Program at Stockholm Furniture Fair and Northern Light Fair 6 – 10 February 2008
SHARING DESIGN KNOWLEDGE
DESIGNBOOST SHARING DESIGN KNOWLEDGE Designboost is a knowledge company that helps companies and organisations to learn more about design in general and sustainable design in particular and how to use it as a competitive weapon and turn it into a business advantage. Designboost can be seen as a process to create greater competitiveness. Designboost will arrange so people can meet, discuss and challenge the meaning of design, through “boost chats”, “boost talks”, “boost shows” and other media. Designboost has developed a to method define sustainable design in a more profound and holistic manner. The method is called the “Sustainable Wheel”. During 2008 the “Sustainable Wheel” will be presented as a sustainable design label. Designboost is as well using the “Sustainable Wheel” as a tool to conceptualize sustainable design and turn it into a competitive edge. Designboost is furthermore a knowledge tank with a broad network of creative thinkers from all over the world where thoughts on sustainable design and durable development can be debated, exchanged, tried and developed. Designboost is a fusion of the two words design and boost. Design can help us create a better world. Inspiration, injection or more power – that is the meaning of boost. Designboost is created by award winning communication strategist Peer Eriksson, founder of the communication agency Peer Communication and international acclaimed design and future strategist David Carlson, founder of David Design and David Report. With City of Malmö and Region Skåne as partners. DESIGNBOOST Fridhemstorget, 217 53 Malmö. Peer Eriksson, peer@designboost.se +46(0)705 336631 David Carlson, david@designboost.se +46(0)707 982897 www.designboost.se info@designboost.se
PROGRAM BOOST TALKS
6–10 FEBRUARY
(formerly known as lectures/discussions/interviews)
All activities will take place at the scene in Giulio Cappellini’s lounge in the entrance hall if nothing else is stated. The Designboost activities will be performed from the mobile “Design sofa”. David Carlson and/or Peer Eriksson represents Designboost in the conversations where Designboost is stated.
WEDNESDAY 6/2
10.00 Designboost: A conversation between designer Jean Marie Massaud and Designboost about humanism and “sustainable design”. 11.00 Designboost: Ewa Kumlin, managing director of Svensk Form talks with designer Stephen Burks on the theme “Saving the planet in style”. 12.00 Designboost: Ewa Kumlin, managing director of Svensk Form and Caroline Heiroth, Swedish Style in Tokyo talk with Teruo Kurosaki and Benjamin Budde among other representatives from the Tokyo design community.
15.00 Designboost: A conversation between Christel Vaenerberg, design and brand director at Iittala and Designboost on how to conceptualize “sustainable design”.
13.00 Designboost: A conversation between Irene Bernald, markering director at Audi Sweden and Designboost about a holistic view of “sustainable design”. 16.00-18.00 Designboost: Book releases by Arena 14.00 Stefan Nilsson, Interior trends for 2008/2009 publishing house. Drinks. Interviews by Designboost. 15.00 Johan Sjöberg, Svenssons i Lammhult Place: Konst-ig, stand AG:01. 16.00 Judith Gura, Professor of Design History, New York School of Interior Design, and author of “Sourcebook of Scandinavian Furniture: Designs for the 21st Century”
FRIDAY 8/2
10.00 TMF/Swedish Furniture Industry 10.30 TMF/Swedish Furniture Industry 11.00 Price award Forum for real estate boxes
13.00 Designboost: A conversation between designer Ilse Crawfoord and Designboost.
11.00 Designboost: A conversation between Johannes Carlström and Magdalena Nilsson from Save our souls and Designboost about the ideas behind the Designbar. Place: Designbar in hall C.
14.00 – 15.00 PRICE AWARDS
12.00 TMF/Swedish Furniture Industry
12.30 TMF/Swedish Furniture Industry
The Nordic Design Prize 2008. Almedahls award 2008 Design award ”Design Nu”, Hesselboms Universum
THURSDAY 7/2
10.00 Designboost: A conversation between Anders Englund, design director at Offecct and designers Eero Koivisto and Satyendra Pakhale about “sustainable design”.
13.00 Stefan Nilsson, Interior trends for 2008/2009 13.00 Designboost: Designer Alexander Lervik talks about his work with the lighting exhibition “Enlightenment”. Place: The lighting exhibition “Enlightenment”. 14.00 Birgitta Tryberg from Feng Shui Goodliving
11.00 Designboost: Presentation by Mr Giulio Cappellini, Guest of Honour 2008. Place: Conference room K2
14.30 TMF/Swedish Furniture Industry
12.00 Designboost: A conversation between Yvonne Karlsson and Maria Midby Arén from Alcro and Designboost on the theme “paint vs colour”.
15.00 Designboost: A conversation between Gabriella Gustafson and Mattias Ståhlbom from TAF about their design of the Greenhouse. Place: Greenhouse
13.00 Home Furniture Supplier of the Year/The Swedish Furniture Retailers Association.
16.00 Price award: +1 Best in Show/Forum AID
14.00 Designboost: Presentation by Mirkku Kullberg, managing director of Artek on the theme “sustainable design”.
12.00 Designboost: Material expert Anders Breitholtz from Råvara talks about interesting materials in general and sustainable materials in particular.
15.00 Stefan Nilsson, Interior trends for 2008/2009
SATURDAY 9/2
10.00 Designboost: To be announced 11.00 Stefan Nilsson, Interior trends for 2008/2009
SUNDAY 10/2
Seminar programme arranged for the general public by interior magazine Hus & Hem. For more information and the complete seminar programme, please go to www.stockholmfurniturefair. com, www.designboost.se or see it at the main entrance area at the fair.
BOOST CHATS (formerly known as workshops)
On 7-8 February specially invited participants will be given the opportunity to take part in Boost chats (formerly known as workshops) at the top floor of Talk Hotel. The theme of the workshops is how companies and organisations can conceptualize on the notion of “sustainable design” to gain business advantage and consequently benefit the society. Among the participants at the Boost chats: Mark Isitt/freelance journalist, Dan Gordan/Sköna Hem, Daniel Golling/Forum AID, Johan Lindau/Blå Station, Eva-Maria Elstner/Audi, Mirkku Kullberg/ Artek, Christel Vaenerberg/Iittala, Kersti Sandin/ Materia, Peter Jiseborn/Swedese, Erik Lundh/ Källemo, Magnus Wästberg/Wästberg, Satyendra Pakhale/Designer, Damian Wiliamson/designer, Matti Klenell/designer, Alexander Lervik/designer, Gabriella Gustafson/designer, Mattias Ståhlbom/ designer, Johannes Carlström/designer and Magdalena Nilsson/designer. On top of this students from Beckmans College of Design and Konstfack University College of Arts Crafts and Design will participate.
THE SUSTAINABLE
A more holistic view of sustainable design Environmental issues are quite often the main ingredient in the “sustainable design” debate. Designboost suggests a more profound and holistic view. We have developed a tool called the Sustainable Wheel. The Sustainable Wheel consists of seven parts:
– – – – – – –
Environmental influence Innovation Emotional connection Aesthetics Quality Authenticity Compatibility
The parts may be seen as “spokes of a wheel of sustainability”. It means that this imaginary wheel is not stronger than its weakest spoke. A product can be defined as truly sustainable first when it consider all parts of the Sustainable Wheel. In the end, a product is nothing worth not favouring a human context. We always have to extend sustainability beyond materials. We have to remember to always look through the lens of humanity when we are trying to define a sustainable product. During 2008 the Sustainable Wheel will also be presented as a sustainable design label.
An important part of the environmental ethos is that products and services must be produced with a minimum of energy consumption and also consume as little energy as possible during their lifetime. In total, environmental influence is about a responsible use of resources, a sustainable product is always beneficial to both society and environment.
2. Innovation
“to develop unique attributes on several levels”
If we are aiming for a decent sustainable future, we must invest in scientific research and innovation. Only through constant evolution can we create more sustainable design and, consequently, a more durable society. Focus should be on creating new functions that improve our lives. If we can increase the level of innovation in each developed product, we will increase the pace at which we’re going towards the sustainable future. Innovation is about seeing things in different ways, thinking out of the box, thinking for renewal and change, removing blinders, boldly processing new and old information. To the extent that everything is already invented it’s the ability to see that before us in new ways that is a strength of innovators. Products are, in the end, the result of human actions and therefore an extension of humans. That’s why we mustn’t forget the importance of social innovation...
3. Emotional connection “to be part of the user”
The seven themes: 1. Environmental influence
“to have an aspiration to affect the environment as little as possible”
Environment is a concept that has been reported massively during the past few years. Is it “environmentally friendly” to drive an ethanol car when we know the problems of the ethanol production? Or are we often just loading problems onto other, less obvious and exposed areas? Perhaps in the end the amount we pay ends up on the same bill? The same thing goes for buying organic food that has been transported from the other side of the globe. It’s important to see the whole picture, not just the romantic notion of being eco. Stella McCartney would say about being a vegetarian at the same time as she wears leather shoes; “ I think doing anything is better than nothing”.
Emotional connectivity is a parameter which often falls short in a mechanical and technical friendly culture. It’s rather strange when designs must be sensorial engaging for commercial success. A clear identity can create an emotional connection for a product. Both from a social and psychological point of view, identity is the core, the material physical objects “really don’t exist”. What meaning have: recycling, durable materials, environmentally friendly production and use, if the consumers don’t discover, understand and care for the product, i.e., they are disregarded while still functioning? What makes us want to keep certain objects while we throw away others without thinking? Is there an important parameter that ties us to an object? Could it be that we have greater affection for a product which we have saved up to and longed for compared to a wear and tear product we have no relation to at all? It’s important to create a lifelong love and not just a brief fling with product design...
WHEEL 4. Aesthetics
6. Authenticity
Aesthetics is personal. It has it’s given definition but at the same time it is subjective and a personal question about what is good or bad.
Authenticity is both a necessary and desirable attribute. Authenticity is, among other things, origin, quality and identity. Authenticity is to perfectly perform a service or to produce a perfect product. Or to produce a product/service that is not perfect, but with which the individual executing it has done his very best, despite, or thanks to, lack of resource/knowledge.
“to age with grace”
A product can create a craving for different reasons, where aesthetics is one of the most common. Aesthetics is important when it comes to most forms of design, such as furniture, architecture, fashion, products and typography. Aesthetics is however dependant on culture, seeing that in some cultures is it everything and in others, it is much less important. In Sweden cars are built to survive a crash, big, safe and functional (SAAB and Volvo were for a long time world leading in safety for personal cars). In Italy they build cars that are not meant to crash. Small, elegant and hot tempered. See the difference in vision and expression. One is not better than the other since there are other parameters involved, but it is without doubt a fundamental difference in thought and innovation.
“to be able to tell a credible story”
Authenticity is both subjective and objective. This means both the history as well as the ability to tell it is of uttermost importance; storytelling, soul and/or cultural inheritance are tactic models to use. We believe a product won’t be “durable” unless it tells a credible story. We live in a materialistic society which often lacks spirituality. People like storytelling, it’s a part of human history. As soon as something has a story, it becomes important. It gets a soul. And if it’s important it will be durable!
It is our belief that timelessness is a strong and important aesthetic value. The Seven and Ant chairs by Arne Jacobsen are great examples of timeless, iconic products. Classics that survives year after year, are inherited by the generations to come and excellent examples of truly durable products.
7. Compatibility
5. Quality
creatures that want and need to belong to a social group in order to function. In this process compatibility is the key, all communicators (groups/individuals) must be compatible to understand each other and hence reach their goal.
“to own multi-quality capacities”
With quality we mean durability and function as well as consumer value. Quality is at the same time an environmental responsibility to consider for the long term. The Gucci family slogan refers quite well to the topic: “Quality is remembered long after the price is forgotten”. One can buy a sofa for a 300 EUR and throw it out after three years, or one for 3000 EUR and keep it for thirty years. Which is more cost-effective in the long run, both for you and society? It all comes down to quality, timeless design and a sustainable economic as well as ecological way of thinking. On the other hand it is not unreasonable to challenge the need to make sofas that last for thirty years when the buyer may get tired of it after five. Is it a waste of resource to deliver too high quality? It’s unfortunately a relevant question in our mass-consumption world.
“to be part of a bigger coherence”
Compatibility in it’s fundamental role is to get people to interact. Without communication nothing works and both the future and innovation becomes sterile utopias. Humans are social
This human compatibility is analogue with many different techniques (MP3, IR, video, CD, DVD, Blu-ray, TV, HDTV etc...) that producers try to convince the market to adopt. All producers want a monopoly, but a regard for compatibility would grant a sustainable development outcome. All involved will gain off of it if the product/service becomes standard. The companies will find new and better means of competition, it’s the core of evolution. Bluetooth is a good example of collaboration that supports and generates more, that is sustainable development/design. Just as when we talk about emotional connectivity, compatibility is also about creating far-sightedness and long lasting desirability. And last but not least, supporting human to human relationships.
The Swedish architect Thomas Sandell links quality in a great way with his Designboost one-liner quote “quality is always sustainable”. The Sustainable wheel”™ is a trademark of Designboost AB©. All rights reserved.
ALCRO A visualization of the Sustainable Wheel Quality
Compatibility
Innovation
Emo
Neo by Claesson Koivisto Rune for Iittala
Apple by Jonathan Ive
Jens Martin Skibsted for Biomega.
Noir Illuminati by Pet
Iittala’s new range of pots, Neo, has been designed by one of the foremost design and architectural offices in Scandinavia, Claesson Koivisto Rune. As a result, the new Neo is exceptionally distinguished, ergonomic and lasting Iittala quality. Neo introduces new superior design details to food preparation. The series if pots is available in three essential sizes, all made a bit larger than usual, to better serve today’s consumer needs. The pots have a five-layer induction base, and their distinctive, ergonomic handles make sure cooking is effective and enjoyable. Neo’s unique matt-brushed stainless steel forms are true partners for life, and Neo as a series evolves the Iittala collection with fundamentally pure, mindmade design.
Compatibility in it’s fundamental role is to get people to interact. To support human to human relationships. Compatibility has for a long time been one of the corner stones of the Apple brand. Compatibility between both men and machine. The brand has a lot of brand fans, it’s emotionally sustainable and creates a strong desirability. The products itself are user-friendly and developed to answer to new demands in creative contemporary life. As well, both software and hardware are designed to continuously communicate with each other. Just like friends.
Biomega was the first company to turn the bicycle into a lush piece of industrial design by focusing on design driven branding and urban mobility. Biomega redefined the values within the industry. Having used the best industrial designers and unmasked industry values such as ‘minimum weight & maximum gears’ as meaning fragile and complex, Biomega created a virgin segment in a century old business with repercussion far beyond its niche. When Biomega spearheaded superplastic forming, shaft transmissions, night glow frames & dynamic high stress load bonding within the bike industry, it brought itself at the forefront of the innovation economy. Also Biomega was one of the few pioneers of New Luxury and remains a market leader.
The Noir fashion line w ago with a mission to c in the luxury segment. Ingwersen not only pur support sustainable bu nations, but he’s also d of organic cottons in U deep knowledge on su clothing but he doesn’t to shout out the messa be lumped as that ethic garments look like norm made from luxurious fa new about us, you’d ne provenance.” Noir Illuminati i for the eco-fashionista.
Alcro product: Artwall Betong in colour “Högtryck”
Alcro product: Accent in colour “Smoking”
Alcro product: Accent in colour “Korall”
Alcro product: Puder Pärlemor in colo
tions
ter Ingwersen
was founded two years create meaningfulness The founder Peter rchases goods that usiness in developing developing a collection Uganda. Peter got a ustainability and ethical t want the collection age; “I don’t want to cal clothes label. Our mal, stylish clothes, abrics and, unless you ever guess the organic
t’s definitely a dream .
our “Puder”
Environment
Aesthetics
Authenticity
Eco ware by Tom Dixon.
Ultrasilencer by Pia Wallén for Electrolux.
BRIO Toys
The Eco Ware line is the result of experimenting with biodegradeable plastics made from compressed natural materials such as byproducts of coconut, rice and bamboo processing. Tom Dixon created this line of biodegradeable plates, bowls and cups dubbed Eco Ware. This elegant line of sustainable tableware is 80% bamboo bound with a water-soluble polymer. Eco Ware is fine enough for formal occasions, tough enough for the outdoors, and robust enough for every-day use. The best part is that after a long functional life (5 years give or take), the Eco Ware objects can be recycled into plant pots or simply composted back to the earth.
Electrolux invited Pia Wallén to produce her own interpretation of the Ultrasilencer vacuum cleaner. The result is startling in its simplicity. She found inspiration in the extraordinary quietness of the cleaner. It reminded her of the most beautiful sound she knows – the sound of falling snow. An Ultrasilencer that is as easy on the eyes as it is the ears. Totally white, the design is boldly unconventional and as fresh as a layer of Scandinavian snow. But in Pia Wallén’s work, there is always a touch of humour. Flashes of bright orange on some of the machine’s functions echo the colour of guide poles that are used to mark pathways through the wintery Swedish landscape.
Swedish toy maker BRIO has been known for generations. Almost all of us (at least in Sweden and many European countries) grew up with the solid wooden railways, the shiny sausage dog Dachsie or the brightly coloured stacking clown.Toys come and go, materials change – but all in all what’s needed is the fuel of a child’s creative imagination – The power of play remains. BRIO sees play as a natural way for a child to learn and develop. But that’s not new. BRIO has been doing pedagogic toys for decades. At the moment BRIO is in the middle of a process to reposition the brand. They are going contemporary but are strongly holding on to the heritage at the same time – their authentic identity. And looks like it works; the target group defines them as a traditional, trusted and safe quality brand with pedagogic play values.
Alcro product: Stil (Swan eco-labelled) in colour” Aloe”
Alcro product: Servalac aqua blank in colour “Piri-piri”
Alcro product: Stil in colour “Saffran”
Iittala
A movement against throwawayism. In today’s fast-moving consumer society, there is a need for products that are made to last throughout a person’s life. Iittala has always believed everyone has every right to expect design to last a lifetime. Unfortunately a radical thought in today’s high-speed consumer society, where most of the things we buy are made to be replaced. It is a philosophy of “lasting everyday design against throwawayism” that drives the Iittala brand forward. Design insight and craftsmanship knowledge can shape a positive future for everyone, in all areas of design. By offering design that remains relevant no matter how times change, every individual is free to live their life without adding to the world’s mountains of useless things. The core of this philosophy is based on the early thinking of Kaj Franck, who believed that objects should always be appropriate, durable, and functional. This is also why Iittala believes that one of the most important functions of design is to ensure that items designed for everyday use should be universally usable and respond meaningfully to universal human needs. All Iittala products are also designed to be easily combined with each other, so that people do not feel the need to throw anything away simply because it does not ‘fit’. Rather than add to the mountains of waste, Iittala wants to improve people’s quality of life – and ensure that every product in the Iittala range embodies the principle of ‘lasting everyday design’.
Artek
2nd Cycle
Artek’s visionary design found its expression in breakthrough technology to create pieces as timeless as the Picassos that used to hang above them in the shops of Helsinki. The dints, the scratches and the patina tell their never-ending story. And no matter where they’ve been or the place they’ll end up next, one thing is certain: they’re never out of time nor out of place. As Alvar Aalto once said, “Nothing old is ever reborn, but neither does it totally disappear. And that which has once been, will always reappear in a new form.” Sustainable 2nd Cycle items are part of Artek’s environmental strategy. By creating the 2nd Cycle Artek wants to raise the discussion of conscious consuming, praise the authentic design and honour the importance of originality. Solidly made and impervious to fashion, these iconic pieces of furniture have gained value and beauty through their everyday use. A coded RFID tag embedded in each 2nd Cycle item records the furniture’s history, stories, as well as information about its origins. The tag can be read by mobile phone, revealing an internet link to the particular item’s history, allowing also new owners to upload their own stories..
AUDI Vorsprung durch technik Current knowledge on the topic of CO2 CO2 stands for carbon dioxide. This colorless and odorless gas is a natural component of air. Most of the CO2 in the air is produced by humans and the cellular respiration of other living things. A further proportion is produced by the complete combustion of carbon-containing raw materials. The reduction of CO2 emissions is one topic in the current debate on climate protection. The reason for this is that CO2 absorbs part of the heat radiated by the sun, which causes the greenhouse effect and in turn the warming of the earth’s atmosphere. CO2 emissions in vehicles The CO2 emissions from vehicles are governed directly by the fuel consumption. Compared with petrol, diesel is slightly more disadvantageous in terms of CO2 emissions. The lower consumption, however, balances this out again. Basically speaking, three factors influence the level of CO2 emissions, these being a driver’s individual style of driving, vehicle technologies and transport systems. Holistic concept at Audi TRUTH IN ENGINEERING is a commitment. At present, no other automotive manufacturer implements a holistic concept as consistently as Audi. As the pioneer of numerous technologies, Audi represents a clear stance on the topic of CO2. Factual argumentation and responsible eco-conscious behavior help promote a sustainable form of mobility.
ARENA Timeless publishing
The publication of the publishing house Arena consists of general specialist literature with a focus on art, design, travel and graphic handbooks. Several titles have been awarded with “Svensk bokkonst”, a certification that Arena is living up to their objectives concerning quality and timeless design. Further info about the Arena books at www.arenabok.se or contact at info@arenabok.se.
07 SHARING DESIGN KNOWLEDGE DEIGNBOOST 07 – Sharing design knowledge
Arkitektens hem
Vespan, Myran, Chanel No 5 – historien bakom 30 designklassiker
Designboost 07 is the first in a series of annual year-books. It’s a creative resume of the premier Designboost main event that took place in Malmö, Sweden in October 2007. The book is an inspirational journey into the world of “sustainable design”, the main theme for the event. You will be presented in writing and pictures to the different three legs of the event; the Boost Chats, Boost Talks and the Boost Show. You will be able to read the visions of “sustainable design” in sharp “oneliners” from all of the international participants. On top of this a DVD attached to the book which encapsulates the creative, humanistic and relaxed feeling of Designboost 07.
The general interest in interior decoration and architecture is reflected in the home supplements of the daily press and in all the TV-shows about design. But how does it look in the homes of the professionals? What kind of thoughts do they have around their own resident? In the book “Arkitektens hem” we will get an unique opportunity to see 28 different homes of architects. Some have ecological thinking as their guiding star. Others give priority to the location. Or the aesthetics. And so on. Everyone, despite how you live, can be inspired by photographers and wise words from a couple of the foremost ambassadors of the occupational group.
The look of objects made by man is not a coincidence. They are all designed. Some design will soon be forgotten while some will live on and continue to fascinate new generations. In the book “Vespan, Myran, Chanel No 5” we will be able to learn more about a couple of the most interesting designed objects and its creators. The selection includes everything from simple everyday objects like the scissors, telephone and crockery to extreme designer furniture like Hill House Chair (the rumour says that it originally was made for the gloves instead of the bottom of the designer). A lot of the objects will be recognized at first sight, like the Ant chair and Superellipse. And the Vespa of course, which wasn’t a mish-mash of aeroplane parts.
Personakt Sven Lundh
Bruno Mathsson
På spaning efter Lamino
Furniture entrepreneur Sven Lundh has for a long time offered a platform where now established designers has been able to create incredible things. One good example is Concrete - the concrete chair by Jonas Bohlin, one of the major classics in Sweden. In the book “Personakt Sven Lundh” we will meet an open-minded producer that would like to brake the boundaries between art, craft and design. In texts by Gunnar Lindqvist, Sune Nordgren and Rebecka Tarschys the multifaceted work and intensive engagement of Sven Lundh is illuminated.
With a great confidence and an outstanding credence in personal capability Bruno Mathsson made a fantastic career, all the way from his fathers woodworks to international success. Its a portrait of Bruno Mathsson by three writers – as a person and as a furniture designer. Karin Winter, who has been working at The Swedish Museum of Architecture, is searching for his sources of inspiration. Nina Stritzler-Levine, exhibition manager at the design institute Bard Graduate Center in New York, writes about the amazing reception of Bruno Mathsson in the US.
The furniture designer Yngwe Ekström from Småland is one of the greatest profiles in Swedish design history. His chair Lamino, designed in the fifties, has been chosen furniture of the century – an extremely popular and timeless best seller. “På spaning efter Lamino” is the story of a designer and his creative power during a dynamic period in the history of Swedish furniture design. It’s also a personal story about a creative man’s vision of a better world. About creation of furniture in the heart of Småland and entrepreneurship during the fifties and sixties.
During the Stockholm Furniture Fair the books of Arena are available at the bookstore Konst-ig (stand AG:01).