is part of a series revolving around life and death, a topic that in true Hindsgavl style is imbued with plenty of erotic undertones.
Serial production Normally, Louise Hindsgavl does not engage in serial production – she makes one-off pieces that are displayed in galleries and cater to an art audience. But after exhibiting as part of Mindcraft and being exposed to the world, she has expanded her repertoire: “After Mindcraft, the press and product developers from all over the world have seen my work, and that has opened new doors for me. Many foreign magazines have contacted me after the exhibition, and the Danish company Kähler Design has put a number of my works into serial production.”
Several design stores, including shops in London and Amsterdam, have also noticed the talented Danish ceramicist and have made inquiries about her works after her participation in Mindcraft.
Louise Hindsgavl graduated from Kolding School of Design in 1999. She is a ceramist who is difficult to categorize and is always in the forefront of investigating the pure human instinct that lurks behind a polished façade. She has participated in numerous exhibitions and is represented in permanent collections all over the world. www.louisehindsgavl.dk
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Photo: Claus Randrup
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Photo: 2009 Danish Crafts/jeppegudmundsen.com
From galleries to design stores
MINDCRAFT09, Silence! In the event of divine presence.
Danish Crafts
Interview with Louise Hindsgavl by Journalist Claus Randrup
She creates mythical and erotic one-off ceramic works that are on display at leading galleries all over the world. But for Danish ceramicist Louise Hindsgavl Mindcraft has been instrumental in facilitating the launch of a serial production. With three consecutive exhibitions under her belt, Danish ceramicist Louise Hindsgavl is a bit of a Mindcraft veteran. In 2008 and 2009 she stuck to her home ground of ceramics, but in 2010 she was asked by Mindcraft to take on a new field of her own choice. She chose furniture design: “It was hard. I made a small upholstered pouf with a threelegged wooden frame, which I called ‘The Pet’. That was quite a challenge but also stimulating on a professional level,” says Louise Hindsgavl.
Currently, Louise Hindsgavl is working on a series of works to be put on display in a Parisian gallery in April this year, and one of the pieces depicts a hanged man receiving a blowjob. The piece is part of a series revolving around life and death, a topic that in true Hindsgavl style is imbued with plenty of erotic undertones.
Serial production Normally, Louise Hindsgavl does not engage in serial production – she makes one-off pieces that are displayed in galleries and cater to an art audience. But after exhibiting as part of Mindcraft and being exposed to the world, she has expanded her repertoire: “After Mindcraft, the press and product developers from all over the world have seen my work, and that has opened new doors for me. Many foreign magazines have contacted me after the exhibition, and the Danish company Kähler Design has put a number of my works into serial production.”
Several design stores, including shops in London and Amsterdam, have also noticed the talented Danish ceramicist and have made inquiries about her works after her participation in Mindcraft.
Louise Hindsgavl graduated from Kolding School of Design in 1999. She is a ceramist who is difficult to categorize and is always in the forefront of investigating the pure human instinct that lurks behind a polished façade. She has participated in numerous exhibitions and is represented in permanent collections all over the world. www.louisehindsgavl.dk
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Photo: Claus Randrup
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Photo: 2009 Danish Crafts/jeppegudmundsen.com
From galleries to design stores
MINDCRAFT09, Silence! In the event of divine presence.
Danish Crafts
Danish Crafts
Stine Gam was born in Copenhagen in 1975. She is educated architect graduated from Aarhus School of Architecture, Denmark in 2006 with a master in furniture design. During education she studied architecture at the university in Ferrara in Italy.
A stackable beetle Interview with Stine Gam and Enrico Fratesi by Journalist Claus Randrup
A stackable beetle The Danish-Italian design duo GamFratesi did not hesitate when they were invited to exhibit in the Mindcraft exhibition for the second consecutive year. This year, they found the inspiration for a chair design in the anatomy and aesthetics of a tiny insect: the beetle. GamFratesi consists of Stine Gam from Denmark and Enrico Fratesi from Italy. Since 2006 they have made furniture that draws on both Danish and Italian design traditions. They often use the same materials in their work: wood, metal and textile, but the materials are always combined in new and quirky ways. The duo’s first participation in Mindcraft was in 2011. Here they had produced a sofa with the poetic title ‘Haiku’. The sofa was discovered by Fredericia Furniture at MINDCRAFT11 and will be displayed by the Danish furniture manufacturer at Rho Hall 20 Stand E12. This year, Stine and Enrico have taken a closer look at the beetle in an interpretation of its hard exterior and soft interior: “We wanted to make a stackable chair. The beetle’s anatomy gave us the inspiration for Beetle Chair. We sought to reinterpret the beetle’s hard and characteristic shield and structures in a chair that resembles beetles in nature by having a hard exterior and a soft interior.
The chair is on wheels, which gives it a dynamic presence in space and the speed and agility of a beetle,” says Enrico Fratesi. Stine and Enrico draw on many different sources of inspiration. They love a challenge and find inspiration everywhere, from animals in nature to Japanese poetry. Only rarely do they find inspiration for their designs by looking at design – despite their profound knowledge of both the Danish and Italian design traditions – and often they need to go outside their own field.
Enrico Fratesi was born in Pesaro in 1978. He has studied architecture at the university in Florence and in Ferrara in Italy, and graduated from the university in Ferrara. During education he studied architecture at the university KTH in Stockholm and furniture design at Aarhus School of Architecture in Denmark. www.gamfratesi.com
In addition to MINDCRAFT12, GamFratesi studio is also on display this year at Fredericia Furniture, Casamania, Ligne Roset and has designed the DANISH LIVINGroom by the Consulate General of Denmark, Milan.
Emotional furniture The design duo’s primary goal has always been to make furniture that establishes a pleasant contact with people and causes them to reflect on the furniture they use: “The mission of our furniture is to make people comfortable, and we strive to make furniture that has a long lifespan, both aesthetically and on a material level.” In GamFratesi’s work, harmony versus disharmony forms a recurring theme that, with a twist in proportions, execution or technical detailing, serves to alter our perception of furniture design classics among other things.
Foto: Claus Randrup
MINDCRAFT12, Beetle Chair.
Photo: 2012 Danish Crafts/Jeppe Gudmundsen.com
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Danish Crafts
Stine Gam was born in Copenhagen in 1975. She is educated architect graduated from Aarhus School of Architecture, Denmark in 2006 with a master in furniture design. During education she studied architecture at the university in Ferrara in Italy.
A stackable beetle Interview with Stine Gam and Enrico Fratesi by Journalist Claus Randrup
A stackable beetle The Danish-Italian design duo GamFratesi did not hesitate when they were invited to exhibit in the Mindcraft exhibition for the second consecutive year. This year, they found the inspiration for a chair design in the anatomy and aesthetics of a tiny insect: the beetle. GamFratesi consists of Stine Gam from Denmark and Enrico Fratesi from Italy. Since 2006 they have made furniture that draws on both Danish and Italian design traditions. They often use the same materials in their work: wood, metal and textile, but the materials are always combined in new and quirky ways. The duo’s first participation in Mindcraft was in 2011. Here they had produced a sofa with the poetic title ‘Haiku’. The sofa was discovered by Fredericia Furniture at MINDCRAFT11 and will be displayed by the Danish furniture manufacturer at Rho Hall 20 Stand E12. This year, Stine and Enrico have taken a closer look at the beetle in an interpretation of its hard exterior and soft interior: “We wanted to make a stackable chair. The beetle’s anatomy gave us the inspiration for Beetle Chair. We sought to reinterpret the beetle’s hard and characteristic shield and structures in a chair that resembles beetles in nature by having a hard exterior and a soft interior.
The chair is on wheels, which gives it a dynamic presence in space and the speed and agility of a beetle,” says Enrico Fratesi. Stine and Enrico draw on many different sources of inspiration. They love a challenge and find inspiration everywhere, from animals in nature to Japanese poetry. Only rarely do they find inspiration for their designs by looking at design – despite their profound knowledge of both the Danish and Italian design traditions – and often they need to go outside their own field.
Enrico Fratesi was born in Pesaro in 1978. He has studied architecture at the university in Florence and in Ferrara in Italy, and graduated from the university in Ferrara. During education he studied architecture at the university KTH in Stockholm and furniture design at Aarhus School of Architecture in Denmark. www.gamfratesi.com
In addition to MINDCRAFT12, GamFratesi studio is also on display this year at Fredericia Furniture, Casamania, Ligne Roset and has designed the DANISH LIVINGroom by the Consulate General of Denmark, Milan.
Emotional furniture The design duo’s primary goal has always been to make furniture that establishes a pleasant contact with people and causes them to reflect on the furniture they use: “The mission of our furniture is to make people comfortable, and we strive to make furniture that has a long lifespan, both aesthetically and on a material level.” In GamFratesi’s work, harmony versus disharmony forms a recurring theme that, with a twist in proportions, execution or technical detailing, serves to alter our perception of furniture design classics among other things.
Foto: Claus Randrup
MINDCRAFT12, Beetle Chair.
Photo: 2012 Danish Crafts/Jeppe Gudmundsen.com
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Henrik Vibskov´s contribution to Mindcraft12 is an exemplification of this abillity to play with our perception of the meaning of objects.
Henrik Vibskov is exhibiting at this years MINDCRAFT exhibition, by Danish Crafts, 6 Via Ventura, Ventura Lambrate
www.henrikvibskov.com
The name Henrik Vibskov is most commonly associated not only with a fashion label, but a multitude of twisted yet tantalizing universes creating relation to each collection. As a fashion designer Henrik Vibskov has produced twenty collections since he graduated from Central St. Martin’s in 2001, and he is currently the only Scandinavian designer on the official show schedule of the Paris Men’s Fashion Week, which he has been since January 2003.
Photo by Claus Randrup
Photo: 2012 Danish Crafts/Jeppegudmundsen.com
MINDCRAFT12, Suitnest Dinner.
Wanting to revive forgotten materials in his work with the backpack, Henrik Vibskov chose rattan, a virtually obsolete material that he hadn’t worked with before. To learn more about it, he travelled to The Archaeological Museum in Frankfurt, which in its archives holds specimens of materials such as bamboo, bast and rattan. At the museum, Henrik Vibskov took more than 500 photos as inspiration for his rucksack:
An archaeological study of rattan
“It’s a drop-shaped picnic basket, but it’s also a sort of backpack. There’s room for a fork, a knife and a plate placed on top of a suit. You could call it a wickerwork-suit-service-transport-thing.”
Challenging the mind
Henrik Vibskov creates everything from clothes to installation art and sees no boundaries between the different creative disciplines. For Mindcraft12 he has created a design that combines a backpack and a basket using a rattan weave and leather, among other materials:
Whether Henrik Vibskov is working with clothes, film, chairs, photo or installation art, he is constantly driven by challenging his own and other people’s eyes and mind.
“I found a good deal of inspiration in Frankfurt. Subsequently, we made several trial versions of the backpack, because we had to learn to work with rattan from scratch. It was completely new for us, and it was difficult because it’s a relatively stiff material.”
The multi-facetted artist Henrik Vibskov strives to constantly challenge himself and others. For this year’s Mindcraft he has created a combination of a backpack and a basket using the almost obsolete material rattan.
Interview with Henrik Vibskov by Journalist Claus Randrup
Reviving rattan
Danish Crafts
20 21
Henrik Vibskov´s contribution to Mindcraft12 is an exemplification of this abillity to play with our perception of the meaning of objects.
Henrik Vibskov is exhibiting at this years MINDCRAFT exhibition, by Danish Crafts, 6 Via Ventura, Ventura Lambrate
www.henrikvibskov.com
The name Henrik Vibskov is most commonly associated not only with a fashion label, but a multitude of twisted yet tantalizing universes creating relation to each collection. As a fashion designer Henrik Vibskov has produced twenty collections since he graduated from Central St. Martin’s in 2001, and he is currently the only Scandinavian designer on the official show schedule of the Paris Men’s Fashion Week, which he has been since January 2003.
Photo by Claus Randrup
Photo: 2012 Danish Crafts/Jeppegudmundsen.com
MINDCRAFT12, Suitnest Dinner.
Wanting to revive forgotten materials in his work with the backpack, Henrik Vibskov chose rattan, a virtually obsolete material that he hadn’t worked with before. To learn more about it, he travelled to The Archaeological Museum in Frankfurt, which in its archives holds specimens of materials such as bamboo, bast and rattan. At the museum, Henrik Vibskov took more than 500 photos as inspiration for his rucksack:
An archaeological study of rattan
“It’s a drop-shaped picnic basket, but it’s also a sort of backpack. There’s room for a fork, a knife and a plate placed on top of a suit. You could call it a wickerwork-suit-service-transport-thing.”
Challenging the mind
Henrik Vibskov creates everything from clothes to installation art and sees no boundaries between the different creative disciplines. For Mindcraft12 he has created a design that combines a backpack and a basket using a rattan weave and leather, among other materials:
Whether Henrik Vibskov is working with clothes, film, chairs, photo or installation art, he is constantly driven by challenging his own and other people’s eyes and mind.
“I found a good deal of inspiration in Frankfurt. Subsequently, we made several trial versions of the backpack, because we had to learn to work with rattan from scratch. It was completely new for us, and it was difficult because it’s a relatively stiff material.”
The multi-facetted artist Henrik Vibskov strives to constantly challenge himself and others. For this year’s Mindcraft he has created a combination of a backpack and a basket using the almost obsolete material rattan.
Interview with Henrik Vibskov by Journalist Claus Randrup
Reviving rattan
Danish Crafts
OAK PLANK, SAW MILL, COUCH HORSHOLM , DENMARK
ph artichoke
CREATING EXCEPTIONAL SPACES
PH Artichoke/PH Kogle Design: Poul Henningsen
You can feel it. Solid wood under your feet is a sensual pleasure. Pleasing to the eye, karmic to the soul and naturally warm to touch. You can express yourself – get carried away. Good design is as easy to live with as it is to look at. People thrive on solid wooden floors. Find more information about Junckers floors on www.junckers.com
w w w . l o u i s p o u l s e n . c o m
CREATING EXCEPTIONAL SPACES
OAK PLANK, SAW MILL, COUCH HORSHOLM , DENMARK
ph artichoke
CREATING EXCEPTIONAL SPACES
PH Artichoke/PH Kogle Design: Poul Henningsen
You can feel it. Solid wood under your feet is a sensual pleasure. Pleasing to the eye, karmic to the soul and naturally warm to touch. You can express yourself – get carried away. Good design is as easy to live with as it is to look at. People thrive on solid wooden floors. Find more information about Junckers floors on www.junckers.com
w w w . l o u i s p o u l s e n . c o m
CREATING EXCEPTIONAL SPACES
Kolding School of Design
Presenting the power of partnerships By Journalist Mary-Anne Karas Interaction is a key factor at Kolding School of Design, DSKD. Teaching future designers to develop products in conjunction with companies and endusers has a high priority at DSKD, which presents the exhibition ‘The Tube’ in Milan 2012. The Tube is the outcome of six collaborations between students and companies. With an engaging appearance in the street, The Tube invites everyone to step in, walk through and comment. “The exhibition shows that DSKD educates designers with a great diversity who are strong in applying skills in practise. Throughout their studies, students collaborate with companies in order to unite theory and practise and achieve great recognition. It becomes a two-way learning process as companies learn that designers’ are real and valid partners in future sustainable thinking,” states Elsebeth Gerner Nielsen, rector at DSKD since 2008.
Kolding School of Design educates designers at Bachelor and Master levels within six different lines of study: Fashion Design, Textile Design, Industrial Design, Graphic Design, Interactive Design and Illustration Design. Total number of students: ± 400.
Design is increasingly about addressing challenges and about designing solutions and entire systems rather than creating individual objects. For this reason, designers’ ability to cooperate and involve endusers is of utmost importance, she continues. Along with education and on-going business projects, design research is an expanding field at DSKD. Verbalising the designer’s work methods is necessary in order to teach them, and with a wish to function as a progressive and creative capacity locally and internationally, research is carried out to increase knowledge. Internationalization is also a key focal area at DSKD. Each year, students and employees travel to Shanghai, China and Kumasi, Ghana to work with collaborating design universities for several weeks. This dimension adds another perspective and has paramount value for the students’ development as designers and world citizens. “Being in a foreign context brings you great personal and professional insight, and both are required in order to create world-class design,” Elsebeth Gerner Nielsen points out.
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Photo: Gert Skaerlund
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Kolding School of Design
Presenting the power of partnerships By Journalist Mary-Anne Karas Interaction is a key factor at Kolding School of Design, DSKD. Teaching future designers to develop products in conjunction with companies and endusers has a high priority at DSKD, which presents the exhibition ‘The Tube’ in Milan 2012. The Tube is the outcome of six collaborations between students and companies. With an engaging appearance in the street, The Tube invites everyone to step in, walk through and comment. “The exhibition shows that DSKD educates designers with a great diversity who are strong in applying skills in practise. Throughout their studies, students collaborate with companies in order to unite theory and practise and achieve great recognition. It becomes a two-way learning process as companies learn that designers’ are real and valid partners in future sustainable thinking,” states Elsebeth Gerner Nielsen, rector at DSKD since 2008.
Kolding School of Design educates designers at Bachelor and Master levels within six different lines of study: Fashion Design, Textile Design, Industrial Design, Graphic Design, Interactive Design and Illustration Design. Total number of students: ± 400.
Design is increasingly about addressing challenges and about designing solutions and entire systems rather than creating individual objects. For this reason, designers’ ability to cooperate and involve endusers is of utmost importance, she continues. Along with education and on-going business projects, design research is an expanding field at DSKD. Verbalising the designer’s work methods is necessary in order to teach them, and with a wish to function as a progressive and creative capacity locally and internationally, research is carried out to increase knowledge. Internationalization is also a key focal area at DSKD. Each year, students and employees travel to Shanghai, China and Kumasi, Ghana to work with collaborating design universities for several weeks. This dimension adds another perspective and has paramount value for the students’ development as designers and world citizens. “Being in a foreign context brings you great personal and professional insight, and both are required in order to create world-class design,” Elsebeth Gerner Nielsen points out.
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Photo: Gert Skaerlund
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Kolding School of Design in Milan 2012
Faktabox Karen kjærgaard
The Tube, an exhibition A face of carpets, a wall of pleats, a climbing shoe, a kind of blue, a word of bricks and a wave of veneer are the results of collaborations between six designers and six companies, arranged by Kolding School of Design. In collaboration with six leading Danish companies, Kolding School of Design presents the exhibition The Tube in Milan. In The Tube knowledge is shared beyond the tight parameters that form our perception of design, demonstrating the importance of collaborations between designers and industry. The six designers, all in their final year or just graduated, have been matched with six companies, who support the project by sharing their resources, skills and know-how.
“The Tube is a cultural incubator providing discussions about values, a cultural platform generating cooperative initiatives and processes, and hopefully a cultural statement branding Danish design internationally.” Karen Kjærgaard, Curator.
Participation in The Tube is a unique opportunity for the designers to test their qualifications and competencies in a professional relationship, and at the same time an appeal to companies to do small-scale collaborations with young designers. We should think about innovative and exciting ways of using designers not just as an artistic refuge, but also as a natural partner in any production and process of tomorrow. With this exhibition we hope not only to stimulate and attract the most talented students for future collaborations, but also to give companies a gaze into the crystal ball of future design. Welcome to a tube of collaborations, juxtaposing the various objects, disciplines and debates that form a design school. The participating companies are Republic of Fritz Hansen, LE KLINT, Kvadrat, the LEGO Group, ECCO and ege. Kolding School of Design Karen Kjærgaard, Curator
Exhibition: The Tube, Milan 2012, Kolding School of Design Companies: Kvadrat, Republic of Fritz Hansen, ege, LE KLINT, ECCO, the LEGO Group. Designers: Siff Pristed Nielsen, Joan Pedersen, Brian Frandsen, Katja Brüchle Knudsen, Pauline Joy Richard and Birk Marcus Hansen. Curator: Karen Kjærgaard
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Photo: Gert Skaerlund
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Kolding School of Design in Milan 2012
Faktabox Karen kjærgaard
The Tube, an exhibition A face of carpets, a wall of pleats, a climbing shoe, a kind of blue, a word of bricks and a wave of veneer are the results of collaborations between six designers and six companies, arranged by Kolding School of Design. In collaboration with six leading Danish companies, Kolding School of Design presents the exhibition The Tube in Milan. In The Tube knowledge is shared beyond the tight parameters that form our perception of design, demonstrating the importance of collaborations between designers and industry. The six designers, all in their final year or just graduated, have been matched with six companies, who support the project by sharing their resources, skills and know-how.
“The Tube is a cultural incubator providing discussions about values, a cultural platform generating cooperative initiatives and processes, and hopefully a cultural statement branding Danish design internationally.” Karen Kjærgaard, Curator.
Participation in The Tube is a unique opportunity for the designers to test their qualifications and competencies in a professional relationship, and at the same time an appeal to companies to do small-scale collaborations with young designers. We should think about innovative and exciting ways of using designers not just as an artistic refuge, but also as a natural partner in any production and process of tomorrow. With this exhibition we hope not only to stimulate and attract the most talented students for future collaborations, but also to give companies a gaze into the crystal ball of future design. Welcome to a tube of collaborations, juxtaposing the various objects, disciplines and debates that form a design school. The participating companies are Republic of Fritz Hansen, LE KLINT, Kvadrat, the LEGO Group, ECCO and ege. Kolding School of Design Karen Kjærgaard, Curator
Exhibition: The Tube, Milan 2012, Kolding School of Design Companies: Kvadrat, Republic of Fritz Hansen, ege, LE KLINT, ECCO, the LEGO Group. Designers: Siff Pristed Nielsen, Joan Pedersen, Brian Frandsen, Katja Brüchle Knudsen, Pauline Joy Richard and Birk Marcus Hansen. Curator: Karen Kjærgaard
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Photo: Gert Skaerlund
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Kolding School of Design
Vernacular veneer By Journalist Mary-Anne Karas
From a pole, two handfuls of dowels and five pliable sheets of wood veneer, designer Joan Pedersen has created a modern veneer sculpture with versatile usage: A 1,7m high storage unit, which suits many spaces and works equally well to store magazines, clothes or toiletries. Fly, that explores new standards for future living, is presented in Milan at Kolding School of Design’s exhibition The Tube. “Storage units are often square, like many other things in our homes. I wanted to challenge conventional thinking and consumer expectations by deliberately using organic forms. The round veneer curves challenge us to think differently when using furniture like this,” explains Joan Pedersen, product designer graduated from Kolding School of Design, June 2011. This experimental new piece of furniture has been developed in collaboration with Republic of Fritz Hansen, world famous for sculptural furniture by Arne Jacobsen, Poul Kjærholm, Kasper Salto and Jaime Hayon. Fly fits into Republic of Fritz Hansen´s simple, yet highly elaborated values about the visual, the emotional and the rational – and is an example of crafting timeless design.
Exhibition: The Tube, Milan 2012 Designer: Joan Pedersen Title: Fly Company: Republic of Fritz Hansen Curator: Karen Kjærgaard Kolding School of Design
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Photo: Gert Skaerlund
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Kolding School of Design
Vernacular veneer By Journalist Mary-Anne Karas
From a pole, two handfuls of dowels and five pliable sheets of wood veneer, designer Joan Pedersen has created a modern veneer sculpture with versatile usage: A 1,7m high storage unit, which suits many spaces and works equally well to store magazines, clothes or toiletries. Fly, that explores new standards for future living, is presented in Milan at Kolding School of Design’s exhibition The Tube. “Storage units are often square, like many other things in our homes. I wanted to challenge conventional thinking and consumer expectations by deliberately using organic forms. The round veneer curves challenge us to think differently when using furniture like this,” explains Joan Pedersen, product designer graduated from Kolding School of Design, June 2011. This experimental new piece of furniture has been developed in collaboration with Republic of Fritz Hansen, world famous for sculptural furniture by Arne Jacobsen, Poul Kjærholm, Kasper Salto and Jaime Hayon. Fly fits into Republic of Fritz Hansen´s simple, yet highly elaborated values about the visual, the emotional and the rational – and is an example of crafting timeless design.
Exhibition: The Tube, Milan 2012 Designer: Joan Pedersen Title: Fly Company: Republic of Fritz Hansen Curator: Karen Kjærgaard Kolding School of Design
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Photo: Gert Skaerlund
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Kolding School of Design
Face to Face By Journalist Mary-Anne Karas
Exploring new use of well-known materials is one of Brian Frandsen’s strengths as a designer. He is about to finish as a product designer from Kolding School of Design. In collaboration with ege, one of the leading suppliers of unique flooring in the world, he has challenged the traditional functionality of carpets. By constructing a three-dimensional image from a two-dimensional material he reveals an unexplored aspect of a material normally only used for flooring. His contribution to The Tube, an exhibition by Kolding School of Design, is a sculptural piece of work made from 125 layers of identical, cut pile carpets, on which a photo of the designer has been dyed into the yarn. No report is necessary when using this unique technique. The face is subsequently sliced into the layered carpets manually and changes as the viewer moves. “By working with a shape of a face in a threedimensional installation I want the audience to interact and relate themselves. Carpets add personality to a room. It reflects who we are. People acquire things because they appeal to them, not because of their functionality,” explains Brian Frandsen.
Exhibition: The Tube, Milan 2012 Designer: Brian Frandsen Title: Face to Face Company: ege Curator: Karen Kjærgaard Kolding School of Design
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Photo: Gert Skaerlund
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Kolding School of Design
Face to Face By Journalist Mary-Anne Karas
Exploring new use of well-known materials is one of Brian Frandsen’s strengths as a designer. He is about to finish as a product designer from Kolding School of Design. In collaboration with ege, one of the leading suppliers of unique flooring in the world, he has challenged the traditional functionality of carpets. By constructing a three-dimensional image from a two-dimensional material he reveals an unexplored aspect of a material normally only used for flooring. His contribution to The Tube, an exhibition by Kolding School of Design, is a sculptural piece of work made from 125 layers of identical, cut pile carpets, on which a photo of the designer has been dyed into the yarn. No report is necessary when using this unique technique. The face is subsequently sliced into the layered carpets manually and changes as the viewer moves. “By working with a shape of a face in a threedimensional installation I want the audience to interact and relate themselves. Carpets add personality to a room. It reflects who we are. People acquire things because they appeal to them, not because of their functionality,” explains Brian Frandsen.
Exhibition: The Tube, Milan 2012 Designer: Brian Frandsen Title: Face to Face Company: ege Curator: Karen Kjærgaard Kolding School of Design
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Photo: Gert Skaerlund
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KVADRAT CELEBRATES ICON FABRIC
Kvadrat celebrates Hallingdal 65 by designer Todd Bracher selected by curator Jeffrey Bernett.
In celebration of its first and most iconic textile, Hallingdal 65, Kvadrat has invited seven international curators to select design talents from seven key regions. The open brief presented each curator with the task of selecting designers that would reinterpret the classic textile, developed more than 45 years ago, in a modern context. The installation will be presented at the Jil Sander showroom in Milan during the Salone del Mobile. “Hallingdal 65 is the founding textile of Kvadrat and has become the archetype of woollen fabrics. The aim of this project is to show new ways of looking at the material, by pushing the boundaries of textile application and giving design talent all over the world a chance to showcase their work at the most important industry fair in the world. It has been great working together with the curators and the group of designers. The curators have selected a varied and convincing group of emerging talent, and the designers have been very creative in applying Hallingdal 65 in their installations and design pieces, giving the exhibition an interesting depth.” says Anders Byriel, CEO of Kvadrat. Kvadrat will also present a new textile collection by ArgentineSwiss designer Alfredo Häberli in their showroom in Corso Monforte. Further, Häberli will unveil his updates to the showroom he originally designed in 2007. In addition, Kvadrat will showcase a new rug with Danskina during the Salone del Mobile. For its 25th anniversary Spanish designer Cristian Zuzunaga has recoloured, Bravoure, one of Danskina’s oldest designs and most succesful rugs. The rugs will be shown as part of Zuzunaga’s exhibition Outside In in Ventura Lambrate.
Kvadrat Celebrates Hallingdal 65, Jil Sander Showroom, via Luca Beltrami 5. Alfredo Häberli for Kvadrat, Kvadrat Showroom, Corso Monforte 15. Cristian Zuzunaga for Danskina: Outside In, Ventura Lambrate, Light Space Industrial Hall, Via Privata Oslavia.
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Photo: Angela Moore
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KVADRAT CELEBRATES ICON FABRIC
Kvadrat celebrates Hallingdal 65 by designer Todd Bracher selected by curator Jeffrey Bernett.
In celebration of its first and most iconic textile, Hallingdal 65, Kvadrat has invited seven international curators to select design talents from seven key regions. The open brief presented each curator with the task of selecting designers that would reinterpret the classic textile, developed more than 45 years ago, in a modern context. The installation will be presented at the Jil Sander showroom in Milan during the Salone del Mobile. “Hallingdal 65 is the founding textile of Kvadrat and has become the archetype of woollen fabrics. The aim of this project is to show new ways of looking at the material, by pushing the boundaries of textile application and giving design talent all over the world a chance to showcase their work at the most important industry fair in the world. It has been great working together with the curators and the group of designers. The curators have selected a varied and convincing group of emerging talent, and the designers have been very creative in applying Hallingdal 65 in their installations and design pieces, giving the exhibition an interesting depth.” says Anders Byriel, CEO of Kvadrat. Kvadrat will also present a new textile collection by ArgentineSwiss designer Alfredo Häberli in their showroom in Corso Monforte. Further, Häberli will unveil his updates to the showroom he originally designed in 2007. In addition, Kvadrat will showcase a new rug with Danskina during the Salone del Mobile. For its 25th anniversary Spanish designer Cristian Zuzunaga has recoloured, Bravoure, one of Danskina’s oldest designs and most succesful rugs. The rugs will be shown as part of Zuzunaga’s exhibition Outside In in Ventura Lambrate.
Kvadrat Celebrates Hallingdal 65, Jil Sander Showroom, via Luca Beltrami 5. Alfredo Häberli for Kvadrat, Kvadrat Showroom, Corso Monforte 15. Cristian Zuzunaga for Danskina: Outside In, Ventura Lambrate, Light Space Industrial Hall, Via Privata Oslavia.
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Photo: Angela Moore
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“We have decided to let tradition and renewal join forces and display the best from these two worlds at Salone Internazionale del Mobile in Milan,” says General Consul in Milan, Steen Thorsted. The DANISH LIVINGroom is designed by GamFratesi Studio and is divided into three spaces with a structure referring to a simple traditional Danish house. Each house is furnished based on a theme, respectively the Minimalistic, Luxury Boheme and Funky theme, with the idea of expressing three different ways of Danish Living. Furthermore, the exhibition has a common area, demonstrated by a huge table where all exhibitors can network, meet visitors and clients.
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In 2012 we are organising the Danish Pavilion for the 5th consecutive time – and for the first time the 200 m2 DANISH LIVINGroom. See names of the 29 exhibiting companies in the guide, page 99.
“Denmark has a proud design history and is internationally known for its many design icons from the fifties and sixties. However, a new talented generation of designers and craftspeople has demonstrated that they are capable of taking up the mantle.”
Branding of Danish design at the Milano Design Week has developed to be an important activity in recent years.
Great master pieces from the past will be displayed along-side new, innovative and experimenting furniture designs.
The DANISH LIVINGroom, Il Salone, Rho, Hall 10, Stand C07
The Consulate General of Denmark in Milan is proud to launch the Danish Livingroom presenting a wide spectrum of Danish design companies.
The Consulate General of Denmark in Milan works actively to promote Danish products and services in the Italian market and beyond, besides consular duties and public diplomacy activities.
danish livingroom
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“We have decided to let tradition and renewal join forces and display the best from these two worlds at Salone Internazionale del Mobile in Milan,” says General Consul in Milan, Steen Thorsted. The DANISH LIVINGroom is designed by GamFratesi Studio and is divided into three spaces with a structure referring to a simple traditional Danish house. Each house is furnished based on a theme, respectively the Minimalistic, Luxury Boheme and Funky theme, with the idea of expressing three different ways of Danish Living. Furthermore, the exhibition has a common area, demonstrated by a huge table where all exhibitors can network, meet visitors and clients.
34
In 2012 we are organising the Danish Pavilion for the 5th consecutive time – and for the first time the 200 m2 DANISH LIVINGroom. See names of the 29 exhibiting companies in the guide, page 99.
“Denmark has a proud design history and is internationally known for its many design icons from the fifties and sixties. However, a new talented generation of designers and craftspeople has demonstrated that they are capable of taking up the mantle.”
Branding of Danish design at the Milano Design Week has developed to be an important activity in recent years.
Great master pieces from the past will be displayed along-side new, innovative and experimenting furniture designs.
The DANISH LIVINGroom, Il Salone, Rho, Hall 10, Stand C07
The Consulate General of Denmark in Milan is proud to launch the Danish Livingroom presenting a wide spectrum of Danish design companies.
The Consulate General of Denmark in Milan works actively to promote Danish products and services in the Italian market and beyond, besides consular duties and public diplomacy activities.
danish livingroom
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We do Wood Frama was founded in 2008 as a sales agency. With a select list of partners including Established & Sons, Stellar Works and Fambuena the firm has managed to establish itself as a high-profile supplier of innovative design products in the Scandinavian market. In October 2010, Frama presented the firm’s own design collection in Berlin’s Tempelhof Airport. The collection was created in cooperation with Danish and international designers and has already attracted considerable attention around the world. The most recent showing was at Maison&Objet in Paris. www.framacph.com
Honest talk When We do Wood, its about clean and beautiful lines combined with quality and responsibility in every phase of the process. When we do that, we believe we get the most out of design and sustainability. The strong vision of sustainability that permeates the work of Henrik Thygesen and Sebastian Jørgensen has played a role in setting new standards in the world of Danish design. www.wedowood.dk
DANISH LIVINGroom, Il Salone, Rho, Hall 10, Stand C07
Frama
DANISH LIVINGroom, Il Salone, Rho, Hall 10, Stand C07 36
Photo: Gitte Kjær & Mikkel Rahr Mortensen/Magasinet Rum
Photo: Mikkel Mortensen
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We do Wood Frama was founded in 2008 as a sales agency. With a select list of partners including Established & Sons, Stellar Works and Fambuena the firm has managed to establish itself as a high-profile supplier of innovative design products in the Scandinavian market. In October 2010, Frama presented the firm’s own design collection in Berlin’s Tempelhof Airport. The collection was created in cooperation with Danish and international designers and has already attracted considerable attention around the world. The most recent showing was at Maison&Objet in Paris. www.framacph.com
Honest talk When We do Wood, its about clean and beautiful lines combined with quality and responsibility in every phase of the process. When we do that, we believe we get the most out of design and sustainability. The strong vision of sustainability that permeates the work of Henrik Thygesen and Sebastian Jørgensen has played a role in setting new standards in the world of Danish design. www.wedowood.dk
DANISH LIVINGroom, Il Salone, Rho, Hall 10, Stand C07
Frama
DANISH LIVINGroom, Il Salone, Rho, Hall 10, Stand C07 36
Photo: Gitte Kjær & Mikkel Rahr Mortensen/Magasinet Rum
Photo: Mikkel Mortensen
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Photo: Trine Christensen
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Photo: Trine Christensen
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By Sanne Hedeskov
ATTENZIONE
the Dennis Pop-up Design Center is visiting Milan
The creative design agency Bureau Detours takes part in the Milan Design Week 2012 with the project Dennis Design Center, a new pop-up design centre that examines and addresses site-specific and ultra-local challenges in public spaces. With its participation in the Metropolis Festival in Copenhagen in 2011, Dennis Design Center (DENNIS) created quite a stir on the Danish design scene and instantly earned an award from the Danish Arts Foundation. Now the international design scene will have a chance to meet the activists alongside the official Danish Design Centre when Bureau Detours opens their mobile design centre in Zona Tortona. Bureau Detours wants to explore the challenges that arise when 330,000 visitors come to Milan during the design week, and the mobile design centre examines urban spaces by presenting design, crafts and urban space studies in a physical form locally in Milan. Graphic designers, cabinetmakers, architects, designers and carpenters will then work together to develop and convey solutions to these ultra-local problems.
‘En plein air’ Inspired by the impressionists, who left their studios and painted their motifs ‘en plein air’, Bureau Detours goes into the city in order to capture a feeling or an experience with site-specific design. Like the impressionists, Bureau Detours ‘paints’ recognizable motifs but with new brush strokes. With the Milan version of DENNIS, Bureau Detours seeks to employ alternative design practices as a means of participating in the international design discussion. DENNIS brings all the necessary furnishings, tools and materials from home, ready to be installed in the sitespecific and self-constructed work space that serves as a combined workshop, office and exhibition venue. With its characteristic energy and spirit Bureau Detours unfolds the whole lot soon after its arrival and is then ready to declare DENNIS DESIGN CENTER open. 40
Photo: Tobias Nørgaard Pedersen
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By Sanne Hedeskov
ATTENZIONE
the Dennis Pop-up Design Center is visiting Milan
The creative design agency Bureau Detours takes part in the Milan Design Week 2012 with the project Dennis Design Center, a new pop-up design centre that examines and addresses site-specific and ultra-local challenges in public spaces. With its participation in the Metropolis Festival in Copenhagen in 2011, Dennis Design Center (DENNIS) created quite a stir on the Danish design scene and instantly earned an award from the Danish Arts Foundation. Now the international design scene will have a chance to meet the activists alongside the official Danish Design Centre when Bureau Detours opens their mobile design centre in Zona Tortona. Bureau Detours wants to explore the challenges that arise when 330,000 visitors come to Milan during the design week, and the mobile design centre examines urban spaces by presenting design, crafts and urban space studies in a physical form locally in Milan. Graphic designers, cabinetmakers, architects, designers and carpenters will then work together to develop and convey solutions to these ultra-local problems.
‘En plein air’ Inspired by the impressionists, who left their studios and painted their motifs ‘en plein air’, Bureau Detours goes into the city in order to capture a feeling or an experience with site-specific design. Like the impressionists, Bureau Detours ‘paints’ recognizable motifs but with new brush strokes. With the Milan version of DENNIS, Bureau Detours seeks to employ alternative design practices as a means of participating in the international design discussion. DENNIS brings all the necessary furnishings, tools and materials from home, ready to be installed in the sitespecific and self-constructed work space that serves as a combined workshop, office and exhibition venue. With its characteristic energy and spirit Bureau Detours unfolds the whole lot soon after its arrival and is then ready to declare DENNIS DESIGN CENTER open. 40
Photo: Tobias Nørgaard Pedersen
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Temporary Museum for New Design Extension. Exact spot: outdoor, Superstudio 13, Via Tortona, next to entrance and their Cafe.
Since 2006 Bureau Detours has operated on a variety of platforms, which they use to test the boundaries of the public space. By using sitespecific pop-up installations, ultralocal urban space studies, mobile exhibitions and architectural events, the agency aims to generate social environments in the public sphere that inspire people to interact in new ways and experience the city and the local area from new perspectives. With alternative design studies and exhibitions they provide new input to the discussion about the nature and possible contributions of design today. Since the agency entered the Danish design scene, neither design nor urban space have been the same, and despite its fleeting character, their always fresh and provocative expression leaves lasting impressions on our perceptions, the city and our social interactions.
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Photo: Tobias Nørgaard Pedersen
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Temporary Museum for New Design Extension. Exact spot: outdoor, Superstudio 13, Via Tortona, next to entrance and their Cafe.
Since 2006 Bureau Detours has operated on a variety of platforms, which they use to test the boundaries of the public space. By using sitespecific pop-up installations, ultralocal urban space studies, mobile exhibitions and architectural events, the agency aims to generate social environments in the public sphere that inspire people to interact in new ways and experience the city and the local area from new perspectives. With alternative design studies and exhibitions they provide new input to the discussion about the nature and possible contributions of design today. Since the agency entered the Danish design scene, neither design nor urban space have been the same, and despite its fleeting character, their always fresh and provocative expression leaves lasting impressions on our perceptions, the city and our social interactions.
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Photo: Tobias Nørgaard Pedersen
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WWW.ONECOLLECTION.COM SALONE INTERNAZIONALE DEL MOBILE - HALL 20 - STAND F08
DiamonD LOUNGE / 2 OR 3 SEATER SOFA / LOUNGE CHAIR / FOOTSTOOL - CANE-LINE TEX® PEnTHoUSE COFFEE TABLE - ALUMINUM 90X90CM / on-THE-moVE SIDETABLE - ALUMINUM
Meet us at : Pavillon 8 – Stand D33 17 - 22 April 2012
DaniSH DESiGn & HanDCRaFTED QUaLiTY
FINN JUHL: MODEL 46
The Diamond serie - designed by Foersom & Hiort-Lorenzen – is made of aluminum and the unique weatherproof Cane-line Tex®. The cushions you can just leave outside because they are made of coated polyester (Cane-line Tex®) and a core of Quick-Dry-Foam® that ensures maximum drainage. Penthouse coffee table - designed by Foersom & Hiort-Lorenzen - made of aluminum. On-the-move side table - designed by Strand+Hvass - is made of aluminum with a removeable tray.
WWW.CanE-LinE.Com
FoR moRE inFoRmaTion PLEASE SCAN THE CODE.
WWW.ONECOLLECTION.COM SALONE INTERNAZIONALE DEL MOBILE - HALL 20 - STAND F08
DiamonD LOUNGE / 2 OR 3 SEATER SOFA / LOUNGE CHAIR / FOOTSTOOL - CANE-LINE TEX® PEnTHoUSE COFFEE TABLE - ALUMINUM 90X90CM / on-THE-moVE SIDETABLE - ALUMINUM
Meet us at : Pavillon 8 – Stand D33 17 - 22 April 2012
DaniSH DESiGn & HanDCRaFTED QUaLiTY
FINN JUHL: MODEL 46
The Diamond serie - designed by Foersom & Hiort-Lorenzen – is made of aluminum and the unique weatherproof Cane-line Tex®. The cushions you can just leave outside because they are made of coated polyester (Cane-line Tex®) and a core of Quick-Dry-Foam® that ensures maximum drainage. Penthouse coffee table - designed by Foersom & Hiort-Lorenzen - made of aluminum. On-the-move side table - designed by Strand+Hvass - is made of aluminum with a removeable tray.
WWW.CanE-LinE.Com
FoR moRE inFoRmaTion PLEASE SCAN THE CODE.
By Sanne Hedeskov
True stories Starting up a design firm can be hard work. Doing it in a way that is socially, environmentally and economically profitable may be an even bigger challenge, especially without compromising on aesthetics. Nevertheless, that is exactly what Mater has achieved. With the combination of a strong ethical concept and the use of leading designers they have found a recipe that fits perfectly with current agendas. Mater is a highly successful Danish design brand with a strong vision of creating timeless and beautiful design products based on an ethical business strategy. Under the heading ‘Ethical Living’, Mater has been launching sustainably produced exclusive home accessories designed by some of the most talented designers from Denmark and abroad since 2006. The products are not only aesthetically unique but also tell the true story about their origins. Whether it is a handmade lamp, a stool in recycled aluminium or a tray table of sustainably sourced mango wood, each product bears testimony to a responsible
“For every one of the millions of products we use to environmental, ethical and social consequences. Some while others consume resources in vast quantities.
production approach that supports human rights, local craft traditions and the environment. The products have nothing to hide and that creates a degree of transparency that appeals to us: Where do the products come from? Who designed them? What materials were used, and what social aspects are at play in the production processes? With forward-thinking design based on social and economic sustainability, Mater has created a strategy that reaches well beyond the issue of aesthetics and function and far into a future where the human dimension, ethics and the social aspect will be of crucial importance. Several of Mater’s manufacturers in India have been involved for years in the SUSBIZ India programme, which is co-funded by the Danish development agency Danida. Additional info is available on www.susbizindia.org. www.mater.dk
improve our lives, there are associated products have a small environmental bearing,
We strive to avoid or minimize the adverse impact on society by focusing on ethical criteria while creating sensual, timeless and durable products that will both stand the test of time and inspire consumers to cherish and maintain them,” Henrik Marstrand, CEO & founder of Mater.
DANISH LIVINGroom, Il Salone, Rho, Hall 10, Stand C07 46
Photo: Thomas Ibsen
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By Sanne Hedeskov
True stories Starting up a design firm can be hard work. Doing it in a way that is socially, environmentally and economically profitable may be an even bigger challenge, especially without compromising on aesthetics. Nevertheless, that is exactly what Mater has achieved. With the combination of a strong ethical concept and the use of leading designers they have found a recipe that fits perfectly with current agendas. Mater is a highly successful Danish design brand with a strong vision of creating timeless and beautiful design products based on an ethical business strategy. Under the heading ‘Ethical Living’, Mater has been launching sustainably produced exclusive home accessories designed by some of the most talented designers from Denmark and abroad since 2006. The products are not only aesthetically unique but also tell the true story about their origins. Whether it is a handmade lamp, a stool in recycled aluminium or a tray table of sustainably sourced mango wood, each product bears testimony to a responsible
“For every one of the millions of products we use to environmental, ethical and social consequences. Some while others consume resources in vast quantities.
production approach that supports human rights, local craft traditions and the environment. The products have nothing to hide and that creates a degree of transparency that appeals to us: Where do the products come from? Who designed them? What materials were used, and what social aspects are at play in the production processes? With forward-thinking design based on social and economic sustainability, Mater has created a strategy that reaches well beyond the issue of aesthetics and function and far into a future where the human dimension, ethics and the social aspect will be of crucial importance. Several of Mater’s manufacturers in India have been involved for years in the SUSBIZ India programme, which is co-funded by the Danish development agency Danida. Additional info is available on www.susbizindia.org. www.mater.dk
improve our lives, there are associated products have a small environmental bearing,
We strive to avoid or minimize the adverse impact on society by focusing on ethical criteria while creating sensual, timeless and durable products that will both stand the test of time and inspire consumers to cherish and maintain them,” Henrik Marstrand, CEO & founder of Mater.
DANISH LIVINGroom, Il Salone, Rho, Hall 10, Stand C07 46
Photo: Thomas Ibsen
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The Danish Design Centre is Denmark’s knowledge centre for design. We develop and disseminate knowledge about design and work to promote the use of strategic design in Danish companies and public sector institutions with the goal of improving the companies’ competitiveness. The Danish Design Centre carries out a variety of activities such as workshops, courses, conferences and exhibitions. Through these activities the participating companies gain a deeper understanding of the potential of design as a tool for innovation. Close collaboration with knowledge and research institutions, trade associations and international design centres enables the Danish Design Centre to disseminate knowledge about design processes, user-driven innovation, international trends and new materials.
Danish Design Centre
4 questions for Nille Juul-Sørensen, CEO, Danish Design Centre By Sanne Hedeskov
Why
is it important for the Danish Design Centre (DDC) to be present in Milan? I think it’s great that the DDC is represented to serve as an anchor for the many Danish activities in Milan. In fact, I’d say this is the first time that DDC is present in Milan in the right way: coordinating and conveying a coherent take on what Danish design is about right now. The DDC’s presence also gives us an opportunity to present sides of Danish design in a joint publication that we would not have had otherwise.
What
do you make of the Danish ‘chair fetish’? Designing the ultimate chair has become a litmus test in Denmark. This is because the phenomenon of ‘Danish Modern’ began with a chair. That led to the idea that you have to create a perfect chair in order to join the elite. Now, if we had discussed the chair concept on an intellectual level, that would have been more interesting. What is a chair, do we even need a chair? If we had taken that approach, we might have been designing all the stuff that goes around the chair instead. We could have used all the energy we have devoted to this obsession to focus instead on greater issues.
What
role do you think the new strategic design agencies will play in the future? They’re very important, because they link design to business. With their interdisciplinary mindset and strategic use of design they
can make companies look up from the spreadsheet and see possibilities that they did not think existed. This can enable them to develop new business areas that address challenges on a societal level. I believe that strategic design is here to stay, and that it will become increasingly important, because it constitutes high-level problem solving. At the same time, we’re also talking about very different figures than the ones we are used to seeing in the design business. If we can design smart systems and services, for example in the fields of healthcare or public services, that’s big business on a different level than designing a chair.
What main themes in the field of design do you think will be involved in transforming the world? We have gone from product design to service design. The next step will concern how we use the vast amounts of data that are available to us. How we manage to operationalize data in relation to design solutions that are relevant for individual users. And here, the designer is a key interpreter. By collecting, analyzing and visualizing data, we can apply it directly in business development. This is already happening, but in the future it will be absolutely crucial as the term of art, design and technology, new materials, big data and design thinking is addressed as one. That will enable complex solutions that are useful for individuals.
Photo: Henning Hjorth
During this year’s IL Salone Internazionale del Mobile and Fuori Salone in Milan, the entire spectrum of Danish design will be on display both physically and as this comprehensive publication: ‘The Milan issue, volume 1 – Danish Design 2012’. Visit: en.ddc.dk 48
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The Danish Design Centre is Denmark’s knowledge centre for design. We develop and disseminate knowledge about design and work to promote the use of strategic design in Danish companies and public sector institutions with the goal of improving the companies’ competitiveness. The Danish Design Centre carries out a variety of activities such as workshops, courses, conferences and exhibitions. Through these activities the participating companies gain a deeper understanding of the potential of design as a tool for innovation. Close collaboration with knowledge and research institutions, trade associations and international design centres enables the Danish Design Centre to disseminate knowledge about design processes, user-driven innovation, international trends and new materials.
Danish Design Centre
4 questions for Nille Juul-Sørensen, CEO, Danish Design Centre By Sanne Hedeskov
Why
is it important for the Danish Design Centre (DDC) to be present in Milan? I think it’s great that the DDC is represented to serve as an anchor for the many Danish activities in Milan. In fact, I’d say this is the first time that DDC is present in Milan in the right way: coordinating and conveying a coherent take on what Danish design is about right now. The DDC’s presence also gives us an opportunity to present sides of Danish design in a joint publication that we would not have had otherwise.
What
do you make of the Danish ‘chair fetish’? Designing the ultimate chair has become a litmus test in Denmark. This is because the phenomenon of ‘Danish Modern’ began with a chair. That led to the idea that you have to create a perfect chair in order to join the elite. Now, if we had discussed the chair concept on an intellectual level, that would have been more interesting. What is a chair, do we even need a chair? If we had taken that approach, we might have been designing all the stuff that goes around the chair instead. We could have used all the energy we have devoted to this obsession to focus instead on greater issues.
What
role do you think the new strategic design agencies will play in the future? They’re very important, because they link design to business. With their interdisciplinary mindset and strategic use of design they
can make companies look up from the spreadsheet and see possibilities that they did not think existed. This can enable them to develop new business areas that address challenges on a societal level. I believe that strategic design is here to stay, and that it will become increasingly important, because it constitutes high-level problem solving. At the same time, we’re also talking about very different figures than the ones we are used to seeing in the design business. If we can design smart systems and services, for example in the fields of healthcare or public services, that’s big business on a different level than designing a chair.
What main themes in the field of design do you think will be involved in transforming the world? We have gone from product design to service design. The next step will concern how we use the vast amounts of data that are available to us. How we manage to operationalize data in relation to design solutions that are relevant for individual users. And here, the designer is a key interpreter. By collecting, analyzing and visualizing data, we can apply it directly in business development. This is already happening, but in the future it will be absolutely crucial as the term of art, design and technology, new materials, big data and design thinking is addressed as one. That will enable complex solutions that are useful for individuals.
Photo: Henning Hjorth
During this year’s IL Salone Internazionale del Mobile and Fuori Salone in Milan, the entire spectrum of Danish design will be on display both physically and as this comprehensive publication: ‘The Milan issue, volume 1 – Danish Design 2012’. Visit: en.ddc.dk 48
49
By Sanne Hedeskov
New aesthetics for new
generations
With the ambition of passing the Nordic design heritage on to new generations of design conscious consumers, &tradition has created a mix of yesterdays masters and todays rebels, brought together in new visual universes. As indicates the little ‘&’, they add something to the tradition, which is not just ‘reprinted’ but interpreted and reflected in hypermodern design products. &tradition had their initial launch at the Stockholm Furniture Fair in February 2010 and already have exports to more than 30 countries. They had hardly any presence in Danish stores, and next, they were represented by the MoMA store in New York and by MERCI in Paris. From being completely unknown, this is now a brand that is able to attract some of the most promising designer names such as Jaime Hayon, Benjamin Hubert, KiBiSi and NORM Architects.
In collaboration with design group Kibisi &tradition has developed a new shelving system, presenting this magazine produced by the Danish Design Centre.
The Temporary Museum for New Design, Superstudio Piu, 27 Via Tortona, Hall 20C.
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Photo: &tradition
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By Sanne Hedeskov
New aesthetics for new
generations
With the ambition of passing the Nordic design heritage on to new generations of design conscious consumers, &tradition has created a mix of yesterdays masters and todays rebels, brought together in new visual universes. As indicates the little ‘&’, they add something to the tradition, which is not just ‘reprinted’ but interpreted and reflected in hypermodern design products. &tradition had their initial launch at the Stockholm Furniture Fair in February 2010 and already have exports to more than 30 countries. They had hardly any presence in Danish stores, and next, they were represented by the MoMA store in New York and by MERCI in Paris. From being completely unknown, this is now a brand that is able to attract some of the most promising designer names such as Jaime Hayon, Benjamin Hubert, KiBiSi and NORM Architects.
In collaboration with design group Kibisi &tradition has developed a new shelving system, presenting this magazine produced by the Danish Design Centre.
The Temporary Museum for New Design, Superstudio Piu, 27 Via Tortona, Hall 20C.
50
Photo: &tradition
51
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KiBiSi is also at display at One Nordic pop-up, ‘KidRobot meets new Nordic’, Via Bergognone 43, Zona Tortona.
The Temporary Museum for New Design, Superstudio Piu, 27 Via Tortona, Hall 20C.
www.kibisi.com
KiBiSi’s work is present in many major museum collections, including the MoMA in New York, Paris’ Centre National d’Arts Plastique and the MoMA San Fransisco.
KiBiSi designs often explore the potential of crossbreeding elements or attributes from different disciplines in to new functional and aesthetic hybrids.
KiBiSi was founded in Copenhagen by Lars Larsen, Bjarke Ingels and Jens Martin Skibsted and are among Scandinavias most influential design groups today.
Photo: KiBiSi
Hence, for the trio to ‘go solo’ in New York now is not just a coincidence. From the outset, they have had an international outlook, and, as KiBiSi explains, the awareness of and emphasis on idea-driven design and aesthetic sustainability also resonate outside Denmark.
“We speak of ‘aesthetic sustainability’. This means that we want to create products that will continue to appear beautiful and relevant for a very long time. Without this ability they will be scrapped. If instead they are preserved and reused, they will also make a positive contribution to minimising the use of resources – and keep everybody smiling.”
The super stylish city bikes, which have a wealth of innovative features and a painstaking attention to details aimed at minimising resource consumption, are a good example of the essence of KiBiSi’s work. To describe what their unique capability and contribution is, they have coined a new concept:
Innovation, beauty and relevance
For example, Puma’s entire line of bicycles was designed by KIBISI – specifically aimed at city use. “These bicycles have such a distinctive design that they are meant to compete with cars, which are also iconographic,” says KiBiSi.
Accommodating this increase is the equivalent of building all the cities ever built in human history all over again. Therefore, it is something we’re focused on – with clients like Biomega, Puma and Audi as the exponents.”
“We launch a new product approximately once a month. These products all spring from a vision of creating a brand that is driven by ideas rather than by an individual designer’s signature.
“We are very interested in urban mobility, because cities are growing so rapidly. Over the next 40 years, the population of cities will grow by 3 billion people.
A strong focus on ideas has become the hallmark of KiBiSi. Investing in ideas leads to strong solutions that are the result of a thorough and holistic process. And the ideas have been pouring out of the three founders’ minds. At this point, they have designed everything from furniture to bicycles and aeroplanes as well as signature design for clients all over the world. Their latest idea is about ‘stylish and sustainable biking’:
The essential idea
“We launch a new product approximately once a month. These products all spring from a vision of creating a brand that is driven by ideas rather than by an individual designer’s signature. And the positive story is that the products now speak for the team and for themselves. As a result, this year, after less than three years as a team, we have already landed a solo exhibition in New York,” says KiBiSi.
KILO Design, BIG architects, Skibsted Ideation = Ki + Bi + Si. The new trio KiBiSi merges the competences of the three founders into a symbiotic hybrid of design, architecture and ideation.
When the three Danish designers and architects joined forces, they were named a dreamteam from the start. Bjarke Ingels, Jens Martin Skibsted and Lars Holme Larsen, who founded the design group KiBiSi, were international stars in their respective fields. But KiBiSi’s goal has always been to create a brand that was driven by ideas, not by individuals.
Three minds one idea
By Sanne Hedeskov
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KiBiSi is also at display at One Nordic pop-up, ‘KidRobot meets new Nordic’, Via Bergognone 43, Zona Tortona.
The Temporary Museum for New Design, Superstudio Piu, 27 Via Tortona, Hall 20C.
www.kibisi.com
KiBiSi’s work is present in many major museum collections, including the MoMA in New York, Paris’ Centre National d’Arts Plastique and the MoMA San Fransisco.
KiBiSi designs often explore the potential of crossbreeding elements or attributes from different disciplines in to new functional and aesthetic hybrids.
KiBiSi was founded in Copenhagen by Lars Larsen, Bjarke Ingels and Jens Martin Skibsted and are among Scandinavias most influential design groups today.
Photo: KiBiSi
Hence, for the trio to ‘go solo’ in New York now is not just a coincidence. From the outset, they have had an international outlook, and, as KiBiSi explains, the awareness of and emphasis on idea-driven design and aesthetic sustainability also resonate outside Denmark.
“We speak of ‘aesthetic sustainability’. This means that we want to create products that will continue to appear beautiful and relevant for a very long time. Without this ability they will be scrapped. If instead they are preserved and reused, they will also make a positive contribution to minimising the use of resources – and keep everybody smiling.”
The super stylish city bikes, which have a wealth of innovative features and a painstaking attention to details aimed at minimising resource consumption, are a good example of the essence of KiBiSi’s work. To describe what their unique capability and contribution is, they have coined a new concept:
Innovation, beauty and relevance
For example, Puma’s entire line of bicycles was designed by KIBISI – specifically aimed at city use. “These bicycles have such a distinctive design that they are meant to compete with cars, which are also iconographic,” says KiBiSi.
Accommodating this increase is the equivalent of building all the cities ever built in human history all over again. Therefore, it is something we’re focused on – with clients like Biomega, Puma and Audi as the exponents.”
“We launch a new product approximately once a month. These products all spring from a vision of creating a brand that is driven by ideas rather than by an individual designer’s signature.
“We are very interested in urban mobility, because cities are growing so rapidly. Over the next 40 years, the population of cities will grow by 3 billion people.
A strong focus on ideas has become the hallmark of KiBiSi. Investing in ideas leads to strong solutions that are the result of a thorough and holistic process. And the ideas have been pouring out of the three founders’ minds. At this point, they have designed everything from furniture to bicycles and aeroplanes as well as signature design for clients all over the world. Their latest idea is about ‘stylish and sustainable biking’:
The essential idea
“We launch a new product approximately once a month. These products all spring from a vision of creating a brand that is driven by ideas rather than by an individual designer’s signature. And the positive story is that the products now speak for the team and for themselves. As a result, this year, after less than three years as a team, we have already landed a solo exhibition in New York,” says KiBiSi.
KILO Design, BIG architects, Skibsted Ideation = Ki + Bi + Si. The new trio KiBiSi merges the competences of the three founders into a symbiotic hybrid of design, architecture and ideation.
When the three Danish designers and architects joined forces, they were named a dreamteam from the start. Bjarke Ingels, Jens Martin Skibsted and Lars Holme Larsen, who founded the design group KiBiSi, were international stars in their respective fields. But KiBiSi’s goal has always been to create a brand that was driven by ideas, not by individuals.
Three minds one idea
By Sanne Hedeskov
why are t he da nes 54
so obsessed With chairs?
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why are t he da nes 54
so obsessed With chairs?
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The Royal Danish Academy of Fine Arts, School of Architecture
one chair a week Associate professor and architect Nicolai de Gier presents a studio assignment given to 4th year architecture students at The Royal Danish Academy of Fine Arts, School of Architecture, Department 11: Architecture, Design and Industrial Form. An assignment focusing intensively on the form of the chair – by creating one full scale chair a week. Each week the material changed so that students would have experiences with diffent types of materials, techniques and expressions. E.g. the first week the material was sticks in the dimension 38x57 mm, the 2nd week the material changed to plywood and the third week it had to be a combination of both materials. In all, the students made 78 chairs in 6 different workshops.
“We decided to make an experiment and asked ourselves if it was possible to make one chair per week?” The chair is a deeply rooted, ancient object, with a rich array of constructive typologies available. And the chair is an object with intimate and direct relations to the human body. Therefore, in an attempt to study – and to advance the sensitivity of – the relations of object, construction and the human body, the chair is central. This goes against contemporary trends in design, as this study is object-centered, form-driven, individual and materially concrete. The aim of this approach is to provide an in-depth study of the design of an architectural object. To study material grammar and constructive syntax in a setting focusing on the internal problems – the aesthetic problems – of design of physical objects. It is our firm belief that such focused, in-depth studies are required, in order to build the platform enabling the architect or designer later to make profound contributions to the culture of form in more contextualized situations.
“This study goes to the bone of the matter of the chair”. The study eliminates the usual filter of representation, as it is full scale and built, rather than drawn. This provides for discussions enhancing sensitivity as to absolute size – not just proportion in the sense of relations of measures to other measures, but also absolute scale, meaning the proportion of the object to the human body and surrounding space. And it provides for insights into the properties of materials. Insights that become embodied, concrete knowledge rather than detached, abstract information.
“There is no way to understand making, other than going through the process of making.” Nicolai de Gier Associate Professor, Architect maa The Royal Academy of Fine Arts, School of Architecture
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The Royal Danish Academy of Fine Arts, School of Architecture
one chair a week Associate professor and architect Nicolai de Gier presents a studio assignment given to 4th year architecture students at The Royal Danish Academy of Fine Arts, School of Architecture, Department 11: Architecture, Design and Industrial Form. An assignment focusing intensively on the form of the chair – by creating one full scale chair a week. Each week the material changed so that students would have experiences with diffent types of materials, techniques and expressions. E.g. the first week the material was sticks in the dimension 38x57 mm, the 2nd week the material changed to plywood and the third week it had to be a combination of both materials. In all, the students made 78 chairs in 6 different workshops.
“We decided to make an experiment and asked ourselves if it was possible to make one chair per week?” The chair is a deeply rooted, ancient object, with a rich array of constructive typologies available. And the chair is an object with intimate and direct relations to the human body. Therefore, in an attempt to study – and to advance the sensitivity of – the relations of object, construction and the human body, the chair is central. This goes against contemporary trends in design, as this study is object-centered, form-driven, individual and materially concrete. The aim of this approach is to provide an in-depth study of the design of an architectural object. To study material grammar and constructive syntax in a setting focusing on the internal problems – the aesthetic problems – of design of physical objects. It is our firm belief that such focused, in-depth studies are required, in order to build the platform enabling the architect or designer later to make profound contributions to the culture of form in more contextualized situations.
“This study goes to the bone of the matter of the chair”. The study eliminates the usual filter of representation, as it is full scale and built, rather than drawn. This provides for discussions enhancing sensitivity as to absolute size – not just proportion in the sense of relations of measures to other measures, but also absolute scale, meaning the proportion of the object to the human body and surrounding space. And it provides for insights into the properties of materials. Insights that become embodied, concrete knowledge rather than detached, abstract information.
“There is no way to understand making, other than going through the process of making.” Nicolai de Gier Associate Professor, Architect maa The Royal Academy of Fine Arts, School of Architecture
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Interview with Julien De Smedt by Journalist Claus Randrup
Living furniture in “Architecture is about so much more than dead bricks. It should also be an organism of different scales and parameters that influence each other and creates a situation of co-existence. The same is true of furniture that must interact with the user and form an integrated part of the architecture,” says architect Julien De Smedt. Back in 2006, the Belgian-Danish architect Julien De Smedt founded the firm JDS Architects. Apart from architecture he also works with product design and urban planning at the headquarters in Copenhagen and the four other offices in locations around the world, including China. He has experienced the advantages of working with different scales: “Bendable metal has been used for panels in architecture, but we discovered that it could also be used to make chairs,” says Julien De Smedt.
architecture
For the Danish design firm Muuto, JDS Architects has designed the book cases ‘Stacked’ that are a static supplement to the home but instead formed an integrated part of the architecture, since users can combine and recombine the book cases to make customized book shelves.
Bendable technologies JDS Architects devotes a great deal of time modifying existing technologies in their work with both architecture and product design. They even have their own little lab for the purpose: “We might bend existing technologies if they prove inadequate for what we want to achieve. We regularly have people exploring new ways of doing things in our own research lab.”
Founded and directed by Julien De Smedt (co-founder of PLOT), JDS currently employs some 50 people with offices in Copenhagen, China, Brussels and Brazil. Working with corporate, government and private clients to realize major civic, hotel, residential, office, commercial, health care, educational, and waterfront developments.
Furniture for the masses
Furniture as therapy Some four years ago, JDS Architects began to design and produce furniture. And as Julien De Smedt sees it, furniture design holds certain advantages over architecture: “It’s a lot faster. It’s almost like therapy, because you can go from idea to the final product much faster. That’s not the case with architecture. It’s a sort of non-production industry.”
Currently the architectural firm is working on a project aimed at producing sustainable furniture. And in the future, the firm will continue to make furniture that is capable of changing the way we interact with furniture.
“Not everyone can buy architecture, but everyone can buy furniture, so this allows us to reach a wider audience and improve the way people relate to furniture.”
Bone chair, 2011
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Photo: Jan Friis
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Interview with Julien De Smedt by Journalist Claus Randrup
Living furniture in “Architecture is about so much more than dead bricks. It should also be an organism of different scales and parameters that influence each other and creates a situation of co-existence. The same is true of furniture that must interact with the user and form an integrated part of the architecture,” says architect Julien De Smedt. Back in 2006, the Belgian-Danish architect Julien De Smedt founded the firm JDS Architects. Apart from architecture he also works with product design and urban planning at the headquarters in Copenhagen and the four other offices in locations around the world, including China. He has experienced the advantages of working with different scales: “Bendable metal has been used for panels in architecture, but we discovered that it could also be used to make chairs,” says Julien De Smedt.
architecture
For the Danish design firm Muuto, JDS Architects has designed the book cases ‘Stacked’ that are a static supplement to the home but instead formed an integrated part of the architecture, since users can combine and recombine the book cases to make customized book shelves.
Bendable technologies JDS Architects devotes a great deal of time modifying existing technologies in their work with both architecture and product design. They even have their own little lab for the purpose: “We might bend existing technologies if they prove inadequate for what we want to achieve. We regularly have people exploring new ways of doing things in our own research lab.”
Founded and directed by Julien De Smedt (co-founder of PLOT), JDS currently employs some 50 people with offices in Copenhagen, China, Brussels and Brazil. Working with corporate, government and private clients to realize major civic, hotel, residential, office, commercial, health care, educational, and waterfront developments.
Furniture for the masses
Furniture as therapy Some four years ago, JDS Architects began to design and produce furniture. And as Julien De Smedt sees it, furniture design holds certain advantages over architecture: “It’s a lot faster. It’s almost like therapy, because you can go from idea to the final product much faster. That’s not the case with architecture. It’s a sort of non-production industry.”
Currently the architectural firm is working on a project aimed at producing sustainable furniture. And in the future, the firm will continue to make furniture that is capable of changing the way we interact with furniture.
“Not everyone can buy architecture, but everyone can buy furniture, so this allows us to reach a wider audience and improve the way people relate to furniture.”
Bone chair, 2011
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Photo: Jan Friis
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By Journalist Claus Randrup
Sofie brünner Sofie Brünners’ background counts a bachelor degree from Central Saint Martins in London, a master degree in spacial and furniture design from The Royal Danish Academy of Fine Arts, School of Design. www.sofiebrunner.com
Brünner is passionate about tactile sensuousness She started out as a textile designer but found it more inspiring to tell stories through furniture. Today, the recently graduated furniture designer Sofie Brünner is looking to have her first piece of furniture put into production. It’s a piece that will appeal to people’s emotions.
“I love quality wood, string and paper. But there are new ways of using them. It’s important for me to make furniture that creates an element of surprise for the beholder. That gives him a new perspective on the materials I’ve used and surprises him.”
Sofie Brünner has a background as a textile designer from London. She was only 19 years old when she left Denmark to study at the distinguished school Central Saint Martins. Six years later she was back in Copenhagen and enrolled in The Royal Danish Academy of Fine Arts, School of Design, to study furniture and spatial design. Today, her top priority is furniture and their materials used to make it.
Striking a contrast to the Danish furniture heritage Traditional Danish furniture is very minimalistic in relation to design and upholstery. This is not a legacy that Sofie intends to carry on. Her passion lies with designing furniture with tactile details:
‘Blush’
“People should feel the urge to touch and feel. They should want to figure out how my furniture has been constructed. The furniture should tell a story. That is why I love working with different materials,” she says. A closer look at the furniture that Sofie Brünner has created on the drawing board or in a scale of 1:1 reveals that it is full of hand-made details. Her latest chair, ‘Blush’, has a hard exterior shell made of metal with strips of wool that have been pulled through tiny holes in the metal. This creates a contrast between hard and soft. She found inspiration for the chair and in the haptic design tradition – emotional design. An approach that she would like to see applied more in Danish design.
Bringing the senses into play Even though Sofie Brünner has only worked with furniture for a couple of years, she knows what she wants: To speak to people’s senses through furniture and surprise their sense of touch. To achieve this, she finds assistance in her materials.
Sofie Brünner is exhibiting at ‘Kvadrat celebrates Hallingdal 65’ at the Jil Sander showroom, Via Luca Beltrami 5 62
Photo: Claus Randrup
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By Journalist Claus Randrup
Sofie brünner Sofie Brünners’ background counts a bachelor degree from Central Saint Martins in London, a master degree in spacial and furniture design from The Royal Danish Academy of Fine Arts, School of Design. www.sofiebrunner.com
Brünner is passionate about tactile sensuousness She started out as a textile designer but found it more inspiring to tell stories through furniture. Today, the recently graduated furniture designer Sofie Brünner is looking to have her first piece of furniture put into production. It’s a piece that will appeal to people’s emotions.
“I love quality wood, string and paper. But there are new ways of using them. It’s important for me to make furniture that creates an element of surprise for the beholder. That gives him a new perspective on the materials I’ve used and surprises him.”
Sofie Brünner has a background as a textile designer from London. She was only 19 years old when she left Denmark to study at the distinguished school Central Saint Martins. Six years later she was back in Copenhagen and enrolled in The Royal Danish Academy of Fine Arts, School of Design, to study furniture and spatial design. Today, her top priority is furniture and their materials used to make it.
Striking a contrast to the Danish furniture heritage Traditional Danish furniture is very minimalistic in relation to design and upholstery. This is not a legacy that Sofie intends to carry on. Her passion lies with designing furniture with tactile details:
‘Blush’
“People should feel the urge to touch and feel. They should want to figure out how my furniture has been constructed. The furniture should tell a story. That is why I love working with different materials,” she says. A closer look at the furniture that Sofie Brünner has created on the drawing board or in a scale of 1:1 reveals that it is full of hand-made details. Her latest chair, ‘Blush’, has a hard exterior shell made of metal with strips of wool that have been pulled through tiny holes in the metal. This creates a contrast between hard and soft. She found inspiration for the chair and in the haptic design tradition – emotional design. An approach that she would like to see applied more in Danish design.
Bringing the senses into play Even though Sofie Brünner has only worked with furniture for a couple of years, she knows what she wants: To speak to people’s senses through furniture and surprise their sense of touch. To achieve this, she finds assistance in her materials.
Sofie Brünner is exhibiting at ‘Kvadrat celebrates Hallingdal 65’ at the Jil Sander showroom, Via Luca Beltrami 5 62
Photo: Claus Randrup
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By Journalist Claus Randrup
Amanda Betz A paper chair born on YouTube Anything that can be folded and anything that can be made of paper. That is what currently fascinates the Danish architect and lamp designer Amanda Betz. So she decided to fold a chair with a single sheet of paper. Amanda Betz works in the field of tension between art, design and architecture. From her work as an architect, she knew how to make 2D and 3D drawings of motorways and interiors. But the urge to create something on her own and to learn more about precision and geometry drove her to begin working with folding techniques and her allconsuming passion – paper.
Amanda Betz, Architect, 1978. Since her graduation from the Royal Danish Academy of Fine Arts, School of Architecture in 2005 when she won the VOLA prize, Amanda has been working in the tension field between architecture, design, and art. Her works of art have been exhibited in various galleries and museums. For the exhibition FOLD, Amanda created a number of folded items. One of these was later developed into the new and exciting pendant ‘Cassiopeia’, produced by the Danish lighting company Le Klint, showing the art of folding in an entirely new way.
Folding techniques on YouTube Amanda Betz acquired various folding techniques by watching videos on YouTube. And subsequently she felt like taking on the task of folding a chair. She was keen to see how far she could go with paper as a material: “Rather than drawing conclusions beforehand, I wanted to see what the material was capable of if I pushed it to the limit. Giving paper a function, as the material for a chair, highlights its fragile nature and the weight of the body. These contrasts between function and material are very important to me in my working processes.” As a designer Amanda Betz wants to investigate the potential of various materials and learn enough about folding techniques to be able to use it in her future work. Therefore, she has planned a research trip to Japan to learn much more about the art of folding.
Connecting with a Danish lamp icon But what began as sheer curiosity on YouTube would prove to go far beyond a folded paper chair. Amanda Betz bought a book about lamps by the iconic Danish lamp maker Le Klint in order to study folding. She was inspired by the lamps in the book and developed an urge to fold a lamp herself: “I contacted the director of Le Klint with my exhibition material, and he responded positively to my folded drafts for the lamp. From there on, the process was about developing precise drafts for a final design – the process was successful, and now the lamp is in production!” While Amanda Betz’s chair has been shown in exhibitions and is not as such ready for use in practice, the lamp, ‘Cassiopeia’, is available from Le Klint. 64
Photo: Claus Randrup
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By Journalist Claus Randrup
Amanda Betz A paper chair born on YouTube Anything that can be folded and anything that can be made of paper. That is what currently fascinates the Danish architect and lamp designer Amanda Betz. So she decided to fold a chair with a single sheet of paper. Amanda Betz works in the field of tension between art, design and architecture. From her work as an architect, she knew how to make 2D and 3D drawings of motorways and interiors. But the urge to create something on her own and to learn more about precision and geometry drove her to begin working with folding techniques and her allconsuming passion – paper.
Amanda Betz, Architect, 1978. Since her graduation from the Royal Danish Academy of Fine Arts, School of Architecture in 2005 when she won the VOLA prize, Amanda has been working in the tension field between architecture, design, and art. Her works of art have been exhibited in various galleries and museums. For the exhibition FOLD, Amanda created a number of folded items. One of these was later developed into the new and exciting pendant ‘Cassiopeia’, produced by the Danish lighting company Le Klint, showing the art of folding in an entirely new way.
Folding techniques on YouTube Amanda Betz acquired various folding techniques by watching videos on YouTube. And subsequently she felt like taking on the task of folding a chair. She was keen to see how far she could go with paper as a material: “Rather than drawing conclusions beforehand, I wanted to see what the material was capable of if I pushed it to the limit. Giving paper a function, as the material for a chair, highlights its fragile nature and the weight of the body. These contrasts between function and material are very important to me in my working processes.” As a designer Amanda Betz wants to investigate the potential of various materials and learn enough about folding techniques to be able to use it in her future work. Therefore, she has planned a research trip to Japan to learn much more about the art of folding.
Connecting with a Danish lamp icon But what began as sheer curiosity on YouTube would prove to go far beyond a folded paper chair. Amanda Betz bought a book about lamps by the iconic Danish lamp maker Le Klint in order to study folding. She was inspired by the lamps in the book and developed an urge to fold a lamp herself: “I contacted the director of Le Klint with my exhibition material, and he responded positively to my folded drafts for the lamp. From there on, the process was about developing precise drafts for a final design – the process was successful, and now the lamp is in production!” While Amanda Betz’s chair has been shown in exhibitions and is not as such ready for use in practice, the lamp, ‘Cassiopeia’, is available from Le Klint. 64
Photo: Claus Randrup
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BenandSebastian
Ben Clement (1981) and Sebastian de la Cour (1980) are both graduates from The Bartlett School of Architecture, University College in London. They work and live in Copenhagen. They have been working together for the past three years as the artist duo benandsebastian. They have received several national prizes and awards for their artworks. The duo’s complex work invites the spectator to explore both space and object and deal with construction and deconstruction.
It is impossible to put a finger on exactly what it is that is wrong. The chair refuses to engage in a simple and predictable relationship with your body and defends itself against your weight. Underneath the surfaces of the work lie architectural worlds, suggesting an ambiguity of scale and a vulnerable relationship between the bold exterior surfaces of the work and the fragile interior construction that supports them. ‘seat on the edge’ appeals to our ability to project destruction and imperfection on our own bodies. These properties are easy to associate with fragility and with the inevitable decay and ruin of our bodies. But unlike the chair, our bodies are bustling building sites that continually pick up the pieces and reconstruct themselves.
Photo: benandsebastian
‘seat on the edge’ 2009, 50 x 50 x 120cm, various types of wood, plaster. Chair made in marqueterie with turned plaster casts in a ruined or incomplete state. Fragments of collapsed architecture and at the same time a building site – elegantly collapsed and painstakingly constructed, seat on the edge stands as if captured in time. As a functional object and mega structure, chair and classic portico, ruin and building site, the work is in a state of spatial and temporal suspension. 66
Photo: Stamers Kontor
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BenandSebastian
Ben Clement (1981) and Sebastian de la Cour (1980) are both graduates from The Bartlett School of Architecture, University College in London. They work and live in Copenhagen. They have been working together for the past three years as the artist duo benandsebastian. They have received several national prizes and awards for their artworks. The duo’s complex work invites the spectator to explore both space and object and deal with construction and deconstruction.
It is impossible to put a finger on exactly what it is that is wrong. The chair refuses to engage in a simple and predictable relationship with your body and defends itself against your weight. Underneath the surfaces of the work lie architectural worlds, suggesting an ambiguity of scale and a vulnerable relationship between the bold exterior surfaces of the work and the fragile interior construction that supports them. ‘seat on the edge’ appeals to our ability to project destruction and imperfection on our own bodies. These properties are easy to associate with fragility and with the inevitable decay and ruin of our bodies. But unlike the chair, our bodies are bustling building sites that continually pick up the pieces and reconstruct themselves.
Photo: benandsebastian
‘seat on the edge’ 2009, 50 x 50 x 120cm, various types of wood, plaster. Chair made in marqueterie with turned plaster casts in a ruined or incomplete state. Fragments of collapsed architecture and at the same time a building site – elegantly collapsed and painstakingly constructed, seat on the edge stands as if captured in time. As a functional object and mega structure, chair and classic portico, ruin and building site, the work is in a state of spatial and temporal suspension. 66
Photo: Stamers Kontor
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benandsebastian is exhibiting at this years MINDCRAFT exhibition, by Danish Crafts, 6 Via Ventura, Ventura Lambrate ‘The Gift’
‘The Outsider’/’The Insider’
2011, 80 x 80 x 80cm oak, weave. Oak wood chair combined with an oak frame from a glass display case.
2010, 44 x 44 x 101cm (in its folded form). Concrete, oak, brass, white high-gloss paint. Reinforced concrete chair with collapsible formwork made of oak wood with brass hinges.
The most original presents are always the best ones. Sometimes we know all too well just what we want. ‘The Gift’ is a familiar friend, composed partly of a Kaare Klint chair and partly of a Kaare Klint vitrine. Breaking down the artificial distinction between display and utility, ‘The Gift’ asks for more generosity from those design objects whose value comes from their claims to uni-queness and their inaccessibility: to greasy fingers, to oversized bottoms and to conceptual contamination from their context and influences.
Essence can be a fleeting quality. The Outsider/The insider is two chairs in one. ‘The Insider’ is a slender white chair cast in concrete, in which the detailing has been reduced to the bare minimum. While ‘The Insider’ strives for a refined ideal, ‘The Outsider’ represents the complexity of the potential. Its fragmented form is defined by the wood formwork that ‘The insider’ was cast in. Unlike the slender white ‘Insider’, the ‘Outsider’ is complicated and detailed in its structure with its soft wooden surfaces and hard mould surfaces, its fractured forms and numerous hinges. ‘The Outsider’ was made to be unfolded and opened, thus gradually revealing ‘The Insider’ step by step – in a form of undressing.
‘The Outsider’/’The Insider’ was exhibited at MINDCRAFT11, by Danish Crafts
Photo: benandsebastian
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benandsebastian is exhibiting at this years MINDCRAFT exhibition, by Danish Crafts, 6 Via Ventura, Ventura Lambrate ‘The Gift’
‘The Outsider’/’The Insider’
2011, 80 x 80 x 80cm oak, weave. Oak wood chair combined with an oak frame from a glass display case.
2010, 44 x 44 x 101cm (in its folded form). Concrete, oak, brass, white high-gloss paint. Reinforced concrete chair with collapsible formwork made of oak wood with brass hinges.
The most original presents are always the best ones. Sometimes we know all too well just what we want. ‘The Gift’ is a familiar friend, composed partly of a Kaare Klint chair and partly of a Kaare Klint vitrine. Breaking down the artificial distinction between display and utility, ‘The Gift’ asks for more generosity from those design objects whose value comes from their claims to uni-queness and their inaccessibility: to greasy fingers, to oversized bottoms and to conceptual contamination from their context and influences.
Essence can be a fleeting quality. The Outsider/The insider is two chairs in one. ‘The Insider’ is a slender white chair cast in concrete, in which the detailing has been reduced to the bare minimum. While ‘The Insider’ strives for a refined ideal, ‘The Outsider’ represents the complexity of the potential. Its fragmented form is defined by the wood formwork that ‘The insider’ was cast in. Unlike the slender white ‘Insider’, the ‘Outsider’ is complicated and detailed in its structure with its soft wooden surfaces and hard mould surfaces, its fractured forms and numerous hinges. ‘The Outsider’ was made to be unfolded and opened, thus gradually revealing ‘The Insider’ step by step – in a form of undressing.
‘The Outsider’/’The Insider’ was exhibited at MINDCRAFT11, by Danish Crafts
Photo: benandsebastian
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PP Møbler | www.pp.dk | Rho Pavilion 20 | Stand F08
“ Love of wood is something all mankind has in common. Regardless of where people come from, they cannot stop themselves from letting their hands stroke a piece of wood…” pp503 THE CHAIR, 1950
– Hans J. Wegner
FK 87 Grasshopper Chair by Fabricius & Kastholm 1968 Salone del Mobile Hall 20 F08
suiteny NEW YORK lane crawford HONG KONG liberty LONDON illums bolighus COPENHAGEN la boutique danoise PARIS nodiska galleriet STOCKHOLM tannum OSLO a-hus SEOUL jules seltzer LOS ANGELES dopo domani BERLIN
www.langeproduction.com
PP Møbler | www.pp.dk | Rho Pavilion 20 | Stand F08
“ Love of wood is something all mankind has in common. Regardless of where people come from, they cannot stop themselves from letting their hands stroke a piece of wood…” pp503 THE CHAIR, 1950
– Hans J. Wegner
FK 87 Grasshopper Chair by Fabricius & Kastholm 1968 Salone del Mobile Hall 20 F08
suiteny NEW YORK lane crawford HONG KONG liberty LONDON illums bolighus COPENHAGEN la boutique danoise PARIS nodiska galleriet STOCKHOLM tannum OSLO a-hus SEOUL jules seltzer LOS ANGELES dopo domani BERLIN
www.langeproduction.com
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Photo: Trine Christensen
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Photo: Trine Christensen
dialo gue
“A structured form of Dialogue is when participants agree to follow a framework or facilitation, that enables groups to address complex problems shared in common.� Wikipedia
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dialo gue
“A structured form of Dialogue is when participants agree to follow a framework or facilitation, that enables groups to address complex problems shared in common.� Wikipedia
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The Royal Danish Academy of Fine Arts, School of Design
Designing dialogue
By Sanne Hedeskov
The project is an example of research based teaching. It springs from the School of Design’s CoDesign Research Cluster, where design researchers engage in projects with public institutions, business and industry to develop new perspectives on welfare design innovation. The project involved the Royal Danish Academy of Fine Arts, School of Design, the Danish Alzheimer’s Association, and healthcare professionals. The success is evident in the process-oriented approach where design thinking and practice-based research go hand in hand. Thus the project demonstrates the great potential of co-design as a development approach in the field of welfare design.
With sensitivity and openness as their main tools, a group of design students has managed to generate dialogue about the difficult and stigmatizing topic of everyday life with Alzheimer’s disease. The results were achieved through means of an extraordinary design research process focusing on co-design.
Dialogue is not tangible – but the designers’ proposals make it possible to communicate and to demonstrate that it is possible to have a life with dementia and Alzheimer’s. This can help patients and their families live their life and generate greater awareness in the population at large.
The process began with a question: How can design research focusing on co-design investigate everyday life with Alzheimer’s disease seen from various perspectives? At the Royal Danish Academy of Fine Arts, School of Design in Copenhagen, a group of students and their teachers took on this challenge and initiated a so-called co-design process, which actively involves patients, families and healthcare professionals.
Dialogue and mutual learning
Based on this open process, where the participants developed ideas in interaction with the designers, the students created a ‘Dialogue Box’ with tools, practical solutions and creative suggestions that rethink the way in which we speak about, identify and treat Alzheimer’s and other types of dementia.
In an intense ten-week project the students worked together, specifying problems, carrying out field work and arranging workshops to identify the everyday issues faced by patients, their families and healthcare professionals.
The Dialogue Box containes resource materials like visually oriented games, books, a documentary and other items, a total of six specific design ideas aimed at improving the dialogue among patients, their families and healthcare professionals. One of these ideas is a set of cardboard cards with pictures or phrases such as ‘taboo’, ‘compromise’, ‘the art of keeping one’s spirits up’ and ‘they treat me like a child’. The cards can spark a conversation about memories and about the patients’ everyday life and thus facilitate communication.
Invisible results
The most unique aspect of the students’ proposal was the path that led to it: The groundbreaking Dialogue Box was the result of an equally groundbreaking process of design research based on co-design, which means designing with rather than for the users.
The dialogue and mutual learning were essential tools and helped to shift the focus away from the conventional healthcare approach, based on diagnosis, treatment and guidelines. The input from the users and the students’ sensitive, empathetic approach to the patients’ situation and everyday life made it possible to create new insights and thus to develop new possible solutions to the unmet needs of people with Alzheimer’s. The hope for everyone involved in the process is to continue the collaborative effort. That would give the very promising design concepts a real-life role that could be implemented directly in future welfare design solutions.
The ‘Dialogue Box’ is the tangible result of the process, but equally important are the intangible results it generates. The products in the Dialogue Box are only at the prototype stage, but they already constitute a crucial link in tomorrow’s holistic prevention efforts: building dialogue. As the disease progresses, many experience how the dementia, which is the dominant symptom of Alzheimer’s disease, makes communication and interactions with others more difficult. The Dialogue Box offers a set of aids to facilitate the conversation for patients, their families and healthcare professionals.
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The Royal Danish Academy of Fine Arts, School of Design
Designing dialogue
By Sanne Hedeskov
The project is an example of research based teaching. It springs from the School of Design’s CoDesign Research Cluster, where design researchers engage in projects with public institutions, business and industry to develop new perspectives on welfare design innovation. The project involved the Royal Danish Academy of Fine Arts, School of Design, the Danish Alzheimer’s Association, and healthcare professionals. The success is evident in the process-oriented approach where design thinking and practice-based research go hand in hand. Thus the project demonstrates the great potential of co-design as a development approach in the field of welfare design.
With sensitivity and openness as their main tools, a group of design students has managed to generate dialogue about the difficult and stigmatizing topic of everyday life with Alzheimer’s disease. The results were achieved through means of an extraordinary design research process focusing on co-design.
Dialogue is not tangible – but the designers’ proposals make it possible to communicate and to demonstrate that it is possible to have a life with dementia and Alzheimer’s. This can help patients and their families live their life and generate greater awareness in the population at large.
The process began with a question: How can design research focusing on co-design investigate everyday life with Alzheimer’s disease seen from various perspectives? At the Royal Danish Academy of Fine Arts, School of Design in Copenhagen, a group of students and their teachers took on this challenge and initiated a so-called co-design process, which actively involves patients, families and healthcare professionals.
Dialogue and mutual learning
Based on this open process, where the participants developed ideas in interaction with the designers, the students created a ‘Dialogue Box’ with tools, practical solutions and creative suggestions that rethink the way in which we speak about, identify and treat Alzheimer’s and other types of dementia.
In an intense ten-week project the students worked together, specifying problems, carrying out field work and arranging workshops to identify the everyday issues faced by patients, their families and healthcare professionals.
The Dialogue Box containes resource materials like visually oriented games, books, a documentary and other items, a total of six specific design ideas aimed at improving the dialogue among patients, their families and healthcare professionals. One of these ideas is a set of cardboard cards with pictures or phrases such as ‘taboo’, ‘compromise’, ‘the art of keeping one’s spirits up’ and ‘they treat me like a child’. The cards can spark a conversation about memories and about the patients’ everyday life and thus facilitate communication.
Invisible results
The most unique aspect of the students’ proposal was the path that led to it: The groundbreaking Dialogue Box was the result of an equally groundbreaking process of design research based on co-design, which means designing with rather than for the users.
The dialogue and mutual learning were essential tools and helped to shift the focus away from the conventional healthcare approach, based on diagnosis, treatment and guidelines. The input from the users and the students’ sensitive, empathetic approach to the patients’ situation and everyday life made it possible to create new insights and thus to develop new possible solutions to the unmet needs of people with Alzheimer’s. The hope for everyone involved in the process is to continue the collaborative effort. That would give the very promising design concepts a real-life role that could be implemented directly in future welfare design solutions.
The ‘Dialogue Box’ is the tangible result of the process, but equally important are the intangible results it generates. The products in the Dialogue Box are only at the prototype stage, but they already constitute a crucial link in tomorrow’s holistic prevention efforts: building dialogue. As the disease progresses, many experience how the dementia, which is the dominant symptom of Alzheimer’s disease, makes communication and interactions with others more difficult. The Dialogue Box offers a set of aids to facilitate the conversation for patients, their families and healthcare professionals.
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Copenhagen Institute of Interacting Design, CIID
turning the notion of design upside down By Sanne Hedeskov
A researcher studying how digital media can be used to make our cities more social. A designer creating tools for visualising data and generative algorithms. A student wanting to experiment with intuitive user interfaces. Here, they have all come to the right place: Copenhagen Institute of Interaction Design (CIID), is a highly successful, innovative interaction design environment that explores interfaces between design and new technology. With the establishment of CIID in Copenhagen in 2006, Denmark gained an interdisciplinary and multicultural platform for research, education and consultancy services in the field of interaction design that has attracted a great deal of international attention. But what is it that makes this experimental design hub so successful in attracting business people, students and professors from all over the world? It is definitely not ‘business as usual’ that has brought CIID this far. Rather, it is the ability to continuously challenge ‘the state of the art’ in order to develop entirely new design methods and practices that has earned CIID such a prominent place on the world map. With an approach that combines strategic process thinking, hands-on entrepreneurship, sophisticated digital tools and knowledge about the users, CIID challenges traditional approaches to design and takes the lead as a design organisation capable of developing new solutions for a new era.
The beauty in intangible experiences ‘Bringing design and technology together to power imagination and innovation’ is the vision that CIID pursues. The goal is to design ‘beautiful experiences, which are people-centred and business focused’. With these efforts, CIID is turning the traditional perception of design upside down, so that it is less about visual aesthetics and form and more about ‘the beauty in intangible experiences’. CIID is focused on the dialogue between people and objects and does not see design as one distinct form but instead views design, technology and human experience as an integrated continuum that is constantly interacting and exchanging ‘information’. Hence, the design solutions spring not from the form of the object but from the way in which the user perceives, experiences and interacts with the object or the service. This approach enables interaction designers to understand user needs and wishes in a specific context and thus imbue a product or a service with relevance and genuine value to the user.
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Photo: Ishac Bertran
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Copenhagen Institute of Interacting Design, CIID
turning the notion of design upside down By Sanne Hedeskov
A researcher studying how digital media can be used to make our cities more social. A designer creating tools for visualising data and generative algorithms. A student wanting to experiment with intuitive user interfaces. Here, they have all come to the right place: Copenhagen Institute of Interaction Design (CIID), is a highly successful, innovative interaction design environment that explores interfaces between design and new technology. With the establishment of CIID in Copenhagen in 2006, Denmark gained an interdisciplinary and multicultural platform for research, education and consultancy services in the field of interaction design that has attracted a great deal of international attention. But what is it that makes this experimental design hub so successful in attracting business people, students and professors from all over the world? It is definitely not ‘business as usual’ that has brought CIID this far. Rather, it is the ability to continuously challenge ‘the state of the art’ in order to develop entirely new design methods and practices that has earned CIID such a prominent place on the world map. With an approach that combines strategic process thinking, hands-on entrepreneurship, sophisticated digital tools and knowledge about the users, CIID challenges traditional approaches to design and takes the lead as a design organisation capable of developing new solutions for a new era.
The beauty in intangible experiences ‘Bringing design and technology together to power imagination and innovation’ is the vision that CIID pursues. The goal is to design ‘beautiful experiences, which are people-centred and business focused’. With these efforts, CIID is turning the traditional perception of design upside down, so that it is less about visual aesthetics and form and more about ‘the beauty in intangible experiences’. CIID is focused on the dialogue between people and objects and does not see design as one distinct form but instead views design, technology and human experience as an integrated continuum that is constantly interacting and exchanging ‘information’. Hence, the design solutions spring not from the form of the object but from the way in which the user perceives, experiences and interacts with the object or the service. This approach enables interaction designers to understand user needs and wishes in a specific context and thus imbue a product or a service with relevance and genuine value to the user.
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Photo: Ishac Bertran
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By combining knowledge about human experiences with new technology and software programming, CIID creates non-standardized, intuitive and human solutions in the form of products and services that rethink existing standards for design and human life.
Designing reality There is no shortage of innovative theories about design, but implementing them in practice is a different matter entirely. CIID not least owes its success to its ability to turn flighty visions into tangible reality.
“While a new idea is a thought about something new or unique, and making that idea real is an invention, innovation is an invention that has a socio-economic effect; innovation changes the way people live.” (Bijker)
Under the heading of ‘Experiencing. Prototyping. Learning’, the students at The Interaction Educational Design Programme acquire a hands-on approach to the development of products and services. They cooperate in a multicultural, cross-disciplinary study environment, where knowledge sharing, user research, user testing, quick and iterative prototype testing produce concepts and ideas that are anchored in the real world. By exposing the students to a user-centred innovation philosophy based on the use of prototypes and ‘learning by doing’ CIID has created an education programme that enables the students to both imagine a new future and produce the tools to bring it about. Thanks to this ability their results are relevant and in high demand both in design circles and companies.
Pas a Pas An outstanding example of how CIID creates design that embodies and improves meaningful relationships between people and the products and services they use is the prize-winning educational tool ‘Pas a Pas’ developed by Ishac Bertran. ‘Pas a Pas’ is an interactive tool that lets children learn about and experiment with different sets of elements through stop motion animation. The method uses the physicality and animated outcome of stop motion animation to bridge the gap between abstract concepts from maths, physics or arts (usually represented by graphs, equations or words) and reality. “‘Pas a Pas’ is a small contribution towards finding new tools for education and expression for children. Education is one of the biggest challenges in our society, and as designers we are in a privileged position to have a vision in this area – and the skills to actually be able to build and implement new ideas,” says Ishac Bertran. The annual Interaction Design Awards celebrates global excellence in the discipline of interaction design. CIID’s Ishac Bertran successfully competed against more than 300 entries from 33 countries to win an award for his project ‘Pas a Pas’.
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The Copenhagen Institute of Interaction Design (CIID) was founded in 2006 and is a groundbreaking initiative in the Danish and international scene for interaction and service design. The institute was founded by keen minds across many nationalities and has its roots in the acclaimed Ivrea Interaction Design Institute in Milan. Headed by Simona Maschi from Italy, CIID has created a world-class design institution with Intel, Philips, Novo Nordisk, Wolkswagen, A.P. Møller Mærsk and Toyota among its clients. CIID has received international design awards, is represented in international conferences and is a frequent exhibitor in museums around the world. In 2011 alone, no fewer than three CIID projects were selected to be included in Paola Antonelli’s show at New York’s Museum of Modern Art, Talk to Me.
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By combining knowledge about human experiences with new technology and software programming, CIID creates non-standardized, intuitive and human solutions in the form of products and services that rethink existing standards for design and human life.
Designing reality There is no shortage of innovative theories about design, but implementing them in practice is a different matter entirely. CIID not least owes its success to its ability to turn flighty visions into tangible reality.
“While a new idea is a thought about something new or unique, and making that idea real is an invention, innovation is an invention that has a socio-economic effect; innovation changes the way people live.” (Bijker)
Under the heading of ‘Experiencing. Prototyping. Learning’, the students at The Interaction Educational Design Programme acquire a hands-on approach to the development of products and services. They cooperate in a multicultural, cross-disciplinary study environment, where knowledge sharing, user research, user testing, quick and iterative prototype testing produce concepts and ideas that are anchored in the real world. By exposing the students to a user-centred innovation philosophy based on the use of prototypes and ‘learning by doing’ CIID has created an education programme that enables the students to both imagine a new future and produce the tools to bring it about. Thanks to this ability their results are relevant and in high demand both in design circles and companies.
Pas a Pas An outstanding example of how CIID creates design that embodies and improves meaningful relationships between people and the products and services they use is the prize-winning educational tool ‘Pas a Pas’ developed by Ishac Bertran. ‘Pas a Pas’ is an interactive tool that lets children learn about and experiment with different sets of elements through stop motion animation. The method uses the physicality and animated outcome of stop motion animation to bridge the gap between abstract concepts from maths, physics or arts (usually represented by graphs, equations or words) and reality. “‘Pas a Pas’ is a small contribution towards finding new tools for education and expression for children. Education is one of the biggest challenges in our society, and as designers we are in a privileged position to have a vision in this area – and the skills to actually be able to build and implement new ideas,” says Ishac Bertran. The annual Interaction Design Awards celebrates global excellence in the discipline of interaction design. CIID’s Ishac Bertran successfully competed against more than 300 entries from 33 countries to win an award for his project ‘Pas a Pas’.
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The Copenhagen Institute of Interaction Design (CIID) was founded in 2006 and is a groundbreaking initiative in the Danish and international scene for interaction and service design. The institute was founded by keen minds across many nationalities and has its roots in the acclaimed Ivrea Interaction Design Institute in Milan. Headed by Simona Maschi from Italy, CIID has created a world-class design institution with Intel, Philips, Novo Nordisk, Wolkswagen, A.P. Møller Mærsk and Toyota among its clients. CIID has received international design awards, is represented in international conferences and is a frequent exhibitor in museums around the world. In 2011 alone, no fewer than three CIID projects were selected to be included in Paola Antonelli’s show at New York’s Museum of Modern Art, Talk to Me.
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Interview with Rune Nielsen, Kollision, by Journalist Claus Randrup
In search of the future They are all rooted in the academic world and enjoy giving lectures on technological discoveries. But the four men in the design firm Kollision have received widespread acclaim for their user-involving projects that reach far beyond the auditoriums. “We need to explore, understand and challenge the world.” That is the mantra for the four guys behind the design firm Kollision, which is based in Denmark’s second-largest city, Aarhus. Since 2000, they have pursued their great passion: dynamic systems. They measure and gauge everything with cameras, sensors and gadgets from everyday life such as iPads and iPhones. “We are driven by the urge to create development-oriented activities. And we prefer to do everything ourselves – design, programming and sometimes also the implementation itself. We also study the outcome of our work,” says Rune Nielsen, who is one of the four partners in Kollision. Since the beginning, the firm has explored new media and taken a curious approach to the new technologies that constitute their ’design material’. The fact that they pretty much do everything themselves, makes them unique in their field. Among other outcomes, it has landed them an assignment for Audi.
190-sqm dynamic floor for a driverless Audi Although the economic crisis has taken its toll on many small companies that work with media architecture, such as Kollison, the firm is thriving. For example, the Danish architect Bjarke Ingels from BIG contacted Kollision in connection with the project Urban Future for Audi, which was revealed at Design Miami in December 2011. Kollision was asked to design a floor for a driverless Audi: “The Audi project is essentially a BIG project. BIG has developed ideas for future mobility – that is, how the partially self-guided and driverless car can challenge and influence the city’s infrastructure in the future. In relation to that, we were involved in creating an interactive and dynamic 190-sqm LED floor that would record and represent people’s movements in a dynamic interaction with the desired route of the car,” says Rune Nielsen.
Sustainable messages In connection with the Audi project, Kollision saw how people’s behaviour changed when their movements were recorded. In other words, the floor created an experience in dialogue with the user. In its projects, in addition to providing an experience Kollision also wants the firm’s projects to generate awareness and learning:
Architecture bureau Kollision were founded in July 2000 by architects, Andreas Lykke-Olsen, Tobias Løssing and Rune Nielsen, all graduaded from Aarhus School of Architecture. Kollision focuses on usercentered projects within architecture and urban planning through research and development of new methods and tools for interactive involvement of citizens and users. Their projects integrates and develops information and communication-technologies in spatial and architectural relations.
“In connection with the Green Growth Leaders conferences in Copenhagen in 2011 we designed a huge projection of statements on the facade of Copenhagen’s City Hall to communicate green messages to passers-by. That created awareness and also gave people a surprising experience as well as a chance for specific learning. Those were always the three most important elements in our work,” says Rune Nielsen.
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Photo: Kollision
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Interview with Rune Nielsen, Kollision, by Journalist Claus Randrup
In search of the future They are all rooted in the academic world and enjoy giving lectures on technological discoveries. But the four men in the design firm Kollision have received widespread acclaim for their user-involving projects that reach far beyond the auditoriums. “We need to explore, understand and challenge the world.” That is the mantra for the four guys behind the design firm Kollision, which is based in Denmark’s second-largest city, Aarhus. Since 2000, they have pursued their great passion: dynamic systems. They measure and gauge everything with cameras, sensors and gadgets from everyday life such as iPads and iPhones. “We are driven by the urge to create development-oriented activities. And we prefer to do everything ourselves – design, programming and sometimes also the implementation itself. We also study the outcome of our work,” says Rune Nielsen, who is one of the four partners in Kollision. Since the beginning, the firm has explored new media and taken a curious approach to the new technologies that constitute their ’design material’. The fact that they pretty much do everything themselves, makes them unique in their field. Among other outcomes, it has landed them an assignment for Audi.
190-sqm dynamic floor for a driverless Audi Although the economic crisis has taken its toll on many small companies that work with media architecture, such as Kollison, the firm is thriving. For example, the Danish architect Bjarke Ingels from BIG contacted Kollision in connection with the project Urban Future for Audi, which was revealed at Design Miami in December 2011. Kollision was asked to design a floor for a driverless Audi: “The Audi project is essentially a BIG project. BIG has developed ideas for future mobility – that is, how the partially self-guided and driverless car can challenge and influence the city’s infrastructure in the future. In relation to that, we were involved in creating an interactive and dynamic 190-sqm LED floor that would record and represent people’s movements in a dynamic interaction with the desired route of the car,” says Rune Nielsen.
Sustainable messages In connection with the Audi project, Kollision saw how people’s behaviour changed when their movements were recorded. In other words, the floor created an experience in dialogue with the user. In its projects, in addition to providing an experience Kollision also wants the firm’s projects to generate awareness and learning:
Architecture bureau Kollision were founded in July 2000 by architects, Andreas Lykke-Olsen, Tobias Løssing and Rune Nielsen, all graduaded from Aarhus School of Architecture. Kollision focuses on usercentered projects within architecture and urban planning through research and development of new methods and tools for interactive involvement of citizens and users. Their projects integrates and develops information and communication-technologies in spatial and architectural relations.
“In connection with the Green Growth Leaders conferences in Copenhagen in 2011 we designed a huge projection of statements on the facade of Copenhagen’s City Hall to communicate green messages to passers-by. That created awareness and also gave people a surprising experience as well as a chance for specific learning. Those were always the three most important elements in our work,” says Rune Nielsen.
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Photo: Kollision
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the B IG pi cture 84
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the B IG pi cture 84
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By Journalist Signe Cain
Possible Greenland Danish and Greenlandic architects present visions for a ‘Possible Greenland’ How does Greenland meet the challenges of globalization? How are better connections created both inside Greenland and with the rest of the world? And how is urbanization handled in the Greenlandic context? These are some of the questions posed in the official Danish contribution to the 13th International Architecture Biennale in Venice, ‘Possible Greenland’. To create the exhibition, Danish and Greenlandic architects are working closely together to come up with visions for Greenland’s challenges in a globalized and urbanized era. “Rather than presenting final answers, we wish to pose a number of important questions that will encourage the audience to reflect on Greenland’s future and the challenges of climate change, globalization and urbanization that are relevant all over the world,” says head curator of the exhibition, Minik Rosing, Professor of Geology at the University of Copenhagen. Investigating the four themes ‘Greenland Cultivating’, ‘Greenland Inhabiting’, ‘Greenland Connecting’ and ‘Greenland Migrating’, four teams of Danish and Greenlandic architecture offices will design visions for Greenland’s future. Possible solutions for housing, urban development, resources, infrastructure and migrant work will be designed by the architects. Apart from being displayed in the biennale exhibition, their visions will also be presented and discussed more in depth in a publication. Furthermore, a team consisting of the School of Architecture in Aarhus, Arctic Technology Centre in Greenland and architecture firms Cebra and Transform will analyze what Greenland and the rest of the world can learn from one another in relation to the exhibition’s four themes.
‘Greenland Cultivating’, ‘Greenland Inhabiting’,
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Photo: Jørgen Chemnitz
‘Greenland Connecting’ and ‘Greenland Migrating’
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By Journalist Signe Cain
Possible Greenland Danish and Greenlandic architects present visions for a ‘Possible Greenland’ How does Greenland meet the challenges of globalization? How are better connections created both inside Greenland and with the rest of the world? And how is urbanization handled in the Greenlandic context? These are some of the questions posed in the official Danish contribution to the 13th International Architecture Biennale in Venice, ‘Possible Greenland’. To create the exhibition, Danish and Greenlandic architects are working closely together to come up with visions for Greenland’s challenges in a globalized and urbanized era. “Rather than presenting final answers, we wish to pose a number of important questions that will encourage the audience to reflect on Greenland’s future and the challenges of climate change, globalization and urbanization that are relevant all over the world,” says head curator of the exhibition, Minik Rosing, Professor of Geology at the University of Copenhagen. Investigating the four themes ‘Greenland Cultivating’, ‘Greenland Inhabiting’, ‘Greenland Connecting’ and ‘Greenland Migrating’, four teams of Danish and Greenlandic architecture offices will design visions for Greenland’s future. Possible solutions for housing, urban development, resources, infrastructure and migrant work will be designed by the architects. Apart from being displayed in the biennale exhibition, their visions will also be presented and discussed more in depth in a publication. Furthermore, a team consisting of the School of Architecture in Aarhus, Arctic Technology Centre in Greenland and architecture firms Cebra and Transform will analyze what Greenland and the rest of the world can learn from one another in relation to the exhibition’s four themes.
‘Greenland Cultivating’, ‘Greenland Inhabiting’,
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Photo: Jørgen Chemnitz
‘Greenland Connecting’ and ‘Greenland Migrating’
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‘Possible Greenland’ is the official Danish contribution to the 13th International Architecture Biennale in Venice, 29 August – 25 November 2012. The Danish Architecture Centre is appointed commissioner by the Danish Ministry of Culture. The project is curated by professor Minik Rosing and NORD Architects. For more information, please visit www.dac.dk.
Collaboration and the exchange of knowledge is essential to the development of the exhibition. While the Greenlandic architects have strong knowledge of Greenlandic society and the possibilities and obstacles of building and architecture in Greenland, the Danish architects have more international experience and resources for carrying out projects. “In this way the teams combine internal and external knowledge and compliment each other in a very fruitful way,” says Minik Rosing. By focusing on Greenland’s challenges, ‘Possible Greenland’ will not only highlight possible solutions for the Arctic region, but will present architectural solutions for financial, social and sustainable development that can inspire a global audience. “The search for resources, new technological inventions and the disappearance of Arctic sea ice places Greenland in a new geographical and geopolitical position. Many people will probably come to work in the region, which represents general global issues,” says Minik Rosing and continues: “With the exhibition we also wish to demonstrate that Greenland is not an indigenous tribe, but a modern society that has interacted culturally with the rest of Europe for more than 300 years and has to deal with globalization just like the rest of us.”
“With the exhibition we also wish to demonstrate that Greenland is not an indigenous tribe, but a modern society that has interacted culturally with the rest of Europe for more than 300 years and has to deal with globalization just like the rest of us.”
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Photo: Anders Stenbakken
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‘Possible Greenland’ is the official Danish contribution to the 13th International Architecture Biennale in Venice, 29 August – 25 November 2012. The Danish Architecture Centre is appointed commissioner by the Danish Ministry of Culture. The project is curated by professor Minik Rosing and NORD Architects. For more information, please visit www.dac.dk.
Collaboration and the exchange of knowledge is essential to the development of the exhibition. While the Greenlandic architects have strong knowledge of Greenlandic society and the possibilities and obstacles of building and architecture in Greenland, the Danish architects have more international experience and resources for carrying out projects. “In this way the teams combine internal and external knowledge and compliment each other in a very fruitful way,” says Minik Rosing. By focusing on Greenland’s challenges, ‘Possible Greenland’ will not only highlight possible solutions for the Arctic region, but will present architectural solutions for financial, social and sustainable development that can inspire a global audience. “The search for resources, new technological inventions and the disappearance of Arctic sea ice places Greenland in a new geographical and geopolitical position. Many people will probably come to work in the region, which represents general global issues,” says Minik Rosing and continues: “With the exhibition we also wish to demonstrate that Greenland is not an indigenous tribe, but a modern society that has interacted culturally with the rest of Europe for more than 300 years and has to deal with globalization just like the rest of us.”
“With the exhibition we also wish to demonstrate that Greenland is not an indigenous tribe, but a modern society that has interacted culturally with the rest of Europe for more than 300 years and has to deal with globalization just like the rest of us.”
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Photo: Anders Stenbakken
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Kolding School of Design
A new lifesaver
By Journalist Mary-Anne Karas
Each year, thousands of people in low-income countries die or suffer from infectious diseases caused by sharps injuries.
Designer Hân Pham
Designer Hân Pham, today member of staff at Kolding School of Design, was once one of them. Born in Vietnam in 1971, Hân Pham fled Hanoi’s rule eight years later. During a stay in a refugee camp, she became seriously ill from an injection done with a dirty needle. With this life threatening experience in mind, she has designed a plastic cap, which clicks on an emptied beverage can and transforms it into a safe and permanently sealed disposal container for used luer-slip syringe needles. Safe disposal of used needles is a problem especially in third world countries, where systems for disposing of medical waste are poor. When not properly disposed after use, contaminated needles may be sold and recycled, causing illness and possible death, explains Hân Pham.
Design: Hân Pham. Title: Yellowone Needle Cap, 2008. Graduated from Kolding School of Design 2005
Using social design to alleviate suffering in the world is part of Hân Pham’s mission statement. “I became a designer to make things that were useful, not for the fame of it. I believe designers have an obligation to work for what is good for many,” she adds.
Yellowone Needle Cap© is a patented lid, which inexpensively and easily converts regular soda cans into safe and permanent disposal containers for used luer-slip hypodermic needles. The reuse of syringes in developing countries is a widespread problem. In some countries, the proportion of injections given with reused syringes is as high as 70%. According to the World Health Organization, the reuse of contaminated needles and inadvertent needle stick injuries are estimated to be responsible for more than 1.3 million deaths annually. Yellowone Needle Cap© is an ideal solution for the safe, secure, inexpensive and permanent elimination of this life-threatening problem.
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The Yellowone Needle Cap has ironically managed to combine the two. It is currently on display at the Museum of Modern Art in New York and is being distributed worldwide through Bestnet A/S, a Danish based company specialized in providing quality products and services that help improve the health of millions of people across the globe.
Photo: Anders Roholt
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Kolding School of Design
A new lifesaver
By Journalist Mary-Anne Karas
Each year, thousands of people in low-income countries die or suffer from infectious diseases caused by sharps injuries.
Designer Hân Pham
Designer Hân Pham, today member of staff at Kolding School of Design, was once one of them. Born in Vietnam in 1971, Hân Pham fled Hanoi’s rule eight years later. During a stay in a refugee camp, she became seriously ill from an injection done with a dirty needle. With this life threatening experience in mind, she has designed a plastic cap, which clicks on an emptied beverage can and transforms it into a safe and permanently sealed disposal container for used luer-slip syringe needles. Safe disposal of used needles is a problem especially in third world countries, where systems for disposing of medical waste are poor. When not properly disposed after use, contaminated needles may be sold and recycled, causing illness and possible death, explains Hân Pham.
Design: Hân Pham. Title: Yellowone Needle Cap, 2008. Graduated from Kolding School of Design 2005
Using social design to alleviate suffering in the world is part of Hân Pham’s mission statement. “I became a designer to make things that were useful, not for the fame of it. I believe designers have an obligation to work for what is good for many,” she adds.
Yellowone Needle Cap© is a patented lid, which inexpensively and easily converts regular soda cans into safe and permanent disposal containers for used luer-slip hypodermic needles. The reuse of syringes in developing countries is a widespread problem. In some countries, the proportion of injections given with reused syringes is as high as 70%. According to the World Health Organization, the reuse of contaminated needles and inadvertent needle stick injuries are estimated to be responsible for more than 1.3 million deaths annually. Yellowone Needle Cap© is an ideal solution for the safe, secure, inexpensive and permanent elimination of this life-threatening problem.
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The Yellowone Needle Cap has ironically managed to combine the two. It is currently on display at the Museum of Modern Art in New York and is being distributed worldwide through Bestnet A/S, a Danish based company specialized in providing quality products and services that help improve the health of millions of people across the globe.
Photo: Anders Roholt
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Kolding School of Design
Real life beats classroom learning By Journalist Mary-Anne Karas
Providing designers of tomorrow with the ability to design solutions to the world’s complex problems of today has high priority at Kolding School of Design. Using the world as a classroom is vital for genuine learning.
Collaborate. Collect. Comprehend. Conceptualise and Create. With these five C’s in mind, 62 students from Kolding School of Design last year spent a month in Ghana creating usable design from waste materials. In terms of learning, it has a great effect to literally move the classroom elsewhere. It gives learning another dimension when the cultural context and climate is completely different, explains Lone Dalsgaard André, Head of Education at Kolding School of Design. Being able to see and smell Ghana’s massive waste problems is a unique experience. You’ll never get it in a classroom. Our students gained a much greater understanding of proper waste management, while the Ghanaian students, whom they collaborated with during their stay, gained greater insight in the methodological approach to the design process, which we teach at Kolding School of Design. The process from need to solution often seems chaotic and confusing. By using a set of DSKD Method Cards©, students acquire a much more systematic approach to the innovative process. “When using the cards, students are forced to verbalize their acts and reflect on their own method. These abilities are crucial in order to collaborate with others and bring a design process forward,” explains Lone Dalsgaard André.
Project: ’Waste and The Environment’ Participants: Faculty of Art, KNUST, Ghana and Kolding School of Design.
In brief, students learn the importance of good collaboration with partners and other professionals. They learn the numerous different ways of collecting information and conducting research, comprehending knowledge and finally extracting the essence from the acquired information. “It is a challenge to achieve a great design, which meets all expectations without a structured process. A structured approach ensures all interests are heard and all options explored,” Lone Dalsgaard André adds. 92
Photo: Morten Cramer Buch
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Kolding School of Design
Real life beats classroom learning By Journalist Mary-Anne Karas
Providing designers of tomorrow with the ability to design solutions to the world’s complex problems of today has high priority at Kolding School of Design. Using the world as a classroom is vital for genuine learning.
Collaborate. Collect. Comprehend. Conceptualise and Create. With these five C’s in mind, 62 students from Kolding School of Design last year spent a month in Ghana creating usable design from waste materials. In terms of learning, it has a great effect to literally move the classroom elsewhere. It gives learning another dimension when the cultural context and climate is completely different, explains Lone Dalsgaard André, Head of Education at Kolding School of Design. Being able to see and smell Ghana’s massive waste problems is a unique experience. You’ll never get it in a classroom. Our students gained a much greater understanding of proper waste management, while the Ghanaian students, whom they collaborated with during their stay, gained greater insight in the methodological approach to the design process, which we teach at Kolding School of Design. The process from need to solution often seems chaotic and confusing. By using a set of DSKD Method Cards©, students acquire a much more systematic approach to the innovative process. “When using the cards, students are forced to verbalize their acts and reflect on their own method. These abilities are crucial in order to collaborate with others and bring a design process forward,” explains Lone Dalsgaard André.
Project: ’Waste and The Environment’ Participants: Faculty of Art, KNUST, Ghana and Kolding School of Design.
In brief, students learn the importance of good collaboration with partners and other professionals. They learn the numerous different ways of collecting information and conducting research, comprehending knowledge and finally extracting the essence from the acquired information. “It is a challenge to achieve a great design, which meets all expectations without a structured process. A structured approach ensures all interests are heard and all options explored,” Lone Dalsgaard André adds. 92
Photo: Morten Cramer Buch
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In addition to the multi-sport areas, Tukan Design recently designed products for an Italian kitchen firm. And thus, the contact to the international arena continues for the small design firm.
Tukan Design generally creates a wide range of industrial products, and recently they won a competition to design multi-sport areas for both boys and girls. It is a sports area for playing various games, such as soccer, basketball and tennis.
Multi-sport areas and kitchen products
“We don’t just look at individual products but instead work very deliberately with series, where the individual parts are designed to fit into many different combinations,” says Lars Mathiesen, partner in Tukan Design.
wheeled toys for children, they only present the models from Tukan Design, and there is a special reason for that, apart from the high quality of the toys:
www.tukandesign.dk
Jesper Bruun Johansen was born in Holte, 1960. Graduated from Higher Business School, 1979. Boat Builder. Graduated from The Royal Danish Academy of Fine Arts, School of Design, 1998.
Lars Mathiesen was born in Sisimut, Greenland, 1950. Graduated from The Royal Academy of Fine Arts, School of Architecture, 1977.
Photo: Claus Randrup
World champions in vehicles for kids: “International we are the design company that has designed most vehicles for child care facilities, and we are behind approximately half of the vehicles sold to this market. We have designed a total of 120 models.”
Today, when the American toy manufacturer goes on tradeshows to present bicycles and other
The recipe for success
Today, the firm has developed 15 models in cooperation with Angeles. In addition to tricycles, the series includes a scooter, a push bike, a taxi bike and many other models.
“A good Danish contact recommended us to the American toy giant Angeles. Subsequently, they invited us to the USA, and our collaboration began,” says Jesper Bruhn Johansen, who is one of the partners in Tukan Design.
Every year, the world’s biggest toy tradeshow is held in the German city of Nuremberg. More than 2,700 exhibitors from 62 countries are represented at this event, which attracts everyone who is anyone in the toy industry. In 2008, the Danish firm Tukan Design, which has been a regular at the fair for twenty years, made contact with a giant in the American toy business.
The people behind Tukan Design have been designing children’s tricycles for more than 30 years. An encounter with a large American toy manufacturer is the most recent part of the story of the tricycles, which are now being sold to preschool facilities around the world.
Interview with Lars Mathiesen og Jesper Bruun Johansen, Tukan Design, by Journalist Claus Randrup
success on three wheels
An export
94 95
In addition to the multi-sport areas, Tukan Design recently designed products for an Italian kitchen firm. And thus, the contact to the international arena continues for the small design firm.
Tukan Design generally creates a wide range of industrial products, and recently they won a competition to design multi-sport areas for both boys and girls. It is a sports area for playing various games, such as soccer, basketball and tennis.
Multi-sport areas and kitchen products
“We don’t just look at individual products but instead work very deliberately with series, where the individual parts are designed to fit into many different combinations,” says Lars Mathiesen, partner in Tukan Design.
wheeled toys for children, they only present the models from Tukan Design, and there is a special reason for that, apart from the high quality of the toys:
www.tukandesign.dk
Jesper Bruun Johansen was born in Holte, 1960. Graduated from Higher Business School, 1979. Boat Builder. Graduated from The Royal Danish Academy of Fine Arts, School of Design, 1998.
Lars Mathiesen was born in Sisimut, Greenland, 1950. Graduated from The Royal Academy of Fine Arts, School of Architecture, 1977.
Photo: Claus Randrup
World champions in vehicles for kids: “International we are the design company that has designed most vehicles for child care facilities, and we are behind approximately half of the vehicles sold to this market. We have designed a total of 120 models.”
Today, when the American toy manufacturer goes on tradeshows to present bicycles and other
The recipe for success
Today, the firm has developed 15 models in cooperation with Angeles. In addition to tricycles, the series includes a scooter, a push bike, a taxi bike and many other models.
“A good Danish contact recommended us to the American toy giant Angeles. Subsequently, they invited us to the USA, and our collaboration began,” says Jesper Bruhn Johansen, who is one of the partners in Tukan Design.
Every year, the world’s biggest toy tradeshow is held in the German city of Nuremberg. More than 2,700 exhibitors from 62 countries are represented at this event, which attracts everyone who is anyone in the toy industry. In 2008, the Danish firm Tukan Design, which has been a regular at the fair for twenty years, made contact with a giant in the American toy business.
The people behind Tukan Design have been designing children’s tricycles for more than 30 years. An encounter with a large American toy manufacturer is the most recent part of the story of the tricycles, which are now being sold to preschool facilities around the world.
Interview with Lars Mathiesen og Jesper Bruun Johansen, Tukan Design, by Journalist Claus Randrup
success on three wheels
An export
96
Photo: Trine Christensen
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Photo: Trine Christensen
97
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Linie Design, BLITZ, via Enrico Cosenz 44/4, Bovisa
CARL HANSEN & SØN, Hall 5/ STAND F02
12
Linie Design – handmade rugs
A CENTURY-LONG TRADITION OF PASSIONATE CRAFTSMANSHIP
Linie Design is developing and producing quality rugs for both the retail and contract furnishing markets. Our products are renown for their originality and simplicity. Linie Design’s rugs are designed by leading Scandinavian designers and specialist weavers. These rugs are handmade in India by adult weavers, using authentic traditional craftsmanship. During the Milano fair 2012 we will present our products by Blitz Bovisa. www.liniedesign.dk
Since 1908 the Danish manufacturer Carl Hansen & Søn has produced high quality designer furniture by adhering to decades of proud craftsmanship traditions combined with modern production technology. During the Milan Fair 2012, Carl Hansen & Søn will be exhibiting a number of outstanding furniture designs, including the legendary shelving system designed by Mogens Koch and the latest update from Hans J. Wegner´s treasure chest of design. www.carlhansen.dk
TM Line A/S, BLITZ, via Enrico Cosenz 44/4, Bovisa
Dan-Form A/S, Hall 14 / STAND E41
13
Value for Money
Shelving systems by TM Line
Dan-Form shows a wide range of contemporary designer furniture’s offered at fantastic prices, within the ‘Dan-Form’ design range. Beside that Dan-Form shows a new collection within the ‘Natural Living’ range consisting of recycle dining tables, chairs, pillows and accessories. Come and experience a world of exciting new furniture in Hall 14, Stand E41. WWW.DAN-FORM.DK
Multiroom and Multiflex shelving system are Danish designs by the architect, Mr Anders Nørgaard ‘MMA›, and both are manufactured in Denmark. The flexible systems store books, decoration articles, etc. By staggering the modules, you get a “book support” effect, as the books can lean against the shelf on the opposite module. Can both be floor standing or wall mounted. www.tmline.dk
Erik Jørgensen – The Manufacturer, Hall 20 / Stand E23
PASSIONATE ABOUT DESIGN – THEN AND NOW! Ever since Erik Jørgensen built his modest workshop in Svendborg, Denmark, more than 50 years ago, furniture production under his name has been born by an inquisitive seeking after new modes of expression rooted in deep respect for solid craftsmanship. His spirit is just as alive today as in 1954 and the very drive of Erik Jørgensen Møbelfabrik. www.erik-joergensen.com
RHO SALONE INTERNAZIONALE DEL MOBILE
FREDERICIA FURNITURE, Hall 20 / Stand E12 M
Fredericia Furniture in Milano M
M
Stand E12 in Hall 20 sees the global launch of Fredericia Furniture’s Haiku – a sofa series designed by Enrico Fratesi and Stine Gam (of GamFratesi). MUNDO chairs in new colours, the BM spoke-back sofa and J39 in white lacquer, and a revival of Børge Mogensen’s 1944 spoke-back chair, J49, are further additions to the stand. www.fredericia.com
SPINE COLLECTION
Cane-line, Hall 8 / Stand D33
MUUTO, Hall 16 / Stand F54
Cane-line:
MUUTO PRESENTS NEW NORDIC DESIGN IN MILAN
Design is moving outside
The entire Cane-line universe follows the trend of moving the design, quality and comfort of the living room outside. The new Cane-line Tex® material can withstand the various weather conditions the world over. With the unique cushions made of the Cane-line Tex® sling material and core of Quick Dry Foam®, it drains the water if being exposed to rain. www.cane-line.com
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MUUTO is a young Danish design company that has made international headlines with their New Nordic design philosophy and an exciting collection of furniture, lighting and home accessories. Along with Scandinavia’s leading designers, Muuto is creating new perspectives on the proud Scandinavian design tradition. In fact, the name Muuto, inspired by the Finnish word muutos, means new perspective. www.Muuto.com
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Linie Design, BLITZ, via Enrico Cosenz 44/4, Bovisa
CARL HANSEN & SØN, Hall 5/ STAND F02
12
Linie Design – handmade rugs
A CENTURY-LONG TRADITION OF PASSIONATE CRAFTSMANSHIP
Linie Design is developing and producing quality rugs for both the retail and contract furnishing markets. Our products are renown for their originality and simplicity. Linie Design’s rugs are designed by leading Scandinavian designers and specialist weavers. These rugs are handmade in India by adult weavers, using authentic traditional craftsmanship. During the Milano fair 2012 we will present our products by Blitz Bovisa. www.liniedesign.dk
Since 1908 the Danish manufacturer Carl Hansen & Søn has produced high quality designer furniture by adhering to decades of proud craftsmanship traditions combined with modern production technology. During the Milan Fair 2012, Carl Hansen & Søn will be exhibiting a number of outstanding furniture designs, including the legendary shelving system designed by Mogens Koch and the latest update from Hans J. Wegner´s treasure chest of design. www.carlhansen.dk
TM Line A/S, BLITZ, via Enrico Cosenz 44/4, Bovisa
Dan-Form A/S, Hall 14 / STAND E41
13
Value for Money
Shelving systems by TM Line
Dan-Form shows a wide range of contemporary designer furniture’s offered at fantastic prices, within the ‘Dan-Form’ design range. Beside that Dan-Form shows a new collection within the ‘Natural Living’ range consisting of recycle dining tables, chairs, pillows and accessories. Come and experience a world of exciting new furniture in Hall 14, Stand E41. WWW.DAN-FORM.DK
Multiroom and Multiflex shelving system are Danish designs by the architect, Mr Anders Nørgaard ‘MMA›, and both are manufactured in Denmark. The flexible systems store books, decoration articles, etc. By staggering the modules, you get a “book support” effect, as the books can lean against the shelf on the opposite module. Can both be floor standing or wall mounted. www.tmline.dk
Erik Jørgensen – The Manufacturer, Hall 20 / Stand E23
PASSIONATE ABOUT DESIGN – THEN AND NOW! Ever since Erik Jørgensen built his modest workshop in Svendborg, Denmark, more than 50 years ago, furniture production under his name has been born by an inquisitive seeking after new modes of expression rooted in deep respect for solid craftsmanship. His spirit is just as alive today as in 1954 and the very drive of Erik Jørgensen Møbelfabrik. www.erik-joergensen.com
RHO SALONE INTERNAZIONALE DEL MOBILE
FREDERICIA FURNITURE, Hall 20 / Stand E12 M
Fredericia Furniture in Milano M
M
Stand E12 in Hall 20 sees the global launch of Fredericia Furniture’s Haiku – a sofa series designed by Enrico Fratesi and Stine Gam (of GamFratesi). MUNDO chairs in new colours, the BM spoke-back sofa and J39 in white lacquer, and a revival of Børge Mogensen’s 1944 spoke-back chair, J49, are further additions to the stand. www.fredericia.com
SPINE COLLECTION
Cane-line, Hall 8 / Stand D33
MUUTO, Hall 16 / Stand F54
Cane-line:
MUUTO PRESENTS NEW NORDIC DESIGN IN MILAN
Design is moving outside
The entire Cane-line universe follows the trend of moving the design, quality and comfort of the living room outside. The new Cane-line Tex® material can withstand the various weather conditions the world over. With the unique cushions made of the Cane-line Tex® sling material and core of Quick Dry Foam®, it drains the water if being exposed to rain. www.cane-line.com
104
MUUTO is a young Danish design company that has made international headlines with their New Nordic design philosophy and an exciting collection of furniture, lighting and home accessories. Along with Scandinavia’s leading designers, Muuto is creating new perspectives on the proud Scandinavian design tradition. In fact, the name Muuto, inspired by the Finnish word muutos, means new perspective. www.Muuto.com
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Normann Copenhagen, Hall 20 / Stand E08
addinterior, Danish Livingroom, Hall 10 / Stand C07
Eye-catching new collection by Normann Copenhagen
addinterior – lounge furniture in minimalistic design
Be sure to visit Norman Copenhagen’s presentation during Salone Internazionale del Mobile. The design company has yet again created a brand new collection that is both surprising and eye-catching. With more than 17 novelties, Normann Copenhagen presents a complete collection within furniture pieces, lighting and accessories in new colour hues, a creative mix of material and with a focus on craftsmanship. www.normann-copenhagen.com
addinterior shows the LEAN lounge chair designed by GamFratesi and the LILI lounge table designed by Takumi Hirokawa and the COAT hanger designed by Ulrik Nordentoft in Hall 10 Stand C10 at DANISH LIVINGroom. Our furniture is a result of minimalistic and functional design combined with the careful selection of first class materials. www.addinterior.dk
Sika-Design a/s, Hall 14 / Stand E42
anne black, Danish Livingroom, Hall 10 / Stand C07
Exclusive Scandinavian rattan furniture
Handmade porcelain by anne black
Sika-Design is a more than 70 years old company and specialized in rattan furniture. We will exhibit rattan furniture designed with inspiration from our old catalogues from the 1950s and the 1960s. We also offer a wide range of woven furniture for the outdoor, we will also display items from this collection. Our furniture is of the highest quality and handcrafted only by skilled craftsmen. www.sika-design.com
Ceramic artist and designer Anne Black has made handcrafted porcelain her trademark. Her collections include trays, vases, jugs, jewellery and more. Production by hand gives each product a personal and poetic expression in beautiful concert with carefully chosen decorations. The style is easy and Scandinavian. Anne Black belongs to the new generation of Danish ceramic artists whose innovative designs have attracted international recognition. www.anneblack.dk
SOFTLINE A/S, Hall 10 / Stand B05
Bang & Olufsen, Danish Livingroom, Hall 10 / Stand C07
SOFTLINE A/S
Outstanding audio and video solutions for the home
Innovative furniture with a sound grasp of the Scandinavian design tradition. With a strong vision for the future and a sound grasp of the Scandinavian design tradition, SOFTLINE’s team of talented designers have come up with a series of innovative concepts for modern living. We are proud to present the 2012 SOFTLINE collection, which continues our tradition of developing stylish, multifunctional furniture based on technical innovation and original design. www.softline.dk
Over the years, Bang & Olufsen has become an icon through its quest for perfection within performance, design and craftsmanship. Visit the Danish Living area and see how TVs and loudspeakers can be beautifully integrated into the home interior. Products on display will be BeoVision 12, BeoLab 12, BeoVision 10 and the newly launched portable music player, Beolit 12 from B&O PLAY www.bang-olufsen.com
RHO SALONE INTERNAZIONALE DEL MOBILE
Broedrene Andersen Moebelsnedkeri A/S, Danish Livingroom, Hall 10 / Stand C07
Craftsmanship and modern design M
M
M
Danish Livingroom Organized by the Consulate General of Denmark, Milan.
Proud traditions of craftsmanship and a respect for basic materials are the foundations of Broedrene Andersen’s collection of tables, sideboards and shelving systems made of solid wood. The furniture is made with elegant details such as visible dowelling, as shown on the Bykato table and sideboard. The Bykato table has recently received the Wallpaper Design Award 2012 for ‘Best dining table.’ www.brdr-andersen.dk
8000c, Danish Livingroom, Hall 10 / Stand C07
By Nord Copenhagen, Danish Livingroom, Hall 10 / Stand C07
NamNam Chair, by 8000c
Hugging bears and sleeping with wolves
Design: HolmbäckNordentoft ‘The inspiration for the NamNam Chair is purely Asian. In keeping with the ancient method of tying together bamboo sticks, the legs and supports are positioned next to one another to make the construction stable and robust, while also giving the chair its characteristic look. The chair’s three main parts can, in various colours, be combined in countless ways.’ www.8000c.dk
By Nord Copenhagen designs originate from the raw yet beautiful Nordic nature. The results are unique home accessories, which have been featured in leading international design and interior magazines. We are presenting digital prints of native people and wild animals on cushions, knitted structural plaids, mouth blown candle holders, cozy poufs and handmade pottery, which are all part of the extensive By Nord range. www.bynord.com
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107
Normann Copenhagen, Hall 20 / Stand E08
addinterior, Danish Livingroom, Hall 10 / Stand C07
Eye-catching new collection by Normann Copenhagen
addinterior – lounge furniture in minimalistic design
Be sure to visit Norman Copenhagen’s presentation during Salone Internazionale del Mobile. The design company has yet again created a brand new collection that is both surprising and eye-catching. With more than 17 novelties, Normann Copenhagen presents a complete collection within furniture pieces, lighting and accessories in new colour hues, a creative mix of material and with a focus on craftsmanship. www.normann-copenhagen.com
addinterior shows the LEAN lounge chair designed by GamFratesi and the LILI lounge table designed by Takumi Hirokawa and the COAT hanger designed by Ulrik Nordentoft in Hall 10 Stand C10 at DANISH LIVINGroom. Our furniture is a result of minimalistic and functional design combined with the careful selection of first class materials. www.addinterior.dk
Sika-Design a/s, Hall 14 / Stand E42
anne black, Danish Livingroom, Hall 10 / Stand C07
Exclusive Scandinavian rattan furniture
Handmade porcelain by anne black
Sika-Design is a more than 70 years old company and specialized in rattan furniture. We will exhibit rattan furniture designed with inspiration from our old catalogues from the 1950s and the 1960s. We also offer a wide range of woven furniture for the outdoor, we will also display items from this collection. Our furniture is of the highest quality and handcrafted only by skilled craftsmen. www.sika-design.com
Ceramic artist and designer Anne Black has made handcrafted porcelain her trademark. Her collections include trays, vases, jugs, jewellery and more. Production by hand gives each product a personal and poetic expression in beautiful concert with carefully chosen decorations. The style is easy and Scandinavian. Anne Black belongs to the new generation of Danish ceramic artists whose innovative designs have attracted international recognition. www.anneblack.dk
SOFTLINE A/S, Hall 10 / Stand B05
Bang & Olufsen, Danish Livingroom, Hall 10 / Stand C07
SOFTLINE A/S
Outstanding audio and video solutions for the home
Innovative furniture with a sound grasp of the Scandinavian design tradition. With a strong vision for the future and a sound grasp of the Scandinavian design tradition, SOFTLINE’s team of talented designers have come up with a series of innovative concepts for modern living. We are proud to present the 2012 SOFTLINE collection, which continues our tradition of developing stylish, multifunctional furniture based on technical innovation and original design. www.softline.dk
Over the years, Bang & Olufsen has become an icon through its quest for perfection within performance, design and craftsmanship. Visit the Danish Living area and see how TVs and loudspeakers can be beautifully integrated into the home interior. Products on display will be BeoVision 12, BeoLab 12, BeoVision 10 and the newly launched portable music player, Beolit 12 from B&O PLAY www.bang-olufsen.com
RHO SALONE INTERNAZIONALE DEL MOBILE
Broedrene Andersen Moebelsnedkeri A/S, Danish Livingroom, Hall 10 / Stand C07
Craftsmanship and modern design M
M
M
Danish Livingroom Organized by the Consulate General of Denmark, Milan.
Proud traditions of craftsmanship and a respect for basic materials are the foundations of Broedrene Andersen’s collection of tables, sideboards and shelving systems made of solid wood. The furniture is made with elegant details such as visible dowelling, as shown on the Bykato table and sideboard. The Bykato table has recently received the Wallpaper Design Award 2012 for ‘Best dining table.’ www.brdr-andersen.dk
8000c, Danish Livingroom, Hall 10 / Stand C07
By Nord Copenhagen, Danish Livingroom, Hall 10 / Stand C07
NamNam Chair, by 8000c
Hugging bears and sleeping with wolves
Design: HolmbäckNordentoft ‘The inspiration for the NamNam Chair is purely Asian. In keeping with the ancient method of tying together bamboo sticks, the legs and supports are positioned next to one another to make the construction stable and robust, while also giving the chair its characteristic look. The chair’s three main parts can, in various colours, be combined in countless ways.’ www.8000c.dk
By Nord Copenhagen designs originate from the raw yet beautiful Nordic nature. The results are unique home accessories, which have been featured in leading international design and interior magazines. We are presenting digital prints of native people and wild animals on cushions, knitted structural plaids, mouth blown candle holders, cozy poufs and handmade pottery, which are all part of the extensive By Nord range. www.bynord.com
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107
Decoflame, Danish Livingroom, Hall 10 / Stand C07
GamFratesi, Danish Livingroom, Hall 10 / Stand C07
Burning Inspiration by decoflame®
A sofa, a serving trolley, a storage table, a chair and an exhibition concept.
Since 2007, Decoflame has become the synonym for Danish Design and Craftsmanship on the global market for bioethanol fireplaces. Comprising a variety of standard and made to measure models, the decoflame® range of fires is today considered one of the safest and most stylish. Apart from the decoflame® Atlantic Tower and Monaco Lounge Round, Decoflame will present their second generation of electronically controlled bioethanol fires – the decoflame® e-Ribbon Fire. www.decoflame.com
GamFratesi studio has during this year been developing new products for Fredericia Furniture, Casamania and Ligne Roset. GamFratesi has also been invited to create a new upholstered chair for the Mindcraft12 exhibition by Danish Crafts and to design an exhibition for the Danish Consulate in Milan. www.gamfratesi.com
Fabula Living, DANISH LIVINGroom, Hall 10 / Stand C07
Holmris, Danish Livingroom, Hall 10 / Stand C07
Nicholai Wiig Hansen Design Rugs
MILK – Apple inspired desk
With the launch of the Nicholai Wiig Hansen collection, Fabula Living has taken yet another step into the international market for designer rugs. Nicholai is renowned for his designs for e.g. Frama, Normann Copenhagen and IKEA and now also Fabula Living. The collection includes Vintage, Twilight and Shape series handtufted in pure New Zealand wool. www.fabula-living.com
Most of us know the Apple inspired desk MILK. The Milk-universe has so far consisted of three versions: Milk Classic, Milk Grande and 4Milk. Now, we have launched a new member of the MILK-family for the Danish manufacturer Holmris. Mini Milk is a small consol table for your laptop. The table comes in two sizes. www.holmris.dk
ferm LIVING, Danish Livingroom, Hall 10 / Stand C07
Junckers Industries, Danish Livingroom, Hall 10 / Stand C07
ferm LIVING SS 2012 COLLECTION
Junckers Creating Exceptional Spaces
Creative minds, skilled hands, great techniques and a lot of effort are put into each of our products. We value sustainable and honest materials, high quality and good craftsmanship. This season we fell in love with the grey and rose colors and Scandinavian wood. This combination of colors and materials creates a coherent and bright look – our interpretation of Spring/Summer 2012. www.ferm-living.com
Junckers Industries is one of the largest manufacturers of solid hardwood floors in Europe and the largest wood industry in Denmark with more than 400 employees worldwide. Junckers supplies to private and public environments. All wood is certified and processed at the sawmill in Køge which is one of very few production plants which has CO2 positive accounts. www.junckers.com
Foxy-potato, Danish Livingroom, Hall 10 / Stand C07
LINDBERG, DANISH LIVINGroom, Hall 10 / Stand C07
Danish design made in Denmark
Original innovative fashion eyewear design
The design company Foxy Potato was founded in 2005 by cabinetmaker Anders Folke Andersen. The first product, BECK coffee table, was launched in 2008. Today, the company is owned and run by Anders Folke Andersen and Rikke Beck Christensen. The vision for the young cabinetmaker is to keep creating Danish made furniture, characterised by unique and exquisite design and uncompromising quality. www.foxy-potato.dk
LINDBERG is a leader in its fields and is a brand for connoisseurs and lovers of style. LINDBERG’s design team excels in creating original design solutions and developing new technology, which has lead to novel, innovative frames with stunning aesthetics, obtained by using real craftsmanship. www.LINDBERG.com
FRAMA, Danish Livingroom, Hall 10 / Stand C07
Louis Poulsen, Danish Livingroom, Hall 10 / Stand C07
FRAMA – it’s all about the detail
Louis Poulsen – light and architecture
The collection is our answer to pure aesthetics, where the materials and appearance are in focus and each object is easy to decode. Materials such as wood, steel, stoneware, canvas, concrete, glass, marble and cork give an expression of a collection, searching back to basic. www.framacph.com
Founded in 1874 in Copenhagen, Denmark, as an electrical company, Louis Poulsen, evolved into a firm that creates, produces and sells many of the most beautiful and functional lighting fixtures ever designed. These superior works of art, craft and technology illuminate prominent architectural projects and private houses around the world. Many famous architects have worked together with Louis Poulsen e.g. Poul Henningsen, Arne Jacobsen and Verner Panton. www.louispoulsen.com
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109
Decoflame, Danish Livingroom, Hall 10 / Stand C07
GamFratesi, Danish Livingroom, Hall 10 / Stand C07
Burning Inspiration by decoflame®
A sofa, a serving trolley, a storage table, a chair and an exhibition concept.
Since 2007, Decoflame has become the synonym for Danish Design and Craftsmanship on the global market for bioethanol fireplaces. Comprising a variety of standard and made to measure models, the decoflame® range of fires is today considered one of the safest and most stylish. Apart from the decoflame® Atlantic Tower and Monaco Lounge Round, Decoflame will present their second generation of electronically controlled bioethanol fires – the decoflame® e-Ribbon Fire. www.decoflame.com
GamFratesi studio has during this year been developing new products for Fredericia Furniture, Casamania and Ligne Roset. GamFratesi has also been invited to create a new upholstered chair for the Mindcraft12 exhibition by Danish Crafts and to design an exhibition for the Danish Consulate in Milan. www.gamfratesi.com
Fabula Living, DANISH LIVINGroom, Hall 10 / Stand C07
Holmris, Danish Livingroom, Hall 10 / Stand C07
Nicholai Wiig Hansen Design Rugs
MILK – Apple inspired desk
With the launch of the Nicholai Wiig Hansen collection, Fabula Living has taken yet another step into the international market for designer rugs. Nicholai is renowned for his designs for e.g. Frama, Normann Copenhagen and IKEA and now also Fabula Living. The collection includes Vintage, Twilight and Shape series handtufted in pure New Zealand wool. www.fabula-living.com
Most of us know the Apple inspired desk MILK. The Milk-universe has so far consisted of three versions: Milk Classic, Milk Grande and 4Milk. Now, we have launched a new member of the MILK-family for the Danish manufacturer Holmris. Mini Milk is a small consol table for your laptop. The table comes in two sizes. www.holmris.dk
ferm LIVING, Danish Livingroom, Hall 10 / Stand C07
Junckers Industries, Danish Livingroom, Hall 10 / Stand C07
ferm LIVING SS 2012 COLLECTION
Junckers Creating Exceptional Spaces
Creative minds, skilled hands, great techniques and a lot of effort are put into each of our products. We value sustainable and honest materials, high quality and good craftsmanship. This season we fell in love with the grey and rose colors and Scandinavian wood. This combination of colors and materials creates a coherent and bright look – our interpretation of Spring/Summer 2012. www.ferm-living.com
Junckers Industries is one of the largest manufacturers of solid hardwood floors in Europe and the largest wood industry in Denmark with more than 400 employees worldwide. Junckers supplies to private and public environments. All wood is certified and processed at the sawmill in Køge which is one of very few production plants which has CO2 positive accounts. www.junckers.com
Foxy-potato, Danish Livingroom, Hall 10 / Stand C07
LINDBERG, DANISH LIVINGroom, Hall 10 / Stand C07
Danish design made in Denmark
Original innovative fashion eyewear design
The design company Foxy Potato was founded in 2005 by cabinetmaker Anders Folke Andersen. The first product, BECK coffee table, was launched in 2008. Today, the company is owned and run by Anders Folke Andersen and Rikke Beck Christensen. The vision for the young cabinetmaker is to keep creating Danish made furniture, characterised by unique and exquisite design and uncompromising quality. www.foxy-potato.dk
LINDBERG is a leader in its fields and is a brand for connoisseurs and lovers of style. LINDBERG’s design team excels in creating original design solutions and developing new technology, which has lead to novel, innovative frames with stunning aesthetics, obtained by using real craftsmanship. www.LINDBERG.com
FRAMA, Danish Livingroom, Hall 10 / Stand C07
Louis Poulsen, Danish Livingroom, Hall 10 / Stand C07
FRAMA – it’s all about the detail
Louis Poulsen – light and architecture
The collection is our answer to pure aesthetics, where the materials and appearance are in focus and each object is easy to decode. Materials such as wood, steel, stoneware, canvas, concrete, glass, marble and cork give an expression of a collection, searching back to basic. www.framacph.com
Founded in 1874 in Copenhagen, Denmark, as an electrical company, Louis Poulsen, evolved into a firm that creates, produces and sells many of the most beautiful and functional lighting fixtures ever designed. These superior works of art, craft and technology illuminate prominent architectural projects and private houses around the world. Many famous architects have worked together with Louis Poulsen e.g. Poul Henningsen, Arne Jacobsen and Verner Panton. www.louispoulsen.com
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MA / U Studio, Danish Livingroom, Hall 10 / Stand C07
Thors-Design, Danish Livingroom, Hall 10 / Stand C07
The Creative Office Project – a simple question of freedom
From wharf to sustainable lifestyle
Your office and creative workspace is where you challenge the established, explore the new and manifest the yet unseen. Conformity, conservatism or rigidity hardly ever inspires you to let your mind flow – with ‘The Creative Office Project’, MA&U Studio and designer Mikal Harrsen provide new standards for creative workspaces. It´s all about freedom – come and take a look… www.maandu.com
Azobé wood, with its maritime history, has been given new life. Recycling and respect for this unique wood are the fundamental ideas behind all of the furniture from Thors-Design. These ideas are reflected in the tables on display in Milan. Thors-Design transforms 50-year-old Azobé wood from decommissioned wharfs in Denmark into stylish Danish designer furniture. www.thors-design.dk
Montana Moebler, Danish Livingroom, Hall 10 / Stand C07
Tom Rossau, Danish Livingroom, Hall 10 / Stand C07
Montana – making room for personality
Tom Rossau, new designs and new material
Discover Montana in the ‘DANISH LIVINGroom’ in Milan. The Montana storage system, designed by Peter J. Lassen, offers freedom to create a personal interior design for libraries, high boards and TV hi-fi storage. Set creativity free and express your own style through a palette with 49 lacquer colours and surfaces, and design your own solution by combining 42 basic units in 4 depths. www.montana.dk
The new TR19 is available in laminated Japanese paper and in birch veneer. This latest edition to the handmade collection is available as pendant, table and floor lamps. All lights are built by our skilled staff in Copenhagen, Denmark. See and feel the new design and material at the ‘Danish livingroom’. www.tomrossau.dk
OK Design, Danish Livingroom, Hall 10 / Stand C07
we do wood, Danish Livingroom, Hall 10 / Stand C07
Danish Design with a global narrative
Honest talk
OK Design is a creative office within the field of furniture design and production. It was founded in 2008 and is located in Copenhagen Denmark. OK Design is a young, dynamic and experimental office with close ties to Mexico. We consider ourselves global players with a wish to take part in the world, make a difference and make us all benefit creatively from the cultural diversity and richness in the world. www.okdesign.dk
When we do wood, its about clean and beautiful lines combined with quality and responsibility in every phase of the process. When we do that, we believe we get the most out of design and sustainability.The strong vision of sustainability that permeates the work of Henrik Thygesen and Sebastian Jørgensen has played a role in setting new standards in the world of Danish design. www.wedowood.dk
Paustian, Danish Livingroom, Hall 10 / Stand C07
Good furniture should always be around you The cornerstones of Paustian are design, innovation and high standards of quality. Paustian has shops in Denmark and Norway and a showroom in China. Our own furniture collection is designed by young and experienced Danish architects and designers. Paustian introduces Paustian ASAP Chair; a light stackable armchair designed by the Danish designers Foersom & Hiort-Lorenzen and winner of red dot design award 2012. www.paustian.com
Peter Klint, Danish Livingroom, Hall 10 / Stand C07
A simple yet sophisticated kitchen that gets more from less Constructed from high quality and locally sourced materials and with its simple, timeless shape the kitchen is imbued with a thoughtful functionality and quality craftsmanship that will last a lifetime (or two). The Milano Kitchen is a modern take on the traditional ‘frame’ kitchen unit and is decorated with characteristic wooden handles by Peter Klint. www.peterklint.dk
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RHO SALONE INTERNAZIONALE DEL MOBILE The Danish Pavilion
M
M
M
Organized by the Consulate General of Denmark, Milan.
Lange Production, The Danish Pavilion, Hall 20 / F08
FK 87 Grasshopper designed by Fabricius & Kastholm 1968 Inspired by the 1920s functionalistic pioneers Fabricius & Kastholm designed a range of minimalist and innovative furniture that in recent years has enjoyed a renaissance in the consumers’ hearts and homes. Lange Production is proud to have the exclusive rights to resume production of this unique furniture, which is timeless yet captures the spirit of the age. www.langeproduction.com
111
MA / U Studio, Danish Livingroom, Hall 10 / Stand C07
Thors-Design, Danish Livingroom, Hall 10 / Stand C07
The Creative Office Project – a simple question of freedom
From wharf to sustainable lifestyle
Your office and creative workspace is where you challenge the established, explore the new and manifest the yet unseen. Conformity, conservatism or rigidity hardly ever inspires you to let your mind flow – with ‘The Creative Office Project’, MA&U Studio and designer Mikal Harrsen provide new standards for creative workspaces. It´s all about freedom – come and take a look… www.maandu.com
Azobé wood, with its maritime history, has been given new life. Recycling and respect for this unique wood are the fundamental ideas behind all of the furniture from Thors-Design. These ideas are reflected in the tables on display in Milan. Thors-Design transforms 50-year-old Azobé wood from decommissioned wharfs in Denmark into stylish Danish designer furniture. www.thors-design.dk
Montana Moebler, Danish Livingroom, Hall 10 / Stand C07
Tom Rossau, Danish Livingroom, Hall 10 / Stand C07
Montana – making room for personality
Tom Rossau, new designs and new material
Discover Montana in the ‘DANISH LIVINGroom’ in Milan. The Montana storage system, designed by Peter J. Lassen, offers freedom to create a personal interior design for libraries, high boards and TV hi-fi storage. Set creativity free and express your own style through a palette with 49 lacquer colours and surfaces, and design your own solution by combining 42 basic units in 4 depths. www.montana.dk
The new TR19 is available in laminated Japanese paper and in birch veneer. This latest edition to the handmade collection is available as pendant, table and floor lamps. All lights are built by our skilled staff in Copenhagen, Denmark. See and feel the new design and material at the ‘Danish livingroom’. www.tomrossau.dk
OK Design, Danish Livingroom, Hall 10 / Stand C07
we do wood, Danish Livingroom, Hall 10 / Stand C07
Danish Design with a global narrative
Honest talk
OK Design is a creative office within the field of furniture design and production. It was founded in 2008 and is located in Copenhagen Denmark. OK Design is a young, dynamic and experimental office with close ties to Mexico. We consider ourselves global players with a wish to take part in the world, make a difference and make us all benefit creatively from the cultural diversity and richness in the world. www.okdesign.dk
When we do wood, its about clean and beautiful lines combined with quality and responsibility in every phase of the process. When we do that, we believe we get the most out of design and sustainability.The strong vision of sustainability that permeates the work of Henrik Thygesen and Sebastian Jørgensen has played a role in setting new standards in the world of Danish design. www.wedowood.dk
Paustian, Danish Livingroom, Hall 10 / Stand C07
Good furniture should always be around you The cornerstones of Paustian are design, innovation and high standards of quality. Paustian has shops in Denmark and Norway and a showroom in China. Our own furniture collection is designed by young and experienced Danish architects and designers. Paustian introduces Paustian ASAP Chair; a light stackable armchair designed by the Danish designers Foersom & Hiort-Lorenzen and winner of red dot design award 2012. www.paustian.com
Peter Klint, Danish Livingroom, Hall 10 / Stand C07
A simple yet sophisticated kitchen that gets more from less Constructed from high quality and locally sourced materials and with its simple, timeless shape the kitchen is imbued with a thoughtful functionality and quality craftsmanship that will last a lifetime (or two). The Milano Kitchen is a modern take on the traditional ‘frame’ kitchen unit and is decorated with characteristic wooden handles by Peter Klint. www.peterklint.dk
110
RHO SALONE INTERNAZIONALE DEL MOBILE The Danish Pavilion
M
M
M
Organized by the Consulate General of Denmark, Milan.
Lange Production, The Danish Pavilion, Hall 20 / F08
FK 87 Grasshopper designed by Fabricius & Kastholm 1968 Inspired by the 1920s functionalistic pioneers Fabricius & Kastholm designed a range of minimalist and innovative furniture that in recent years has enjoyed a renaissance in the consumers’ hearts and homes. Lange Production is proud to have the exclusive rights to resume production of this unique furniture, which is timeless yet captures the spirit of the age. www.langeproduction.com
111
mater, The Danish Pavilion, Hall 20 / F08
Published by Danish Design Centre Financed by The Danish Ministry of Culture
mater design philosophy
Chief Editor/idea/concept: Tina Midtgaard
“Mater strives to avoid or minimize the adverse impact on society, focusing on ethical criterias while creating sensual, timeless and durable products that will both stand the test of time and inspire consumers to cherish and maintain.” www.materdesign.com
Guide/marketing/press: Iben Høyer Hansen Journalism: Claus Randrup, Sanne Hedeskov Signe Cain Mary-Anne Karas
Onecollection, The Danish Pavilion, Hall 20 / F08
Translation/proofreading: Dorte Silver Signe Cain Karina Schmidt Vanman
Finn Juhl, 100 years
Graphic concept & layout: Susanne Schenstrøm
The Danish International modernist and architect Finn Juhl could have been 100 years this year. Onecollection owns the original rights to produce and market Finn Juhls artistic furniture and lamps from the 1940s and 1950s. His anniversary is celebrated all over the world and also at the fair in Milan with an exhibition of some of his most iconic pieces. www.onecollection.com
PP Møbler, The Danish Pavilion, Hall 20 / F08
Danish Design & excellent Craftmanship since 1953 PP Møbler is a small family owned joinery workshop with a strong tradition for crafting design furniture of the highest quality. For 3 generations, PP Møbler has manufactured Hans J. Wegner´s most recognised furniture classics. In Milan 2012 both classic and news will be exposed. www.pp.dk
ISBN: 87-90904-65-6 Print: clausengrafisk/one2one Thanks to Danish Crafts and the General Consulate in Milan. ... and to all the supportive Danish designers, companies and institutions.
© Danish Design Centre
All rights reserved. No parts of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of Danish Design Centre. Danish Design Centre H.C.Andersens Boulevard 27 1553 Copenhagen Denmark www.ddc.dk
Printed in Denmark 2012
Verpan, The Danish Pavilion, Hall 20 / F08
Verpan – design by Verner Panton Verpan produces and distributes a wide range of lamps and furniture designed by Danish designer Verner Panton. Verpan co-operates with the Panton Estate in Basel. Verner Panton (1926-1998) was a master of the fluid, futuristic style of 1960s design which introduced the pop aesthetic to furniture and interiors. Verner Panton is considered one of Denmark’s most influential 20th-century furniture and interior designers. www.verpan.com
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mater, The Danish Pavilion, Hall 20 / F08
Published by Danish Design Centre Financed by The Danish Ministry of Culture
mater design philosophy
Chief Editor/idea/concept: Tina Midtgaard
“Mater strives to avoid or minimize the adverse impact on society, focusing on ethical criterias while creating sensual, timeless and durable products that will both stand the test of time and inspire consumers to cherish and maintain.” www.materdesign.com
Guide/marketing/press: Iben Høyer Hansen Journalism: Claus Randrup, Sanne Hedeskov Signe Cain Mary-Anne Karas
Onecollection, The Danish Pavilion, Hall 20 / F08
Translation/proofreading: Dorte Silver Signe Cain Karina Schmidt Vanman
Finn Juhl, 100 years
Graphic concept & layout: Susanne Schenstrøm
The Danish International modernist and architect Finn Juhl could have been 100 years this year. Onecollection owns the original rights to produce and market Finn Juhls artistic furniture and lamps from the 1940s and 1950s. His anniversary is celebrated all over the world and also at the fair in Milan with an exhibition of some of his most iconic pieces. www.onecollection.com
PP Møbler, The Danish Pavilion, Hall 20 / F08
Danish Design & excellent Craftmanship since 1953 PP Møbler is a small family owned joinery workshop with a strong tradition for crafting design furniture of the highest quality. For 3 generations, PP Møbler has manufactured Hans J. Wegner´s most recognised furniture classics. In Milan 2012 both classic and news will be exposed. www.pp.dk
ISBN: 87-90904-65-6 Print: clausengrafisk/one2one Thanks to Danish Crafts and the General Consulate in Milan. ... and to all the supportive Danish designers, companies and institutions.
© Danish Design Centre
All rights reserved. No parts of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of Danish Design Centre. Danish Design Centre H.C.Andersens Boulevard 27 1553 Copenhagen Denmark www.ddc.dk
Printed in Denmark 2012
Verpan, The Danish Pavilion, Hall 20 / F08
Verpan – design by Verner Panton Verpan produces and distributes a wide range of lamps and furniture designed by Danish designer Verner Panton. Verpan co-operates with the Panton Estate in Basel. Verner Panton (1926-1998) was a master of the fluid, futuristic style of 1960s design which introduced the pop aesthetic to furniture and interiors. Verner Panton is considered one of Denmark’s most influential 20th-century furniture and interior designers. www.verpan.com
112
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