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Extension du domaine du design Estampillé « édition anniversaire », ce troisième numéro de DEE Magazine coïncide, de fait, avec les cinq ans de notre association. Logiquement, nous avons dressé une rétrospective de ces cinq ans et, dès lors, un volet conséquent du magazine est consacré aux achèvements passés. Cependant, limiter ce numéro à une simple commémoration serait allé un peu vite en besogne.

Cette demi-décennie d’existence aura aussi laissé des traces dans notre association, qui a forcément changé et évolué, en mieux nous l’espérons, ce qui impose de facto une présentation de son état actuel ainsi que de notre positionnement sur la scène du design au Luxembourg. Celui-ci, résolument tourné vers l’avant, vous laisse apercevoir nos projets à venir, mais également des ambitions et revendications inhérentes. À celles-ci viennent se greffer une série d’articles d’experts internationaux sur le rôle du design dans les domaines de la culture, de l’économie, de l’éducation et, plus largement, dans la société. Par ailleurs, nous avons souhaité être exhaustifs en y insérant des outils d’information dont un guide des écoles et un listing de structures internationales (musées, festivals, associations…) se vouant comme nous au design. Enfin, nous proposons un premier état des lieux de la scène nationale du design en réunissant labels, entreprises, institutions, initiatives et personnages clefs dans un répertoire afin d’illustrer la vivacité et la diversité du design au Luxembourg.

Nadine Clemens et Mike Koedinger, rédacteurs en chef

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Design Friends since 2009

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Contents Part 1 about Design Friends

Cinq ans, le moment d’aller plus loin

Part 2 about Design

6

Interview avec le comité de Design Friends réalisée par Céline Coubray Give me 5!

12

18

Conferences, exhibitions & events Design Friends in numbers

40

5 seasons stats Design Friends Publications

42

Catalogues & books De-Signs 44

Programme preview 2014–2015

Interviews with international design experts

72

Design Interplay Sven Ehmann im Gespräch mit Axel Kufus

72

Wirtschaftsfaktor Design Sven Ehmann im Gespräch mit Brigitte Wolff

77

Design Thinking. A Conversation Ellen Lupton, interview by Angelina A. Rafii

84

Il faut garder l’œil ouvert Marie-Claude Beaud, propos recueillis par Céline Coubray

86

London Calling

By Dennis Elbers

92

Listings

96

International Design structures

Creative and practical sign painting workshop

by SUMO Fast Forward

48

Cataloguing your scene About the Luxembourg design scene

5 members about Design Friends Design Friends Timeline 2009–2014

Luxembourg Design Scene

46

Events & festivals

96

Museums & institutions

99

Professional associations, organisations & networks 101 Design Schools Luxembourg & Greater Region

104

Europe 106 Worldwide 112

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Cinq ans, le moment d’a À l’occasion des cinq ans de Design Friends, Nadine Clemens, présidente, et Mike Koedinger, vice-président, expriment leurs visions du design et le rôle qu’occupe cette discipline au sein de la société luxembourgeoise. Cet anniversaire est aussi une occasion de faire grandir cette association.

Une interview avec le comité de Design Friends réalisée par Céline Coubray

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d’aller plus loin Le cinquième anniversaire de Design Friends est l’occasion d’analyser ce qui a été réalisé par l’association. Quel état des lieux dressezvous ?

En cinq ans, nous avons véritablement réussi à nous inscrire naturellement non seulement sur la scène du design, mais également au sein de la scène culturelle au Luxembourg. Design Friends est devenu un acteur de référence pour le milieu culturel. Pour preuve, le ministère de la Culture nous invite à participer à des jurys et des institutions comme le Mudam, la Fondation de l’architecture et de l’ingénierie ou le CarréRotondes, avec qui nous collaborons, nous laissent carte blanche dans la programmation.

Ce qui est formidable, c’est que la qualité de nos événements et de nos conférenciers est là, mais le public aussi. Parallèlement à un public de base, à la fois fidèle et qui change selon les événements, nous avons aussi réussi à rajeunir l’auditoire. Lors de la conférence d’Erik Spiekermann par exemple, sur les 180 personnes inscrites, presque un tiers des personnes présentes était des étudiants, dont certains venaient de Trèves. Il faut bien avoir conscience que les conférences que nous parvenons à or-

ganiser à Luxembourg n’ont pas d’équivalent à Metz ou à Trèves. Nous réussissons à la fois à inviter des talents ascendants autour de 35-40 ans, et qui ont souvent peu de temps, car ils développent leurs affaires, et des stars reconnues internationalement qu’il est très difficile d’avoir, car très sollicitées. Au total, ce sont quand même 25 conférenciers que nous avons invités et 3 825 personnes qui sont venues les écouter ! Design Friends est devenu la plateforme où le milieu du design peut se rencontrer, avec aussi bien des étudiants que des professionnels, sans exclure un public culturel qui manifeste un intérêt pour le design. Ce mélange des genres est intéressant.

Chaque conférence est également accompagnée par une publication monographique.

Pour certains de nos conférenciers, c’est d’ailleurs la seule publication monographique dont ils disposent. C’est en plus l’occasion de faire intervenir pour chaque ouvrage un graphiste différent, et un auteur qui réalise une interview exclusive. Et il ne faut pas oublier les autres événements, comme les projections de films, les expositions ou des actions plus ponctuelles comme la création de dessins pour les timbres de Post Luxembourg ou des projets de cartes postales.

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Pour autant, vous ne bénéficiez d’aucune aide publique directe et régulière.

Comment pourriez-vous évoluer avec plus de moyens ?

Non, et cet anniversaire est pour nous l’occasion de formuler quelques revendications. Pendant cinq ans, nous avons réalisé nos activités et trouvé notre public à la seule force des bénévoles. Dans le magazine, nous dressons un bilan à la fois factuel et analytique. Nous avons rédigé une série d’outils pratiques comme un index des écoles en design, un Who’s Who national qui rassemble des personnes, des institutions, des designers, des événements, des entreprises en lien avec le design. Nous présentons par ailleurs des institutions internationales comme des musées, des centres, des lieux d’expositions, des associations, en faveur du design professionnel. À travers ces exemples internationaux, nous montrons ce que l’association pourrait être avec plus d’appui financier.

Aujourd’hui, nous avons encore du mal à trouver le bon interlocuteur pour nous ­aider.

Nous pourrions avoir un lieu, que nous pourrions partager avec d’autres associations ou organismes proches du monde du design, créer un emploi au moins en temps partiel qui pourrait assurer le travail administratif réalisé actuellement bénévolement par les membres. Cela permettrait de consolider et pérenniser la situation de cette association. C’est aussi intéressant pour l’Université d’avoir un interlocuteur spécialisé. Le thème ne va pas devenir moins important dans le futur, tout au contraire, il faut donc un peu plus de moyens pour pouvoir développer notre champ d’action. Pour la première fois cette année, nous avons engagé un stagiaire rémunéré pour nous aider à réaliser le magazine. Il s’est avéré que c’était vraiment la bonne façon de faire, car le travail réalisé a pu être bien plus important que ce que nous aurions pu faire en bénévolat.

Le domaine des industries créatives dépend du ministère de la Culture, mais notre discipline touche aussi le secteur du ministère de l’Économie. Dans la vie réelle, la discipline touche les deux ministères, mais pour le gouvernement, cela ne peut être qu’un seul des deux ministères, et donc personne in fine ne prend le challenge d’accueillir le design sous son aile.

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Le fait d’avoir un lieu vous permettrait également d’organiser plus d’expositions.

Cela pourrait en effet être envisageable et nous permettrait de développer un tourisme nouveau, d’amateurs de design. Le design est un mot-clé dans les recherches lorsqu’on visite une nouvelle ville ou un nouveau pays.

Cela permettrait aussi d’avoir un lieu ressource pour toutes les personnes qui cherchent des renseignements ou des informations sur le design.

Est-ce que votre action inclut aussi le lobbying ?

Non, nous laissons cette mission à Design Luxembourg qui est une association des professionnels du design. Ils défendent le respect et la reconnaissance des métiers du design. Nous sommes complémentaires de Design Luxembourg puisque Design Friends s’occupe du développement culturel de cette discipline.

Même si nous pourrions considérer que, parce que nous valorisons les métiers du design, nous faisons du lobbying indirect. Nous donnons envie aux jeunes de s’orienter vers ces études et leur donnons la possibilité de rencontrer les professionnels. Les jeunes ont devant eux des exemples concrets de designers qui vivent de leur métier au Luxembourg, sans devoir s’expatrier.

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Justement, restons dans le milieu professionnel et de l’entreprise. Quel rôle le design peut-il jouer pour les entreprises et les PME ?

Le design peut être un facteur différentiel ou encore ouvrir de nouveau secteur de marché. Le design ne concerne pas seulement l’emballage, il peut aussi s’agir d’amélioration de service, de design management. L’exemple d’Eppelpress est très révélateur. C’est au départ un produit de qualité, mais courant. Grâce à leur démarche, ils ont créé une marque, ils appliquent radicalement leur design et ont réussi à imposer leur jus de pomme. Que ce soit Apple, une des plus grosses entreprises du monde, ou Eppelpress, une toute petite entreprise, dans les deux cas, l’utilisation du design leur est bénéfique. Chaque secteur, chaque taille d’entreprise peut l’appliquer et se réinventer.

L’anti-exemple serait Luxlait, qui profite de sa situation quasi monopolistique pour ne pas faire d’effort. Visiblement, ils ne croient pas en la force du design et ne soignent pas beaucoup leur emballage. Ils ont pourtant un très bon produit, frais et local, qui pourrait bénéficier d’un capital sympathie supplémentaire. Mais parce qu’il n’a aucune nécessité économique, Luxlait ne fait pas l’effort d’aller vers un meilleur design alors que la marge de progression à faire est fantastique.

On peut aussi citer l’exemple de Rosport qui avec la création de Rosport bleu signe un des plus beaux lancements de produit de ces 20 dernières années. Face à la concurrence, Rosport qui est pourtant une petite entreprise luxembourgeoise, a su se renouveler et proposer un produit nouveau, en appliquant une démarche de design thinking. Cela leur a permis de ne pas perdre de part de marché, et même d’en gagner, car aujourd’hui ils ont réussi à imposer leur produit. D’une menace, ils ont su retourner la situation et en faire un succès. Et c’est encore mieux si le produit est de qualité.

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Et de la part des designers, quel est leur point de vue ?

Les designers luxembourgeois ont du mal à aller de la phase de prototypage à la chaîne de production. Mauro Dauro, par exemple, a dû aller en Italie pour faire fabriquer, avec de l’acier luxembourgeois, l’installation présentée à Luxembourg dans l’ancien siège d’ArcelorMittal. Il y a actuellement un manque de compétence au niveau de l’artisanat. Cela devient un problème encore plus important lorsqu’on va au niveau de l’édition, car il n’y a pas de dialogue possible, même au niveau de la recherche. Cela pourrait être un argument pour les jeunes qui hésitent encore à se diriger vers l’artisanat, car travailler avec des designers est beaucoup plus valorisant. Il y a des parties du travail de l’artisan qui sont plus difficiles, mais cette partie de collaboration avec les designers peut être gratifiante pour eux. Et nous avons de grandes lacunes dans notre artisanat. Essayez de trouver quelqu’un qui travaille le cuir par exemple…

Comment Design Friends définit le champ du design ?

On ouvre la définition du design qui pour nous n’est pas que du product ou graphic design, mais peut être aussi du sound design ou du food design. Nous avons aussi des critères de qualité et des exigences d’esthétique.

On peut définir le design au service de quelque chose, qui a une fonction, mais dans notre programmation, nous pouvons aussi déborder par provocation de réflexion. On peut alors glisser vers quelque chose de plus artistique. Ce n’est pas une erreur de jugement, c’est une volonté et après avoir fait beaucoup de conférences où le design est un art appliqué, il est aussi intéressant d’écouter l’expérience d’un designer qui est à la frontière entre l’art et le design. Ce qui est certain, c’est que le design est bien plus qu’un vase de Philippe Starck en matière synthétique. Le design fait partie du quotidien, est à l’origine de nombre d’objets auxquels on ne prête pas attention parce qu’ils fonctionnent bien. Le design est aussi au niveau des idées, des réflexions qui vont vers le futur, l’amélioration de la société.

Cette démarche montre alors un niveau de développement de très haut niveau, qui peut même influencer l’image de tout un pays.

Le design montre en effet le degré de civilisation d’une nation.

On se rend bien compte de cela lorsqu’on voyage. Le design contribue à l’image de marque d’une ville et peut même devenir l’expression d’un territoire. C’est par exemple le taxi jaune à New York, le bus rouge à Londres. Alors que la société tend vers la globalisation, si une région ou un pays met en valeur ses spécificités, il gagne en identité. Le mobilier urbain et les transports publics sont des domaines où le design peut s’exprimer avec beaucoup de force. Finalement, aujourd’hui on a besoin de se distinguer. Lorsqu’on voyage, on recherche quelque chose de spécifique. C’est une chance pour les villes, les régions et les pays qui ont développé et investi dans un design qui leur est propre, car ils se démarquent.

Le design donne l’impression d’une société « civilisée ». Et il ne faut pas oublier que le secteur du tourisme est un vecteur fort de développement. Les régions qui ont une distinction claire gagneront des marchés. Tout le monde n’a pas la météo, la mer ou un patrimoine très riche pour attirer les foules. Mais il y existe d’autres facteurs d’attractivité. Et le design peut exprimer la cohérence et la force d’un pays.

Aujourd’hui, le design va bien au-delà de la création de formes puisqu’il va jusque dans la systématisation d’une procédure de travail. On arrive alors dans l’univers du très haut de gamme, où on recherche la perfection.

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5 GIVE ME

It’s already been 5 years that we’ve been working on this adventure and we’ve decided to give 5 of our members the voice to speak out their opinion about Design Friends’ work over the last 5 years. You’ll know everything from their perception of what design is to their personal design crushes!

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5

Claudia Eustergerling

Dipl. Designer, Inhaberin Claudia Eustergerling Design Ex-Präsidentin Design Luxembourg

Was motiviert Sie, Design Friends seit 5 Jahren als Mitglied die Treue zu halten?

Inspiration und Austausch mit internationalen Designer-Kollegen und Freunden nach Büroschluss und nur einen Katzensprung entfernt – Design Friends macht das möglich. Am Anfang galt es den Aufbau des als Pendant zum Berufsverband gegründeten Vereins (Design Luxembourg, Anm. d. Red.) zu unterstützen, der die R ­ eihe der beliebten öffentlichen Vorträge langfristig weiterführen und alle Designinteressierten zusammenbringen sollte, um die breite Öffentlichkeit für das Thema zu sensibilisieren. Als Designer erschien und erscheint mir die Mitgliedschaft seitdem für mich und mein Büro selbstverständlich. Das Programm wurde über die Zeit erweitert und ausgebaut und ist immer wieder eine willkommene Abwechslung zum Alltag, zu der ich auch Kunden und Freunde gerne einlade. Toll zu sehen ist umgekehrt, wie Luxemburg durch die Gastredner und das Engagement einiger Mitglieder auch in der Designszene im Ausland zum Begriff wird.

Design Friends hat mittlerweile mehr als vierzig Events und Projekte organisiert. Welche sind für Sie die Highlights?

Als Persönlichkeit ist mir Elvis Pompilio in Erinnerung, außerdem gefielen mir die Arbeiten von Joachim Sauter und Michael ­Johnson und das Umdenken von Murat Günak. Als Highlights sehe ich auch die alljährlichen Kick-off Events und die Filmvorführungen wie ­Design & Thinking, Helvetica und Urbanized. Natürlich war auch der Postocollant-Wettbewerb ein Highlight für mich. Über die Briefmarke freue ich mich täglich. Auch von den anderen Eindrücken zehrt man lang, finde ich.

Sehen Sie eine Entwicklung im Design in Luxemburg in den letzten Jahren?

Design wurde in den letzten Jahren stärker thematisiert, jeder ­möchte gut gestaltete Produkte auf dem neuesten Stand der T ­ echnik.

Meinem Eindruck nach wird Design in Luxemburg jedoch ­immer noch auf Produkt- und Grafikdesign beschränkt. ­ Unterdessen wurde der Begriff Innovation innerhalb kürzester Zeit populär.

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Das Verständnis dafür, welche Rolle Design in diesem Kontext spielt und welches Potenzial der Einsatz bietet ist nicht sehr weit verbreitet. In anderen Ländern ist das Design-Denken in Bevölkerung und in Unternehmen schon weiter entwickelt.

Sie haben Ihr eigenes Grafikdesignstudio gegründet; inwiefern kann, Ihrer Meinung nach, Grafikdesign ein Mehrwert für die Unternehmen sein?

Zielgerichtet eingesetzt kann Design in vielen Hinsichten einen Mehrwert bringen. Das muss nicht immer finanzieller Natur sein, kann weiter überlegt aber oft durchaus darauf umgemünzt werden.

So stärkt zum Beispiel das Corporate Design eines Unternehmens die Identität, das Interior Design vielleicht eher das Wohlbefinden von Mitarbeitern und Kunden. Es kann aber auch den Umgang beeinflussen oder Abläufe ändern, die wiederum eine eindeutige Signalisation verlangen und von Kommunikationsmittel begleitet werden und vielleicht Ideen für neue Produkte oder Services bringen können – die wiederum neue Zielgruppen und Märkte erschließen können. Die Beziehungen sind vielfältig. Aber auch die Möglichkeiten verschiedene Ziele zu erreichen. Dies ist auch der Grund warum mein Studio sich nicht auf Graphic Design beschränkt und proaktiv agiert im Sinne einer partnerschaftlichen Zusammen­ arbeit. Meiner Erfahrung nach ist nur ein ganzheitlicher Ansatz bei dem Design langfristig angewendet wird wirklich gewinnbringend und meistens auch kostensparend.

Wie würden Sie die gegenwärtige Rolle des Designs in der Wirtschaft definieren?

Die Krise hat dazu geführt, Investitionen genauer zu ­überdenken – gesättigte Märkte erfordern deutlichere Differenzierung – der Energiehaushalt bedarf neuer Lösungen und Ergebnisse aus der Forschung müssen in Anwendungsformen übersetzt werden – Wo wird Design nicht gebraucht? Das Potenzial ist längst nicht ausgeschöpft. Zu wenige Akteure haben das bisher erkannt. Der Unterschied zwischen denen, die Design anwenden und denen, die es nicht tun ist klar erkennbar.

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Design Friends hat mittlerweile mehr als vierzig Events und Projekte organisiert. Welche sind für Sie die Highlights?

Hier nachträglich ein Ranking zu bilden ist schwierig. Markant waren unter anderem die Begegnungen mit Niklaus Troxler (der Schweizer Plakatgestalter) und jüngst der Münchner Mirko ­Borsche (Editorial Design).

Sehen Sie eine Entwicklung im Design in Luxemburg in den letzten Jahren?

Wir haben in Luxemburg eine außerordentlich gute und interessante Grafiker-Szene. In der Produktgestaltung tut sich naturgemäß weniger, da wir nicht viele entsprechende Industrien und Werkstätten haben. In der Architektur und der Innenraumgestaltung haben sich bei uns, teilweise mit etwas Verspätung, internationale Trends installiert. Dort wo viel Geld im Spiel ist und/oder die richtigen Entscheidungsträger beteiligt sind, lässt sich gutes LuxusDesign leicht verwirklichen. Ein Manko haben wir sicherlich noch immer im Low-Profile- und im innovativen Sektor. Aber wir sind ja auch ein kleines Land...

Hans Fellner

Autor, Kurator, Ex-Buchhändler

Was motiviert Sie, Design Friends seit 5 Jahren als Mitglied die Treue zu halten?

Zunächst habe ich die Initiative der Gründung von Design Friends, eine wirkliche „Association sans but lucratif“ für eine tolle ­Sache gehalten. Bereits während des Kunstgeschichte-Studiums war Design-­ Geschichte einer meiner gewählten Schwerpunkte. Das Niveau der Veranstaltungen, besonders auch die Prominenz der Eingeladenen ist immer wieder überraschend und bereichernd, dazu geschickt die ganze Bandbreite abdeckend. Ich persönlich sehe die Events von Design Friends als Teil einer professionellen „Formation continue“.

Der direkte Austausch mit den Aktiven in Luxemburg und den eingeladenen Designern ist dabei ein weiteres Plus.

Sie haben sich, auch als Kurator, speziell mit Kunst im öffentlichen Raum beschäftigt. Wie können Design und Gesellschaft Ihrer Meinung nach hier zusammenfinden?

Tatsächlich habe ich mich in den letzten Jahren viel mit Fragen des öffentlichen Raums und der Stadtsoziologie beschäftigt. Zur Zeit beschäftigen mich etwas weniger Überlegungen, den öffentlichen Raum mit Kunst oder spektakulären Designobjekten zu beglücken; es geht mir mehr um Grundsätzliches zu den Themen Identität und Verortung, einfach ausgedruckt: wie und wann fühlen wir uns wohl und gut aufgehoben im öffentlichen Raum? Unserer Stadt mangelt es da an dem, was ich „Unterschwelligkeit“ nenne, frei nach dem Motto „Design ist unsichtbar“. Hier geht es also um den subliminalen Bereich. Ein einfaches Beispiel: Was in Städten wie Paris oder London zu einer fast unbewussten aber sicheren Verankerung der Bewohner und Besucher beiträgt, ist die durchgängige uniforme farbliche Identität von etwa Bussen oder Müllbehältern. Wir hatten das ganz früher auch mal, aber heute gibt es fünf Farben und Formen für Müllbehälter, sehr verschiedene Straßenlaternen und die Busse sind zum Teil mit bunten Barcodes beklebt. Weniger wäre also mehr.

Wie sehen Sie die Wahrnehmung von Design, speziell bei der Bevölkerung in Luxemburg?

Es ist schwer, für „die Bevölkerung“ in „Luxemburg“ zu sprechen.

Machen wir uns nichts vor: Design, also kreative Gestaltung, hat auch schon historisch gesehen immer einen Hauch von Avantgarde, ja: einen elitären Charakter. Ein Stuhl, der heute als teures wohlüberlegtes handwerkliches Designobjekt entworfen wird, findet sich in fünf Jahren verballhornt und trivialisiert bei IKEA. Neue Ansätze in der grafischen Gestaltung brauchen manchmal Jahrzehnte bis sie dann hinabsickern in das einfache gedruckte Vereinsprogramm. Die mittlerweile alte Frage und Aufgabe des Designs, Form und Zweck zu verbinden, wird nie das breite Publikum direkt und als Ganzes ansprechen, da Vorstellungen und Ansprüche nicht gesamtgesellschaftlich übertragbar sind. Dieses Problem der Kompatibilität von Geschmack und Wahrnehmung, aber auch die Macht wirtschaftlicher Interessen der Massenindustrie zeigen die Grenzen der unmittelbaren Wirkung von gutem Design auf. Damit rückt Design oft in eine mit jener der Kunst vergleichbaren Position: Wer sich damit beschäftigt, hat Spaß und einen persönlichen Gewinn.

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Georges Zigrand

Design consultant

What motivated you to be a member of the association for 5 consecutive years?

Very good conferences covering all aspects of design with valuable speakers! Also, the conferences give everybody the chance to meet these creative professionals personally and exchange ideas.

Since the beginning Design Friends has organised more than 40 events and projects. What have been your personal highlights?

There were a range of highlights, in my view, but I suppose it ­depends on what makes you tick. My personal favourite was the conference by Sam Hecht of Industrial Facility.

The way we look at design has changed over the last few years in Luxembourg. What is your perception of this evolution?

It’s heading in the right direction and a lot of good projects and initiatives are now happening in Luxembourg, something that only 10 years ago was difficult to imagine. But there are also still a lot of misconceptions out there as to what design is, and what good design is. Raising awareness for good design is, I suppose, the main challenge for Design Friends.

As a designer you predominantly work in the fields of product design and in the public realm. What do you think the role of design should be in our everyday lives?

The everyday is my main influence in the design process. Design should influence and make daily life a better experience. In my view design is the improvement of things and processes that one has to deal with every day. Design is often far too arty and trendy for its own good; design should be in the background, quietly working its magic.

You designed the terraces for the Place d’Armes in Luxembourg City. Could you describe your perception of design in the public space in general, and more particularly in a city centre?

The Place d’Armes project, commissioned by the City of Luxembourg, was a subtle strategy to improve the perceived quality of the space by coordinating colours, objects and materials in a comprehensive manual. A lot of freedom remains in the hands of those using the space, but within a framework that improves that overall perception and the quality of the space.

To improve public space I think it is necessary to raise awareness and get people, citizens, shop owners, etc. involved in the process – a good public space is a place in which the public has been involved or has actively contributed. All of this is part of the design process.

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Heike Fries Entrepreneur, consultant (communication, branding & design) Former board member of Design Friends

Since the beginning Design Friends has organised more than 40 events and projects. What have been your personal highlights?

It is quite difficult to pick out more general highlights as every event excels in its own way. I like the diversification in the fields of design and in the mix of backgrounds though. Listening to a person like ­Harri Peccinotti with more than 50 years of career is a highlight for sure, but the thinking of people like Christoph Niemann, Michael Johnson or Stefan Diez also leaves a lasting impression. The exhibition Mapping August was a very interesting project thanks to its interaction with the community.

As a member of the board I have organised some conferences and each of them was a (personal) highlight. Before the event you have regular contact with the speakers to fine-tune the event. And you pass the day of the conference with him or her, or them, and that means you learn a lot about their vision and ideas. They all really liked their stay in Luxem­ bourg and our concept too, so there’s a lot of good feeling generated.

With most of them I am still in contact today.

The way we look at design has changed over the last few years in Luxem­bourg. What is your perception of this evolution?

Design is part of our daily life. It’s a major factor how we differentiate products and services, for our decision making-processes and how we finally connect with products and services and their providers. And with the increasing number of choices we are facing today this becomes more and more relevant. Clients have become increasingly aware of this.

They see that they need fundamentals to build a strong identity. Design and design management are indispensable elements to create and develop a brand. The perception of what designers can do changed: they are not just choosing colours, textures, shapes and images but advising and delivering solutions which integrate meaning with form. Design is more and more used to delight and surprise customers and to deliver personalised and pertinent solutions. For example, have a look at all the different special editions of Luxemburgish beer in the last few years. It is always a similar product inside the bottle; mostly the packaging makes the difference and attracts people in a different way.

How do you see the link between design and communication?

Communication transmits information, an idea. Design can s­ trengthen this action. With a strong visual identity the sender becomes unique and relevant. The visual language of the information/idea must be clear, simple, appealing and adapted to the understanding of the target audience. Visual design elements like colours, shapes, etc. underline the tone of voice as an important part of the brand identity. Design can influence very deeply how a communication is perceived.

What motivated you to be a member of the association for 5 consecutive years?

I had long appreciated one of Design Luxembourg’s initiatives, organising events and conferences around different design themes. They had the courage and the energy to bring some really interesting p ­ eople to Luxembourg. Then Design Friends was founded and took over responsibility for the conferences as a part of their activities. And the great thing they did was to open the doors to non-designers. Anyone can support the project by becoming a member. When that happened, there was no question, I had to join. The other reason is that I have a lot of friends who are designers or part of the larger design community. ­Every Design Friends event provides the opportunity to share informative and inspiring moments with friends but also to get in contact with new “friends of design”.

According to your experience, what could be the role of design in marketing strategies?

We are in a situation where in most cases the offer for products and services is larger than the demand. The marketing strategy is therefore driven by creating and communicating better values to customers and target markets, it’s also about providing the best customer experience and building long-term relationships. Customers want and have to know what a brand stands for and why they should choose its products or services. The number of possible touchpoints with a brand increases constantly. Although each touchpoint is an opportunity for awareness it becomes very difficult to manage an image and its perception everywhere and every time. Therefore instant and powerful brand recognition is essential. And that is where design plays an important role. The look and feel of a brand expresses its point of view and is part of the brand promise. Designing a visual identity, defining the right colours, shapes, typography, marks, etc. creates a visual language. A language which differentiates a brand, makes it unique and eases the emotional connection with customers. A coherent use of a strong visual identity for all touchpoints and communication channels helps the customer to feel familiar with the brand, builds trust and reflects quality.

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Paul Schwebach

Konschtprofesser am Lycée classique zu Dikrech

Wat huet Iech iwwerzeegt säit 5 Joer Member ze si bei Design Friends?

Et war am Fong de Silvano Vidale dee mech iwwerzeegt hat, mat op meng „éischt Konferenz“ ze kommen. Begeeschtert sinn ech direkt Member ginn. Haut sinn d’Evenementer fir mech ee festen Rendez-­ vous. Duerch d’Qualitéit vun de Conférencieren an duerch déi extrem Villsäitegkeet stelle si eng perséinlech an awer och professionell Beräicherung duer, a sinn zu engem agreablen Treffpunkt mat enger ganzer Rei vu Kollege ginn.

Design Friends huet säit dem Ufank ronn 40 Evenementer a Projete realiséiert. Wat waren Är perséinlech Highlights?

Ganz spontan: d’Konferenz vum Elvis Pompilio! Eng Konferenz wou ech mir näischt erwaart hat (am positive Sënn), eng Welt – d’Welt vum Huttdesign – déi ech net kannt hunn. En extraordinäre Personnage mat engem interessante Liewensparcours, geniale Kreatiounen, e gudde Conférencier, eng motivant Perséinlechkeet.

An deene leschte Joeren huet sech de Bléck op den Design hei zu Lëtzebuerg staark verännert. Wéi gesi Dir dëse Changement?

Fir mech als net Professionellen ass et schwéier hei drop eng Äntwert ze ginn. Ech menge schonn dass sech an de leschte Joeren eppes gedoen huet. Design Luxembourg, Design Friends, Design City, de CarréRotondes, déi vill kleng Agencen, nei Publikatiounen, d’Galerien a Geschäfter droe sécher dozou bäi, dass den Design een anere Stellewäert kritt huet. Vill „Décideure“ sinn sech der Plus-value vum Design bewosst ginn. Op der anerer Säit weess ech awer net, ob wierklech ee Mentalitéitswiessel beim Grand Public stattfonnt huet.

Als Enseignant an der Éducation artistique probéieren ech d’Schüler op den Design am Alldag opmierksam ze maachen an hinnen ze weisen, dass Design vill méi ka si wéi just iwwerflächlech Ästhetik. Des weideren erschéngt et mir als wichteg, Kompetenze mat op de Wee ze ginn, déi zu engem méi bewossten a méi kritesche Konsum vun diverse Produite féiere kënnen. D’Plus-value vun der Éducation artistique läit awer natierlech am Prakteschen, am selwer probéieren, am selwer designen, am selwer um Computer gestalten, am selwer kreativ sinn, am selwer bauen a sou doranner seng eegen Ëmwelt aktiv matgestalten ze kennen.

Wéi gesi Dir Zukunftsperspektivë fir déi Jonk am Design?

An deene leschte Joeren huet sech villes zu Lëtzebuerg am Konscht-, am Design- an och am Architekturmilieu gedoen. Als „Externe“ woen ech blauäugeg ze behaapten, a probéieren och menge Schüler dat esou mat op de Wee ze ginn, dass mat Talent, Haartnäckegkeet, vill schaffen an och méi oder manner Chance jidderee soll probéiere säin Dram ze liewen.

Dir sidd Konschtprofesser am Lycée classique zu Dikrech. Wéi eng Roll kann Ärer Meenung no Design an der Educatioun spillen?

D’Welt vum Design, z.B. dem Grafikdesign oder dem Industrie­ design, ass eng Welt déi Jugendlecher interesséiert, déi liicht accessibel ass fir si, eng Welt mat der si stänneg konfrontéiert sinn, an déi an hirem Liewen onbewosst eng wichteg Roll spillt. Leider ­begrenzt sech d’Virstellung vum Terme „Design“ bei ville Jonken awer op „deier Produiten“, de Karl Lagerfeld a mat vill Chance eng Alessi Toilettebiischt.

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Timeline

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FRIENDS WELCOME

e

OFFICIaL DESIgNFRIENDS KICK-OFF EVENINg aPRIL 1St, 2009 / 6.30 PM ExIt 07 / CaRREROtONDES WELCOME by SILVaNO VIDaLE / MuSIC by VINSéKRISS WWW.DESIgNFRIENDS.Lu / WWW.ROtONDES.Lu / CaRRéROtONDES / 1,RuE DE L’aCIéRIE / L-1112 LuxEMbOuRg

01.04.2009

Season 1 (2009/2010) Over the past 5 years, Design Friends have organised many events in order to present and to furthermore introduce about the different aspects of design through conferences, exhi­ bitions or screenings. We have worked with schools and local designers and brought to Luxembourg the cream of the crop of interna­ tional designers: product designers, photogra­ phers, graphic designers or even erotic product designers to explain their vision of contem­ porary design. We also explored more unex­ pected design fields such as food design, media design or scent design. This timeline gives you a pretty good overview of what Design Friends is all about.

Kick-Off Season 1 CarréRotondes Presentation of Design Friends’ first season of events and slideshow on the theme “What Design Can Be”.

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29.04.2009

01.07.2009

Christoph Niemann

Michel Mallard

A picture is worth 1000...

Misbehavin’

Illustration (lecture) | Mudam Luxembourg

Creative direction (lecture) | Mudam Luxembourg

Christoph Niemann’s illustrations have appeared on the covers of the New Yorker, Atlantic Monthly, The New York Times Magazine and American ­Illustration.

His work has won numerous awards from the Ameri­ can Institute of Graphic Arts, the Art Directors Club and American Illustration. He is the author of two chil­ dren’s books, The Pet Dragon, which teaches C ­ hinese characters to young readers, and The Police Cloud.

Highly valued as a precious link between the most outstanding visual newcomers and the creative estab­ lishment, Michel Mallard’s visionary approach to art direction has proved to be equally at ease behind high-gloss fashion magazines such as L’Officiel and Vogue Hommes International, as well as in more offbeat titles such as L’Autre Journal, Blast or Jalouse.

Through Michel Mallard Studio, his prestigious art direction and design firm, he has conceived numerous photography books (for Steidl, Schirmer& Moser... ) and curated photography shows.

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DESIGN FRIENDS

Fun Factory Love yourself 18 November 2009 6.30pm Mudam Luxembourg

PARTY delight

DF_PARTY_INVITE2.indd 1

17/09/09 12:56:50

03.10.2009

18.11.2009

CMYK

Fun Factory

A flashy and colourful evening

Love yourself

Design party | CarréRotondes

Product design (lecture) | Mudam Luxembourg

Concert by flashy electro band Christal&Crack and deejay sets by J+E, DJ Donut and Hervé B. The dress code was CMYK and Extrabold rewarded the bestdressed boys and girls with some gifts.

Fun Factory is Europe’s biggest manufacturer of stylish erotic silicone toys and trendsetters in the erotic toys market. The objects designed by Fun Factory prove that good design is characterised by a combination of perfectly, aesthetically shaped form and convincing functionality. Their products have been awarded with the Red dot design award (product design winner) and their quality has been approved by Öko-Test (rated “very good”!). A lecture about the fun of creating good design.

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M A P P I N G A U G U S T

THE EXHIBITION

OPENING 24/02/2010 AT 6.30PM

INFOGRAPHYTHM

31 INFORMATION REPORTS 25/02-04/04/2010

THE LECTURE

09/03/2010 AT 6.30PM

SIMPLEXITY

START MAKING SENSE BY SVEN EHMANN

13.01.2010

25.02 - 04.04 2010

Objectified

Mapping August

A documentary by Gary Hustwit

Infographythm

Product design (screening) | CarréRotondes

Information design (exhibition) | CarréRotondes

Objectified is a feature-length documentary by Gary Hustwit about the complex relationship with manufactured objects and, by extension, the people who design them. It’s a look at the creativity at work behind everything from toothbrushes to tech gadgets.

It’s about the designers who re-examine, re-evaluate and re-invent our manufactured environment on a daily basis. It’s about personal expression, identity, consumerism, and sustainability.

Thirty-one designers from around the world an­ swered the question “What did you do in August?” through the medium of infographics. More usually a tool for interpreting data, here it is applied to such topics as Italian gossip, graffiti and emotions, creating unforgettable designs that will change your way of understanding information.

THE BOOK

RELEASE 09/03/2010

MAPPING AUGUST

AN INFOGRAPHIC CHALLENGE

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SIMPLEXITY, START MAKING SENSE

By Sven Ehmann | March 09, 2010 | 6.30pm, Traffo/Carrérotondes

INSIGHT INTO

QOMPENDIUM KIMBERLY LLOYD

4

09.03.2010

26.03.2010

Sven Ehmann

Kimberly Lloyd

Simplexity, Start Making Sense

Insight into qompendium

Information design (lecture) | CarréRotondes

Editorial design (partner event) | Mudam Café

In today’s complex and rapidly changing times, with infinite amounts of information available everywhere and at anytime, the processing, editing, condensing and translation of data into understandable bite size pieces of information has become an essential skill.

Artists, scientists and designers are at the forefront of exploring new forms of visualising information and data-based storytelling. Sven Ehmann, creative direc­ tor of the design book publisher Gestalten gave an overview on the recent approaches artists are embrac­ ing as well as the diverse range of applications from cultural projects to business practices and beyond.

Qompendium is an evolving and ever-changing plat­ form for philosophy, art, culture and science, repre­ sented by a series of print publications: magazines, books and monographs. Furthermore, it is enriched by a gallery concept, a workshop and a fast-moving online portal.

data floW

•

The eight comprehensive chapters in Data Flow 2 expand the definition of contemporary information graphics. Wide-ranging examples introduce new techniques and forms of expression. In addition to the inspiring visuals, interviews with the New York Times’s Steve Duenes, Infosthetics’s Andrew Vande Moere, Visualcomplexity’s Manuel Lima, Art + Com’s Joachim Sauter, and passionate cartographer Menno-Jan Kraak as well as text features by Johannes Schardt provide insight into the challenges of creating effective work.

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1 DAY 2 EVENTS

G LE AD INE B E LE T HAN SU UR IN GY A N D R E A N E R L E R IG MO T U R E B M DE S A LE C G E SYS T E0 PM S IG NAY 2010, 6.3 BOUR G 20 MA M LUX E M M U DA

VENDREDI 09 JUILLET 2010

17H30 18H30 ASSEMBLÉE GÉNÉRALE

EXIT 07

MEMBERS ONLY

DESIGN FRIENDS’ FIRST SEASON IS OVER, IT’S TIME TO SAY THANK YOU AND TIME TO HAVE FUN.

Nous serions très heureux qu’un maximum de membres soit présent.

SI VOUS NE POUVEZ PAS Y ASSISTER, VEUILLEZ REMPLIR LE FORMULAIRE DE PROCURATION (CI-JOINT) ET NOUS LE RENVOYER AVANT LE 8 JUILLET. ORDRE DU JOUR

20.05.2010

KICK-OFF SEASON 2

FONDATION DE L’ARCHITECTURE ET DE L’INGÉNIERIE

-

Allocution de bienvenue Liste des présences Adoption de l’ordre du jour Discours du président Rapport d’activité 2009/2010 Comptes des recettes et dépenses Adoption d’un comité élargi Activités 2010/2011 Discussion ouverte

09.07.2010 1, rue de l’Aciérie

Drinks, snacks and networking.

Release and presentation of Kult’Schmull magazine by art students (2E) from Lycée Aline Mayrisch.

DJ DONUT & VJ SATCHMO BRING MANY FRIENDS WHO LOVE DESIGN.

1, rue de l’Aciérie

VOTRE COMITÉ DESIGN FRIENDS Silvano Vidale, président / Arnaud Mouriamé, vice-président / Mike Koedinger, trésorier / Nadine Clemens, secrétaire

Andreas Uebele

Season 2 (2010/2011)

More Luring Than Leading

Kick-Off Season 2

Signage design (lecture) | Mudam Luxembourg

Fondation de l’Architecture + Exit07

A signage system is part of an organisation’s corpo­ rate identity. For visitors this is the first impression they get. A signage system is an information system.

It is a part of this network creating an overarching identity. The design of a signage system is determined by looking at the place as a whole. Geographic loca­ tion, topographical features and cultural character­ istics define the parameters of the design. A signage system can achieve more for a company than simply pointing people in the right direction. It can give the place its own personality and reassure visitors that they have come to the right place.

The first season was over and it was time to say thank you and have fun! Season 2 was presented and the Kult’Schmull magazine by art students from Lycée Aline Mayrisch was launched.

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30.09.2010

17.11.2010

Harri Peccinotti

Kustaa Saksi

Depth of Field

Color burst

Photography (lecture) | Mudam Luxembourg

Illustration (lecture) | Mudam Luxembourg

Photographer Harri Peccinotti is known for his erotic work, most famously the Pirelli Calendar in 1968 and 1969. He was born in 1938 and continues to be an influential figure in art and fashion photography.

His work as art director of the UK fashion magazine Nova is widely considered as influential for its graphic design as well as photography. His work typically fea­ tures close up shots of the female form and the face in particular and is sensual. More recent work includes a fashion shoot for L’Officiel magazine.

Kustaa Saksi’s illustrations are a syrupy disarray of elements: playful, paradoxical, often over-glossy, inviting, troubling, messy, and yet strangely clear.

Radiating meaning, bending what’s real and distill­ ing what’s unreal he combines organic touches and viscous shapes into new world psychedelia. Finnish born illustrator Kustaa Saksi has been working with various clients in the world of fashion, music and en­ tertainment such as Nike, A-POC, Catskills Records, Adobe, and many more.

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L E H TICA VE L E H TICA VE HEL ICA T E V

lm ry fi ly nta it e m stw mbers on u ocu e A d ary H ing for M

by G e screen m at 30p Priv 1 6. 1 0 g 2 n our orai ar y anu uxembntemp J h 6t ino L r t co Cas um d’a For

In collaboration with

Partners

06.01.2011

02.02.2011

Helvetica

5.5 Designers

A documentary by Gary Hustwit

5.5 Designers by Vincent Baranger

Typography (screening) | Casino Luxembourg – ­Forum d’art contemporain Helvetica is a feature-length independent film by Gary Hustwit about typography, graphic design and global visual culture. It looks at the proliferation of one typeface as part of a larger conversation about the way type affects our lives. Helvetica has been shown at over 200 film festivals, museums, design conferences and cinemas worldwide.

Product design (lecture) | Mudam Luxembourg 5.5 Designers is a design studio started in 2003 by Vincent Baranger, Jean-Sébastien Blanc, Anthony Lebossé, and Claire Renard. Far from focusing only on shaping objects, the 5.5 Designers hold themselves to a conceptual rigor and a permanent questioning of what their designer status is. They stand by each of their creations as honest and accessible consump­ tion alternatives, which implies a true willingness to sublimate the ordinary.

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Niklaus Niklaus Troxler Troxler Poster Sound Sound Poster 16.März März 2011 2011 16.

18.30 Uhr Uhr 18.30 Mudam Mudam Luxembourg Luxembourg

16.03.2011

14.05.2011

Niklaus Troxler

Vitra Design Museum

Poster Sound

Visit of the museum in Weil am Rhein (Germany)

Graphic design (lecture) | Mudam Luxembourg Niklaus Troxler ist ein international ausgezeichneter Schweizer Grafiker, der auf Poster Design, Corporate Design, Illustration und Architekturmalerei speziali­ siert ist. Visuelle Wortspiele, musikalische Metaphern und die Umsetzung in unterschiedlichen illustrativen und typografischen Stilrichtungen kennzeichnen seine Poster. Viele davon beschäftigen sich mit dem Thema „Jazz“; aber zu seinen Kreationen zählen auch Motive mit politischem und gesellschaftlichem Inhalt oder Theaterplakate.

Product design / architecture (daytrip) | Weil am Rhein Guided architectural tour of the Vitra campus (with impressive buildings by Frank Gehry, Tadao Ando, Zaha Hadid ... ) followed by a visit of the new Vitra­Haus conceived by Swiss architects Herzog & de Meuron.

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JOACHIM SAUTER

THE RENAISSANCE OF SPACE

DESIGN FRIENDS’ SECOND SEASON IS OVER. NOW IT’S TIME TO MOVE ON TO THE THIRD DIMENSION. PROGRAMME OF THE EVENING Official launch of our new WEBSITE. Presentation of a series of 6 POSTCARDS designed by illustrators and students amongst our members, and published by Design Friends in collaboration with Indoor Media.

Presentation by CarréRotondes of the DESIGNOMAT. Music mixed by DJ ALAN BRIDGE. A FREE DRINK for every (re)newed membership!

A perfect occasion for drinks, snacks and networking.

08 JUNE 2011, 6.30 PM, MUDAM LUXEMBOURG

08.06.2011

01.07.2011

Joachim Sauter

Season 3 (2011/2012)

The Renaissance of Space

Kick-Off Season 3

Media design (lecture) | Mudam Luxembourg

Fondation de l’Architecture + Exit07

The Professor at the University of the Arts, Berlin and Creative Head of ART+COM, is convinced that after having spent nearly 20 years in front of our computers on our own, looking for information in the virtual space of the internet, we now desire to experience information shared more physically in public spaces (museums, exhibitions, etc.). But knowing about the qualities of digital media, we expect them in these narrative environments, too. German born Joachim Sauter gave an overview of his work merging digital media and reel space.

Design Friends’ second season was over and it was time to move on to the third dimension. The new website was launched and 6 postcards designed by illustrators and students amongst our members, and published by Design Friends in collaboration with Indoor Media were presented. The “D” cards project objective was to design 6 postcards on the theme of the letter “D”. The designers were: Stina Fisch, SUMO, Linda Bos, Hans (Pit Reger), Lucie Majerus, and Mik Muhlen.

EXIT 07 1, rue de l’Aciérie

BRING MANY FRIENDS WHO LOVE DESIGN

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Elvis Pompilio 30 November 2011 6.30 pm Mudam Luxembourg

www.designfriends.lu

05.10.2011

30.11.2011

Michael Johnson

Elvis Pompilio

ZIG ZAG

How to become a milliner

Graphic design (lecture) | Mudam Luxembourg

Fashion design (lecture) | Mudam Luxembourg

London-based graphic designer Michael Johnson, founder of Johnson Banks studios, works on identity and branding projects that constantly challenge the prevailing view that branding is serious, academic, and maybe a little dull. Based on many years of inter­ national experience working for clients as diverse as the British government, art museums or space ob­ servatories, Michael Johnson remarkably redefined corporate design with a high level of creativity and professionalism.

Internationally acclaimed hat designer Elvis Pompilio owns boutiques in Brussels, Antwerp, Paris, and Lon­ don. He works amongst others for Chanel, Hugo Boss, and collaborates with independent fashion designers.

Elvis Pompilio counts among his celebrity clientele many crowned heads, Madonna, Blondie and Mickey Rourke. A lecture about shape, fabrics, individuality and beauty.

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Exhibition

ThOneT essenCe A FILM BY DOUG PRAY PRIVATE SCREENING FOR MEMBERS ONLY

A seLeCTiOn OF ChAirs & FurniTure 07 – 26 FEbruary 2012 Cercle ratskeller - open everyday from 11 am to 7 pm - Free entrance

13 TH JANUARY 2012 6.30PM CARRÉROTONDES

lEcturE

reVieW & PreVieW

by sTeFAn Diez thursday, 16 FEbruary 2012, 6.30 Pm

13.01.2012

07.02. - 26.02.2014

Auditorium du Cité - in English - Free entrance - Please register at www.designfriends.lu

Organized by

Design Friends’ seasonal partners

Print Paper

Cercle Cité, Place d’Armes L-2012 Luxembourg, info@cerclecite.lu

Please register at www.designfriends.lu

THONET_POSTER 420x450.indd 1

18/11/11 10:40

Art & Copy

Thonet Essence

A film by Doug Pray

A selection of chairs & furniture

In collaboration with

Partners

Advertising design (screening) | CarréRotondes

Product design (exhibition) | Cercle Cité

Art & Copy is a powerful film about advertising and inspiration. Directed by Doug Pray (Surfwise, Scratch, Hype!), it reveals the work and wisdom of some of the most influential advertising creatives of our time – people who’ve profoundly impacted our culture, yet are virtually unknown outside their industry. Exploding forth from advertising’s “creative revolution” of the 1960s, these artists and writers all brought a surprisingly rebellious spirit to their work in a business more often associated with mediocrity or manipulation: George Lois, Mary Wells, Dan Wieden, Lee Clow, Hal Riney and others featured in Art & Copy were responsible for “Just Do It,” “I Love NY,” “Where’s the Beef?,” “Got Milk,” “Think Different,” and brilliant campaigns for everything from cars to presidents. They managed to grab the attention of millions and truly move them.

Family enterprise Thonet is considered a pioneer of furniture design throughout the world. Ensuring a long established tradition of quality and innova­ tion in design, the company today works with many renowned contemporary designers. The exhibition at Cercle Cité presented a comprehensive overview of the tabular steel and bentwood classics of the Th ­ onet collection. At the opening night craftsmen of the ­Thonet factory gave an insight into the bentwood ­process and produced a series of chairs on the spot.

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Exhibition

ThOneT essenCe

A seLeCTiOn OF ChAirs & FurniTure 07 – 26 FEbruary 2012 Cercle ratskeller - open everyday from 11 am to 7 pm - Free entrance

SOUND DESIGN, NOISE ATTACKS AND MUSIC CHRISTIAN SCHNEIDER 28 MARCH 2012, 6.30 PM MUDAM LUXEMBOURG

lEcturE

reVieW & PreVieW

by sTeFAn Diez thursday, 16 FEbruary 2012, 6.30 Pm

Auditorium du Cité - in English - Free entrance - Please register at www.designfriends.lu www.designfriends.lu

03.28 CHRISTIAN SCHNEIDER_POSTER 420x420.indd 1

Organized by

Design Friends’ seasonal partners

24/01/12 14:36

Print Paper

Cercle Cité, Place d’Armes L-2012 Luxembourg, info@cerclecite.lu

Please register at www.designfriends.lu

THONET_POSTER 420x450.indd 1

18/11/11 10:40

16.02.2012

28.03.2012

Stefan Diez

Christian Schneider

Designer at Thonet

Boom Tschak Bang

Industrial design (lecture) | Cercle Cité

Sound design (lecture) | Mudam Luxembourg

Industrial designer Stefan Diez, who founded his ­studio in 2003, works in various fields of design rang­ ing from furniture and tableware to industrial design and exhibition design. He has worked for companies like Authentics, Bree, e15, Established and Sons, ­Moroso, Rosenthal, Thonet and Wilkhahn.

Today the audible identity of a project or a product has become a very important design parameter. The sound a product makes contributes to its brand iden­ tity as well as its visual or functional design. Christian Schneider is a Frankfurt-based musician and sound designer. In 1999 he founded pearls music, a studio specialised in acoustic identity and sound design.

In his talk boom tschak bang. Sound Design, Noise ­Attacks and Music he gives an insight into the process of producing sound designs and gives examples of the work he did for clients such as Mercedes, Schöffer­ hofer, Deutsche Bahn, Milka or Kylie Minogue.

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06.06 MARIO LOMBARDO_POSTER 420x420.indd 1

10.05.2012

06.06.2012

Urbanized

Mario Lombardo

Documentary film by Gary Hustwit

The Tender Spot

15/03/12 14:19

Editorial design (lecture) | Mudam Luxembourg Urban design (screening) | CarréRotondes Urbanized is a feature-length documentary about the design of cities, which looks at the issues and strate­ gies behind urban design and features some of the world’s foremost architects, planners, policymakers, builders, and thinkers. Over half the world’s popula­ tion now lives in an urban area, and 75% will call a city home by 2050. But while some cities are ex­ periencing explosive growth, others are shrinking.

The challenges of balancing housing, mobility, public space, civic engagement, economic development, and environmental policy are fast becoming universal concerns. Yet much of the dialogue on these issues is disconnected from the public domain.

Berlin-based designer and editor Mario Lombardo is one of the world’s leading creatives in the field of editorial design. In his projects he juggles with pho­ tography, typography and strong visual identities in order to create awesome works of stunning beauty. He is the art director of Spex magazine (2001-2006) and Liebling, and works for many fashion and music la­ bels. In 2006 he founded the Bureau Mario Lombardo in Cologne. At the age of 35 he was awarded “Visual Leader of the Year”; in 2010 Gestalten published The Tender Spot: The Graphic Design of Mario Lombardo, the first monograph to feature the board spectrum of Lombardo’s creative output.

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05.07.2012

26.09.2012

Season 4 (2012/2013)

Sam Hecht

Kick-Off Season 4

Placidity

Fondation de l’Architecture + Exit07

Industrial design (lecture) | Mudam Luxembourg

Announcement of the upcoming Season 4 programme and release of the first issue of Dee Magazine featuring a flashback on the Season 3 events, lectures, exhibi­ tions and publications, and interviews with the DF committee, statements by designers and many picture reports. It was a nice occasion for chats, drinks and networking.

Born in 1969, British industrial designer Sam Hecht studied at the Royal College of Art and, after working briefly for the architect David Chipperfield, travelled in the US and Japan before returning to London as head of design at IDEO. In 2002 he established the Industrial Facility design studio with his partner Kim Colin. Both designers are convinced of “the impor­ tance of design as a means of simplifying our lives in an inspirational way”. Amongst their clients you find Muji, Yamaha, LaCie, Epson, Magis, Whirlpool and many more. Project areas include furniture, electron­ ics, consumer products, cultural institutions, trans­ portation and fashion.

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28.11.2012

11.01.2013

Sonja Stummerer & Martin Hablesreiter

Design & Thinking

Von der Funktion zum Genuss Food design (lecture) | Mudam Luxembourg According to Austrian designers Sonja Stummerer and Martin Hablesreiter, “People should talk about food as an aspect of culture, as the most important good, as business, as a design product of daily life.”

They founded the interdisciplinary design studio honey & bunny productions, curated the exhibition Food Design for Museums-Quartier Vienna and performed as eat designers in Milan, Amsterdam and many other places.

A documentary by Mu-Ming Tsai Social design (screening) | CarréRotondes What is design thinking? How is it applied in busi­ ness models? How are people changing the world with their own creative minds? This film is a call to conventional minds to change and collaborate.

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13.02.2013

10.04.2013

Lernert & Sander

Murat Günak

Art & Design

Mobility is Light

Art & Design (lecture) | Mudam Luxembourg

Automotive design (lecture) | Mudam Luxembourg

Lernert & Sander are two Dutch artists and friends who decided that working alone was getting boring and started collaborating on art related projects. Since their first video Chocolate Bunny they’ve been work­ ing on commercials, leaders, art movies, documen­ taries and installations. Their aim is to make simple and communicative works that take little note of the existing border between contemporary art and com­ mercial projects. Their highly aesthetic, humorous and dedicated works often challenge the media and its viewer, in a simple but very effective way.

After graduating from the Royal College of the Arts in London, Turkish automotive designer Murat Günak started his career at Ford before moving to Mercedes where he designed the first C-Class and SLK. In 1994 he became head of design at Peugeot where he worked on the 206 CC, 307 and 607; as head designer of Volkswagen he designed models such as the Passat CC. Then a groundbreaking new car steered his career in a completely new direction: with the MIA-electric – a thoroughly green car – ­Murat Günak created a pioneering concept in the ur­ ban electric car market. MIA is a beautiful car, ultra­ compact, silent, economical and with zero-emissions conceived to simplify urban driving.

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1

2

Presentation of Design Friends’ SEASON 5 PROGRAMME featuring:

3

1 ORIGINALITY 2 QUALITY 3 DIVERSITY 4 PERSONALITY 5 CREATIVITY 4

5

FRIDAY 05.07.2013 EXIT 07 1, rue de l’Aciérie STARTS AT18H30

12.06.2013

05.07.2013

Nicolas Bourquin

Season 5 (2013/2014)

Datatorial

Kick-Off Season 5

Editorial design (lecture) | Mudam Luxembourg

Fondation de l’Architecture + Exit07

Nicolas Bourquin is the founder of the graphic de­ sign studio onlab and co-founder of the independ­ ent Berlin-based publishing house etc. publications.

Heading the onlab team working in Berlin, he works on commissioned, collaborative as well as self initi­ ated projects. onlab explores ways to stage complex content and convey relevant topics while changing and playing with common perceptions. Some of the main projects of onlab involved the new visual iden­ tity of the city of Tramelan (CH), the redesign of the architecture magazine domus (2008) and the design and conception of the German contribution to the Architecture Biennale in Venice (2008).

Besides announcing the programme for the fifth season Design Friends awarded the 6 winners of the “Playful D” postcard competition in collaboration with Boomerang.

The aim of the competition was to design a postcard on the theme of the letter “D”. The winners were: Gina Goedert, Patricia Lopez, Jeanne Mathes, Francesca Mot­ ter, Nadine Toussaint and Céline Wengler.

The “L”-stamp series (a collaboration with Post Lux­ embourg) was also exhibited. Graphic designers Lau­ rent Daubach, Claudia Eustergerling, Nicole Goetz, Joanna Grodecki, Elisa Kern, Arnaud Mouriamé, Mik Muhlen, Sebastian Reiter and Sumo each submitted 2 projects for the “L” postage stamp. The jury awarded 4 winning stamps: Laurent Daubach, Claudia Euster­ gerling, Nicole Goetz and Mik Muhlen.

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smell is information

sissel tolaas

CHRISTOPHE PILLET

16 october 2013, 6.30 pm mudam luxembourg

Wednesday, 27 November 2013 18:30 Mudam Luxembourg

www.designfriends.lu

www.designfriends.lu

10 16 SISSEL TOLAAS_POSTER 420x420.indd 1

04/09/13 10:35

11.27 CHRISTOPHE PILLET_POSTER 420x420.indd 1

9/11/13 4:28 PM

16.10.2013

27.11.2013

Sissel Tolaas

Christophe Pillet

Smell is Information

Christophe Pillet by Christophe Pillet

Scent design (lecture) | Mudam Luxembourg World-renowned scent expert, researcher and “pro­ fessional in-betweener”, Sissel Tolaas has dedicated her work to the world of smells. Since 1990 she has focused on the topic of smell, language, and com­ munication, within different sciences, fields of art and, design and other disciplines. Her body of work ranges from conceptual experiments with the scent of v­ iolence to developing an ambient odour for ­Margiela, or consulting for brands like Adidas. She has worked at MIT and the Harvard Graduate School of Design, exhibited her work at museums including MoMA New York, Tate Liverpool and the National Art Museum of China, and counts NASA, Louis ­Vuitton and Johnson & Johnson among her clients.

Product design (lecture) | Mudam Luxembourg Christophe Pillet is a French designer who has won international acclaim for the spectrum and quality of his creations. Architecture, objects, furniture: his signature is associated with the finest brands and projects. He counts among his clients Lancel, Lacoste, Catherine Malandrino, John Richmond. Christophe Pillet’s perfect command of sensuality and refine­ ment has given him global recognition. He continues to expand his activities beyond objects and furniture.

Hotels, boutiques, and art direction have led him to the United States, Great Britain and Japan.

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www.designfriends.lu

02.26 MIRKO BORSCHE_POSTER 420x420_100K.indd 1

10.01.2014

26.02.2014

Sign Painters

Mirko Borsche

A documentary by Faythe Levine & Sam Macon

Check My Machine

11/19/13 4:05 PM

Editorial design (lecture) | Mudam Luxembourg Sign design (screening) | CarréRotondes There was a time, as recently as the 1980s, when store­ fronts, murals, banners, barn signs, billboards, and even street signs were all hand-lettered with brush and paint. But, like many skilled trades, the sign in­ dustry has been overrun by the techno-fuelled prom­ ise of quicker and cheaper. The resulting proliferation of computer-designed, die-cut vinyl lettering and inkjet printers has ushered a creeping sameness into our landscape. Fortunately, there is a growing trend to seek out traditional sign painters and a renaissance in the trade.

Mirko Borsche founded his graphic design studio in 2007. Renowned for its versatility, the studio’s signa­ ture design is a content-driven approach based on the idea of design as a source for learning, understand­ ing and joy. Its creative output comprises design and communication consultancy and commissioned work of all genres for clients from the fields of culture and business as well as original works within the scope of art, subculture and design that have been shown in single and group exhibitions in several countries. The studio’s portfolio contains classic print media (news­ papers, magazines, books, catalogues, posters, type­ faces and identities) as well as websites, music videos, art films, and exhibition, product and fashion design.

It has produced work for Die Zeit magazine, kitchen manufacturer Bulthaup, BMW and Nike.

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PAUL PRIESTMAN PERSONAL PUBLIC TRANSPORT

23 APRIL 2014, 6.30PM MUDAM LUXEMBOURG

www.designfriends.lu

PRIESTMAN_POSTER 420x420.indd 1

3/17/14 11:53 AM

Bruce Duckworth_POSTER 420x420.indd 1

3/25/14 10:31 PM

23.04.2014

04.06.2014

Paul Priestman

Bruce Duckworth

Personal Public Transport

The Way We Think

Transportation design (lecture) | Mudam Luxembourg

Packaging design (lecture) | Mudam Luxembourg

Paul Priestman is a designer and co-founding direc­ tor of Priestmangoode, leaders in global travel and transport design. Based on the philosophy that design makes things better and more efficient, both to use as well as to manufacture, run and maintain, Priest­ mangoode’s award winning designs have cemented the studio’s reputation as a visionary and innovative leader in user and passenger focused solutions.

Bruce Duckworth is the founder of the internationally acclaimed Turner Duckworth brand design studio based in London and in Los Angeles. The studio creates iconic design for consumer brands rang­ ing from global leaders to feisty start-ups. Over the years, Turner Duckworth has specialised in brand identity and packaging design, achieving outstand­ ing commercial results. They count Amazon, Levis, Coca-Cola, Conté, Glenlivet whisky, and retail chains Superdrug and Waitrose among their clients. Their designs consistently win many of the industry’s most prestigious awards and have been published broadly.

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DESIGN FRIENDS IN NUMBERS

ALL SEASONS

3,825

Visitors of the lectures

518

Unique members in five seasons

MEMBERSHIPS AND VISITORS PER SEASON

Students

Gold Members

Regular Members

256 15 200

217

200

39

219

18

14

63

36

36

138

33 100

22 Gold Members

197

163 123

Season 1

Season 2

Season 3

Season 4

Season 5

2010

2011

2012

2013

2014

142

138

124

132 76

100

76

71

123 93

88

DEGREE OF CAPACITY OF THE AUDITORIUM

71

Lowest attendance

104 Average attendance

TRENDS

142

Highest attendance

Bruce Duckworth

Paul Priestman

Mirko Borsche

Christophe Pillet

Sissel Tolaas

Nicolas Bourquin

Murat G端nak

S. Stummerer & M. Hablesreiter

Sam Hecht

Mario Lombardo

Christian Schneider

Stefan Diez

Elvis Pompilio

Michael Johnson

Joachim Sauter

Niklaus Troxler

5.5 Designers

Kustaa Saksi

Harri Peccinotti

Andreas Uebele

Sven Ehmann

Fun Factory

Michel Mallard

0 Christoph Niemann

Visitors

96 Regular Members

Lernert & Sander

Members

150

0

18 Students

comparing 2010 and 2014

Members total

37%

Students

72%

Gold Members

33%

Regular Members

22%

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27

2

1

2

25

6

1

30

Speakers

Exhibitions

Lectures

Screenings

ORIGIN OF SPEAKERS

D UNITE M O KINGD

1 1

AN Y M

12

1 1

1

4

D

GE R

DS

AN

Magazines

Book

Publications

TOTAL DISTANCE

AUSTRIA

ERL

AN

UM

ITZ

RL

AND

SW

HE

I LG

ET

BE

EN

FINL

TH

Daytrip

11,839 km is, to sum up, the distance travelled by the guest lecturers to come to Luxembourg.

This distance corresponds to the distance between Iceland and South Africa via Luxembourg.

FRA

NC

E

4

Kustaa Saksi

HELSINKI

Bruce Duckworth Michael Johnson Paul Priestman Sam Hecht

LONDON

Fun Factory

BREMEN

Lernert & Sander

AMSTERDAM Elvis Pompilio

BRUSSELS

Andreas Uebele Joachim Sauter Mario Lombardo Nicolas Bourquin Sissel Tolaas Sven Ehmann

BERLIN

Murat G端nak

KASSEL Christian Schneider

FRANKFURT 5.5 Designers Christophe Pillet Harri Peccinotti Michel Mallard

PARIS

Christoph Niemann

STUTTGART Niklaus Troxler

Mirko Borsche Stephan Diez

S. Stummerer & M. Hablesreiter

MUNICH

VIENNA

WILLISAU Dee 41

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Publications

Go find your bookmarks!

At Design Friends we love designers and their work. And what’s better to share this passion is to actually show it on glossy paper! That’s why we’ve printed an already fair amount of catalogues and magazines to deepen the vast subject through exclusive interviews and picture reports.

Publications 01 CHRISTOPH NIEMANN

Illustration

2009

ISBN 978-99959-625-0-0

02 MICHEL MALLARD

Creative Direction

2009

ISBN 978-99959-625-1-7

03 FUN FACTORY

Product Design

2009

ISBN 978-99959-625-2-4

04 ANDREAS UEBELE

Signage Design

2010

ISBN 978-99959-625-4-8

05 HARRI PECCINOTTI

Photography

2010

ISBN 978-99959-625-6-2

06 KUSTAA SAKSI

Illustration

2010

ISBN 978-99959-625-7-9

07 5.5 DESIGNERS

Product Design

2011

ISBN 978-99959-625-8-6

08 NIKLAUS TROXLER

Graphic Design

2011

ISBN 978-99959-625-9-3

09 JOACHIM SAUTER

Media Design

2011

ISBN 978-99959-625-5-5

10 MICHAEL JOHNSON

Graphic Design

2011

ISBN 978-99959-717-0-0

11 ELVIS POMPILIO

Fashion Design

2011

ISBN 978-99959-717-1-7

12 STEFAN DIEZ

Industrial Design

2012

ISBN 978-99959-717-2-4

13 CHRISTIAN SCHNEIDER

Sound Design

2012

ISBN 978-99959-717-3-1

14 MARIO LOMBARDO

Editorial Design

2012

ISBN 978-99959-717-4-8

15 SAM HECHT

Industrial Design

2012

ISBN 978-99959-717-5-5

16 SONJA STUMMERER &

MARTIN HABLESREITER

Food Design

2012

ISBN 978-99959-717- 6-2

17 LERNERT & SANDER

Art & Design

2013

ISBN 978-99959-717-7-9

18 MURAT GÜNAK

Automotive Design

2013

ISBN 978-99959-717-8-6

19 NICOLAS BOURQUIN

Editorial Design

2013

ISBN 978-99959-717-9-3

20 SISSEL TOLAAS

Scent Design

2013

ISBN 978-99959-807-0-2

21 CHRISTOPHE PILLET

Product Design

2013

ISBN 978-99959-807-1-9

22 MIRKO BORSCHE

Editorial Design

2014

ISBN 978-99959-807-2-6

23 PAUL PRIESTMAN

Transportation Design

2014

ISBN 978-99959-807-3-3

24 BRUCE DUCKWORTH

Packaging Design

2014

ISBN 978-99959-807-4-0

DEE Magazine First Issue

2012

ISSN 2304-523X

DEE Magazine Issue 2

2013

ISSN 2304-523X

2010

ISBN 978-99959-625-3-1

with CarréRotondes asbl Mapping August. An Infographic Challenge

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Publications

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De-Signs Creative and practical sign painting workshop by SUMO Design Friends invited guest artist SUMO to lead a hand-crafted lettering workshop on the occasion of the Sign Painters movie screening (January 2014). Inspired by SUMO’s talent, people of every age picked up pencils and pens, and challenged themselves to learn the beautiful skills of sign paint­ ing. We chose to publish a series of sign paintings that have been designed that night from both professionals and new talents.

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1 Kalina 2 Babacar Fall (age 9) 3 Del Dechavannes (age 7) 4 Anthony (age 6) 5 Linda 6 Manotas 7 Tierry Hamer 8 Claire Flammang 9 Samuel Fall (age 14) 10 Larissa Subaté 11 Sascha Steingen 12 Linda 13 David 14 Anne-Françoise Bechet 16 Jan Glas 17 Magalie Leuiti

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

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Fast forward 24.09.2014

ERIK SPIEKERMANN Don’t work for arseholes. Don’t work with arseholes.

Erik Spiekermann – typesetter, printer, art historian, information designer, font d ­ esigner and author – founded in 1979 MetaDesign, that he expanded to the largest German ­design office until his departure in 2001. Projects realised with Metadesign are amongst others the guidance systems for the Airport Düsseldorf and the BVG Berlin (the p ­ ublic transport company of Berlin) as well as CD-programmes for Audi and VW. In 1989 Spiekermann founded FontShop, globally the first online sales platform for electronic fonts.

11.10.2014

NIGHT OF THE MUSEUMS Portfolio show

The theme of this year’s Night of the Museums in Luxembourg is design! Design Friends co-organise the event and present a portfolio show featuring 100 Luxembourg-based ­design studios.

26.11.2014

KLAUS-PETER SIEMSSEN Paint with Light

Klaus-Peter Siemssen is the CEO of Selux, a leading provider of sustainable lighting ­solutions for both interior and exterior applications. Siemssen and his team of light­ ing designers create solutions for exterior lighting projects for many cities (Marseille, ­Madrid, London ... ), buildings and historical monuments around the world. They also plan and develop light design for office interiors and public buildings, and provide overall lighting designs for exhibitions.

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rd Season 6 09.01.2015

MAKER

A documentary on the maker movement

Maker is a feature documentary looking into the maker movement in America r­ eforming the economy with a new wave of Do-It-Yourself and Do-It-Together. The Maker Move­ ment, sometimes called the Third Industrial Revolution, subverts traditional manufac­ turing by building on innovative concepts such as open source, local manufacturing, crowd funding, and digital fabrication. Breaking the hobbyist movement stereotype, Maker delves deep into this ecosystem of design and manufacturing in the Internet era.

24.01.– 19.04.2015

RESOLUTE – DESIGN CHANGES + Add on Luxembourg design scene

The exhibition Resolute – Design Changes explores contemporary graphic design and its social relevance. While the frequency and effect of imagery in our society increase, the in­ fluence of designers on our behaviour and opinions is amplified. The emerging generation uses technological development and social awareness to truly engage people in making change happen. Based on information, moderation, inspiration and engagement they en­ courage people to shape their opinions and to take action.

10.03.2015

DENNIS ELBERS & SVEN EHMANN Debating Design

Dennis Elbers and Sven Ehmann collaborated on Resolute – Design Changes, an exhibition about the shift from activism to activation in graphic design (see above).

Central theme of their talk will be how both experiment on stimulating public ­discourse around design.

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Cataloguing your scene Vibrant and diverse, the Luxembourg design scene can nevertheless be rather incoherent.

Design Friends has brought together many local designers from a variety of fields through its membership scheme and by hosting regular events, but for a long time there was no explicit listing of key players in the local scene.

Design Friends has addressed this omission by cataloguing labels, companies, institutions, individuals and initiatives in a kind of Who’s Who directory. The listing also serves to showcase the dynamic and varied nature of the national design scene.

The directory is not exhaustive. It is a draft beta version; an initial attempt to present the scene using the means at the disposal of an association run entirely by volunteers.

To compile the listing, Design Friends chose some fifty reliable contacts who could supply us with information to appear in the directory. We also asked each contact to tell us who should not be omitted from the listing. What you hold in your hands is the result of this initiative.

We hope this will prove useful, and we wish to continue to develop the directory further. To this end, we need your assistance. To draw our attention to an individual, company or institution you believe should be included, please indicate their name via www.designfriends.lu/directory.

Note: these texts are derived from a number of different sources. We have decided to retain the original language and style. If a person is active in the design field outside of their company or institution, we have listed the person and the institution as such.

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Marc Angel Illustration, BD, editorial design

www.insitu-creation-edition.com

Artiste indépendant, Marc Angel crée et édite des bandes dessinées, des livres illustrés et d’autres ouvrages sur commande.

Ses travaux d’illustration et de BD sont signés Mangro.

www.archiduc.lu

Archiduc est un magazine d’architecture édité par Maison Moderne, en collaboration avec la Fondation de l’Architecture et de l’Ingénierie. Publié au rythme de deux numéros par an, Archiduc évoque l’architecture à travers les projets finalisés sur le territoire du Luxembourg mais aussi hors des frontières par des cabinets établis au Grand-Duché. Sont abordés : sujets d’actualité, dossiers de fond, portraits d’architectes et sujets plus créatifs. Le design y a également une place notable. Un soin tout particulier est porté à la réalisation du magazine : une maquette audacieuse, une importance de la photographie, le choix de différents papiers pour marquer les différentes sections. En complément de l’édition papier sont réalisés un site internet, une newsletter bimensuelle et des conférences « 10x6 Architecture ». (cf. Céline Coubray)

Apart

Christian Aschman

Graphic design

Photographe

Bb Fred Baus Sound designer

© Tim Lecomte

Aa

www.maisonmoderne.lu

Diplômé de l’ISFSC de Bruxelles, en spécialisation marketing musical, Fred Baus a géré le d:qliq (un bar musical de Luxembourg) pendant plus de 5 ans. Il a ensuite créé avec Fred Neuen, Tim Lecomte, Ben Andrews et Patrick Wilwert la société audiovisuelle Radar, active dans la production de publicités, de films corporate, de courts-métrages et de longs métrages. Au sein de Radar, Fred Baus est en charge du design sonore. Son travail consiste à créer totalement un univers sonore qui n’existe pas, tout en faisant croire au public que tout est réel. Aujourd’hui, Fred Baus est Content Strategist chez Maison Moderne. (cf. Maison Moderne)

Julien Becker Photographe / réalisateur www.apart.lu

www.christian-aschman.com

Depuis 2004, Apart offre des services de design pour papier et écran. Que ce soit la création d’un logo, l’élaboration d’une identité visuelle, la réalisation de livres, la planification d’une architecture de site web, le dessin d’une application ou l’imagination d’une expérience smartphone, le design est au centre de tous les processus de création.

Photographe indépendant depuis une vingtaine d’années, le travail de Christian Aschman couvre aussi bien le domaine du portrait que celui de l’architecture, ou encore celui de la mode. Parmi ses projets des cinq dernières années, on trouve la campagne pour la Fondation Kriibskrank Kanner, le livre 747-8 Christian Aschman commissionné par Cargolux, ainsi que la collaboration au livre Lëtzebuerg Moderne.

Archiduc Magazine d’architecture

www.skilllab.net

Photographe et réalisateur, il collabore régulièrement avec Maison Moderne depuis plus de huit ans. La lumière inspirée de l’imagerie du cinéma constitue sa marque de fabrique. Depuis 2010, il est associé et gérant de la société de production Skill Lab. Dee 49

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Interior and furniture design

Graphic design / illustration

© Dennis Tombal

Below

Linda Bos

www.below.lu

www.prettyforest.com

Avant de créer Below en 2010, Mauro Doro a réalisé de nombreux projets en collaboration avec des architectes internationaux. Des projets d’aménagement d’intérieur avec, comme spécialité, la création de mobilier sur mesure réalisé par des prestataires internationaux. Depuis 2010, Doro travaille sous le label Below, où il réalise des projets d’architecture intérieure, de design et de scénoraphie.

After having been employed as a graphic designer for over four years, Linda Bos went independent in 2010 under the name Pretty Forest (Linda means “pretty” in Spanish, Bos is Dutch for “forest”). She gives other businesses/projects a “face” through her colourful designs and illustrations. She combines research with a “creative sixth sense” to find out what the real need of her client is. She also spends time on self-initiated projects. Sensing the need to promote local players, she co-founded - Lët’z go local in collaboration with Karolina Szatna in 2013. (cf. Lët’z go local).

Binsfeld Editorial design, graphic design, illustration, motion design, event design

www.binsfeld.lu

Jamais encore les moyens de communication n’ont été aussi nombreux et diversifiés, jamais encore le partage de l’information n’a été aussi rapide, l’expéditeur du message, tout comme son destinataire, devenant média, organe de diffusion. Nouveaux médias, réseaux sociaux, communication traditionnelle, RP, édition, événementiel... Quel que soit le défi, Binsfeld le relève. L’équipe combine toujours différemment les canaux de diffusion et les adapte au mieux selon les objectifs visés afin d’élargir son horizon et de développer de nouvelles possibilités créatives. Chez Binsfeld, voilà ce que l’équipe entend par « open communication », depuis plus de 30 ans. (cf. Miriam Rosner)

Cc CarréRotondes

cueille depuis septembre 2008 un lieu de diffusion et de création artistique pluridisciplinaire. Structure transitoire reprenant de nombreuses initiatives nées en 2007, le CarréRotondes préfigure le concept du futur espace culturel des Rotondes qui ouvrira ses portes courant 2015. Le lieu propose des expositions dédiées à la jeune scène artistique locale et internationale, et des projets inédits cherchant à relier l’art, la culture et la société. L’art contemporain sous toutes ses formes (vidéo, peinture, photo, installation...), mais aussi le design, le graphisme, l’art urbain, y sont représentés, avec en toile de fond un thème actuel, sujet à interpeller les visiteurs. (cf. Steph Meyers)

Jean-Paul Carvalho Architecture / design de produit

www.carvalhoarchitects.com

La société carvalhoarchitects est un bureau d’architecture luxembourgeois fondé en 2007 par Jean-Paul Carvalho. L’aspect humain et l’approche empathique sont des besoins vitaux sur lesquels l’équipe travaille avec ses clients pour atteindre un résultat final avec une forte collaboration. La recherche théorique qui répond aux gestes de la vie de tous les jours est au cœur du processus de conception.

Les projets et produits sont reconnus pour leurs lignes pures et leurs qualités conceptuelles. (cf. Mellem Design)

Espace culturel

Casino Luxembourg – Forum d’art contemporain Contemporary art center www.casino-luxembourg.lu

www.rotondes.lu

L’Espace culturel CarréRotondes se situe sur un ancien site de production industrielle de l’entreprise Paul Wurth dans le quartier de Hollerich. Ce cadre urbain et insolite ac-

Casino Luxembourg – Forum d’art contemporain organises exhibitions on contemporary art and attests the variety of current art movements. The international exhibition programme – mostly featuring young artists – gives a comprehensive insight into contemporary creation. With its exhibitions and artist residencies Casino Luxembourg, regardless of any muse-

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ological concerns, functions like an artistic and experimental think tank heading for the latest trends in the art scene. A rich cultural programme, ranging from general guided and thematic tours, conferences and round tables, to performances of contemporary music, complement the exhibitions. The InfoLab of Casino Luxembourg is to date the only specialised library of contemporary art in Luxembourg open to the public. (cf. Nadine Clemens).

et la promotion du patrimoine audiovisuel et photographique luxembourgeois. Depuis fin 2007, installé dans de nouveaux locaux, le CNA est devenu à la fois un espace d’exposition (Display01) et de découverte (Display02), un lieu de projections cinématographiques (CinéStarlight), de consultations de documents (Médiathèque), mais aussi un centre spécialisé regroupant archives, studios (son et prise de vue) et laboratoires photographiques. Conservation, restauration, production, distribution, soutien à la création ou éducation, les tâches des trois départements (film, photographie et son) du CNA sont multiples et sollicitent la participation de nombreux spécialistes et créateurs nationaux et internationaux.

© Eric Chenal

Central Intelligence (Design) Agency Graphic Design Studio

Institution culturelle www.cna.public.lu

Le Centre national de l’audiovisuel (CNA) est un institut culturel créé en 1989. Ses missions sont la sauvegarde, la mise en valeur

Eric Chenal devient photographe en 2003 après avoir exercé des responsabilités dans le secteur des ressources humaines. Depuis 2010, parallèlement aux travaux de commandes, la photographie d’architecture lui permet d’interroger l’identité de soi à travers ses recherches personnelles. Il vit et travaille en Lorraine et au Luxembourg.

Présidente Design Friends

© Marc Wilwert

© Olivier Minaire

Centre national de l’audiovisuel

www.ericchenal.com

Institution culturelle

www.centralintelligence.lu

* fake passports are not included in the standard offer for new identities. This conversation has also never happened.

Photographe

Nadine Clemens Cercle Cité

Central Intelligence (Design) Agency is a Luxembourg-based design agency focusing its work on the four principles of trust, reliability, discretion and client satisfaction. The studio works on branding, concepts, corporate design, editorial design, packaging, print & stationery, web design, video, photography, new identities & facial transplants*. CIA has been founded by Runa EgilsdÓttir, who is also the co-founder of Nuvola Baby, a fashion label aimed at newborns.

Eric Chenal

www.designfriends.lu www.cerclecite.lu

Le Cercle a toujours été (depuis le début du 20e siècle) un lieu sociétal incontournable à Luxembourg. S’il reste aujourd’hui encore un endroit représentatif pour la Ville et l’état, la mission du nouveau complexe Cercle Cité est de s’ouvrir à un public large et d’aiguiser le profil de la capitale en tant que ville cosmopolite et dynamique, tournée vers le futur. Il contribue à l’animation culturelle du centre-ville, avec des concerts, des lectures, le CeCiL’s Afterwork, des thés dansants le dimanche, des bals et des manifestations privées … Le Cercle Cité se veut un lieu de culture, de convivialité et d’ouverture pour le public et propose une programmation artistique, notamment par les expositions de niveau institutionnel tout au long de l’année, à l’espace « Ratskeller », libre d’accès. (cf. Anouk Wies)

Historienne de l’art de formation, spécialisée en art contemporain, Nadine Clemens rejoint en 2004 le Mudam en phase de préouverture pour participer à la conception de l’identité visuelle du musée avant de prendre le poste de responsable des éditions d’art. Elle poursuit sa carrière au Casino Luxembourg – Forum d’art contemporain où elle est aujourd’hui responsable communication et presse. Cofondatrice et depuis 2013 présidente de Design Friends, elle s’est engagée à porter l’association vers son développement futur.

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Marc Colbach Interior design & architecture www.designgroupamc.com

bringing together production methods and use of objects, she seeks to highlight new aspects of utility and aesthetics.

Valérie Conrot Boutique design en ligne

AMC is a new architectural and interior design studio with offices in Beijing and Guangzhou, China. With big ideas and creative solutions on the mind AMC have been responsible for some of the most eyecatching projects in Beijing’s contemporary design scene. Founded by the Luxembourger, Beijing-based architect and interior designer Marc Colbach, AMC’s vision is to offer creative, multi-disciplinary design solutions that cover architecture and interior design, construction and project management that meet the needs of a cross-cultural client base of both Chinese and international organizations. Everything AMC put its mark on is contemporary, functional and innovative.

Julie Conrad Product designer

cropmark © Eric Chenal

© Peter Le

print and web design

www.denicheuse.com

Après des études de journalisme et communication à l’Université libre de Bruxelles et un troisième cycle en gestion culturelle, Valérie Conrot travaille pendant quatre ans dans une galerie d’art au Luxembourg, en tant qu’assistante. Elle devient ensuite directrice de la communication du Mudam Luxembourg pendant 10 ans. Puis, elle décide de se lancer dans sa propre aventure, en faisant de sa passion de dénicher des petites choses, son métier. En 2011, elle crée dénicheuse.com : une boutique en ligne de petites choses insolites, belles, pratiques ou un peu saugrenues, qui ont le don de rendre la vie plus gaie, plus pétillante et plus colorée, bref : des choses qui donnent le sourire. Régulièrement, Valérie Conrot participe à des marchés de créateurs où elle organise des pop-up shops ou des soirées dénicheuses.

Céline Coubray Journaliste

© Julien Becker

www.julieconrad.lu

Born in 1988, Julie Conrad lives and works in Luxembourg. She is working as an independent product designer since August 2013. After graduating from the Parisian Créapole school in 2012, she returned to Luxembourg and opened her studio the following year. Julie Conrad Design S ­ tudio works on diverse projects for companies and private customers, ranging from scenography to furniture. At the beginning of a project, it is often a material characteristic that inspires her. User case studies of objects determine her approach and project development. By

de M ­ aison Moderne depuis 2007 comme journaliste. Elle est actuellement rédactrice en chef du magazine d’architecture Archiduc. Au cours de son parcours professionnel, elle a eu l’occasion de travailler avec des designers internationaux et de promouvoir de jeunes talents, aussi bien au niveau de la production que de l’analyse critique. Elle a également participé à la conception et mise en œuvre de plusieurs expositions de design. (cf. Archiduc, Maison Moderne).

www.archiduc.lu

Historienne de l’art, spécialisée en art contemporain, ayant travaillé dans différentes institutions françaises (Centre Pompidou, ministère de la Culture, Fonds régional d’art contemporain Nord-Pas de Calais), Céline Coubray travaille au sein

www.cropmark.lu

Cropmark est une agence de taille moyenne, touchant globalement à tout ce qui concerne la communication visuelle tant au niveau imprimé que digital. L’agence a été créée en 1996 et a depuis constamment évolué dans toutes les disciplines du design graphique et de la communication. Aujourd’hui les technologies innovantes offrent de nouvelles solutions. Ensemble avec le client, nous trouverons celle qui convient le mieux à son besoin. Quelques chiffres : 1996 création de l’agence. 8 personnes au service. 12 communication & design awards. 64 rue poincaré. 33 âge moyen de l’équipe.

Dd Designbureau Web & graphic design www.designbureau.lu

Designbureau is a Luxembourg based design and digital studio, founded in 2009

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nombreuses initiatives, dont une vingtaine de conférences avec des designers de renommée internationale, deux expositions, des projets collaboratifs et éducatifs. Avec déjà cinq saisons à son actif, Design Friends s’est établie comme référence en matière de design au Luxembourg, tant par la qualité des événements proposés que par le professionnalisme apporté au travail d’édition.

Son action contribue à la sensibilisation du design auprès d’un large public tout en favorisant l’innovation, un certain ludisme, mais aussi une bonne dose de créativité. (cf.

Nadine Clemens, Heike Fries, Guido Kröger, Mike Koedinger, Mik Muhlen, Stéphanie Rollin, Silvano Vidale, Anabel Witry)

Design City Biennale de Design

www.designcity.lu

Depuis 2010, le Mudam organise, en collaboration avec la Ville de Luxembourg, la biennale Design City LXBG, un festival dédié à la question du design dans l’espace public, mais aussi de son intégration dans la vie quotidienne. La biennale Design City, coordonnée par Anna Loporcaro, se veut être un laboratoire d’idées, un outil de promotion et une plateforme d’expérimentation permettant aux designers de présenter leurs recherches et concepts auprès du grand public, d’échanger avec lui et de se promouvoir dans le monde du design. (cf. Anna Loporcaro)

Design Friends Association www.designfriends.lu

Depuis sa création en 2009, Design Friends s’est donné pour mission l’organisation d’événements autour du design, s’adressant à un public à la fois intéressé et professionnel. L’association peut ainsi se targuer de

Association

Costume designer

www.isabelledickes.blogspot.com

Le métier d’Isabelle Dickes consiste à organiser et/ou à dessiner les costumes de personnages de film, en fonction de l’histoire d’un scénario. Quand elle n’est pas embarquée dans un long tournage, Isabelle Dickes gère divers projets publicitaires, car elle a réussi à constituer au fil du temps 300 m2 de costumes insolites et variés qui répondent à la plupart des projets imaginés par les créatifs des nombreuses agences du pays. Des études de stylisme et une formation en coaching lui ont permis de maîtriser toutes les facettes du métier.

Martin dieterle Designer / interior architect

© Studio Frank Weber

© Nicola Delon

Design Luxembourg

Isabelle Dickes

© Ricardo Vaz Palma

by Laurent Daubach and Viktor Dick.

Designbureau develops integrated communication tools in both printable and digital form. The team does strategic and technical consulting by gaining a deep understanding of their customers needs and targets. It creates tailor-made business and enterprise identities, online and offline portfolios, applications and services.

www.designluxembourg.lu

L’association professionnelle Design Luxem­ bourg a été créée en décembre 1995 et regroupe aujourd’hui 51 sociétés et indépendants qui travaillent dans les secteurs du graphisme, de la photographie, du design de produits, du design web, de la mode, de la scénographie et autres. Depuis sa création, elle se veut fédératrice et a pour but de faire connaître les métiers du design au Grand-Duché de Luxembourg et de valoriser les compétences du territoire. Design Luxembourg est également membre actif de BEDA (Bureau of European Design Associations). Ce partenariat permet d’avoir accès à un réseau d’informations sur le développement de la profession dans d’autres pays et de représenter les intérêts des designers au niveau européen. (cf. Frank Weber)

www.martindieterle.com

Born in Germany, Martin Dieterle works and lives now in Luxembourg. He is cofounder of Carrérouge, an interior architecture and design agency. His works vary from small objects for children, various furniture to lighting objects. His design is driven by the constant research of innovation, combined with functionality and simplicity. Several products of Martin D ­ ieterle Designstudio are edited by Carrérouge-édition or produced and distributed by international companies like Formvorrat and Domani.

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serge ecker 3D visualisation, 3D print, virtual reality

Ff FaB laB Digital fabrication / open design

experiment with food photography, styling and writing recipes. It caught the attention of éditions Schortgen, who approached her to do a book with them in 2013. She then pitched a TV show to RTL Télé Lëtzebuerg that would go hand in hand with the book.

In order to make this project happen, she created her own production company and got her friend Ayshea Halliwell to direct the show. Anne’s Kitchen stands for a colourful rollercoster of yummy food and exciting off-the-beaten-track travel.

© Cristopher Santos

Ee

brands including the launch of new products and services. The client base reaches from small and medium sized companies to public institutions as well.

nIcolas Felten www.grid-design.lu

clauDIa eustergerlIng (stuDIo) communication design

web & print designer

www.fablablux.org www.technoport.lu

Fab Lab (Fabrication Laboratory) Luxembourg provides a community space for knowledge exchange and an open prototyping platform for digital fabrication.

Tools such as 3D printers, laser cutters or CNC milling machines as well as technical and logistical assistance are available to facilitate invention but equal emphasis is put on fostering a multidisciplinary and intergenerational dynamic between start-ups, artists, designers, architects, engineers, hobbyists, researchers, students and so on. Located within the Technoport (business incubator, coworking place & fablab) in Esch-Belval, the Fab Lab Luxembourg is part of a global network of fab labs that attracts individuals, enterprises and schools.

© Claudia Eustergerling

anne FaBer

www.eustergerling.lu

Creation and consultancy are the main aim of the studio. The team focuses on communication design with a holistic approach. They advise you on identities and

Food creative

www.anneskitchen.lu

After doing an MA in English literature, Anne Faber did a postgraduate degree in journalism and ended up working as a TV producer and restaurant critic in London.

In 2010, she started her food blog in order to

© Cheese.lu

Born in 1982 in Esch-sur-Alzette, Serge Ecker now lives and works in Luxembourg.

Having graduated from the école supérieure de réalisation audiovisuelle de Nice in France, he turned his attention to 3D modelling, both real and virtual. In 2008, he set up Grid Design, working in close collaboration with architectural firms, urbanists, artists and designers. Serge Ecker has chosen to push this know-how beyond its mere technical application by exporting it into his artistic practice. He thus explores the realm of capturing and reproduction of places and non-places from a new angle, revealing their strengths and weaknesses, but also their incoherencies.

www.everythingisfun.eu www.cropmark.lu

Diplômé en communication graphique à l’école nationale des arts visuels de La Cambre à Bruxelles, Nicolas Felten est aujourd’hui directeur artistique chez cropmark. En 2012, il fonde Everything is Fun – Digital Creative Studio avec un collègue de La Cambre. Les deux sociétés, ayant toujours été très complémentaires dans leurs activités, fusionnent en 2014. La forte présence dans les domaines culturels luxembourgeois et belge a permis de donner vie à des sites comme casino-luxembourg. lu, madbrussels.be, steichencollections.lu, mnha.lu. Les axes de travail sont : une pensée globale de la communication, un graphisme au service de celle-ci, une préférence pour la sobriété, un choix judicieux des médias à utiliser et une façon cohérente de les faire coexister.

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Stina Fisch

Fonds culturel national

Heike Fries Consultant (communication, branding & design)

© Antje Taiga Jandrig

Illustration

Focuna

www.stinafisch.com

www.focuna.lu

hfries@pt.lu

Stina Fisch est une illustratrice qui manie avec passion la ligne claire, la réduction formelle, l’humour et la séduction. Si une image est la visualisation d’une pensée, dessiner, c’est penser. Avec une légère touche rétro, le vocabulaire visuel de Stina est ludique et poétique.

Le Fonds culturel national est un établissement public régi par la loi modifiée du 4 mars 1982 dont la mission est de recevoir, de gérer et d’employer les allocations et dons émanant de sources publiques et privées en vue de la promotion et du soutien d’activités artistiques et culturelles impliquant des artistes résidant au Luxembourg ou de nationalité luxembourgeoise. Le Focuna est dirigé par Jo Kox, président.

Heike Fries is founder and managing partner at hf integral. She has more than 20 years experience in advising local and international clients from across industries on any matters relating to branding, design, corporate and product communication.

After working as production manager and consultant in communication agencies and managing the Luxembourg branch of a worldwide network agency, she now focuses on identity, brand and communication strategy including conception, design management and organisation. Passionate for the clarity of communication, letters and words Heike also does copywriting in German. Heike has been a board member and treasurer of Design Friends (2010 - 2013) and she continues to support the Design Friends board members as a counselor.

Claire Flammang Professeur d’arts plastiques

Fondation de l’Archi­ tecture et de l’Ingénierie

claire.flammang@me.com

Enseignante en éducation artistique au Lycée Aline Mayrisch de Luxembourg, Claire Flammang y dirige également la troupe de théâtre. Après une section artistique au Lycée classique de Diekirch, elle étudie aux Beaux-Arts de Nancy et à l’Université Paris 8. Ayant depuis toujours une tendance à la pluridisciplinarité, elle affectionne plus particulièrement les espaces « entre-deux », ces enchevêtrements fragiles à fort potentiel entre art, design, éducation et création. Un des rôles primordiaux de son métier est de confronter le processus d’enseignement à la réalité contemporaine – qu’elle soit culturelle, économique, informatique ou autre.

En résultent des expériences comme The Pimpraiders ou encore Kult’schmull, magazine culturel entièrement produit par des lycéens.

© Boshua

Architecture et environnement bâti

www.fondarch.lu

La Fondation de l’Architecture et de l’Ingénierie est l’acteur le plus important du domaine de la « Baukultur » au Luxembourg.

Depuis sa création en 1992, l’organisation non gouvernementale à but non lucratif a su introduire la qualité de l’environnement bâti comme valeur essentielle de la société contemporaine. Plate-forme d’échange et de rencontre pour un large public, de l’amateur curieux ou citoyen engagé au décideur politique ou acteur professionnel, la Fondation organise un large programme culturel répondant à la diversité de ses publics. (cf. Andrea Rumpf, Nico Steinmetz)

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gIlles garDula

© Julien Hayard

Design industriel

www.gdesign.lu

Gilles Gardula est designer et enseignant luxembourgeois diplômé en 2012 de l’école nationale supérieure des arts visuels de La Cambre (Bruxelles). Il s’est engagé dans le développement écologique et durable, tout en liant l’artisanat local du Grand-Duché de Luxembourg (et de la Grande Région) à un design industriel contemporain innovant.

En 2013, il a fondé le studio Gdesign studio et a lancé une gamme de produits en auto-édition, tous imprégnés d’une philosophie et d’une éthique commune. Son but est de préserver et de promouvoir à sa façon le patrimoine culturel, économique et social luxembourgeois, produisant ainsi des objets durables et esthétiques aux fonctions innovantes ou nouvelles.

Jan glas Design management, product design, design promotion

www.luxinnovation.lu

Le département « Gestion de l’innovation » de Luxinnovation – Agence natio-

steve gerges Motion designer / visual artist

© Sven Becker

Gg

nale pour la promotion de l’innovation et de la recherche, accompagne de petites et moyennes entreprises dans la mise en place et l’amélioration de leur « design management ». Les conseillers de Luxinnovation informent et forment les entrepreneurs sur la valeur ajoutée que le design peut apporter à leur entreprise, sur la démarche stratégique à mettre en place et sur l’ensemble des outils opérationnels pour une gestion optimale du design. L’objectif est d’augmenter la compétitivité et la capacité à innover des PME au travers de collaborations fructueuses avec des industries créatives dont les designers sont la partie maîtresse. Luxinnovation fait la promotion du « Design Thinking » et du « Co-design » auprès des entreprises et organisations. A côté de cela, l’Agence offre un appui aux acteurs des industries créatives pour la définition de leur « business model » et les conseille également sur leur gestion d’entreprise. (cf. Luxinnovation)

www.visual-delight.lu

Visual artist depuis près de 10 ans, Steve Gerges a toujours été attiré par les nouvelles technologies et les possibilités qu’elles proposent dans son travail. Après une formation en animation 3D et une escapade de quelques années dans la production de films IMAX à Bruxelles il a travaillé pendant plus de 9 ans comme directeur artistique / motion designer pour la société Remedia. Steve Gerges s’est récemment reconcentré sur ses activités de « Visual artist ». Le but premier étant de pouvoir prendre du plaisir dans des créations personnelles tout en utilisant des technologies lui permettant d’interagir d’une manière ou d’une autre avec des images en tempsréel. D’autre part, dû a un intérêt grandissant pour les technologies de pointe, il essaie de développer en parallèle des installations audiovisuelles interactives, aussi bien pour le grand public que pour des institutions.

nIcole goetz ZV45 50

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graphiste

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nicole@vidalegloesener.lu

Après avoir terminé ses études en section artistique au Lycée Classique de Diekirch, Nicole Goetz a choisi Bruxelles comme lieu pour faire ses études en graphisme à l’école supérieure le septantecinq. En 1999, elle a commencé à travailler comme graphiste au Luxembourg et fait depuis 2005 partie de l’équipe de Vidale-Gloesener.

Depuis lors elle reste surtout adepte de tout ce qui est print. Pour Nicole Goetz chaque projet dans son métier est unique. Et c’est ce qui reste le plus passionnant pour elle – les possibilités de création sont inépuisables tout en utilisant ses outils préférés tel que typographie, couleurs et formes.

Parmi ses réalisations personelles récentes citons seulement les postocollants de la nouvelle série A pour la Post Luxembourg.

grID DesIgn Design counseling & project communication through 3D visualisation, 3D print, virtual reality

www.grid-design.lu

Grid Design stands for the idea of project development, communication through 3D technology, the pursuit of innovation, and exploring new horizons. A company which focuses on high-quality and reliable production of 3D illustrations, animations apps, and 3D prints, thus creating real sensations of virtual space. Grid is an award-winning creative company with a broad network of passionate and experienced staff. The company was founded

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in 2008, and since that time it has been offering a wide range of high quality 3D graphic services, renders, images, laser cutting and other associated services.

Grid Design believes that the fi nal result should not simply provide a simulation of space, but convey a real sensation of space, looking resolutely at the future, towards a simpler and above all greener world, thanks to the thoughtful use of technology. (cf. Serge Ecker)

MarIanne grIsse

cessoires textiles et bijoux sous son propre nom au Luxembourg. Deux fois par an, elle présente une collection sur un thème défini au salon The Box à Paris, lors de la Semaine de la mode. Elle y rencontre ses clients, des magasins du monde entier (surtout du Japon, Corée du Sud, Russie, Dubaï…). Anne-Marie Herckes collabore également avec différentes institutions au Luxembourg (Mudam, Kulturhaus Niederanven…) et des marques internationales (Colette / Paris, Missoni / Japon, The girl and the gorilla / Hambourg).

leo reuter

www.interpub.lu

Figure emblématique du graphisme au Luxembourg, Leo Reuter fonde en 1964 l’agence Interpub. Parmi ses créations, soulignons les identités visuelles pour BCEE, Bourse de Luxembourg, Cactus, Cargolux, Le Foyer, La Luxembourgeoise, Loterie Nationale ou encore le Statec.

Design graphique

toM herMes Marianne Grisse a étudié à l’Académie royale des beaux-arts de Bruxelles, en section communication visuelle. Après avoir travaillé comme graphiste dans diverses agences à Bruxelles, Londres et au Luxembourg, elle devient graphiste indépendante. Elle crée des projets graphiques qui lui tiennent à cœur et enseigne le design graphique au Lycée technique des arts et métiers à Luxembourg. Elle est également membre du jury de la section Communication visuelle à l’Académie royale des beaux-arts de Bruxelles.

Hh anne-MarIe herckes créatrice de mode www.anne-marieherckes.com

Styliste de formation (études à Anvers et Vienne, différents stages à l’international, notamment chez Viktor & Rolf), Anne-Marie Herckes crée depuis 2006 des ac-

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Independent publisher & photographer

© Arnaud Mouriamé

hello@mariannegrisse.com

www.barbari-oculus.com

Back in 1993, Tom Hermes started photography and quickly developed a strong sense for documentary matters while he was still a student at Université libre de Bruxelles. Twenty years later, he founded Barbari Oculus Publishing to promote photographic culture. “Photography often focuses too much on technical stuff, megapixels, greyscale or gear. What matters to me is content and the relevance of a picture in itself.”

Ii

Jj nathalIe JacoBy architecture d’intérieur

www.njoy.lu

Après des études d’architecture d’intérieur en Suisse et d’histoire de l’art à Paris, un passage chez Jean-Michel Wilmotte et au Louvre, Nathalie Jacoby lance NJOY avec un petit groupe d’indépendants en 2003.

Entre architecture, design, décoration et scénographie, l’équipe intervient sur des cadres existants ou des espaces en cours de création qu’elle transforme en profondeur ou en douceur, mais jamais qu’en surface.

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Ezri Kahn Fashion designer

Jailbird Design produit – réinsertion socioprofessionnelle de détenus

www.jailbird.lu

Jailbird a été créé par l’association sans but lucratif Défi-job, établie en 2002, pour favoriser la réinsertion socioprofessionnelle des détenus du centre pénitentiaire de Givenich. L’objectif est de fournir aux détenus des connaissances et compétences qu’ils pourront valoriser à leur sortie de prison afin de trouver un travail et d’être en mesure de le garder. Jailbird est une marque de produits réalisés par les détenus dans le cadre de coopérations avec des jeunes designers. L’idée est de favoriser la réinsertion socioprofessionnelle des détenus en les motivant à acquérir de nouvelles compétences en partant du principe que chaque individu possède en soi des ressources considérables pour se comprendre, se percevoir différemment, changer ses attitudes fondamentales et son comportement. La marque satisfait aux règles d’or du slow design. Les objets sont uniques, en édition limitée et manufacturés.

Kk

Anne Kieffer, graduated from Art C ­ enter College of Art and Design in Pasadena, USA as a product designer. After her graduation she started to work at the Centro Stile FIAT in Torino, as a car interior designer. After several years of professional experience she decided to become independent and started her own business as a product and interior designer.

In 2012 she started together with Arnaud Mouriamé to design furniture and toys with the design studio Studio delle Alpi. (cf. S­ tudio delle Alpi)

Page Facebook : Ezri Kahn

C’est près de Luxembourg-ville que l’on trouve son atelier de tailleur sur mesure pour femmes. Du dessin à la matière, du patron à la toile, en passant par toutes les étapes d’essayage, rien n’est laissé au hasard.

Ezri Kahn est un peu comme un architecte : dans son travail, il y a des fondations à mettre en place avant de construire, car selon lui, « le secret d’un bon vêtement, c’est ce qui ne se voit pas ». Il travaille sur des pièces uniques, taillées dans des tissus qu’il sélectionne avec soin. Ezri Kahn a commencé sa carrière professionnelle comme danseur, tout en suivant des études d’arts appliqués en Belgique. Il part à Paris à 24 ans et travaille aux côtés d’Azzedine Alaïa. Actuellement, c’est au Luxembourg qu’il poursuit cette passion : « Le travail sur mesure est un vrai luxe, celui de la différence. »

© Arnaud Mouriamé

l’essence d’un espace en y combinant matériaux, proportions, technique, lumière, fonctions et savoir-faire pour former un tout cohérent, puis suivre l’exécution de ce « sur mesure » jusque dans le moindre détail. Parmi les réalisations de NJOY, on trouve : bureaux InCA, Goodyear Innovation Center, billetterie de la Philharmonie, The Family of Man Clervaux et récemment le Rockhal guest-lounge.

Paul Kirps Artist & graphic designer

Reza Kianpour Graphic design / Furniture design

rezakianpour.com

Reza Kianpour is an upbeat independent designer living and working in Luxembourg.

Anne Kieffer Product designer

www.paulkirps.com

Paul Kirps is an independent artist and graphic designer who works on commissions and personal projects in the field of art, illustration and visual communication. Through his research he reappropriates popular imagery and elements from daily life in order to reinvent an iconographic poetic with new uses. Recent projects have focused on commissions related to the “Art in State Buildings” Programme “Kunst am Bau”. He collaborated with architectural studios to develop concepts for artistic installations in public buildings, providing relevant solutions to the needs of future residents and users. Paul Kirps’ work is included in the collections of the Museum of Modern Art in New York, the Mudam Luxembourg, the Museum für Gestaltung in Zurich and the City of Luxembourg.

www.studiodellealpi.com www.morethanpurple.com

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Food design

in publishing and media, Koedinger has become an internationally acclaimed expert (brand strategy, content marketing, creative direction, community events) and remains a strong believer in the power of print. (cf.

Maison Moderne, Design Friends)

Will kreutz Consultant / Directeur créatif

Page Facebook : Damien Klein

Chef de cuisine, avant-gardiste, visionnaire, écrivain, animateur d’émissions télévisées culinaires, philanthrope : Damien reflète le caractère d’une personne multitâche et l’esprit d’un cuisinier des temps modernes, qui sait déconstruire l’art d’une génération de cuisine classique et la reconstruire avec une philosophie et de nouvelles textures d’aujourd’hui. Avec les bonnes bases apprises aux fourneaux aux côtés de grands maîtres, il se passionne à inventer de nouvelles structures culinaires. À 24 ans, il devient chef de cuisine du restaurant Apoteca qui se voit proclamé « grand restaurant avec jeune chef innovant » à Luxembourg.

Il édite des livres de cuisine et crée ses propres concepts télévisés d’émissions culinaires en Allemagne et au Luxembourg.

Mike Koedinger Publisher

www.atypical.lu

Né à Trêves, de nationalité allemande, il vit et travaille depuis 1963 à Luxembourg.

Après des études de design et de graphisme à Luxembourg, Paris et Berlin, il lance son agence made by sams en 1979 et devient vite une référence en matière de communication visuelle et verbale, tant sur le marché local qu’international. Directeur de création réputé et exigeant, il a remporté plus de 80 prix et distinctions internationales et a signé un grand nombre de campagnes et d’images de marques. Aujourd’hui, il travaille comme consultant et directeur créatif indépendant au Luxembourg et en Chine. Il accompagne également des artistes urbains internationaux et organise des manifestations d’envergure, comme en 2012 goodbyemonopol1 et en 2013, goodbyemonopol2.

© David Laurent

Guido Kröger

Ll Sacha Lakic Industrial designer

www.lakic.com Graphic designer

www.maisonmoderne.lu

Mike Koedinger, independent ­ publisher and media entrepreneur is the founder and CEO of Maison Moderne, Luxembourg’s leading and award winning media company. Koedinger is also the co-founder and vice-president of Design Friends, the former licencee of TEDxLuxembourgCity (2012, 2013), co-curator and producer of Colophon, international magazine symposium in Luxembourg (2007, 2009) as well as co-curator of QVED – Quo vadis editorial design (Munich). With 25 years experience

with an award for his excellent diploma thesis, today Guido has nearly 25 years of passionate experience in graphic design.

Guido is partner at Maison Moderne, ­ Luxembourg’s leading and award winning media company. He is director of Maison Moderne Studio, the internationally acclaimed design studio. Guido and his team of 25 (including art directors, graphic designers, desktop publishers, web & app developers and a video production team) have won several international design awards over the years – such as D&AD awards, Art Directors Club Germany Awards, ED awards, Red Dot Grand Prix & Awards and German Design Awards.

Furthermore, Guido is boardmember and treasurer of Design Friends. (cf. Maison Moderne, Design Friends)

© Denis Boussard

Damien Klein

www.maisonmoderne.lu

After founding his first design studio in January 1993 as a student, and after finishing his graphic design studies in 1994 at the Trier University of Applied S­ ciences

Sacha Lakic is an industrial designer with a strong passion for technology and fast moving objects. He has the unique strength of easily moving from one design field to another. His creations are characterised by a sense of movement and sensual shapes.

Sacha Lakic Design was originally established in Paris in 2004, and now based in Luxembourg since 2010. The studio has particular expertise in the fields of automotive design, furniture, architecture, fashion, high-tech and luxury products. The broad experience combined with great inspiration, drives Sacha Lakic and his team to continuously further the array of projects and to generate yet more innovative design solutions for people all over the world.

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LaLa La Photo Photography

dié à la Koninklijke Academie voor Schone Kunsten d’Anvers et au London College of Fashion. De retour au pays, elle s’est mise à son compte, une voie qui lui permet de trouver son équilibre. (Texte : Christiane Kleer)

Tom Lipscomb Product and furniture design

© Lala La Photo

Photographe

www.lalalaphoto.eu

Laurie Lamborelle

www.tomlipscomb.co.uk © Andrés Lejona

LaLa La Photo is a creative team of two photographers, Keven Erickson and Krystyna Dul. They are based in Luxem­ bourg and specialised in lifestyle and children photography. Their main goal is to provide gallery standard photography to fully complement the home interior. Putting lots of value on a single high quality photograph, they are aiming to bring back the appreciation towards printed images, well-designed display methods, handfinished photo books and fine art albums.

Aside from private commissions, Keven and Krystyna work on their personal documentary projects and series of portraits.

© tomlipscomb.co.uk

Andrés Lejona

www.andreslejona.com

Né en Espagne, Andrés Lejona s’installe au Grand-Duché après avoir vécu dans différents pays d’Europe et d’Amérique. Photographe spécialisé dans l’architecture, le design et les portraits, il développe également ses propres projets en tant qu’auteur sous forme d’expositions et publications éditoriales.

Tom designs, builds and manages projects – working for a number of leading design practices, museums and cultural institutions around the world. He has produced design solutions and manages projects across a range of disciplines including products, furniture, publishing, fashion, digital media, and transport in the UK and overseas.

Anna Loporcaro Coordinatrice Design City

Lët’z go local Organisation, event

www.laurielamborelle.eu

« Je souhaite créer une atmosphère, plutôt que de faire du design purement fonctionnel et esthétique », dit-elle. En effet, les collections de Laurie Lamborelle mènent vers un monde à part, où fragilité, légèreté et audace se mélangent, et où la pureté apparaît comme une vertu, mais aussi comme une tentation. Ce suspense poétique est entretenu par le choix de renoncer aux couleurs, pour aller vers une sublimation du noir et du blanc. Côté matières, Laurie Lamborelle, qui investit beaucoup dans la recherche de ses coupes, estime que leur sensibilité est un vecteur essentiel de l’atmosphère créée. La jeune artiste a étu-

© Anna Rulecka

© Tessy Fritz

Fashion design

www.letzgolocal.lu

Sensing the need to promote local players, Linda Bos co-founded Lët’z go local asbl in collaboration with Karolina Szatna in 2013.

The aim of this organisation is to increase the visibility of local products, design and services. In a few months time they managed to grow from “a nice idea on paper” into a popular platform. Twice a year they organise a market and publish a magazine to showcase their members. (cf. Linda Bos)

www.designcity.lu

Responsable de programmation culturelle au Mudam, le Musée d’art moderne Grand-Duc Jean du Luxembourg, Anna Loporcaro est depuis 2010 coordinatrice de la biennale Design City, organisée en collaboration avec la Ville de Luxembourg. (cf. Design City, cf. Mudam)

Luxinnovation Design management, design ­promotion, product design www.luxinnovation.lu

Le département « Gestion de l’innovation » chez Luxinnovation – Agence nationale pour la promotion de l’innovation et de la recherche, accompagne des petites et moyennes entreprises dans le processus de mise en place et dans l’amélioration

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de la gestion de « design management ».

Au sein de ce département, Luxinnovation informe et forme ses clients sur la valeur ajoutée que le design peut apporter à leur entreprise. L’objectif est d’augmenter la compétitivité et la capacité à innover au travers de collaborations fructueuses avec les industries créatives dont les designers sont la partie maîtresse.

Mm

Maison Moderne Media company www.maisonmoderne.lu

Since it was founded in 1994, Maison Moderne has become the leading independent and award winning media firm in Luxembourg. First and foremost a magazine publisher, the company has greatly diversified owing to an ambitious diversification strategy and the passion and commitment shown by its employees. Today Maison Moderne employs approx. 80 staff and has an annual turnover of €7 million. Specialising in producing quality content across multiple channels, Maison Moderne also provides services ranging from paperJam Club to content marketing and media sales. Its flagship media brands include: Paperjam, Delano, Archiduc, Explorator, City Mag and Flydoscope. Maison Moderne offers a unique media quartet: print media, digital and mobile media, live media and content marketing. (cf. Fred Baus, Julien Becker, Céline Coubray, Mike Koedinger, Guido Kröger)

© Andrés Lejona

Objet, mobilier, scénographie

© Eric Chenal

Les M Studio

Maurice + Paula Design, graphism, cinema

tend the designer’s playgrounds. They have worked for companies such as Saint-Gobain and Canal+ and exhibited their works in several places like Dutch Design Week, Mudam Luxembourg, Villa Noailles, Plaza Futura, The Ridder Gallery, Salone del Mobile.

Anne Mélan Artiste, illustratrice, graphiste

annemelan.wordpress.com

Anne Mélan est une jeune artiste, graphiste luxembourgeoise à multiples facettes. Elle a étudié les arts appliqués et les arts plastiques aux Universités de Toulouse et de Strasbourg. Après avoir terminé ses études avec succès, Anne Mélan devient indépendante en 2010 et réalise depuis plusieurs projets différents : des affiches pour la Schueberfouer et la Rockhal, des timbres pour la poste, des illustrations pour le Mierscher Kulturhaus et pour la boutique M. Weydert, une illustration murale dans la Bouneweger Stuff, mais aussi des expositions comme au CAL ou à la Galerie Konschthaus beim Engel.

Mellem Design Industrial design

Nées en 1984, Céline Merhand et Anaïs Morel font leurs études à l’École des beaux-arts de Rennes. Diplômées en 2007, les deux jeunes designers s’associent pour fonder Les M Studio. Sélectionné pour représenter la France au Brésil pour l’Année de la France au Brésil 2009, Les M Studio est lauréat du Prix Nouvelles Générations Design, organisé par le magazine l’Express Styles en 2011. Aujourd’hui, Les M Studio collabore avec des éditeurs internationaux tels que Casamania, Super-ette, ainsi qu’avec des institutions prestigieuses telles que le Centre Pompidou-Metz et le Mudam à Luxembourg. Les M Studio est représenté depuis 2014 par le Carpenters Workshop Gallery à Londres et Paris.

© Mellem Design

www.lesm-designstudio.com

www.maurice-et-paula.com

Maurice + Paula is a design studio founded in 2013 by two students from the Design Academy Eindhoven: Alexandre Humbert and Camille Bulteau Barreau. They explore the design process through different mediums: graphism, product design and cinema, in order to reveal the impact of design on people’s behaviour but also to investigate new typology of design output with the aim to ex-

www.mellem.me

Mellem design is a product and service design firm creating engaging consumer products, delightful service innovation and playful environments. It is a multidisciplinary, cheerful blend of designers and architects from across Europe, with offices based in Luxembourg and Canada. Industrial designer Philippe Schlesser and architect Jean-Paul Carvalho established Dee 61

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Mellem design studio to create intuitive connections between people and environments with a goal to improve life, create business success and simply to make people happy. They’re experts at the process of designing stuff, and turning messy problems into tangible results. (cf. Jean-Paul Carvalho)

mais aussi le design, le graphisme, l’art urbain y sont représentés avec en fond de toile l’un ou l’autre thème actuel, sujet à interpeller les visiteurs. (cf. CarréRotondes).

Olivier Minaire

des livres, des identités visuelles et des plans cartographiques pour différentes sociétés et communes, dont celui utilisé dans les abribus des transports en commun de la Ville de Luxembourg.

Arnaud Mouriamé

Photographe Graphic & furniture design

Metaform Architecture

www.olivierminaire.com

www.metaform.lu

Une démarche simple et un langage stylistique sobre caractérisent la démarche architecturale de Metaform. Chaque projet trouve à travers le programme et le lieu son identité architecturale, stylistique et formelle. Le style n’est jamais prédéfini. Un bâtiment ne se suffit pas à lui seul. Il appartient également au voisinage, à la rue, à l’espace public... à la ville. Développer et construire un bâtiment est un acte social. Les domaines d’activités sont variés et vont de l’urbanisme au design en passant par le paysagisme et différentes recherches sur l’habitat.

Olivier Minaire Photography représenté par Olivier Minaire photographe est un créateur et fournisseur de photos professionnelles basé à Luxembourg. Il est spécialisé dans les domaines du portrait dans lequel il réalise également des projets personnels, de l’architecture, de la publicité, de l’éditorial et de l’événementiel.

Monopolka Design visuel

www.graphicdesign.lu www.studiodellealpi.com

Arnaud Mouriamé is an independent graphic designer since 2004. He has been a board member of both Design Luxembourg and Design Friends, which he co-founded in 2009. He founded the Studio delle Alpi with Anne Kieffer, a furniture and toy design studio. (cf.

Studio delle Alpi, Anne Kieffer, Design Luxembourg, Design Friends)

Mudam Musée d’art moderne Grand-Duc Jean – Luxembourg

Steph Meyers Commissaire d’expositions

© Thierry Frisch

www.monopolka.com

www.rotondes.lu

En tant que programmateur des arts visuels à l’Espace culturel CarréRotondes, Steph Meyers programme des expositions dédiées à la jeune scène artistique locale et internationale, et des projets inédits cherchant à relier l’art, la culture et la société.

L’art contemporain sous toutes ses formes (vidéo, peinture, photo, installation...),

Monopolka est un studio de design visuel fondé par Joanna Grodecki en 2009. Le studio se spécialise dans le design éditorial, le mapping et la création d’identités visuelles.

Les réalisations du studio se partagent entre des commandes institutionnelles, culturelles et des projets autoproduits. Joanna Grodecki est diplômée de la Fachhochschule de Trèves en communication visuelle et d’un BTS en marketing. Sa capacité de percevoir la valeur stratégique du design graphique comme outil de communication, en introduisant l’analyse et la recherche avant la conceptualisation de la mise en forme, lui permet d’aborder chaque projet depuis l’angle du marketing et du design. Monopolka a conçu

www.mudam.lu

Premier musée dédié à l’art contemporain au Luxembourg, Mudam se veut attentif à toutes les disciplines artistiques et ouvert au monde. Sa collection et sa programmation reflètent les tendances de la création actuelle et rendent compte de l’émergence de nouvelles pratiques artistiques à l’échelon national et international. Le bâtiment, œuvre de l’architecte sino-américain Ieoh Ming Pei, dialogue à merveille avec son environnement naturel et historique. Adossé aux vestiges du Fort Thüngen, il est implanté dans le Park Dräi Eechelen qui offre

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des vues magnifiques sur la vieille ville à quelques pas du quartier européen du Kirchberg. (cf. Design City, Anna Loporcaro)

cette passion que l’équipe s’efforce de partager avec ses clients tout en restant pragmatique et réaliste au niveau de la définition de stratégies et de concepts.

Mik Muhlen

seum he felt the need to change and follow his inner urge: work as an independent visual artist. He recently moved into his new studio in Differdange, located in an old industrial complex ( cf. 1535°C).

Mik Muhlen is a Luxembourg born independent designer and art director.

Straight after completing his BA in illustration from the Arts University Bournemouth in 2007, Mik Muhlen went on to work as a freelance graphic designer.

In 2009, he decided to start working under the moniker­ omniscientbeing. During this time he has worked on various projects with clients from different branches, but mostly from the cultural sector. Over the years he has also had the opportunity to work on several artistic projects, from standalone illustrations to video projections and animations. His personal work is inspired by mythology and mysticism, along with a passion for design in general, urban subculture and street art. Mik is counsellor to the board of Design Friends since 2013. (cf. Design Friends)

Nn Nvision

Anatoli Papadopoulou Fashion design (accessories)

Nvision a été établie en 1999 et est aujourd’hui l’une des principales agences web sur le marché luxembourgeois. Nvision est le fruit d’une envie d’entreprendre couplée à une passion pour internet. C’est

Photographer

www.martinepinnel.com

www.anatoli.lu

Anatoli Papadopoulou is a trained stylist and modelist from the international fashion school ESMOD in Munich, and since 2008 she has settled back in Luxembourg where she launched her label of accessories for women and children (“Anatoli”) in March 2009. Recently, Anatoli also creates products for interior design.

Martine Pinnel attended the Academy of Art University in San Francisco. Photography and fashion quickly became the tools that allowed her to bring her stories and ideas to life. Her accomplishments of winning best portfolio in the Academy of Art University Spring Show 2012, and obtaining an art scholarship from Luxembourg, gave her the confidence to enter the Vogue New Exposure contest, placing her as a top 10 finalist. After 6 years of living, studying and working in San Francisco, Martine made her way back to Europe, living in London and working in both London & Luxembourg on a regular basis.

Mélanie Planchard Costume designer

Gilles Pegel

Web design www.nvision.lu

© Yves Stephany

Pp

Martine Pinnel

© Martine Pinnel

www.omniscientbeing.com

© Jakub Kodym

© David Laurent

Graphic design / Illustration

Visual artist www.medium.lu

Upon his return from Brussels, where he studied visual arts, he started to work in the communication department of Mudam Luxembourg. After 6 years at the mu-

www.melanieplanchard.com

Mélanie Planchard is a freelance costume designer from Luxembourg. After graduating in 2010 in fashion design from HEFF in Brussels, she worked as a fashion designer assistant for a ready-to-wear company in Brussels and as a costume designer assistant in Luxembourg. In January 2014, she obtained the degree of Master of Arts in “Costume Design for Performance” at the UniversiDee 63

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ty of the Arts London. During the masters programme, she has been awarded an artist scholarship by the foundation Auguste Van Werveke-Hanno from Luxembourg. Mélanie is interested in the subject of costume as an artistic medium with a preference for minimal and conceptual designs.

Olaf Recht Product, interior and furniture design

die Leitung mehrerer Ausstellungen konnte er zeit seines Studiums Floral- und Grafikdesign verbinden. Heute arbeitet er bei Vidale-Gloesener in Luxemburg in den Bereichen Corporate-, Editorial- und Grafikdesign. (cf. Vidale-Gloesener)

© Holger Blockhaus

Stéphanie Rollin Artiste

Polaris Architectes

www.polaris.lu

Carole Schmit et François Thiry ont étudié à l’école nationale supérieure des arts visuels de La Cambre. Après des études post-diplôme au Berlage Institute d’Amsterdam et à l’EHESS de Paris, ils ont travaillé plusieurs années aux Pays-Bas, en Italie et en Belgique avant de s’installer à Luxembourg. Ils y ont établi en 2005 le bureau Polaris. Dans le cadre de leurs projets d’architecture et d’urbanisme, le design, le branding, la scénographie et la communication visuelle font partie intégrante d’une démarche résolument « post-médium », comme en témoignent notamment la cabane acoustique Shack, le mobilier urbain pour le Kyosk au Kirchberg, l’identité visuelle de l’écoquartier Hollerich Village, la signalétique du lycée technique de Grevenmacher ou encore leur pratique occasionnelle de curateurs d’expositions.

Rr

His education brought him from Switzerland over Milan to Los Angeles where he graduated in 1998 from Art Center College of Design in Pasadena. He started work at RKS Design in the field of consumer and medical design, interface and design strategy. In 2002 he founded intransit design in Berlin and eventually returned to Los Angeles in 2004 for a big project and decided to stay and continue his career in the medical domain, focusing on market and product strategy, device and interface development. In 2010 he returned to Luxembourg and immersed into the world of furniture and interior design, designing for brands such as BoConcept, Bolia and Frandsen Lighting. At this moment, he’s establishing his own lighting and furniture brand to hit the stores in the near future.

Sebastian Reiter Corporate-, Grafikdesign

© David Brognon

www.olafrecht.com

http://www.brognon-rollin.com

Artiste formée au Chelsea College of Art and Design, puis à l’Université de Strasbourg, elle assiste pendant quelques années Marie-Claude Beaud au Mudam. C’est aussi là que Stéphanie rencontre David Brognon, un artiste avec lequel elle collabore régulièrement pour des projets d’art contemporain. En 2010, elle rejoint le comité de Design Friends et crée la même année Super-ette, éditeur de design contemporain (actif jusqu’en 2014). (cf. Design Friends)

Miriam Rosner Editorial design, book design, graphic design, branding

www.sebastian-reiter.com

www.binsfeld.lu

Trotz früher Ambitionen für Design gelangt Sebastian Reiter über Umwege zum Studium. Mit großer Leidenschaft für das Gestalten mit pflanzlichen Werkstoffen arbeitete er mehrere Jahre als Florist bevor er 2004 das Studium zum Kommunikations­ designer an der Fachhochschule Trier – University of Applied Sciences begann.

2009 schloss er das Studium erfolgreich ab, sein Fokus lag hierbei auf typografischen Arbeiten und Illustration. Durch

Miriam Rosner is a graphic designer and art director based in Luxembourg city.

She has worked in the industry for over 15 years focusing on editorial design, branding, packaging, book design and in recent years corporate publishing. She graduated from école d’art Maryse Eloy in Paris after studying typography and graphic design.

Currently, she works as an art director in the design department of Binsfeld, a design agency based in Luxembourg. (cf. Binsfeld)

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© David Laurent

Claude Schmitz Artiste et créateur de bijoux

Social matter Social design

Ss Kim “the butcher” Schreiner

© Patrick Muller

www.fondarch.lu

Née en Allemagne, Andrea Rumpf vit et travaille au Luxembourg depuis 1996. Elle obtient en 1991 un Magister Artium en histoire de l’art et archéologie avec spécialisation sur l’histoire de l’architecture après des études à Bonn et un Master en Management culturel à Paris en 2002. De 1991 à 2005, elle est experte dans le domaine de la « Bauforschung », du patrimoine bâti et de la mise en valeur culturelle des sites historiques en Allemagne et au Luxembourg.

Depuis 2005, Andrea Rumpf est directrice de la Fondation de l’Architecture et de l’Ingénierie au Luxembourg. (cf. Fondation de l’Architecture et de l’Ingénierie)

www.claudeschmitz.com

Après des études de joaillerie à l’Académie royale des beaux-arts à Anvers et au Royal College of Art à Londres, Claude Schmitz travaille comme artiste et designer professionnel indépendant au Luxembourg. Ses œuvres se caractérisent par une utilisation traditionnelle de l’orfèvrerie, associée à un langage contemporain. Dans son travail, on retrouve des objets uniques, mais aussi des bijoux d’édition comme ses bagues « rolling rings ». De la conception à la réalisation du bijou, tout est fait et exécuté à la main. La distribution de ses bijoux se fait à travers des galeries d’art en Europe, aux états-Unis et au Japon.

Sensity Design consultancy

Illustrator

www.sensity.lu

www.thebutcher.org

Born in Luxembourg in 1983, Kim Schreiner studied graphic design at the Lycée technique des arts et métiers in Luxembourg. Then, he went on to the école de recherche graphique (ERG) in Brussels and

culture; Research about customer expectations in a specific field of connectivity; Mobile payment studies on customer insights and their behavior in different kind of payment situations), Verkéiersverbond (live experience: developing a concept to raise awareness on sustainable mobility) and Chambre des métiers in Luxembourg (developing a lecture about product and service innovations). (cf. Guido Wolff)

Sensity is a horizontal design ­consultancy, which designs business models and brands.

Sensity connects products, services and brands strategically with trends, digital transformations and innovation processes on a horizontal line. Among others, Sensity worked for Deutsche Telekom AG (Customer insights research about product design attributes which occurs from a specific

© Kristof Vrancken Photography

Directrice de la Fondation de l’Architecture et de l’Ingénierie

to the Freie Hochschule in Freiburg, where he got his degree. Since then, he has been working as a designer for Adidas, and on his own projects as butcher graphics. Kim is an eternal punk who likes snowboarding, skateboarding and surfing.

www.socialmatter.eu

Socialmatter is a design studio co-founded

by Lynn Schammel and Giacomo ­Piovan, working on social and environmental evolving realities. The studio collaborates closely with public and private organisations in order to offer products, strategies and events that seek new design directions for social improvement. (cf. Jailbird)

Max Steffen Design Industriel www.maxsteffen.com

Max has been freelancing for international brands and consultancies before he created his own studio in the Danseaert area in Brussels. Max Steffen – Office for Industrial Design and Fashion Accessories is seeking pure, functional and emotional design solutions that live up to very high aesthetic demands. He is active on EU, Asian and US markets in the fields: consumer electronics, mobile carriers, hardware fashion accessories, furniture, public design and branding.

© Max Steffen

Andrea Rumpf

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SUMO

Architecte – urbaniste

Product design

Graphic design, illustration, painting

www.studiodellealpi.com

Né à New York, de parents luxembourgeois, Nico Steinmetz vit et travaille actuellement au Luxembourg. Diplômé de l’ISA Saint-Luc de Bruxelles, il complète son parcours par des formations en urbanisme et rénovation urbaine. En 1989, il fonde son atelier d’architecture, suite au premier concours qu’il remporte avec la complicité de Stefano Moreno, son associé jusqu’en 1994. En 1995, Arnaud De Meyer rejoint l’atelier d’architecture et cette collaboration devient officielle en 2001 avec la création de l’association Steinmetzdemeyer architectes urbanistes. Actif majoritairement à Luxembourg, le bureau refuse toute spécialisation : les projets portent sur toutes les échelles et toutes programmations, de l’urbanisme aux aménagements intérieurs, publics et privés. Depuis 2013, Nico Steinmetz est également président de la Fondation de l’Architecture et de l’Ingénierie. (cf. Fondation de l’Architecture et de l’Ingénierie)

Studio delle Alpi est un studio de design fondé par Anne Kieffer et Arnaud ­Mouriamé, deux designers partageant la même passion pour les meubles et les objets ludiques et originaux. Leurs objets sont fabriqués en contreplaqué et sérigraphiés. La gamme de couleurs et de motifs est inspirée de leurs références de voyage, de jeunesse, de leurs passions. Les meubles et les objets sont faits à la main, en quantités limitées. Les deux designers supervisent eux-mêmes la production, garantissant ainsi une qualité impeccable.

Afin de privilégier la proximité, ils travaillent exclusivement avec des artisans et des ateliers locaux, reconnus pour leur savoir-faire. (cf. Anne Kieffer, Arnaud Mouriamé)

Studio Polenta Graphic design

Anton Stepine

© Jim Urbain

Communication designer

www.studiopolenta.com

www.antonstepine.com

As a studied communication designer Anton Stepine works across Luxembourg, Italy and the UK. Alongside plenty of freelance work he has had the opportunity to work as a junior art director at 45gradi, a design agency in Milan, with clients such as Vodafone, Giovanni Rana, Walt Disney and big names from the fashion industry such as Fratelli Rossetti and La Rinascente.

Studio Polenta est une agence de design fondée en 2013 à Luxembourg. L’identité visuelle, le design digital ou des solutions print innovatrices sont la signature du studio pour des projets dans le domaine commercial, culturel ou institutionnel. L’équipe travaille avec un réseau créatif national et international pour trouver la meilleure solution de design pour chaque projet. Rick Tonizzo, directeur de création, et Annick Kieffer, directrice artistique, sont les fondateurs de Studio Polenta.

www.sumo.lu

Born in 1976, SUMO lives and works in Luxembourg. He studied typography and graphic design in London and paints on many different materials since 1995. Qualified as an “urban contemporary artist”, he became famous with the graffiti, but he played also a key active role in the world of art galleries and ready-to-wear fashion boutiques. Over the years, he created his own style, built his own identity, being inspired by the world of cartoons, creating eccentric characters (his famous “Crazy Baldheads”), adding musical references to his work.

Tt The Impactory Co-working space in Luxembourg City

© The Impactory

www.steinmetzdemeyer.com

© Patrick Muller

Studio delle Alpi

© Arnaud Moriamé

Nico Steinmetz

www.theimpactory.com

The Impactory is a community and coworking space where people meet, learn and work on their businesses and projects.

The community counts today over 100 en-

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trepreneurs, freelancers, intrapreneurs and students from different backgrounds and cultures. The team envisioned this space to be as a “do-thank” to connect and empower change makers. It is a go-to place for innovation, collaboration, and entrepreneurship leading to a better and stronger world. The Impactory was created in 2012, following a collective work from a group of entrepreneurs who realised that such a space was missing in Luxembourg City. It is a meeting place for creative people willing to work on projects that matters. It is a leading platform where everyone shares their knowledge to build a higher form of collective intelligence.

Vv vol(t)age

Luxembourg. Silvano is an active member of the local professional design association Design Luxembourg. He came up with the idea to create a non-profit organisation adressing everybody who loves design, professionals and non-professionals. In 2009 he founded Design Friends and has been the first president for 4 seasons (20092013). Today he supports the board of Design Friends as a counselor. (cf. Design Friends, Vidale-Gloesener)

Boutique patchwork label

photographer

© Christian Wilmes

JessIca theIs

© Jess Photography

www.vol-t-age.com

www.jess.lu

As she works alone, every client deals with her personally in a closely collaborative way. She is convinced that an ideal photograph, filling entirely its purpose as well as its function, can only result from good communication. Following studies in photography and assistant jobs in Cologne, she has been active as a freelance photographer since 2005. After working as a set photographer on films and participating in various solo and group exhibitions, she has been focusing exclusively on commissioned commercial and advertising photography for national agencies and companies since 2007. In 2012 she decided to change the name and the corporate identity of Blue Box Design to jess: a new name to provide a better communication, a more direct and clear understanding of what she is and what she does.

Why choose between a tame bourgeois and a wild-spirited bohemian piece when you can have it all? In 2011 vol(t)age, a boutique patchwork label was born to inspire people to transcend styles and be electric by continually evolving and embracing change: multi-faceted people reflecting their hopes, dreams and projections.

Just like vol(t)age, a jeu de mots between the French word volage meaning “something which changes, evolves” and voltage, meaning electric, we are all an electrically eclectic assemblage of patchwork.

The patchwork limited edition collection strikes by its eclectically harmonious colour combinations. An electrifying prêt-àporter collection, galvanizing accessories (including an eau de parfum) as well as an eclectic Maison collection convey wild glamour and unconventional elegance.

sIlvano vIDale graphic Designer www.vidalegloesener.lu

Silvano Vidale is co-founder and associate designer at Vidale-Gloesener. He studied at Norwich School of Art and Design (UK) specialising in General Graphic Design.

After graduation in 1999 with a 1st class degree in BA Honours Graphic Design, he founded the design studio in Luxembourg in 2000 together with Tom Gloesener (†2012) who he already met in school at the Lycée Technique des Arts et Métiers in

vIDale-gloesener graphic design

www.vidalegloesener.lu

Vidale-Gloesener is a design studio founded in 2000 by Tom Gloesener (†2012) and Silvano Vidale. From the very beginning, Vidale-Gloesener offered design services on a different level. The emphasis is first and foremost on original ideas, and consequently their clients buy ideas. Today, Vidale-Gloesener has become a close-knit team. Over the years, they have won many local and international design awards. The agency offers design and strategic solutions for a very diverse client list with a focus on branding, corporate, editorial and packaging design. It works with some of the largest companies, as with some of the smallest. This maintains a balance which keeps the mind fresh.

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Ww DunJa weBer MIch welFrInger product designer type & graphic designer

suivi ses études à Paris en management culturel aux H.E.C. à Montréal. Elle a fait son expérience professionnelle dans diverses institutions culturelles et galeries privées en Europe et Amérique du Nord.

Entre 2007 et 2010 elle était associée et gérante de la boutique de design « Usina » à Luxembourg, présentant une sélection d’objets et créations de designers locaux et internationaux, confirmés et émergents.

Depuis 2010 Anouk Wies est coordinatrice et responsable programmation du Cercle Cité pour la Ville de Luxembourg.

Marc wIlMes DesIgn

© Miro Zagnoli

design graphique

www.dunjaweber.com

Born in Switzerland, of Luxembourgish nationality, Dunja Weber graduated from the Glasgow School of Art, working in Milan and Luxembourg. After having collaborated with various renowned design studios in Milan (Marco Ferreri, Stefano Giovannoni and James Irvine) she sets out on her own in 2007 specialising in furniture, product and exhibition design. In her work her ambition is to design products which are coherent and essential. Complementary to her devotion to industrial design one of her major interests lies with the dialogue between design and craftsmanship, a passion for materials and the way things are made.

Her truly European background leads her to combine Northern essentiality with Mediterranean elegance and craftsmanship.

Frank weBer

www.mich.welfringer.lu

As a freelance typographer Mich Welfringer draw lettershapes, expressive type illustrations for posters, musical or book covers, or complete typefaces for magazines or institutions, by hand or computer assisted.

A good knowledge of type mares him right partner in creating logotypes & visual identities. He is also specialised in editorial design for books, magazines & newspapers, a design field requiring accurate typographical choices and a good understanding of publishing, photography and production.

His clients includes: La Quinzaine des Réalisateurs Cannes, Beaux-Arts Magazine, Mac/Val, Casino Luxembourg, Hydre éditions, L’Opéra comique, Philharmonie du Luxembourg, Pascal Schumacher, Les designers anonymes, Catherine Zask.

www.marcwilmesdesign.lu

Marc Wilmes Design, créée en 2006 est une agence de communication et de publicité disposant d’un atelier graphique - Jeune & CréAtive. Les spécialités de l’agence sont print, logos et identités visuelles, média planning, campagnes média et créations de sites internet.

patrIck wIrtz architecture

anouk wIes photodesign www.frankweber.lu

coordinatrice cercle cité, ex-gérante de la concept boutique « usina »

Frank Weber travaille avec son équipe pour des campagnes publicitaires, pour l’industrie et pour l’alimentaire, dans les domaines de la photographie et de la vidéo. Il est également actif en tant que président du comité de Design Luxembourg. (cf. Design Luxembourg)

www.schemelwirtz.lu

www.cerclecite.lu

Après une formation en arts appliqués à l’ENSAAMA à Paris, Anouk Wies a pour-

Le bureau d’architecte SchemelWirtz a été fondé en 1993 par Carlo Schemel et Patrick Wirtz. Depuis le début de ses activités, ils œuvrent dans tous les domaines de l’architecture. Une collaboration de plusieurs années a mené en 2003 à la création du partenariat P.arc, associant les deux bureaux d’architectes suisse Itten+Brechbühl et GWJ avec SchemelWirtz. Des visions

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After delving into interaction between people in public areas, he focused his research on museum visitor behaviour. (cf.

Sensity)

101 Studios High end photography / Webdesign / Kommunikatioun

Anabel Witry

www.witry-witry.lu www.witry-communications.com

After her studies in the domain of communications at the Ludwig-MaximiliansUniversität in Munich and a few years of professional experience in Munich and Luxembourg, Anabel Witry founded her own agency witry communications sàrl, specialised in marketing and communication for architects and the building industry. In 2010 she joined her parents’ architectural office witry & witry architecture urbanisme in the position of commercial director. Furthermore Anabel Witry is board member and secretary of Design Friends. (cf. Design Friends)

Guido Wolff Graphic designer www.sensity.lu

Guido Wolff grew up in Amsterdam. He has been active as a graphic designer since 1989. In 2001, he started a design studio in Luxembourg. During the year 2005, he cofounded Guido & Glas. The studio worked for governmental organisations, private companies and cultural institutions.

Guido then became board member and president of Design Luxembourg. In the year 2010 he decided to take a break from his professional activities to do a Master at the Zurich University of the Arts.

Zz Georges Zigrand Design consultant

© Bohumil Kostohryz

Marketing & Communication Consultant

++ © 101Studios – 101.lu

www.101.lu

2014 hunn de Marc Laroche an den D ­ aniel Clarens hier eege Kommunikatiounsagence gegrënnt fir hier ënnerschiddlech Kompetenzen an enger Struktur kënnen ze vereenen. Mat hirer laangjäreger Erfahrung am Beräich Fotografie, Webdesign a Kommunikatioun schaffe si enk mat hire Clienten zesummen, fir hinnen eng beschtméiglech Qualitéit ouni Kompromësser ubidden ze kënnen.

1535°C Creativity Hub de la Ville de Differdange

www.georgeszigrand.com www.integratedplace.com

Georges Zigrand is an independent design consultant in product design, public space design, signage design & design strategies. © 1535*C

innovatrices, la communication, ainsi que la responsabilité envers les conditions environnementales changeantes, sont les principes fondamentaux dans la conception de solutions architecturales individuelles de haut niveau. SchemelWirtz compose une architecture intemporelle, complétée par un design fonctionnel, ceci toujours selon le principe de Doug Horton «… l’art de la simplicité est un casse-tête de la complexité … »

www.1535.lu

Le projet 1535°C initié par la Ville de Differdange est unique au Luxembourg. Il vise le développement d’un centre de créativité appliquée stimulant le déploiement combiné de la créativité artistique, de l’innovation et de l’entrepreneuriat des industries créatives.

Il s’agit de 16 000 m2 dédiés à des métiers créatifs, mais aussi d’un lieu de rencontre pour le grand public, avec des espaces d’exposition et d’événements, ainsi qu’une brasserie qui ouvrira ses portes en mars 2015.

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2001 Architecture

www.2001.lu

2001 is a structure concerned with spatial matters, i.e. design, architecture and territorial development, through production as well as research, critical analysis and education. 2001 is a think and do tank.

ª137,5 Infographies et data visualization

www.137p5.com www.hum.lu

Le magazine trimestriel °137,5 créé par l’agence Human Made – spécialisée dans la création graphique et l’illustration appliquée pour des représentations d’informations complexes sous forme d’infographies – est un outil de communication à dimensions multiples : il permet d’informer, d’éduquer, de décorer via les pages prédécoupées, de s’amuser en jouant, mais aussi de partager des informations de manière ludique et sous une forme nouvelle. Il s’agit de la communication 2.0, celle qui est plus universelle car elle utilise moins de mots, mais permet une bonne communication par l’illustration et l’originalité du design de présentation des informations. Il est particulièrement apprécié sur les nouveaux médias (tablettes et portables).

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Index de boutiques

Firstfloor

A-Z

7, rue Nicolas Glesener (Junglinster) www.firstfloor.lu

Inside – Home & Tailor Arbitare 1, rue Nennig (Luxembourg, Dommeldange) www.abitare.lu

Beckstreet Five 5, rue Beck (Luxembourg, Centre) www.beckstreet.lu

Ben & Pepper 21, avenue de la Liberté (Luxembourg, Gare) www.benandpepper.com

Bonn Mobilier

16, Côte d’Eich (Luxembourg, Centre) www.my-inside.lu

Jungblut 7, rue de la Boucherie (Luxembourg, Vieille ville) www.jungblut.lu

Lagostore Luxembourg 53, Cité Grand-Duc Jean (Bereldange) www.luxembourg.lagostore.net

Maâlem

9, rue Philippe II (Luxembourg, Centre) www.bonn.lu

3, rue du Nord (Luxembourg, Vieille ville www.maalem.lu

Burotrend

Norbert Brakonier

5, rue de l’Église (Luxembourg, Hollerich) www.burotrend.lu

20, place du Parc (Luxembourg, Bonnevoie) www.nbr.lu

Carrérouge

Palazzo Kids Showroom

119, rue de Hollerich (Luxembourg, Hollerich)

19-25, rue des Capucins (Luxembourg, Centre) www.palazzo-kids.com

Rob Carrérouge www.carrerouge.lu

Rob Vintage (show room) www.rob.lu

Casa Nova Contemporain 26, avenue de la Porte-Neuve (Luxembourg, Centre) www.casanova.lu

262, route d’Arlon (Luxembourg, Strassen) www.smets.lu

Tapis Hertz 44, Grand-Rue (Luxembourg, Centre) www.tapishertz.lu

Thommessen Intérieurs 73, Gruuss-Strooss (Weiswampach) www.thommessen.lu

Unikat Interior 7, Op der Ahlkërrech (Grevenmacher) www.unikat.lu

26, rue du Curé (Luxembourg, Centre) www.galleryparis-ny.com

Reed and Simon

Dania 3, rue Astrid (Luxembourg, Belair) www.dania.lu

Boutique Lucien Schweitzer

24, avenue de la Liberté (Luxembourg, Gare) www.extrabold.eu

Smets Premium Store

Paris - New York Art Gallery Concept store designers & art gallery

7A, rue de Bitbourg (Luxembourg, Hamm) www.reedandsimon.com

Extrabold

wee (Luxembourg, Howald) www.sichel-home.lu

16A, avenue de la Liberté (Luxembourg, Gare) www.lucienschweitzer.lu

Sichel Home Centre Orchimont – 34, Rang-

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DESIGN INTERPLAY Axel Kufus

im Gespr채ch mit Sven Ehmann

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Wenn Sie ein Buchliebhaber sind, dann stehen die Chancen wohl nicht schlecht, dass die besten Bücher Ihrer Bibliothek in einem FNP Regal von Axel Kufus stehen. Neben seinen eigenen, erfolgreichen Entwürfen, wirkt der Gestalter Kufus aber auch als Professor an der Universität der Künste Berlin (UdK). Dort hat er unter anderem 2007 den Design Reaktor initiiert, ein Format zwischen Forschung und Entwicklung, das Studierende in einen unkonventionellen Innovationsprozess mit kleinen und mittelständischen Unternehmen bringt. Hier spricht er über seine Erfahrungen und Schlussfolgerungen im Spannungsfeld zwischen Idee und Markt.

2007 Design Reaktor Music Drop – Noa Lerner

An welchen Stellen begeistert Sie Design?

Wenn es unsichtbar ist.

An welchen Stellen vermissen Sie Design?

Wenn es sich aufdrängt.

Ihr Projekt Design Reaktor hat angehende Produktdesigner mit kleinen und mittelständischen Unternehmen zusammengebracht. Welches war der wertvollste Beitrag, den Design und Designer in diesem Prozess leisten konnten?

Der Design Reaktor hat gezeigt, in welch kurzer Zeit patentfähige Erfindungen und Entwicklungen in Open- und Crossinnovation-Prozessen entstehen können, wenn bislang nur nebeneinander existierende Potenziale in neuen Konstellationen und kreativen Prozessen verknüpft werden. Dadurch entstand eine große Aufmerksamkeit auch auf die Möglichkeiten der kleinen klassischen Betriebe, die normalerweise nur in ihren angestammten Routinen und meist fern von Forschung und Entwicklung agieren.

Worin bestanden im Gegensatz dazu die größten Herausforderungen in der Zusammenarbeit?

Wir konnten einige der vielversprechenden Design Reaktor Entwürfe nicht professionell weiterentwickeln. Uns fehlte noch das dazu erforderliche Netzwerk und vor allem die Plattform genau zwischen Hochschule und Markt, um Entwicklungs- und Verwertungspotenziale in eine kreative Wechselwirkung zu bringen. Hochschulstrukturen waren damit natürlich überfordert und die Zeit war noch nicht reif, eine ­experimentelle Plattform, die Wissenschaft, Engineering, Wirtschaft und Design zusammenbringt, ins Leben zu rufen.

Ein Teebeutel beispielsweise, der durch einen inte­grierten Papierstreifen anzeigt, wie lange der Tee schon zieht, hat zwar alle, auch viele Produzenten begeistert, ihn aber wirklich in den von den großen Playern abgesteckten Markt zu bekommen, ist bislang nicht gelungen.

Produktentwicklungen wie auch der M ­ usic Drop – ein MP3 Player, den man im Ohr trägt und der genau einen Song speichern

kann – brauchen einen langen Atem und eine Menge Kapital, schon um einen Reifungsgrad zu entwickeln, der den Weg zu potenziellen Produzenten öffnet. Da halfen auch die internationalen Designpreise nicht viel weiter, die einige der Produkte gewinnen konnten. Zwischen Forschungsmilieus und Verwertungsstrategien herrscht in Deutschland noch immer eine große Lücke.

Welche Erfahrungen des Design Reaktors lassen sich auch auf andere Unternehmen übertragen?

Ein Unternehmen, und sei es noch so klein, kann temporär zum Labor werden, selbst wenn sonst die Routinen den Takt angeben.

Es kann sich mit seinem Know-how an Forschung und Entwicklung beteiligen, wenn der Kooperationsprozess entsprechend moderiert wird und Anreize durch die Beteiligung an möglichen Verwertungen gegeben sind. Konzertierte Crowd-Sourcing-Strategien werden an Bedeutung gewinnen. Viele Start-Up-Unternehmen zeigen schon jetzt, wie wertvolle Synergien durch vernetzte Kooperationen entstehen können.

Vom deutschen Mittelstand spricht man immer als den „hidden champion“. ­Nutzen diese Unternehmen Design bereits optimal?

Im Investitionsgüterbereich wie im Anlagen- und Maschinenbau, bei Betonpumpen, Spezialgetrieben oder auch Steuerungen, haben sich mittelständische Unternehmen über Jahrzehnte in Know-how, Fertigungsqualität und zuverlässigem Service weltweit einzigartige Positionen erarbeitet. Die sind nur zu erreichen und zu halten, wenn in diesen Nischen mit der globalen Entwicklung nicht nur Schritt gehalten wird, sondern der Ton angegeben werden kann.

Das erfordert hohe Investitionen in Innovation und kann trotz hoher Lohnkosten angesichts der langfristigen Entscheidungen mit den oben genannten Qualitäten punkten. Ich würde die Gestaltung einer solchen ­ Unternehmenskultur insgesamt als ein erfolgreiches Design bezeichnen.

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1

2

vor in ­seiner Nische der Bedarf zurückgeht oder z.B. durch neue Techniken entfällt.

Kann er ­Designstrategien einsetzen, um einen Transfer seiner Kernkompetenzen auf andere Felder zu ermöglichen? Kann das Unter­nehmen dann durch einen ganzheitlichen Designprozess seine Identität nach innen und außen weiterentwickeln?

Wie sollte Designkompetenz Ihrer M ­ einung nach in Unternehmen verankert werden?

Braucht es C-Level Design-Executives?

Braucht es Designer auf allen Ebenen? Wie lässt sich Design in alle relevanten und passenden Prozesse integrieren?

Es hängt natürlich von der Größe und der Weite eines Unternehmens ab und von seiner Strukturierung. Design als Chefsache – dafür waren nicht nur Apple oder Swatch blendende Beispiele, sondern auch die vielen kleinen italienischen Betriebe wie Cassina, Venini oder heute noch Magis. Wenn aber in vertikal strukturierten Unternehmen die Ansprüche an ein ganzheitliches und identitätsstiftendes Design nicht auch „ganz u ­ nten“ ankommen, werden niemals alle Potenziale eines Unternehmens ins Spiel gebracht werden können. Womit ich aber weniger die Uniformierung durch flächendeckende CI-Maßnahmen als vielmehr die Motivierung der Mitarbeiter meine, sich an Veränderungs- und Innovationsprozessen zu beteiligen.

3

3 Design Reaktor Günter Bachert 4 2007 Design Reaktor Workshops

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1 Design Reaktor Quadratfuß 2 Design Reaktor Britze Elektronik

Was empfehlen Sie einem Unternehmer, der das Potenzial von Design erkennt, sich aber im Umgang mit Agenturen, Kreativen und Entscheidungen zu Gestaltungsfragen schwer tut?

Ich rate, eine Gesprächskultur zu entwickeln und zu pflegen, die auch externe Kreative einlädt und beteiligt. Jedes Unternehmen hat Zukunftsthemen, ob nahe oder weite, für die sich ein multiperspektivischer Diskurs zu führen lohnt. Daraus ergeben sich Chancen des gegenseitigen Verständnisses, der gezielten Vertiefungen und warum nicht auch einer künftigen Kooperation.

Würden Sie sagen, dass es rund um das ­Thema, die Bedeutung und die Auswirkungen von Design einen angemessenen öffentlichen und professionellen Diskurs gibt?

Leben wir nicht im Zeitalter des Design? „Jede Kritik landet irgendwann in der Boutique!“ Das ist wesentlicher Teil der DNA einer auf Wachstum ausgerichteten Marktwirtschaft. Was wurde noch nicht umgeformt und optimiert, zugeschnitten auf

Zielgruppen, Trends, Brands? Die dahintersteckenden Designstrategien sind aber viel zu selten Teil der Debatten, wenn es um die kritischen Grenzen des Konsums, der System- und Markenabhängigkeiten geht. ­ Architekturkritik, Kunstkritik, Theaterkritik, Literaturkritik, ja sogar Restaurantkritik – aber Designkritiker sind eine Seltenheit – vielleicht weil sie Spaßverderber wären?

Ist Design primär eine eigene Disziplin oder gehört Design nicht eher hinein in Disziplinen wie BWL, Ingenieurswesen? Sollte ­Design bereits ein Schulfach sein?

Design ist eine forschend verknüpfende Disziplin. Mit ihren Potenzialen kann sie einerseits tief in einzelne Disziplinen eindringen und dort Perspektiven mitentwickeln, die den oft hochspezialisierten Arbeitsfeldern bislang entgangen sind. Zugleich kann Design aber auch Synergien zwischen ganz weit entfernten Disziplinen anstiften und mitgestalten. Querforschungsstrategien zu erproben ist Teil meiner Lehre an der UdK. Sicher ist nicht jede Designleistung als

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­ orschung zu verstehen. Allerdings kann F ich ohne Forschung auch nur das tun, was ich schon weiß.

Als Schulfach wäre Design allerdings nur ein noch weiteres im Nebeneinander der Fächer.

Im zu seltenen fächerübergreifenden Projektunterricht könnten Designmethoden allerdings sehr hilfreich thematisiert und angewendet werden. Lösungskompetenz, die nicht nur durch Matheaufgaben oder Übersetzungen als Einzelleistung abgefordert wird, sondern die im kreativen Verständnis auch in Teamarbeiten bei Kunst, Sozialkunde, Ethik und sicher auch bei den angewandten Naturwissenschaften geweckt und gestärkt werden kann, ist eine viel zu wenig geförderte Qualität. Die Welt mitgestalten zu

Sven Ehmann im Gespräch mit Brigitte Wolf, Professorin für Designtheorie an der Bergischen Universität Wuppertal und Initiatorin des Design Management Forum.

2007 Design Reaktor Rapid Mock Ups

“Jedes Unternehmen hat Zukunftsthemen, ob nahe oder weite, für die sich ein multiperspektivischer Diskurs zu führen lohnt.”

Sven Ehmann im Gespräch mit Brigitte Wolf, Professorin für Designtheorie an der Bergischen Universität Wuppertal und Initiatorin des Design Management Forum

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können und dafür die individuellen Talente entdecken – sollte das nicht grundlegendes Lern-Ziel jeder Schule sein?

Wie entsteht eine übergreifende Designkultur? Wo sehen Sie positive Beispiele dafür?

Die Bau- und Produktkultur im Bregenzer Wald ist ein schönes Beispiel für aus der Verknüpfung lokaler Ressourcen entwickelte Qualitäten – mit weltweiter Ausstrahlung. Ein anderes Modell war/ist die niederländische Designszene, gestärkt durch vitale Hochschulen, engagiert kuratierte Ausstellungs- und Vertriebsplattformen wie beispielhaft Droog und natürlich durch die experimentellen Designerinnen und Designer selbst.

Wie geht es weiter mit dem Design Reaktor?

Der Design Reaktor wurde von der EU als Best Practice Modell für Crossinnovation-­ Projekte ausgezeichnet. Aber wie gesagt war die Zeit an der UdK noch nicht reif, ein An-Institut gründen zu können, um die Organisation und Finanzierung solch komplexer Projekte professionell weiterzuführen. Also mit einer Plattform, die immer wieder Open­innovationProjekte zu Meta-Themen mit eingeladenen Experten aus Unternehmen, Wissenschaft, Engineering und den Kreativbereichen initiiert, moderiert und organisiert. Man braucht ja kurzfristige Budgets für die Projekte selbst, aber eben auch die langfristigen für die Weiterentwicklung der Verwertungspotenziale.

Sonst bleibt es nur bei Strohfeuern.

In Berlin sind aber in den letzten Jahren einige „Kreativ- und Innovation-Labs” entstanden, Coworking-Labs, unternehmenseigene Labs oder forschungsnahe Labs. Die agieren jedoch meist nicht Szenen- oder Branchenübergreifend.

Welche Impulse kann Design Wirtschaft, Politik und Gesellschaft noch geben? ­Welche davon sind noch unterschätzt?

Eleganz in Lösungsfindungen, in Synergiebildungen, in weltverträglichen Entwicklungen – um irgendwann das Höher, Schneller, Weiter entthronen zu können.

WIRT­SCHAFTS­FAKTOR DESIGN Wo sehen Sie derzeit und mit Blick auf die nächsten Jahre das größte Potenzial für den Einsatz von Design?

Bei der Entwicklung von Konzepten, die zu einem bewussten Umgang mit den begrenzten Ressourcen beitragen.

Welche Entwicklung haben Sie in den letzten Jahren im Bezug auf ein professionelles Verständnis und eine Wertschätzung des Potenzials von Design auf Seiten der Wirtschaft bzw. der Auftraggeber wahrgenommen?

Design dient der Profilierung! Vor allem große Unternehmen und designorientierte Mittelständler wissen, dass eine kohärente Designstrategie nicht nur die Attraktivität eines Unternehmens für die Kunden steigert, sondern sich darüber hinaus sehr positiv auf das Wachstum und den Umsatz auswirkt.

Was halten Sie für die entscheidenden Kriterien nach denen Unternehmen „ihre Designer“ (als Angestellte, aber auch als Dienstleister) aussuchen?

Verständnis der Unternehmenskultur, Designkompetenz und Vertrauen.

Design ist ein strategisches Instrument, ein Wirtschaftsfaktor. Wo sehen Sie diese Idee eingelöst? Welche großen, internationalen Unternehmen haben das am besten verstanden?

Im dmi:review wurde gerade ein internationales Ranking von Booz & Co. dazu veröffentlicht: Apple, Google, 3M, Samsung, GE, etc. liegen darin ganz vorn.

Apple scheint aktuell Probleme damit zu haben an die radikalen und sehr erfolgreichen Innovationen der Ära Jobs anzuknüpfen. Wie würden Sie diese Herausforderungen aus designstrategischer Sicht zusammenfassen?

Die Konkurrenz hat die strategischen Marktvorteile wie Benutzerfreundlichkeit durch ausgefeilte technische Lösungen und gutes Design mittlerweile adaptiert. Die Zukunftsfrage, ob es Apple weiterhin gelingen wird, latente Kundenwünsche zu antizipieren und dafür Angebote zu schaffen, vermag ich nicht zu beantworten.

Tun Designer u.U. zu wenig, damit Ihre Kunden den Wert i­ hrer Arbeit verstehen? Sind Designer zu eitel, zu abgehoben?

Eine meiner Doktorandinnen forscht genau zu diesem Thema.

Sie hat verschiedene Typen von Designern und Unternehmen klassifiziert und analysiert welche Designertypologie mit welcher Unternehmertypologie gut zusammen arbeiten kann. Dabei tauchte auch eine Kategorie von Designern auf, für die sie kein Pendant auf der Unternehmerseite fand.

Welche Impulse kann Design der Wirtschaft geben? Welche davon sind noch unterschätzt?

Querdenken! Experimentieren! Neue Lösungen anstreben!

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DESIGN THINKING: A CONVERSATION Ellen Lupton

Interview by Angelina A. Rafii

Ellen Lupton is known for wearing many hats as she divides her time between New York City, where she is a curator of contemporary design at Cooper-Hewitt National Design Museum, and Baltimore where she is active as the director of the Graphic Design MFA programme at Maryland Institute College of Art (MICA). These two vocations often inspire her to write books that share her unique take on what design readers are craving.

Ellen Lupton Revisionist History

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You are both active as a university professor and as a curator at Cooper-Hewitt.

What are some of the similarities between these two functions (beyond the obvious fact that they are both educational) and how are they radically different?

They are both educational, but one is very intimate. When teaching in a school you become very close to your students, you work with them over a period of years, you have, I hope, a big impact on their lives and vice versa. As a museum curator you speak to a very large public, most of whom you never meet.

And you have a very short experience. Maybe they buy a book or read about the project, but it’s a very quick relationship. To me they are both fantastic and they both have an important function.

You got into curating quite early. What made you pursue academia ­subsequently and not dedicate yourself fulltime to curating?

Opportunity. When I was in school I became very interested in writing about design and the history of design, wondering why there was so little information and how we could create a discourse for design. I was very lucky to run a study collection at my school at Cooper Union and I became a curator sort of by accident. It was great fun. I published a lot and got many exhibitions and was able to move my career forward. And then I had the opportunity to come and teach in Baltimore in 1997. So I decided to experiment with that, and see what it would be like.

That’s been a whole other chapter alongside

my work at Cooper-­Hewitt. I’ve done a lot of publishing that is directed at students and young designers, which is very different because most other publications about graphic design tend to be too scholarly or a souvenir for an exhibition of an exhibition. But as a teacher I became excited about publishing a whole different kind of book. One that is much more directed at people who are using it, as a tool. So this part of my career is more directed at the “making and doing of design” not just the history of design. Thinking with Type was a response to the traditional books that were out there, which were either too detail-oriented or just ugly books that did not speak in an intelligent voice to my students.

So I wanted a book that was inexpensive and nice to look at and contemporary.

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What triggers these ideas in publishing for you? Since you have also published books with your sister.

Often my ideas come from seeing a topic that is useful but hasn’t been addressed. I really think about readers and what they will find useful. And my readers are designers. A lot of writers work in the opposite way. They think about what they think is interesting or what would further their career. I recently did a book called Graphic Design Thinking.

There are a lot of books about design thinking more generally from a business point of view or innovation point of view. But nobody had done a book about how graphic design connects to innovation and business but has its own procedures. That’s how you make a good product. When you look at what’s missing out there.

Have you ever pursued the idea of doing commercial work yourself?

Well, I’m just so busy doing what I do. P ­ eople always ask me that. I don’t know where they think I can find the time. I o ­ ccasionally do client work but it’s not where my passion lies.

In light of your limited time, how do you keep yourself constantly informed about new contemporary designers since your two jobs are radically different?

I just try my best. I wish I did better. Having young students helps because they know

1

What are some of the trends and challenges you see in today’s design landscape?

There is a lot of interest in code and creating self-generating systems, designing tools that other designers can use. Open-source design is an interesting area. Designers creating plans that other people can download and use to produce things themselves. Sustainability of course is a big issue and concern: how to design for the complete life cycle of products. With the economy, a lot of designers are trying to develop new ways of working and are looking at systems to work In curating, how much of it is an emotional with each other, sharing small offices and reresponse to works versus an intellectual one? sources and I think that has affected the voWell, the emotion works for about five minutes cabulary of design. and the rest of curating is very much about email and data entry and going to meetings. It’s In both your roles as a curator and an acnot creative. Most of it is just about making ademic, you are well informed about things happen and can be very tedious. the history of design. What are in your ­opinion some of the important milestones Do you see design as fulfilling primarily a and movements that you would qualify as functional role or an artistic one, especial- revolutionary? ly in light of the recent tendency to collect There are so many. The European avantdesign often through auction houses like garde, which is endlessly fascinating and Christie’s and Sotheby’s? continues to influence design today. From The vast majority of design is functional and cubism to futurism to the Bauhaus, but also we don’t think about it very much. Telephone the great popular movements like streamlinbooths, kitchen pots and most other things are ing and the advertising revolution and the really just functional. But there is that strata of impact of film and television. The scope is so design that is collectable and speaks to this new large and so much of it continues to be an inmarket, the design as art market. And muse- spiration for designers today. We keep going ums of course are very interested in that. But back and looking at it in new ways. it’s really a tiny tiny fraction of what design is. a lot. It’s good to learn from them. I am working on a show that will open at Cooper-Hewitt next year called How Posters Work and this project will bring the two voices together, in terms of what I do in academia and in my role as curator. It’s going to be very much about the design principles that are universal in poster design in the 20s, in the 30s all the way to contemporary design. So I think this show will be very interesting and for me a convergence of my museum voice and my teaching voice.

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“There is that s­ trata of design that is collectable and speaks to this new market, the design as art market. And museums of course are very ­interested in that. But it’s r­eally a tiny tiny fraction of what design is.”

Speaking specifically about graphic ­design, can we talk about digital versus print?

What are the major differences in approaching the solution?

Since you have previously stated that a graphic designer is best served in a framework where he has to find a solution.

There is so much more basic problem solving involved in digital. Just how to create a page layout in CSS is so tricky. The tools are still very primitive for a designer to use. And the whole question of interaction and how people will interact, to design for digital you have to create this whole flow of how people get from A to B and what the transitions are. So there is so much basic and literal problem solving.

In print all of that has been worked out: you turn a page. So it’s a very slow and very intensive process where it’s not so much about what you are communicating or the imagery but more about the basic mechanics of it.

A designer likes to respond to a situation, a condition in which some piece of communication is required. Where you put your creative mind at the service of working within certain constraints. It’s a very social activity.

It’s not just about what you want to do, but it’s about the interaction with the world.

When you look for new designers what stands out for you? Is it more the aesthetic aspect or functionality? Or a combination of both?

The aesthetic is very important because when you are planning an exhibition you

have to create things for people to look at.

There are lots of important things in design that are invisible or not very interesting to look at, and in a museum you are creating an experience for the public. So the aesthetic is very important. It’s a hook. But we also try to look deeper and find other reasons and functions.

You also put value on exhibiting a specific design’s prototype and its sketches. So how ­valuable is the actual thought-process to you?

It’s very important. At Cooper-Hewitt we try to collect prototypes. We try to get drawings for products to show how designers came to their solutions and that it’s not always a straight path but requires experimentation.

Testing different ideas to get where you are going. So we are very proud of having a lot of that material in our collection.

What do you qualify as good design?

Ultimately good design is useful to people. It serves a function. It should also inspire and provide more than what is expected.

Does the product have to be sellable or is evoking an innovative idea sufficient?

Paola Antonelli presented some examples during her appearance on the Colbert Report, where the accent seemed to be placed on innovation. What are your thoughts?

Products that aren’t necessarily sellable serve an important purpose too. They serve

1-6 Book Covers, books published by Ellen Lupton

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as a provocation. They help us think about what’s possible. They point to the future. If people only made things that could be sold, we would have never progressed. To have progress you have to have failures, and attempts, and risks. Some of the most influential things were never built, like Tatlin’s Tower, but it was seen. And in being seen it inspired a lot things to be built and made.

There is a discourse about design that moves things forward and inspires production. And sometimes the elements of that conversation aren’t ready to be made yet.

As far as university programmes are concerned you mentioned that some have more structured curricula while others approach design more as an art form. How is it with design museums around the world?

Some design museums are more about collecting the best and most important examples, like for example the MoMA. They have very strict criteria in terms of the aesthetic significance of each object in their collection. And some collections are more eclectic like the Victoria & Albert museum or Cooper-Hewitt. We are a little more open-ended about what each project might represent. So we have prototypes of some products where the product may not be all that significant but we had the opportunity to document the whole process, and to us that makes it a worthy acquisition.

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Insecurity Checkpoint

Complaints (Outgoing)

Complaints (Incoming)

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Years of Therapy Just Ahead

Unhappy Hour

Bureau of Maternal Affairs

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7 Design Your Life Donut 8 Design Your Life Signage

Are there any countries or ­geographic areas that stand out in terms of design innovation?

Well the Netherlands are crazy. They just have had this amazing work done there for decades that influences designers everywhere else.

And designers from around the world go there to study design and to absorb that culture of questioning, innovation and experiment.

Companies and brands are increasingly interested in differentiating themselves by initiating sound or even avant-garde ­design collaborations. Can you mention some that have stood out for you?

IKEA with their PS programme worked with top designers like Hella Jongerius to create products that are accessible but are experimental in working with new materials or new craftsmen. Target, a big inexpensive retailer working with designers to create products that have their name on it. I think that helps to raise the public awareness of design.

Do you ever come across a specific niche or industry, where you feel like they are light years behind in terms of design and innovation?

Airports. There are so many parts of our lives

“­Ultimately good design is useful to people.”

that aren’t well considered. Parking on the street. A lot of things. Road signs are looking terribly, with ugly graphics.

What about the reverse?

The whole area of consumer technology, like Apple products for example, which is geared towards innovation and what people like to use. Or Nest the thermostat that learns and communicates with users. They are introducing a smoke alarm that actually works.

What are you currently working on?

I have a show opening in December called Beautiful Users about user-centred design and the way designers look at human need.

I also have a book that just came out called Type of screen.

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Il faut garder l’œil ouvert

Marie-Claude Beaud

Propos recueillis par Céline Coubray / Illustrations par Stina Fisch

Marie-Claude Beaud fait partie de ces personnalités qui ont marqué le paysage culturel luxembourgeois. Entre 2000 et 2008, elle a œuvré à la direction de la Fondation Grand-Duc Jean puis du Mudam, et a soutenu et participé à l’essor du design au Grand-Duché. Nous lui avons demandé de porter un regard rétrospectif et analytique sur cette discipline.

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la photographie, Maison Moderne – alors Mike Koedinger Éditions – jouait un rôle important. Même encore aujourd’hui, c’est ­assez rare d’avoir des magazines faits pour la place financière ou pour le grand public qui soient de cette qualité-là. Si je regarde en arrière, sur les presque 10 ans que j’ai ­passés à Luxembourg, il y a eu une évolution incroyable entre la fin des années 1990 et 2010.

La première année culturelle en 1995 a été un grand coup d’accélérateur et a joué un rôle important sur la manière de communiquer et de penser la culture. Avec la construction du Musée d’art moderne, une réflexion sur le design s’est mise en place petit à petit. Je souhaitais faire appel à des designers pour intervenir dans le musée. C’est ainsi que Maurizio Galante a été curator du premier Mudam Shop ou que des designers comme Martin Szekely, David Dubois, les frères Bouroullec, Konstantin Gcric et Nitzan Cohen ou des artistes ayant un intérêt pour le design comme Andrea Blum ont réalisé des œuvres spécifiques pour le Mudam.

Il y a quelques années, lorsque vous êtes ­arrivée à Luxembourg pour diriger la Fondation Grand-Duc Jean, quelle a été votre analyse de la scène culturelle et plus particulièrement de la place du design dans celle-ci ?

Je dois dire que peu de choses existaient. Le design était surtout présent dans les magasins, dans des boutiques comme Rob Carré Rouge à Hollerich ou Bonn au centre-ville.

C’est là qu’on trouvait le design international, avec une vraie recherche de créateurs et de talents. Sur le plan du graphisme et de

Pourquoi avoir choisi d’intégrer pleinement le design au programme du Mudam et de ne pas seulement de se focaliser sur l’art contemporain ?

J’ai personnellement un intérêt pour le ­design depuis très longtemps. Dès le début de ma carrière, le design a fait partie de mes centres d’intérêt. J’ai eu la chance de travailler au Musée de Grenoble avec Maurice ­Besset, qui m’a transmis cette passion du décloisonnement des disciplines. Lorsque je suis arrivée du Musée des Arts Décoratifs de Paris au Luxembourg, cette façon d’abor-

der le design m’était naturelle, faisait partie de moi, de mon parcours professionnel, de mon approche de la création. J’étais proche de la Villa Noailles, j’avais travaillé avec la jeune génération française et internationale de designers à la Fondation Cartier… Cela me paraissait donc tout à fait normal d’intégrer le design dans les collections du Musée d’art moderne. Et cet intérêt a trouvé également un écho dans l’équipe. Petit à petit, des collaborateurs se sont passionnés pour le design ; Stéphanie Rollin avec Super-ette et Valérie Conrot avec La Dénicheuse ont même créé après leur départ du Mudam leur propre entreprise dans ce domaine tandis qu’­Anna ­Loporcaro s’est inscrite dans cette dynamique, et encore plus après mon départ puisqu’elle a mis en place la biennale Design City, ou que Nadine Clemens, Silvano ­Vidale et Arnaud Mouriamé, qui ont travaillé et collaboré avec le Mudam, sont maintenant actifs dans l’association Design Friends.

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tains politiques, que ce soit à la Ville de Luxembourg ou à l’État, qui ont accordé leur confiance à ceux qui voulaient innover.

“Il ne faut pas sous-estimer la force de la collaboration.

On ne fait rien seul.”

Comment analysez-vous justement ce développement de la scène du design au Grand-Duché ?

La scène s’est développée aussi de manière incroyable à Luxembourg. Un de mes plus grands plaisirs est de me dire que Paul Kirps est entré dans la collection du MoMA un peu grâce à nous, au travail qui a été fait autour du design et du graphisme à Luxembourg.

Il faut aussi souligner que même si on a bagarré au début, nous avons été soutenus par la suite. Le développement des banques qui souhaitaient améliorer leur image a été bénéfique pour les designers d’une manière générale, je pense. Petit à petit, à force de pousser certaines personnalités, cela a provoqué chez les commanditaires un désir d’avoir un meilleur niveau dans leur design et graphisme.

Certains ont même agi en valeur d’exemple.

Lorsque Bob Reckinger de la Banque de Luxembourg a demandé à Arquitectonica de venir au Luxembourg construire leur bâtiment du boulevard Royal, ce n’était pas un hasard. En parallèle à ces démarches et initiatives, il y a l’ouverture d’esprit de cer-

Pourquoi est-ce important de penser de manière transdisciplinaire ?

Cela permet de trouver les meilleures solutions aux questions posées. C’est aussi une grande liberté que de pouvoir interroger au même niveau un architecte, un designer ou un plasticien ! Des artistes, Jean-Christophe Massinon par exemple, ont montré qu’ils étaient capables d’intervenir dans plusieurs domaines et d’amener leur travail d’artiste à une conception de magazine comme Claude Closky l’a fait avec le premier site internet du Mudam. Luxembourg m’a permis de rencontrer des personnalités, des collaborateurs, des institutions avec lesquels il était possible de travailler et de développer des projets à partir d’une question, une réponse qui soit le regard d’un créateur, que celui-ci soit écrivain, designer, graphiste, peintre, sculpteur ou vidéaste. Finalement, peu importe la technique pourvu que la réponse soit la plus juste et pertinente possible. Et il ne faut pas sous-estimer la force de la collaboration. On ne fait rien seul. On peut avoir des idées, des envies, des connaissances, mais il faut également trouver les interlocuteurs adéquats.

Le design est aussi une force de communication, un levier qui peut être très puissant.

C’est sûr qu’il y a une image à jouer. Quand on est petit, il faut trouver des solutions qui permettent de se différencier, d’être plus malin d’une certaine manière, de mettre en place d’autres systèmes. Cela peut bien sûr

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“Il faut effectivement se poser la question de l’exigence, mais ne pas succomber non plus à la facilité du show off.”

passer par une image différente, aller chercher des propositions qu’une institution d’envergure ne peut pas se permettre. En tant que musée, centre d’art ou lieu de création, on a aussi l’obligation de chercher la modernité. J’aime le nom du Musée d’art moderne, car il reflète l’idée de la contemporanéité du moderne. Il faut seulement aller chercher à un moment donné la bonne réponse. Le succès et le développement de Design City sont, de ce point de vue, très réjouissants.

Et cela a des répercussions dans la vie de tous les jours.

Bien sûr. Le commerce en est un bon révélateur. Le développement des magasins qui vendent du design, pas seulement du mobilier, mais aussi de l’électronique par exemple, en témoigne. C’est par ailleurs lié à l’évolution de la société. L’arrivée des marques de luxe il y a quelques décennies a d’ailleurs changé l’image de la rue à Luxembourg. Du côté de la mode, l’implantation d’H&M à Luxembourg récemment a été un moment important, car la marque a une image et une Dee 87

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manière de communiquer très fortes. L’aménagement intérieur des commerces joue aussi un rôle d’indicateur.

Dans la presse, le Land est également un excellent curseur. Le choix de refaire le journal dans un grand format, presque difficile à ouvrir, avec une présence toujours importante de la photographie, est un acte fort. Le développement du Kirchberg est un autre beau témoin. Le soutien de l’État à développer des architectures de qualité et de confier à des architectes de renommée internationale les chantiers n’est pas un choix neutre.

Aujourd’hui, certains quartiers ont complètement changé d’allure. Petit à petit, cela fait tache d’huile. Le Luxembourg peut créer et innover grâce, entre autres, à sa capacité financière évidente. Entre l’aménagement privé et le contexte professionnel, tout le monde vit dans un environnement qui est touché par la création et le design.

Encore faut-il en prendre conscience et exiger de la qualité. Si aujourd’hui l’intérêt pour le design semble relativement acquis, tendre vers plus de qualité est une étape difficile.

C’est difficile, car on touche à la question de production de masse et de rentabilité. Or, il faut effectivement se poser la question de l’exigence, mais ne pas succomber non plus à la facilité du show off.

Cela pourrait-il passer par la création d’un lieu de formation, d’enseignement ?

Je suis en effet toujours étonnée qu’il n’y

ait pas d’enseignement lié au design au Grand-Duché. Mais il y a de bonnes écoles autour, comme à Reims en France et la Cambre en Belgique. Il y a un contexte inter­ national avec la Grande Région qui est bénéfique. La force de Luxembourg est aussi de pousser ses jeunes à aller à l’étranger pour se former. Le fait d’être entouré de manière très proche par d’autres pays et d’autres cultures est intéressant, car cela donne des perspectives différentes. L’influence de la Belgique a été bénéfique, je pense, pour Luxembourg dans le domaine du design. Il y avait des designers belges importants, aussi bien dans la mode que dans le design, qui, indirectement, par les liens étroits que peut entretenir le Luxembourg avec son voisin belge, a entraîné Luxembourg vers cette créativité.

Le design est de plus en plus présenté dans les galeries. Dans ce cas, il devient moins fonctionnel pour tendre vers un objet purement esthétique. Qu’en pensez-vous ?

Je pense qu’il y a toujours eu cette tendance. Mais ce qui est nouveau, c’est le business qui se crée autour de cela. Il y a toujours eu cette hiérarchie dans le monde de l’art, avec la peinture en haut de la liste et la bande dessinée, par exemple, au dernier échelon. Pour ma part, j’avais déjà changé de perception depuis les années 1970 à Grenoble, ville éminemment culturelle à cette époque-là. Cet intérêt du design de la part des galeristes vient du développement du marché et de la valeur donnée au design comme objet de collection. À partir du moment où vous quittez le produit pour aller vers l’objet de collection, vous créez une nouvelle valeur. Certains grands diffuseurs l’ont bien compris.

Quelles sont les plateformes que vous utilisez aujourd’hui pour découvrir de nouveaux talents ?

Les foires et les salons, comme en art, sont des rendez-vous qui rassemblent beau-

coup d’acteurs. J’affectionne plus les biennales ou les expositions dans les musées et centres d’art, qui proposent une vision, le point de vue d’un curateur. Il ne faut pas non plus oublier le rôle que jouent les créateurs eux-mêmes et les entreprises qui les défendent. On a aujourd’hui, grâce à internet, la possibilité de voir de nombreux créateurs, de tous les horizons. Il y a différentes façons de comprendre, de connaître, de produire et d’acheter. Il n’y a pas qu’une seule façon de marcher. Rencontrer les créateurs, leurs points de vue, reste à mes yeux primordial. J’aime écouter ce qu’ils ont à dire, leurs difficultés, leur parcours.

La connaissance se fait aussi d’hommes à hommes, sur le long terme.

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“Finalement, peu importe la technique pourvu que la réponse soit la plus juste et pertinente possible.”

Que peut-on espérer pour encore plus développer le design au Luxembourg ? Quel courage faut-il avoir pour gravir une marche de plus ?

Je pense qu’il faut encourager les talents. On pourrait imaginer un lieu dédié à cela. Dans l’esprit du Kiosk de l’Aica, on pourrait envisager une vitrine pour les jeunes talents du design. Offrir des résidences à des designers serait formidable. Cela pourrait être un des axes que j’aimerais développer si j’étais encore à Luxembourg. Il y a cette force incroyable qui se crée quand on invite les créateurs en résidence, on peut tisser des liens particuliers et intenses avec eux. Certains ont commencé grâce à vous, c’est leur première chance. Certains la saisissent, d’autres non. Mais quand

ils reviennent et qu’ils vous témoignent de l’importance que cela a eu pour eux, c’est formidable. Ces résidences pourraient également permettre de développer des liens entre les entreprises, les créateurs et les institutions.

Le quotidien est une source infinie d’inspiration. Il y a une place à prendre par rapport à l’Europe, aller chercher des collaborations avec des écoles, des mini-entreprises qui ont des idées, mais du mal à développer leurs projets. À chaque fois qu’on construit quelque chose, il faut se dire que le créateur est indispensable. Il y a l’artiste, le commanditaire et le passeur (comme les institutions). Cette triade est importante. Dans la vie quotidienne, on n’échappe pas au design et il faut garder l’œil ouvert. Et Luxembourg peut s’offrir cela.

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Dennis Elbers is a Dutch independent curator exploring visual ­culture and its social influence. He is the founder of the Graphic Design Festival Breda, a biannual gathering of exhibitions, lectures, workshops and public interventions aiming to inspire designers, their clients and their audiences on a constructive interpretation of visual culture. Together with Sven Ehmann (Gestalten, Berlin) E ­ lbers curated Resolute – Design Changes, an exhibition exploring the current state of social responsibility taken up by designers.

LONDON CALLING Dennis Elbers August 2011, my jaw drops while I’m stuck to my computer watching the London riots live in progress. A nightmare becomes reality when seemingly ordinary people turn violent to their surroundings. Fired up by recent events like failing economical and political systems I too feel a sense of social injustice.

But these riots by far exceed this feeling, as looting seems to be the main objective under the excuse of social injustice. Mobile phones, electrical hardware and street fashion are looted from shops for the entire world to witness. Photos, videos and tweets take over my personal social media feeds. I feel scared, as this kind of violence never got that close.

http://observatory.designobserver.com/entry.html?entry=29508 In 2014 this idea was taken up and shared by Pete Cole on http://firstthingsfirst2014.org/

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Shortly after these riots graphic designer and writer Adrian Shaughnessy published the article The Politics of Desire and Looting on the design observer blog1. In this article he questions who are to blame for the riots.

The media had already pointed at “cuts-obsessed, expenses-fiddling politicians; the Metropolitan Police who inadvertently triggered the rioting by shooting a man in the street; the nation’s under-funded education system; and city councils who rushed to close youth centres in the wake of the global economic crisis ... the parents of rioters (special venom is reserved for single mothers – the great bogey figures of the British right wing press); role models in entertainment and sport; the despised and greedy bankers; even British rappers”.

Shaughnessy wonders why designers have escaped the blame as “[the rioters] are excluded from the world of desire and consumption created by the brand owners, advertising agencies, art directors, graphic designers, photographers, product designers, retail designers, architects, stylists, retouchers, and copywriters”. To quite boldly continue “for the past three or four decades the major role of graphic design has been to create the branding and collateral of desire”.

BAM! That’s quite a dazzling statement. Initially I felt this statement directly implied the First Things First-manifesto should be revised2. A decade ago Jonathan Barnbrook already updated this manifesto launched by Ken Garland in 1964. Shaughnessy quickly directs me past this thought when he concludes “seductive design is emphatically not the main cause of the riots, but it is a contributing factor, and we’d be dishonest to deny our part in it”. This conclusion is followed by his observation of the currently emerging generation of graphic designers looking for a new role based on social value.

After reading the article I ask myself why bother revising the manifesto? It has served its purpose and now it is time to look at design from a current point of view. The attitude of the emerging generation expresses a shift in their point of view on design and society. This attitude is shaped by a stealth

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“... the major role of ­graphic ­design has been to ­create the branding and c­ollateral of desire.”

Adrian Shaughnessy

Exhibition Resolute – Design Changes © Rene de Wit ­A rchitectuurfotografie

on our behaviour and opinions is amplified.

The emerging generation uses technological development and social awareness to truly engage people in making change happen. Based on information, moderation, inspiration and engagement they encourage people to shape their opinions and to take action.

transition in society. As a curator exploring contemporary graphic design and its social relevance I can only confirm Shaughnessy’s thrilling observation. What’s going on?

From the early cave paintings up to the First Things First-manifesto the development of graphic design was shaped by the forces in power; like religion, politics and money.

Man’s natural ability to interpret visual messages was exploited over and over. The brand owners, advertising agencies, art directors, graphic designers, photographers, product designers, retail designers, architects, stylists, retouchers, and copywriters questioned by Shaughnessy just elaborated on their shared history. Driven by technological inventions they unleashed an innovative race in communication, eventually propelling graphic designers as one of the most im-

portant influencers of man’s behaviour and opinions in our time.

Right now we find ourselves at the dawn of a new era. Existing political, economical, ecological and even social structures are widely questioned. It seems other forces are about to give new meaning to graphic design. ­After the “age of desire” a counter reaction submerges, stimulating graphic designers to take up their social responsibility in connecting ideas, information and people. Moving beyond the activism waves of the sixties and eighties this counter reaction is not just visualizing protest in order to make people reconsider choices and ideas. I see today’s activism is designed as activation.

While the frequency and effect of imagery in our society increase, the influence of designers

In this period of change, the role, responsibility and potential of design are redefined.

The new generation remixes existing tactics, placing both the process and outcome of the projects in a new social and design perspective. Carefully determined conditions and strategies allow them to juggle with motivation, method and function to communicate the truly relevant issues of our time.

As a consequence design can no longer only be defined by just technical performance, aesthetics, or creativity. Design is part of creating further awareness and understanding about current challeng­ es. The social relevance of design is determined by the designers’ attitude. A revision of the design profession is driven by work mostly originating from personal perspectives. This work changes the way we experience society and at the same time it changes the way we experience design. After analyzing this movement based on the desired interaction with the audience I would like to distinguish three main methods; revolt, review, refresh.

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Revolting designers directly confront their audience and subjects. Often they remix truth and fiction to provoke a clear statement. Their statements are not just about agreement or controversy; the designers aim to start a debate by making the subjects noticed.

Reviewing designers offer independent information triggered by a desire for transparency. For them extensive research is an important part of the design process. The visual representation is designed to act as a share-

able experience helping the audience to understand the core issues and options.

Refreshing designers provide their audience with tools allowing immediate action. Their design motivates people to affect and connect in a physiological and a psychological sense. The engagement enables easy distribution of a shared thought, believe or attitude.

A truly inspiring example fitting the latter method is Putin a Rainbow by Yuri Veer-

Drone Survival Guide by Ruben Pater (NL) As a counter reaction to forces using drones for spying on (and killing) civilians this guide contains tactics for interfering with drone sensors.

The reflective side also functions as a shelter to hide from drones. The information was collected from various online sources. The work is shared under a Creative Commons license and can be downloaded for free in 29 languages.

Rayfish Footwear by Koert van Mensvoort, Ton Meijdam, Floris Kaayk (NL) The fictional company Rayfish.com was created to catalyse a debate on emerging biotechnologies and the products it may bring us. It furthermore questioned our consumptive relationship with animals and products in general. Rayfish made the discussions tangible and created a concrete product you could love or hate. The company launched several business elements (website, commercials, etc.) and received support and critical petitions against the company. Only after the bankruptcy of the company its true objective was revealed.

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man (NL). In June 2013, the Russian parliament was about to pass an anti-gay propaganda law. To stimulate people in signing an online petition Dutch LGBT-rights organisation COC commissioned Veerman to create a no-budget awareness campaign. Veerman came up with the clever concept putinarainbow.com. An online platform challenging people to creatively combine two conflicting (Putin and a rainbow) symbols in one image.

After contributing people can sign the petition and share their image via social media.

With this project Veerman anticipated on the growing ability of non-designers to work with imagery. By disrupting meme culture and adbust tactics he directs humour and fun in raising awareness about a serious issue. His platform helps individuals to creatively express and share a political statement.

The still growing database of uploaded images went viral, proving the power of visuals and the Internet as a bearer of political statements. However the project didn’t influence the political process, it is still creating

Signs for the Homeless by Christopher Hope & Kenji Nakayama (US) Nakayama: “I see the homeless everyday, and one day I thought maybe I will just make signs for them”. After teaming up with Hope they started interviewing the homeless subjects in an effort to tell their life stories. The mission of signs for the homeless is to raise awareness for the deeper social roots of homelessness and poverty through exchanging hand painted signs, and sharing the narratives of the homeless around the world. Each one is a human being, and their needs are different.

Branding Terror book by Artus Beifuss & Francesco Trivini Bellini (DE) Terrorist groups are no different from other organisations in their use of branding. To promote their ideas and distinguish themselves from similar groups they employ complex systems of meaning and emotion. This book functions as a branding manual covering a topic that was not covered before.

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awareness about the status of LGBT-people in Russia. The project got even greater relevance when uploaded imagery appeared off足 line in peaceful protests worldwide.

This example shows the role of designers is shifting. The avant-garde of the emerging generation deals with social values by placing their design practice in the middle of society, rather then trying to influence it from above. They can no longer ignore reality and deal with current topics. Their personal approach makes them work from within the centre of gravity rather than being commissioned by power structures like brands and governments. Even the London riots then offer opportunities for designers.

In order to find out whom to blame for the riots the police ran online facial recognition software across images found on social media, marking a turn in police investigation.

This new invasion of privacy inspired designer Simone Niquille (CH) for her Realface

Glamouflage collection. Based on a form of camouflage developed during WW1 she designed a set of T-shirts aiming not to conceal but to confuse. The Realface Glamouflage patterns are collages of Britney Spears, Barack Obama & Michael Jackson impersonators. A facial piracy, which through the resulting noise and clutter leads to facial privacy by confusing machine vision.

In their 1979 influential album London Calling the Clash gave voice to a generation dealing with uncertainty by mixing styles and shaking up conventions. I see the emerging generation designers as a post-punk progression starting up a fascinating dialogue with society. The interaction between designer and audience for sure will shift the role of the designer in a more social position. Instead of rock icons, designers become engaging all-in-one poets, journalists, scientists and provocateurs acting on the truly urgent issues of our time.

1-2 Putin a Rainbow, project submitted by Pablo and Man Kit Lam 3 Protest in Amsterdam Photo by Yuri Veerman

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“They can no longer ignore ­reality and deal with current topics.”

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#14 th e o c c u p i e d ti m e s . c o m

JUNE2012 |

@ O c c u p i e d Ti m e s

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7 4 Occupied Times 14 Lazaros K ­ akoulidis & Tzortzis Rallis 5 Occupied Times 21 Lazaros K ­ akoulidis & Tzortzis Rallis 6 Ivan & Andy Occupy George 7 Realface Pablo © Simone C. Niquille

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International Structures B AWARDS Bilbao / Bizkaia Design Fest www.bawardsfestival.com B AWARDS, Bilbao Bizkaia Design Festival, is a conceptual festival celebrating design in the Basque Country and in Bizkaia in particular. Conceived as an international festival, it aims to promote connections between young design students from all over the world and the Basque productive sector, as well as publicising Basque design in international circles. The initiative is sponsored by the Provincial Council of Bizkaia and Bilbao City Council, through the Bilbao-Bizkaia Design and Creativity Council, which is also supported by Bilbao Metropoli 30 and EIDE, the Basque Designers Association.

EVENTS & FESTIVALS Belgrade Design Week www.belgradedesignweek.com Founded in 2005 as a non-profit NGO, Belgrade Design Week is the first festival of creative industries and modern business in Serbia and the South East European region, covering an area home to more than 100 million people from Milan to Istanbul.

Biennale Interieur Kortrijk www.interieur.be Biennale Interieur is a must-see design event with a hybrid mix of commerce and culture.

The Kortrijk exhibition features contemporary design as well as Designer of the Year and Interieur awards winners.

BIO 50, Ljubljana www.bio.si Since its founding in 1964, the Biennial of Design (BIO) in Ljubljana has surveyed the state of contemporary design from the heart of Central Europe. Witnessing the many shifts and changes the discipline has undergone in the last 50 years, BIO has seen design transition from its birth at the crossroads of industrialisation and modernism towards a discipline that permeates all layers of everyday life.

Cheltenham Design Festival www.cheltenhamdesignfestival.com The Cheltenham Design Festival is an annual festival celebrating how original thought can change the world. In talks and workshops with leading creative thinkers whose work has changed the way we live, the nature and power of design is shown, debated and explored. The festival has built a national reputation for the quality of its events and its great value ticket prices that are accessible to all.

Clerkenwell Design Week www.clerkenwelldesignweek.com Clerkenwell is home to more creative businesses and architects per square mile than anywhere else on the planet, making it truly one of the most important design hubs in the world. To celebrate this rich and diverse community, Clerkenwell Design Week has created a showcase of leading UK and international brands and companies presented in a series of showroom events, pop-up exhibitions and special installations that take place across the area.

Conflict & Design www.conflictanddesign.be This triennial focuses on both the way in which designers deal with conflict situations and the impact of their designs on society. Even more, “conflict” for them is an opportunity to search for innovative social design processes and projects. It lends their

work substance and meaning. The exhibition provides food for thought as to how, in the (near) future, we will be forced to interact with one another and manage our natural resources in radically new ways.

Design Indaba www.designindaba.com Design Indaba is a multifaceted platform committed to a better world through creativity. Evolving beyond its flagship event, the Design Indaba institution has become a multidisciplinary platform that champions all of the creative sectors. Established in 1995 with its flagship conference, the annual Design Indaba festival now includes the globally acclaimed annual Design Indaba Conference, Simulcast, Expo, FilmFest and Music Circuit. In addition to these Design Indaba plays host to an array of community initiatives, training workshops, design projects and publications that fall under the Do Tank brand.

Design March, Reykjavik www.honnunarmars.is Design March is Iceland’s most important annual design festival. From fashion to furniture, architecture to food design, the festival showcases the best of the local design scene alongside exciting international names, opening with design talks, a day of lectures by internationally acclaimed designers and the foremost local design thinkers.

Design March is organised by Iceland Design Centre, the promotion agency of Icelandic design and architecture.

Design Miami www.designmiami.com Design Miami is the global forum for design.

Each fair brings together the most influential collectors, designers, curators and critics from around the world in celebration of design culture and commerce. Occurring alongside the Art Basel fairs in Miami, USA each December and Basel, Switzerland each June, Design Miami has become the premier venue for collecting, exhibiting, discussing and creating collectible design. Design Mi-

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Many professional institutions, associations and events around the world are committed to furthering excellence in design as a broadly-defined discipline, a strategic tool for business and a cultural force.

Whether you are just starting as a freelance designer, you are a well established designer working for a big company or if you’re just a novice wanting to learn a bit more about the subject, this list will guide you to the ABC’s of everything you need to know about international design structures.

ami is more than a marketplace for design, where the world’s top galleries gather to present museum-quality exhibitions of 20th and 21st century furniture, lighting and objets d’art. Each show balances exclusive commercial opportunities with progressive cultural programming, creating exciting collaborations with designers and design institutions, panels and lectures with luminaries from the worlds of design, architecture, art and fashion, and unique commissions from the world’s top emerging and established designers and architects.

Design Month Graz www.designmonat.at Designmonat Graz has been chosen as one of the world’s 20 most interesting design festivals for 2014. The programme of Designmonat Graz offers architecture and design events, exhibitions, workshops and presentations offered by the creative community during a whole month.

Design Prize Switzerland www.designpreis.ch Design Prize Switzerland was held in 1991 for the first time. The competition, which is held every two years, is designed to boost the importance of Swiss design, so prizes are awarded for outstanding performance in seven professional fields. The competition does not see itself as being just a prize contest – at the same time it is an institution which aims, through the award of prizes, to establish Swiss design more firmly in the economy.

grâce au succès grandissant de la manifestation, le spectre de ses acteurs s’est étoffé, et réunit aujourd’hui acteurs publics (institutions culturelles, écoles, musées, etc.) et privés (éditeurs, distributeurs, industriels, galeries, etc.) autour d’une communauté de valeurs.

Detroit Design Festival www.detroitdesignfestival.com The Detroit Design Festival is north America’s festival of independent design. Detroit’s role as a center of independent design runs deep: the result of design-driven industries, world-class educational facilities, the country’s highest quantities and concentrations of industrial and commercial designers and an inherent willingness to confront social challenges with honesty, integrity and forward thought. With these characteristics in mind, the Detroit Creative Corridor Center established the Detroit Design Festival to connect creatives with one another, introduce them to new markets and consumers, and expose Detroit’s creative talent and collective design aesthetic to national and global audiences.

Concentrated in Detroit’s Creative Corridor and featuring various neighborhoods throughout Detroit, the Detroit Design Festival is an aggregation of various partner and community planned and supported events, including but not limited to: product launches and shows, lectures, panel discussions, trunk shows, tours, open houses, retail happenings and design battles.

DMY Berlin – International Design Festival www.dmy-berlin.com

Designer’s Days, Paris www.ddays.net L’association Designer’s Days a été fondée en 2000 par un petit groupe de professionnels dans l’objectif de mieux faire connaître le design et d’en assurer la promotion auprès du grand public. Inspirés par une manifestation qui avait vu le jour dans les années 1980 appelée Designer’s Saturday, les membres fondateurs de Designer’s Days ont souhaité proposer une programmation culturelle forte, reposant sur un thème fédérateur et des installations créées spécialement. Petit à petit,

DMY Berlin is an international design network for contemporary product design. At the yearly DMY International Design Festival Berlin both renowned and young, experimental designers launch new products, prototypes and foresighted projects. The exhibition is accompanied by a wide programme of symposia, designer-talks and workshops, reflecting current topics of contemporary design and revealing necessary future trends of design and related disciplines. All year round, DMY presents international design exhibitions at key fairs and festivals in Europe, Asia, North and South America such as Salone del Mobile, Designtide Tokyo, Tent London and Design Miami.

Dutch Design Week www.ddw.nl During the Dutch Design Week in Eindhoven you can see with your own eyes how the world of tomorrow is already in the making today. Smart solutions and inventive design offer new promising perspectives. The doors to the future open up in a city that buzzes with inspiration and creative energy.

Festival international de l’affiche et du graphisme, Chaumont www.cig-chaumont.com Chaumont’s International Poster and Graphic Design Festival, set up to breathe fresh life into the posters and printed documents in the Dutailly Collection, is now recognised as a must-attend event for the graphic-design community. Designers from all over the world are invited to enter the International Poster Competition that has been organised every year since. The Festival has assembled a contemporary poster collection, conserved by the town of Chaumont, of more than 40,000 items; brings together students from France and Europe; and is the annual gathering for European practitioners, as well as a major cultural event in greater eastern France.

Grafik 15 – Grafik Messe Zürich www.grafik-schweiz.ch Mit der Werkschau Grafik15 werden die momentanen Tendenzen in Grafik Design aufgezeigt und die vielseitigen, neuen Ausdrucksformen dieser traditionsreichen Disziplin im Wandel einem breiten Publikum zugänglich gemacht. Zu eben diesen Ausdrucksformen gehört beispielsweise Classic & Crossover Media mit Grafik Design, Icon Design, Typografie, Corporate Identity, Vector Grafiken, Illustration, Urban- Streetart, Graffiti und natürlich Digital & New Media mit Application Design, Web Design, Motion Graphic Design, Interaction Design, Game Design, 3D Animation und 3D Mapping. Ziel ist es, dass sich die Grafik15 langfristig zur wichtigsten Schweizer Werkschau für visuelle Ausdrucksformen entwickelt.

Sie soll gleichsam Werkschau sein und Plattform bieten, die es Gestaltern erlaubt, Anerkennung für ihre Arbeit wie auch Aufträge zu bekommen. Gleichzeitig soll die Werkschau Impulsgeber und Netzwerk für den Austausch zwischen Grafik Designern, Auftraggebern, Konsumenten, Vermittlern und Publikum sein.

Graphic Design Festival Breda www.graphicdesignfestival.nl The Graphic Design Festival Breda (GDFB) explores current developments in the field of graphic visual culture and presents it in the historic centre of Breda. In a surprising and accessible manner GDFB connects the work of international designers with technological development and social context. The festival inspires and confronts more than 15,000 visitors and 75,000 passers-by with the influence of graphic design on their behaviour and opinions.

Helsinki Design Week www.helsinkidesignweek.com Founded in 2005, Helsinki Design Week is the largest design festival in the Nordic countries. Held annually in September, the multidisciplinary festival presents design from a number of fields as well as fashion, architecture and urban culture. Helsinki Design Week presents the new faces and phenomena of design, promotes design internationally in collaboration with various partners and offers city citizens through design a forum to participate in developing and discussing the city and its culture. The festival programme contains over 120 events every year, and includes both events targeted for professionals and the general public.

Hidden – Festival of ­Outdoor Design, Sydney www.hiddendesignfestival.com Hidden, Festival of Outdoor Design, reveals the usually private gardens and outdoor spaces behind the gates, walls, passageways and hedges that showcase some of our lead-

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ing landscape designers. Most of the gardens have never before been opened to the public and are unlikely to be open again.

Istanbul Design Biennial tasarimbienali.iksv.org With the aim of underlining the importance of design for production, economy, cultural interaction and quality of life, the Istanbul Design Biennial is open to all disciplines of the creative industries in major fields such as urban design, architecture, interior, industrial, graphic, new media and fashion design, as well as their subfields. The biennial aims to explore the products, creative ideas and discourses of the relevant fields and generate interactive relations within the society.

Lodz Design Festival www.lodzdesign.com Lodz Design Festival stands for ideas, people and action. Founded in 2007, it has served from the very beginning as a review of Polish design achievements. The festival programme has continued to expand upon the ongoing dialogue with the audience, to finally assume its current shape.

London Design Festival www.londondesignfestival.com First staged in 2003, the London Design Festival is one of the world’s most important annual design events. The Festival programme is made up of over 300 events and exhibitions staged by hundreds of Partner organisations across the design spectrum and from around the world.

Melbourne Indesign www.melbourneindesign.com.au Melbourne Indesign has been held biannually since 2004 (previously named “Saturday in Design”) to showcase the most revolutionary ideas and game-changing new products from high-end international and regional brands and leading architecture and design talent. The event unites four design precincts: Collingwood, Fitzroy, Melbourne CBD and Richmond, with multiple showrooms and pop-up spaces transformed by conceptual installations and product launches, international guests, topical industry seminars, emerging designer showcases, workshops, demonstrations, networking drinks and more.

Melbourne International Design Week www.designmattersvictoria.com/ design-week Melbourne International Design Week is a celebration of design excellence. It has been created to highlight the best of design in Australia and overseas to nurture a strong design culture. Events give everyone the opportunity to be inspired by the benefits of outstanding design for our lives and our economy. Melbourne International Design Week highlights the role of design as a catalyst for innovation, linking creativity with business, technology and society.

Norwegian Fashion Hub Oslo – The Needlework and technology Conference www.norwegianfashionhub.com Norwegian Fashion Hub (NFH) is a new network arena for the fashion and textile industry in Norway. NFH is initiated by Norwegian Fashion Institute (NFI) with support from The City of Oslo and Innovation Norway. “Needlework & Technology” is an inspiring 3-day event by the Norwegian Fashion Hub. Fashion and design meet business and technology at this conference, with a line-up of speakers.

OFFF Barcelona www.offf.ws OFFF is an entity in continuous transformation, alive and evolutionary. More than a decade ago, it was born as a post-digital culture festival; a meeting place to host contemporary creation through an in-depth programme of conferences, workshops and performances by the most relevant artists of our time. These days, OFFF keeps being a reference event throughout the world. A festival hosted in Barcelona, New York, Lisbon and Paris which has featured renowned artists such as Joshua Davis, Stefan Sagmeister, John Maeda, Neville Brody, Kyle Cooper, The Mill, Digital Kitchen, Ben Fry & Casey Reas, Golan Levin, Chris Milk, Rob Chiu, Julien Vallée, Paula Scher, Rick Poynor, Erik Spiekermann, Dvein, Erik Natzke, Vincent Moon, Ze Frank, Alex Trochut.

Paris Design Week www.parisdesignweek.fr Paris Design Week represents more than 180 spaces, 250 participants, 100,000 visitors, and as many opportunities to share! Cocktail parties, special encounters, innovations,

8 days during which Paris sets its clocks to the pace of creation, offering the best of an event that democratises design.

Red Dot Design Award www.en.red-dot.org Red Dot stands for belonging to the best in design and business. The international design competition, the “Red Dot Design Award”, is aimed at all those who would like to distinguish their business activities through design. The distinction is based on the principle of selection and presentation. Excellent design is selected by competent expert juries in the areas of product design, communication design, and design concepts.

Romanian Design Week, Bucharest www.romaniandesignweek.com Romanian Design Week is the first event entirely dedicated to Romanian design that addresses a broad public of professionals, amateurs and enthusiasts. Romanian Design Week Preview domains included: advertising, architecture, digital design, fashion design, graphic design, interior design, photography, product design.

Salon del Mobile Milano www.cosmit.it The Salon del Mobile is the global benchmark for the Home Furnishing Sector. An invaluable tool for the industry as well as an ongoing, quite extraordinary promotional vehicle. The Salon made its first appearance in 1961, designed to promote Italian furniture and furnishing accessories on the export market, and it has continued to do so impeccably, ensuring that the quality of Italian furniture is known to all four corners of the earth, and continues so to do, with half of all its visitors coming from around the world.

São Paulo Design Week-end www.designweekend.com.br Inspired by the Milano Design week and London design Festival, Design Weekend (DW!) comprises of a set of more than 260 independent and simultaneously events, organised and held by dozens of partners. Public and private activities at DW! are promoted in strategic points of the city of São Paulo, such as museums, galleries, studios, stores, parks, public squares, NGOs, and others.

Shenzhen / Hong Kong Biennale – Bi-City Biennale of Urbanism / Architecture www.szhkbiennale.org Bi-City Biennale of Urbanism/Architecture (UABB) is currently the only biennial exhibition in the world to be based exclusively on the set themes of Urbanism and Urbanisation. Co-organised by the two neighbouring and closely interacting cities of Shenzhen and Hong Kong, UABB situates itself within the regional context of the rapidly urbanizing Pearl River Delta, concerns itself with globally common urban issues, extensively communicates and interacts with the wider public, is presented using expressions of contemporary visual culture, and engages international, avant-garde dimensions as well as discourses of public interest.

Stockholm Design Week (Stockholmsmässan) www.stockholmdesignweek.com Inspiration and information, business opportunities and new friends! Stockholmsmässan is the largest meeting place in Scandinavia hosting around 70 leading exhibitions and hundreds of national and international congresses, conferences and corporate events every year.

Swiss Federal Design Competition www.swissdesignawards.ch Swiss designers are eligible to take part in the Swiss Federal Design Competition. Since 2002, the Swiss Federal Office of Culture organises an exhibition that presents the award-winning works of the Swiss Federal Design Competition. In order to stimulate debate, the award-winning works and projects are not simply presented and documented but also put in a wider context by a series of conferences and events permitting a closer look of current design trends.

TED www.ted.com TED is a non-profit devoted to spreading ideas, usually in the form of short, powerful talks (18 minutes or less). TED began in 1984 as a conference where Technology, Entertainment and Design converged, and today covers almost all topics – from science to business to global issues – in more than 100 languages. The website offers a library of TED talks in which you can find a substantial category about design.

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TYPO International Design Talks Berlin, London, San Francisco www.typotalks.com TYPO conference speakers are innovative designers, professors, marketing experts, scientists, artists, journalists and much more.

They present and discuss diverse approaches in the fields of communication and design.

TYPO inspires, offers insights and experiments, encourages the exchange of knowledge and is a creative playground for communication professionals. TYPO has become a German export hit: based on many decades of experience gained in Berlin, we have managed to establish TYPO in the English-speaking world. Each TYPO focuses on a topical and relevant theme, which the speakers deal with in their presentations taking a personal perspective. They discuss social trends, ideas, concepts, technological innovation and the valid principles of good design.

Vienna Design Week www.viennadesignweek.at The aim of Vienna Design Week is to show and enable people to experience the manyfaceted creative work in the fields of product, furniture and industrial design as well as experimental design. Design has been and is an important field in the production of culture: it shapes our material culture, our everyday life and our consumer world, it influences our lifestyles and fashions and most fundamentally our aesthetic sense and judgments.

This wide-ranging impact is a reason both to celebrate design and to examine it critically, and Vienna Design Week has made both of these its mission.

Weltformat – Plakatfestival Luzern www.weltform.at Der Verein Weltformat hat sich zum Ziel gesetzt, das Medium Plakat in all seinen Facetten zu fördern. Mit zahlreichen Ausstellungen wird das Plakatdesign einer breiten Öffentlichkeit zugänglich gemacht. Der Verein ist Anfang 2010 mit dem Ziel gegründet worden, ein jährlich stattfindendes Plakatfestival mit nationaler Ausstrahlung zu veranstalten. Er löste damit den Verein Posters Lucerne ab, der in Luzern jeweils die Ausstellung der 100 besten Plakate aus dem deutschsprachigen Raum gezeigt hatte. Unterstützt wird das Plakatfestival Weltformat 13 von der APG|SGA und weiteren Partnern.

What Design Can Do www.whatdesigncando.nl What Design Can Do celebrates the power of design and its problem-solving abilities. This two-day event in Amsterdam exposes design as a catalyst of change and renewal and a way of addressing the societal questions of our time.

ver, Bayern Design closely cooperates with the chambers of industry, commerce and crafts, with trade associations, educational institutions as well as several companies and individuals.

design, both historic and contemporary. As part of its mission, Cooper-Hewitt annually sponsors the National Design Awards, a prestigious programme which honors innovation and excellence in American design.

Cité du design, Saint-Étienne

Design Council, UK

www.citedudesign.com

Barcelona Design Centre www.bcd.es Barcelona Design Centre (BCD) promotes design as a strategic element for business ex-

One of the primary missions of the Cité du design is to raise awareness of design among all types of public: professional and public authority actors, universities, the general public, etc. The Cité du design has created various communication tools to address these publics: guided visits for professionals

www.designcouncil.org.uk Since it was established by Winston Churchill in 1944, the Design Council has experienced design’s ability to transform organisations, products, services and even lives. Today, it shares that experience in many different ways, working with a variety of people to champion and encourage the use of great design.

MUSEUMS & INSTITUTIONS cellence and as a key factor for innovation, and as a discipline that can improve people’s quality of life. Legally established as a private not-for-profit foundation in 1973, BCD is a promotion and information centre devoted to all aspects of design in business. The first promotion centre of its kind to be set up in Spain, BCD has evolved in line with changes in the economy and society from the first, constantly adapting its philosophy and activities to the specific needs of the moment.

Bayern Design GmbH www.bayern-design.de Given the growing importance of the design industry in the innovative value chain Bayern Design GmbH has the task to introduce and develop sustainable design strategies for Bavarian products and services so that the State of Bavaria becomes a premier site for innovation and design of international renown. Bayern Design is sponsored not only by the Bavarian Ministry of Economic Affairs and Media, Energy and Technology, but also by Bayern design forum e. V., its supporting association, whose members ensure an up-to-date orientation of the work of Bayern Design GmbH with their comments and suggestions. The members come from the most diverse sectors, the majority of them being renowned medium-sized companies and freelance designers. Moreo-

and individuals, general public and professional awareness campaigns, workshops for young people, publications, seminars and conferences. It provides specific facilities for school and university groups with numerous guided visits, and educational material created specifically for the teaching staff. The Cité du design also works closely with the National Education system: training courses for teachers with the PREAC (resource centre for artistic and cultural education), and projects led by the CDPP (Departmental centre for pedagogical documentation).

Cooper-Hewitt, New York www.cooperhewitt.org Smithsonian’s Cooper-Hewitt, National Design Museum is devoted exclusively to historic and contemporary design. The Museum presents compelling perspectives on the impact of design on daily life through active educational and curatorial programming. It is the mission of Cooper-Hewitt’s staff and Board of Trustees to advance the public understanding of design across the thirty centuries of human creativity represented by the Museum’s collection. Cooper-Hewitt’s collections include more than 217,000 design objects and a world-class design library. Its exhibitions, in-depth educational programmes, and on-site, degree-granting master’s programme explore the process of

Design exchange, Canada (Design Museum) www.dx.org Canada’s Design Exchange museum is dedicated to the pursuit of design excellence and preservation of design heritage. At the crossroads of multiple disciplines from furniture design and architecture to graphic design and fashion, DX exhibitions, talks and educational programming reflect contemporary culture. Located in downtown Toronto, in the historic Toronto Stock Exchange building, DX annually attracts thousands of visitors of all ages.

Design Museum, Boston www.designmuseumboston.org Design Museum Boston is a public, nonprofit museum. Its mission is to educate the world on the role of design in our lives and to unite the community in ways that enrich our collective work, make businesses more competitive, and solve real-world problems more creatively. After all, design has the power to make our everyday lives more comfortable, more efficient, more exciting, more rewarding. The museum is inspired by

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revolutionary design: the fruitful result of thoughtful problem solving and a willingness to break with tradition. This is why it has no permanent address. Design Museum Boston is a decentralised network of physical and virtual exhibits. The museum produces public exhibitions, events, and programmes to show the who, why, and how behind the things we see and use everyday. Design Museum Boston aims to highlight the positive impact good design and innovative thinking can have on literally everything.

Design Museum, Gent www.designmuseumgent.be The Design Museum Gent is a cultural institution of the City of Gent. Since January 1999 the museum has been recognised by the Ministry of the Flemish Community in the highest category. The focus in the collections and exhibitions lies on 20th century and contemporary design.

Design Museum, Helsinki www.designmuseum.fi The Museum of Applied Arts was founded in 1873 as the teaching collection of the Crafts and Design. Design Museum, its successor, is now an internationally operating museum of design that keeps a national collection in its field. Design Museum as a specialist museum in Finland maintains a 75,000 object design collection. The museum is responsible for research and documentation in its field, and for holding exhibitions on design history and contemporary themes. The museum also organises international touring exhibitions and events on Finnish art and design.

Besides main premises at Design Museum, other premises and exhibition spaces are Arabia Museum, Iittala Glass Museum and Nuutajärvi Glass Museum.

Design Museum, London www.designmuseum.org For 25 years, since Terence Conran first established it, the Design Museum has championed creative thinking and inspired problem solving, celebrating the talent of the world’s best designers and architects. The museum showed what Jonathan Ive could do before he went to Apple, it is the place that Puma chose to show the world Yves Béehar’s ground breaking shoe packaging that cut carbon emissions by half and it gave Zaha Hadid her first solo show in Britain.

Designmuseum, Denmark www.designmuseum.dk

searchers, industrialists, designers, consumers... Its goal is to provide direct access to a set of resources currently scattered in various locations and unite energies around two major headings for strategic development promoting industrial design and eco-design.

Designmuseum Denmark (earlier named The Danish Museum of Art & Design) is Denmark’s largest museum for Danish and international design and a central exhibition forum for industrial design and applied arts in Scandinavia. The museum’s collections, library and archives constitute a central resource centre for the study of design and its history in Denmark. The museum brings together and documents the contemporary developments within industrial design, decorative and applied arts. Designmuseum Denmark undertakes research into the history of art and design, taking as its point of departure the museum’s own collections, and presents the results in exhibitions, publications and educational material.

Scène ouverte de la création et de ses énergies sans cesse renouvelées, Les Docks – Cité de la Mode et du Design est dédiée aux rencontres entre marques, designers, industries créatives, artisans et publics. Située en bord de Seine, entre Bastille, le Jardin des Plantes et la BnF, Les Docks ouvre ses portes de jour comme de nuit, été comme hiver, en accès libre intérieur/ extérieur, des coursives au rooftop.

Domaine de Boisbuchet

Moscow Design Museum

www.boisbuchet.org Boisbuchet integrates innovative architecture and design into the splendid setting of a 19th century estate. Their projects invest in a culture that respects the past and builds for the future, research into a sustainable relationship between the natural and the manmade and offer a creative environment for people of all cultures to share. Workshops lead by top designers are held throughout the summer in the grounds of a historic chateau in rural France.

Les Docks – Cité de la Neues Museum Mode et du Design, Paris Nürnberg www.citemodedesign.fr

www.moscowdesignmuseum.ru Moscow Design Museum is the first museum dedicated to the discipline of design in Russia. The main objective of the museum is promotion and development of Russian design and presentation of the best examples of international design in Russia.

Design and Fashion Museum Lisbon www.mude.pt

Estonian Design Centre www.disainikeskus.ee The Estonian Design Centre (EDC) is the accumulator and mediator of information, knowledge and skills of Estonian design.

Its aim is to create an inspirational, innovative and cooperation oriented environment for the development of design. Its goal is to make design visible. The activities of the Centre include design trainings and workshops, Tallinn Design Map and mobile app, design support programmes and much more. The Design Centre’s mission is to enrich the professional skills of designers and design agencies, to support strategic design implementation in business and public sector, to market and promote Estonian design at home and abroad, and to endorse basic design education in general education schools.

Le Lieu du Design, Paris www.lelieududesign.com Le Lieu du Design’s primary vocation is to be a host for continuous exchange between various actors in the design sector: students, re-

entations and interventions in and around the museum explain the way in which designed objects and images are dealt with, provide information about personalities in the field of design or about those areas of design that shape our everyday lives.

Lisbon’s Design and Fashion Museum (MUDE) is one of the world’s leading museums of 20th century design. It opened in 1999 in the Belem Cultural Center. The design collection consists of works by some 230 designers representing trends in design from around the world. There are works by design icons such as Phillipe Starck, Charles Eames, George Nelson, Arne Jacobsen, Paul Henningsen, Vener Panton, Masanori Umeda, Henning Koppel, and Tom Dixon, and includes almost 200 design classics embracing innovative furnishings, glass, and jewelry from 1937 to the present.

Museum für Gestaltung, Zürich www.museum-gestaltung.ch The Museum für Gestaltung Zürich is Switzerland’s leading design and visual communication museum. The exhibition programme includes whatever is effective as “design”. The main thematic areas are design, visual communication and architecture. Between five and seven temporary exhibitions annually as well as smaller pres-

www.die-neue-sammlung.de Neues Museum in Nuremberg opened in April 2000. At the time the presentation of art was accorded the same weighting as the shows on design, a quite unique approach. Since then Die Neue Sammlung – The International Design Museum Munich – has displayed design in Nuremberg in the form of both permanent and temporary exhibitions. In response to the timeframe covered by the art collection, the design section focuses on the period from the end of World War II to the present day.

Pinakothek der Moderne, München www.die-neue-sammlung.de Pinakothek der Moderne is a leading museum for art, paper-based art, architecture and design. The wealth of the exhibitions is supported by a rich and inspiring programme of events and educational services. Pinakothek der Moderne symbolises the collective memory of 20th and 21st century art and design and serves as a forum for debate on contemporary themes and currents. In so doing it draws on its four long-standing collections, which have been accumulated down through many years, regularly expanded and provides digital access to them.

Red Dot Museums (Essen, Singapore, Taipei) www.en.red-dot.org There are 3 Red Dot Design Museums in the world: Essen, Singapore and Taipei. The Red Dot Museum Essen offers about 2,000 exhibits that depict the complete range of contemporary product design. The Museum presents the complete range of shapely and highly innovative products. All of them were rewarded in the Red Dot Design Award. The Red Dot Museum in Singapore is the first contemporary design museum in Asia. You can see a collection of more than 1,000 exhibits and every exhibit is a winner of the international Red Dot Design Award. Visitors of the Red Dot Museum Taipei in Taiwan are able to meet awarded objects from various life and product worlds.

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Surgenia Technological Centre of Andalusian Design www.surgenia.es Surgenia is a design centre that researches and develops products and spaces in order to make them more competitive. This is enabled through R+D+i projects that use design as a tool for innovation and differentiation. Surgenia generates technology and design for businesses. It contributes to the development of companies through creative projects, minimising risk and increasing the impact in the market of their products and spaces. Surgenia unites the company’s productive capacity to creativity using design professionals to conceive products and spaces with identity that fulfil a specific function and convey emotions, improving the company’s competitiveness and increasing profits.

The International Institute for Information Design www.iiid.net The International Institute for Information Design (IIID) was founded to develop research and practice in optimising information and information systems for knowledge transfer in everyday life, business, education and science. The main concern of the International Institute for Information Design is to contribute to a better understanding within the human community with respect to cultural and economic issues by means of improved visual and other forms of communication. Special attention is paid to the potential of graphic information design to overcome both social and language barriers.

Vitra Design Museum Weil am Rhein www.design-museum.de The Vitra Design Museum numbers among the world’s leading museums of design. It is dedicated to the research and presentation of design, past and present, and examines design’s relationship to architecture, art and everyday culture. In the main museum building by Frank Gehry, the museum annually mounts two major temporary exhibitions. Smaller parallel shows are presented in the Vitra Design Museum Gallery, a neighbouring exhibition space. Often developed with renowned designers, many of the museum’s exhibitions cover highly relevant contemporary themes, such as future technologies, sustainability or questions like mobility and social awareness. Others address historical aspects or protagonists.

Agence pour la promotion de la création industrielle www.apci.asso.fr Créée en 1983 à l’initiative des ministres chargés de l’industrie et de la culture, pour contribuer au rapprochement de la culture, de la recherche et de l’industrie, et devenue entièrement privée en 1993, l’Agence pour la promotion de la création industrielle (APCI) est une association reconnue d’intérêt général. Elle développe en collaboration avec ses membres et ses partenaires, des outils et ac-

American Design Club www.americandesignclub.com The American Design Club (AmDC) was conceived in the spring of 2008. The AmDC’s founding members created a platform from which designers could launch new ideas and connect with one another. The premise was simple: create a theme, ask everyone to submit, select the strongest pieces and display them. It proved to be a great formula. AmDC hit the ground running in October 2008 with its first themed show, Outside of Sorts.

It has since seen a huge number of talented emerging designers benefit from the expo-

Association of the Industrial Design Agencies in Flanders www.vvio.be Association of the Industrial Design Agencies in Flanders (vVio) is the association of the industrial design offices based in Flanders. This association was founded in 2009 by a group of service providers who wanted to formalise and strengthen their existing cooperation, including by attracting new members to the group. The objective pursued by vVio is to actively promote and stimulate

PROFESSIONAL ASSOCIATIONS / ORGANISATIONS / NETWORKS tions collectifs qui valorisent une approche économique, sociale et culturelle du design en France et du design français à l’étranger.

Alliance of German Designers www.agd.de The website of Alliance of German Designers (AGD) provides information for designers on a wide range of subjects relevant to their profession. Free-lancers just starting out will find as much of interest here as experienced designers – though part of the website is reserved for AGD members. Prospective clients can obtain information about the approximately 3,000 AGD members and look for precisely those designers who suit the projects they have in mind. In addition, there is a wealth of information about the basic requirements for successful professional cooperation. And of course members of the general public with an interest in design are also welcome.

sure gained from displaying their work in the shows. AmDC has complemented these shows with an online shop, designer collaborations, gift fair booths, pop-up shops and sponsored events in conjunction with like-minded companies that AmDC find interesting.

Association of Dutch Designers www.bno.nl The Association of Dutch Designers (BNO) is the professional association for designers and design agencies in the Netherlands. It unites more than 2,500 individual designers and 150 design agencies and corporate design departments, making it the most important representative of the design sector in the Netherlands. It is committed to advancing the economic, social and cultural interests of its members and to promoting their work and the profession both domestically and internationally.

the profession through knowledge creation, education and also standardising the professional ethics and services. vVio cooperates with other organisations to reach these objectives, especially agencies active in promoting design, innovation or creativity and other professional organisations.

Association Typo­graphique Internationale www.atypi.org Association Typographique Internationale (ATypI) is the premier worldwide organisation dedicated to type and typography. Founded in 1957, ATypI provides the structure for communication, information and action amongst the international type community.

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Berufsverband der Kommunikationsdesigner www.bdg-designer.de Der Berufsverband der Kommunikationsdesigner (BDG) ist der erste deutsche Berufsverband im Bereich Kommunikationsdesign.

Er wurde im Jahr 1919 als „Bund der Deutschen Gebrauchsgraphiker“ gegründet. Ab 1968 führte er den Namen „Bund Deutscher Grafik-Designer“, den er 2009 in „Berufsverband der Deutschen Kommunikationsdesigner“ geändert hat.

Bureau of European Design Associations www.beda.org Today, Bureau of European Design Associations (BEDA) boasts 45 members from 24 member states in Europe. Members can be design promotion centers and other publicly funded organisations that promote design nationally or regionally as well as professional and trade associations for designers from across Europe. Those professional associations represent some 400,000 designers from across Europe in every discipline of work from industrial design and interiors to digital design and branding. BEDA is a not-forprofit organisation funded in its entirety by its members. It is run by a board of directors elected by its membership every two years.

BEDA is headquartered in Brussels.

CLICKNL www.clicknl.nl The CLICKNL innovation network is part of the Creative Industries top sector. A broadly supported innovation agenda that has been drawn up under the orchestration of the network will be implemented in the coming years. This involves cooperation between research, industry and government.

Cumulus www.cumulusassociation.org Cumulus is a global association to serve art and design education and research. It is a forum for partnership and transfer of knowledge and best practices. Cumulus consists currently of 198 members from 48 countries.

D&AD www.dandad.org Since 1962, D&AD has been inspiring a community of creative thinkers by celebrating and stimulating the finest in design and advertising. A D&AD Award is recognised

globally as the ultimate creative accolade, entered and attended by the best from around the world. As a non-profit, all of D&AD’s surpluses go straight into programmes such as New Blood, that inspire the next generation of creative talent and stimulate the creative industry to work towards a fairer more sustainable future.

mission of Design Forum Finland is to support affluence and competitiveness in the economy and society by promoting widespread utilisation of design.

Dansk Design Center

For four years, Design in Europe has been the reference guide on agencies and analysis, based on the firm belief that one must “know how to choose” before being able to decide “what to choose”. This guide is intended for executives who use design for problem solving in their professional activities. It is dedicated to promoting design agencies to businesses.

An introduction by Gérard Caron, explains how to select and work with design agencies.

www.ddc.dk The Danish Design Centre (DDC) is an inde­ pendent, government-funded organisation established in 1978. DDC’s focus in relation to the design community and business sector is on collecting, communicating and testing knowledge about the main factors that influence design and how design can continue to be a driver for innovation and growth in the future.

Design Austria www.designaustria.at designaustria is Austria’s premier contact point for design. Founded in 1927, designaustria is Europe’s third oldest design organisation. Currently, altogether more than 1,300 members from various backgrounds are committing themselves to Austria as a design nation. The organisation has accumulated comprehensive knowledge in this field, and its international network is accordingly far reaching.

Design for All Europe www.designforalleurope.org Design for All Europe is a European network, founded in Dublin, Ireland, in 1993 with the name of European Institute for Design and Disability (EIDD). The original aim of the network, to use design to achieve the inclusion of disabled people in society in European countries, has since been reinforced with inclusion of a more mainstream approach, enhancing the quality of life through Design for All. The name change in 2006 reflects this development. EIDD – Design for All Europe is now a federation of 34 member organisations in 23 European countries.

With a strong interdisciplinary approach, the majority of members are professionals in design-related fields.

Design Forum Finland www.designforum.fi Design Forum Finland is the promotion organisation of Finnish design. It is run by the Finnish Society of Crafts and Design which, established in 1875, is the second-oldest design-industry organisation in the world. The

Design in Europe www.designineurope.com

Design Institute of Australia www.design.org.au The Design Institute of Australia (DIA) is the organisation through which designers work for the future of the design professions in Australia. The mission of the DIA is to promote and assist the effective excellence, political influence, and co-operative spirit of the Australian design professions and enhance their relevance to Government, business and society.

Design Network North www.designnetworknorth.org The Network is designed to offer support, advice, networking, business opportunities and events to its members, partners and the wider community. Its aim is to increase the awareness of the importance of design within all industries, insuring that the value of design is considered by everyone, in the region and beyond. Because its Network is so diverse, it is able to pair up designers with other businesses who are looking to advance their design practices and create opportunities for working partnerships and future growth in the industry.

Design Wales www.designwales.org Design Wales offers Support Services for Regional Development Offices / Innovation Programmes to help regional economic development offices understand the role of design, develop their own regional policy and train local business support staff. Design Wales leads a network of 11 European design organisations and regional policy makers and established the UK design support network in 2007. The insight gained from engagement with this broad network of

partners provides invaluable knowledge of the current level of regional engagement and best practice delivery.

EIDD Belgium www.designvlaanderen.be Design Flanders promotes contemporary, high-quality and innovative design from Flanders. The organisation is part of Enterprise Flanders. Firstly, Design Flanders aims to help designers in Flanders to grow as entrepreneurs. It also aims to encourage companies and governments to incorporate design in their operations. This is how Design Flanders contributes to the success of the Government of Flanders’s Flanders in Action plan and New Industrial Policy. Design Flanders strives to achieve recognition for Flanders as a design region.

Europäisches ­Institut Design für Alle in Deutschland www.design-fuer-alle.de Europäisches Institut Design für Alle in Deutschland (EDAD) ist ein deutschlandweites Kompetenznetzwerk rund um das Thema Design für Alle: es berät, informiert, forscht und vernetzt. Ziel sind Produkte, Dienstleistungen und eine gebaute Umwelt, die besonders leicht und komfortabel nutzbar sind.

Und zwar für alle Menschen, unabhängig von ihren Fähigkeiten und entsprechend Ihrer Bedürfnisse. EDAD ist Mitgliedsorganisation des EIDD – Design for All Europe mit Partnern in 23 europäischen Staaten.

Finnish Association of Designers Ornamo www.ornamo.fi The Finnish Association of Designers Ornamo is the national central organisation of designers in Finland with over 2,100 members.

The members of Ornamo are professionals specialised in industrial design, fashion, textile and furniture design, interior architecture, craft art and textile art as well as researchers of the field. Varying education and skills obtained in professional life make it possible for the members to work on numerous areas of design, of which design management is one of the most challenging.

German Design Council www.german-design-council.de The German Design Council was founded as a foundation in 1953 by decree of the German Federal Parliament at the initiative of the German Parliament. It supports the

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business world in all aspects of design and is one of the world’s leading centres of expertise on design. The German Design Council repeatedly champions good design through its competitions, exhibitions, conferences, seminars and publications.

International ­Council of Graphic Design associations www.icograda.org International Council of Graphic Design associations (Icograda) is a world body for professional design. It is a non-profit, non-partisan, member-based network of independent organisations and stakeholders working within the multidisciplinary scope of design.

Founded in 1963, Icograda actively promotes the value of design practice, thinking, education, research and policy, representing more than 200 organisations in 67 countries and regions globally.

INDEX: Design to Improve Life® www.designtoimprovelife.dk INDEX: Design to Improve Life® is a Danish NPO with global reach. It inspires, educates and engages in designing sustainable solutions to global challenges. Created by Denmark in 2002, INDEX: Design to Improve Life® is in sync with the values and principles that made Danish design widely renowned in the last century, focusing on humanism, social understanding and democratic thinking.

Institute of Design Research Vienna www.idrv.org The Institute of Design Research Vienna (IDRV) was founded in Spring 2008 with the goal of making an independent, academically influenced contribution to the establishment of the new field of design studies. As a non-profit scientific organisation, the IDRV was created to foster interdisciplinary and disciplinary discussions on concrete issues of the worldwide design community, especially regarding the areas of ecologically and socially sustainable design as well as design history and teaching.

Institute of Designers in Ireland www.idi-design.ie The Institute of Designers in Ireland is the professional body representing the interests

of Irish designers. Its function is to promote high standards of design, to foster professionalism and to emphasise designers’ responsibility to society, to the client and to each other. The Institute represents designers from different disciplines who practice in Ireland. Formed in 1972, the Institute is recognised at national, EU and international level as the representative body for the Irish design profession. The members, whether they be in private practice or in salaried employment, work in the fields of consumer and capital projects, interiors and exhibitions, textiles and fashion, all aspects of visual communication, new media, design management and design education.

International Council of Societies of Industrial Design www.icsid.org The International Council of Societies of Industrial Design (Icsid) is a non-profit organisation that protects and promotes the interests of the profession of industrial design. Founded in 1957, Icsid serves as a unified voice of over 50 nations through which members can express their views and be heard on an international platform. Since its inception, Icsid has continued to develop its wide-reaching network of students and professionals devoted to the recognition, success and growth of the industrial design community. Together, professional associations, promotional societies, educational institutions, government bodies and corporations create a comprehensive and diverse system on the forefront of industrial design education and progress.

Internationales Design Zentrum Berlin www.idz.de Since its founding in 1968, the International Design Center Berlin (IDZ) has been a communication platform connecting business, society and culture, and is dedicated to current as well as future topics and questions in design. Design comprises much more than aesthetics: design is a holistic process.

Through projects, exhibitions and presentations, IDZ emphasises various aspects of design, and presents and discusses current design topics. Social, economic and environmental as well as aesthetic considerations are all part of the effort to further the work of designers, as well as the effort to increase design consciousness in consumers and in companies alike. As a center of expertise, IDZ offers knowledgeable consulting services and is also an experienced partner in cooperative projects. Moreover, its member structure and international orientation offer a capable business network for the creative and design industries.

Slovak Design Centre – Slovenské centrum dizajnu www.sdc.sk Slovak Design Centre (SDC) is a state allowance organisation established by the Ministry of Culture SR in 1991. The mission of SDC as the only professional organisation for this field in Slovakia is to gather, store, and spread information about design, to initiate and create platforms for development and support of design in SR, and to suggest conceptions of design development. SDC cooperates with designers, companies, agencies, public administration, professional international organisations, and schools specialising in design.

international membership represents both the commercial and residential sectors, from heritage to cutting edge. In addition to rigorous entry requirements which assess training, experience and professionalism, the Institute requires its members to continue their professional development throughout their career to ensure their continued expertise in design process, practice and regulatory matters. The British Institute of Interior Design is the only professional organisation for interior designers which has been granted the prestigious and rare accolade of Institute status by the Minister of State as the pre-eminent body in its field.

The Design Management Institute, Boston www.dmi.org

Swedish Association of Designers, Sveriges Designer www.sverigesdesigner.se The Swedish Association of Designers (Sveriges designer) is a trade organisation for professional designers based in Sweden. Members of the organisation are skilled designers in one or more of the following areas: fashion design, furniture design, graphic design, industrial design, interactive design, product design, textile design, web design.

Swiss Design Association www.swiss-design-association.ch Der Verband Swiss Design Association (SDA) vertritt gegen außen die Interessen der Berufsgruppen, die sich professionell mit der Gestaltung von physischen und virtuellen Produkten und Dienstleistungen befassen.

Design wird dabei als mehrdimensional, industrienah und angewandt verstanden. Der SDA eint diese Berufsgruppen und fördert die interne Vernetzung und den Austausch.

Er unterstützt seine Mitglieder nach Kräften und ermöglicht Außenstehenden Einblicke in die vertretenen Designbereiche. Die Swiss Design Association bietet ihren Mitgliedern berufsbezogene Dienstleistungen, ist in Fragen des Designs die kompetente Ansprechpartnerin für die Designszene Schweiz und vermittelt zwischen Design, Wirtschaft, Bildungswesen und Politik.

The Design Management Institute (DMI) is an international membership organisation that connects design to business, to culture, to customers – and to the changing world.

Founded in 1975, DMI brings together educators, researchers, designers, and leaders from every design discipline, every industry, and every corner of the planet to facilitate transformational organisational change and design driven innovation. DMI focuses value creation in three important areas: education, design valuation and connection.

Wallonie-Bruxelles Design Mode www.wbdm.be Wallonie-Bruxelles Design/Mode (WBDM) aide les créateurs de mode et les designers à s’exporter. WBDM facilite leur rencontre avec la presse internationale, les éditeurs de mobilier design, les acheteurs de collections de mode.

The British Institute of Interior Design www.bida.org The British Institute of Interior Design is a professional organisation for interior designers in the UK. Its growing national and

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Design schools

Back to s You brilliantly have passed all your exams and are searching for a place where you’d be able to let your designing skills emerge? Then search no more, Dee is now listing a series of schools and universities all around the world in order to make out of your passion a real job whether you are in love with fashion, industrial design or crazy typefaces!

Around Luxembourg & The Greater Region

BRUSSELS (BE)

École nationale supérieure des arts visuels de La Cambre Disciplines: Language: French Admission: Competitive examination Fondée en 1927 par l’architecte et designer Henry van de Velde, l’École nationale supérieure des arts visuels de La Cambre est l’une des principales écoles d’art et de design de Belgique. Elle compte environ 700 étudiants répartis dans 17 départements ou options artistiques : dessin, peinture, sculpture, espace urbain, céramique, gravure (et image imprimée), photographie, cinéma d’animation... mais aussi un département de conservation-restauration des œuvres d’art et, dans le champ du design, les options design industriel et design textile, architecture d’intérieur, scénographie, stylisme et création de mode, design du livre et du papier (reliure) ainsi que 2 départements graphiques – communication graphique et visuelle, typographie.

www.lacambre.be

École Supérieure des Arts Saint-Luc Bruxelles Disciplines: Language: French Admission: Competitive examination L’École Supérieure des Arts Saint-Luc est une école d’arts plastiques regroupant huit options (arts numériques, illustration, bande dessinée, publicité, graphisme, dessin et technologie en architecture, création d’intérieurs et architecture d’intérieur). Son enseignement, dispensé selon les cas en 3, 4 ou 5 années, conjugue les éléments fondateurs d’une démarche artistique et les enjeux professionnels auxquels les futurs diplômés auront à se confronter.

www.stluc-bruxelles-esa.be

École de Recherche Graphique Disciplines:

Language: French Admission: Competitive examination L’ERG, École de Recherche Graphique, est une École Supérieure des Arts (ESA), enseignement libre de plein exercice et de type long, subventionnée par la Communauté française de Belgique. L’ERG est un des 5 instituts de Saint-Luc Bruxelles. Le projet prospectif de l’ERG souhaite forger une série d’outils pratiques et discursifs pouvant être l’objet d’une libre appropriation par les étudiants, et ce en accord avec les futures orientations de leurs

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school pratiques artistiques. Ce projet peut être compris comme suivant une double logique. La première prolonge les dynamiques déjà existantes dans le cadre du programme de l’ERG. La seconde, quant à elle, fournit et génère une série de processus d’enseignement traitant de la question des pratiques artistiques en privilégiant leur part expérimentale.

METZ (FR)

Académie Royale des beauxarts – École supérieure des arts de Bruxelles

L’ÉSAL est un établissement public qui constitue, avec l’école d’Épinal et le CEFEDEM (Centre de Formation supérieure des Enseignants de la Danse et de la Musique) le seul pôle d’enseignement supérieur artistique arts plastiques / musique / danse en Lorraine.

L’ÉSAL bénéficie d’une ouverture internationale par des relations privilégiées avec le Luxembourg, la Belgique et l’Allemagne.

Deux options sont proposées : « Art – Dispositifs multiples » et « Design graphique – images + systèmes graphiques et narration ».

www.erg.be

Disciplines: Language: French Admission: Competitive examination L’enseignement dispensé à l’Arba-Esa est de niveau universitaire. L’Arba-Esa a pour mission d’organiser la formation de futurs artistes, de designers, de professionnels des multiples métiers de l’art et de l’éducation, d’individus autonomes et responsables formés à s’engager de manière informée et critique dans les mondes de l’art. Elle propose un programme d’éducation en arts plastiques, visuels et de l’espace, complet et au plus haut niveau.

École supérieure d’art de Lorraine Disciplines: Language: French Admission: Competitive examination

NANCY (FR)

Disciplines: Language: French Admission: Application form

ANTWERP (BE)

Disciplines: Language: French Admission: Competitive examination

As one the oldest schools of arts in the world, the Antwerp Royal Academy established a rich tradition in higher arts and design education. And what better place for the soon to be designer and fine artist to experience the beauty is the historical campus situated in the heart of the historical city. The Academy offers both undergraduate and (post) graduate programmes in visual arts and design. A broad scope of courses cover almost anything within the field of applied and fine arts. The curriculum offers a healthy balance between studio practice and supporting (art) theory, drawing classes.

www.ap.be

Industrial & Product Design

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NAMUR (BE) École Supérieure d’Infographie – Haute École Albert Jacquard

École nationale supérieure d’art de Nancy

Disciplines: Language: Dutch Admission: Artistic Entrance Examination

www.esapv.be

www.esalorraine.fr

www.arba-esa.be

Royal Academy of Fine Arts

l’École supérieure des arts plastiques et visuels (ESAPV), tous deux riches d’une longue tradition artistique. Arts² dispense un enseignement supérieur de type long (quatre ou cinq ans) reconnu au niveau européen : Bachelor et Master, ainsi que des formations de 3e cycle (Doctorat en art et sciences de l’art, en collaboration avec l’Université) et d’agrégation de l’enseignement secondaire supérieur. Les options disponibles dans la catégorie arts visuels sont : architecture d’intérieur, arts numériques, communication visuelle, dessin, gravure et image imprimée, images dans le milieu, peinture et sculpture.

L’École nationale supérieure d’art de Nancy (ENSA) est une école nationale supérieure d’art du nord-est de la France qui développe trois options ou départements d’études diplômantes et professionalisantes : art, communication et design. Dotée d’une gamme très large d’ateliers et d’équipements techniques, l’ENSA permet l’enseignement non seulement de pratiques manuelles et matérielles traditionnelles, mais encore de pratiques numériques du virtuel et des nouvelles technologies.

www.ensa-nancy.fr

La démarche mise en place par la Haute École promeut l’interdisciplinarité des équipes et la transversalité des savoirs et compétences. À l’issue de la formation, tous les diplômés doivent avoir acquis un ensemble de compétences touchant aux domaines principaux des techniques infographiques : mise en page, règles typographiques, réalisation d’une image de marque et d’un portfolio professionnel, création d’un site web tant au niveau graphique que technique, modélisation 3D et animation, réalisation de logos et branding, conception graphique. Ces compétences variées et non exhaustives permettent aux diplômés de techniques infographiques de s’intégrer dans les différents secteurs de l’industrie graphique, mais également de s’adapter de manière autonome et novatrice à l’évolution constante et rapide de ces secteurs.

www.infographie-sup.be

MAINZ (DE)

MONS (BE) Arts2 – École supérieure des arts

Fachhochschule Mainz (University of Applied Sciences)

Disciplines: Language: French Admission: Application form

Disciplines: Language: German, English Admission: Application form

Arts² (arts au carré), nouvelle École supérieure des arts de la Fédération Wallonie-Bruxelles, résulte de la fusion entre le Conservatoire royal (Musique et Théâtre) et

Kurze Studienzeiten, internationale Ausbildungsgänge und Praxisbezug in Forschung und Lehre – das sind die Markenzeichen der Fachhochschule Mainz. Das Studien-

Graphic & Communication Design

Web and Interactive Media Design

Architecture & Interior Design

Design schools

angebot ist breit gefächert und gliedert sich in die 3 Fachbereiche: Technik, Gestaltung und Wirtschaft. Der Fachbereich Gestaltung gliedert sich in die drei Lehreinheiten: Kommunikationsdesign, Mediendesign und Innenarchitektur.

www.fh-mainz.de

SAARBRÜCKEN (DE) Hochschule der Bildenden Künste Saar Disciplines: Language: German Admission: Aptitude test – pre-selection (homework review) + examination interview Seit ihrer Gründung im Jahr 1989 hat sich die Hochschule der Bildenden Künste Saar zu einem der wichtigsten Kreativzentren der Großregion Saarland/Rheinland-Pfalz/ Elsass/Lothringen/Luxemburg/Wallonien entwickelt. Als staatliche Einrichtung mit derzeit rund 400 Studienplätzen bietet die HBKsaar ihren Studierenden breit gefächerte, an aktuellen künstlerischen und gestalterischen Anforderungen orientierte Qualifizierungsmöglichkeiten.

www.hbksaar.de

TRIER (DE) Hochschule Trier (Trier University of Applied Sciences) Disciplines: Language: German Admission: Application form + interview Die Hochschule Trier ist eine der größten Hochschulen für angewandte Wissenschaften in Rheinland-Pfalz. Die Lage im südwestlichen Dreiländereck Deutschlands schafft mit internationalen Angeboten und vielfältigen Beschäftigungsmöglichkeiten in Luxemburg, Frankreich und Belgien ideale Voraussetzungen für Studium und Beruf. Die Hochschule bietet ein umfassendes Studienangebot und ein breites Spektrum anwendungsorientierter Forschungsprojekte. Das Angebot deckt die Bereiche Technik, Wirtschaft, Gestaltung, Recht und Informatik ab und zeichnet sich durch besondere Fächervielfalt aus. Unter dem Fachbereich Gestaltung organisieren sich die sechs Fachrichtungen Architektur, Innenarchitektur, Edelstein- und Schmuck, Modedesign, Intermedia Design und Kommunikationsdesign.

www.hochschule-trier.de Textile & Fashion Design

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Design schools

EUROPE

Royal Danish Academy of Fine Arts Disciplines:

Languages: English, Danish Admission: Online application form The Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation – School of Architecture is one of the two Danish Schools of Architecture and one of the world’s oldest schools of architecture.

Founded in 1754 as “The Royal Danish Painting, Sculpture and Building Academy”, the academy’s purpose was to educate both artists and craftsmen in the three disciplines under the same roof. The school educates architects in the fields of architectural design and restoration, urban and landscape planning, and industrial, graphic, and furniture design.

www.karch.dk

FINLAND HELSINKI Alto University – School of Arts, Design and Architecture Disciplines: Language: English Admission: Application form + interview

AUSTRIA

Universität für angewandte Kunst Wien

VIENNA

Disciplines: Language: German Admission: Entrance examination

Akademie der bildenden Künste Wien

An der Universität für angewandte Kunst Wien studieren mehr als 2.000 Studenten.

Viele von ihnen kommen aus dem europäischen und außereuropäischen Ausland. Die Palette der künstlerischen Disziplinen, die ergänzt werden durch eine große Zahl von wissenschaftlichen Fächern, trägt wohl auch zu der besonderen Atmosphäre bei, die an der Angewandten herrscht.

Disciplines: Languages: German, English Admission: Entrance examination The Academy of Fine Arts Vienna has been a leading European training center for artists for more than 300 years. Today, it offers a variety of courses ranging from painting and sculpture to photography and video, performance and conceptual art, also including architecture, scenography and conservation/ restoration. By offering seminars and carrying out a great variety of projects, the Institutes of Art Theory and Cultural Studies and of Natural Sciences and Technology in the Arts ensure a high theoretical standard in all the departments. The course structure, based on diploma studies and/or bachelor/master programmes, is augmented through various doctoral studies, including an internationally renowned PhD-in-Practice programme, as well as through the master programme Critical Studies. This wide range of courses offered by the Academy enables students to pursue their own individual goals, and to ­obtain a variety of qualifications.

www.akbild.ac.at

www.dieangewandte.at

DENMARK COPENHAGEN Copenhagen Institute of Interaction Design Disciplines: Language: English Admission: Application form + interview The Copenhagen Institute of Interaction Design (CIID) was founded in 2006 to bring together inspirational international faculty,

diverse students, clients and partners from all around the world to create an energetic and collaborative design culture. This integrated structure creates a unique environment that encompasses world-renowned education, a cutting edge research group and an award-winning consultancy. It creates impact through the design of innovative products, services and environments. Interaction Design is a practice that combines traditional design disciplines with socio-technological trends. It leads to intuitive solutions for products, software and services.

www.ciid.dk

The School of Arts, Design and Architecture is an institution of higher education for design, media, architecture, motion picture, art education and art. The new school, formed in a merger of the School of Art and Design and the Department of Architecture of the School of Engineering, will carry forward the internationally recognised expertise created by its predecessors. The school’s unique character is a result of its ability to combine experience stemming from a long tradition with new thinking in a way that enables new, creative solutions. The key areas of research are design, digital media, audiovisual representation, art, visual culture, well-being architecture and emerging technologies, and urban planning and design. The school produces specialists and innovators of art, design and architecture with strong artistic and technical skills.

www.arts.aalto.fi

Copenhagen School of Design and Technology

FRANCE

Disciplines: Language: English

AMIENS

Copenhagen School of Design and Technology (KEA) is an Academy of Higher Education which offers over 30 different educational programmes at Bachelor degree and Academy Professional degree levels. With a degree from KEA – Copenhagen School of Design and Technology you get a practice-oriented, higher education at Academy Professional level and/or Professional Bachelor’s level, developed in close cooperation with the region’s business community and educational institutions in Denmark and abroad.

www.kea.dk/en

École supérieure d’art et design Disciplines: Language: French Admission: Competitive examination Créée en 1758, l’École supérieure d’art et de design d’Amiens est un établissement public d’enseignement supérieur qui prépare et délivre des diplômes du Ministère de la culture et de la communication. L’ÉSAD, orientée sur les disciplines de l’image, propose deux filières de formation : le design graphique

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Design schools (design numérique & typographie) et l’image animée 3D. L’école développe des activités de recherche en design numérique d’une part et, d’autre part, sur le signe, la typographie, l’écriture et le langage.

www.esad-amiens.fr

LYON

des arts décoratifs est aujourd’hui reconnu au grade de master. Il y a 10 départements de spécialisation : architecture intérieure, art-espace, cinéma d’animation, design graphique/ multimédia, design objet, design textile et matière, design vêtement, image imprimée, photo/vidéo, scénographie. Des conférences, des colloques, des workshops, des voyages d’études, ainsi qu’une riche bibliothèque et une matériauthèque viennent compléter le dispositif pédagogique original de l’école.

www.ensad.fr École nationale supérieure des beaux-arts de Lyon Disciplines:

Language:French Admission: Competitive examination Installée sur le site des Subsistances depuis 2007, l’École nationale supérieure des beauxarts de Lyon (ENSBA) est un établissement supérieur d’enseignement artistique agréé par le Ministère de la Culture et de la Communication. L’école propose les options majeures qui structurent le champ des enseignements artistiques en France avec plusieurs cursus d’études en art et design. Les formations dispensées conduisent aux DNAT (Diplôme National d’Arts et Techniques) en design graphique et textile, aux DNAP (diplôme national d’Arts Plastiques) en art et en design d’espace à l’issue de la troisième année ainsi qu’aux DNSEP (Diplôme National Supérieur d’Expression Plastique) en art et en design à l’issue de la cinquième année d’études.

www.ensba-lyon.fr

Créée en 1982, l’École nationale supérieure de création industrielle (ENSCI – Les Ateliers) est la seule école nationale supérieure exclusivement consacrée à la création et au design industriels. La mission de l’ENSCI est de former des designers aptes à porter et à promouvoir la création dans l’industrie. Autrement dit, former pour l’industrie du 21e siècle, autant immatérielle que matérielle, des concepteurs d’objets, avec leurs parts esthétique et fonctionnelle, et d’usages associés créateurs de valeurs économiques et sociales. L’éco-conception y occupe une place centrale.

www.ensci.com

Disciplines: Language: French Admission: Application form + interview

École supérieure des arts appliqués de Bourgogne Disciplines: Language: French Admission: Online application form L’École Supérieure d’Arts Appliqués de Bourgogne regroupe les formations post-bac en arts appliqués du lycée Alain Colas. Ces formations proposent en BTS les spécialités graphisme, espace et produit. Ces mêmes spécialités sont enseignées en Diplôme Supérieur d’Arts Appliqués Design (Master 1). Le Lycée Alain Colas et l’ESAAB abritent depuis dans leurs murs une CPGE (Classe Préparatoire aux Grandes Écoles) Arts et Design.

www.lyc58-colas.ac-dijon.fr

L’École Boulle est une des grandes références dans l’enseignement de l’art, des arts appliqués, du design et des métiers d’art en France. Ainsi, en plus des treize métiers d’art (l’ébénisterie, la bijouterie, la tapisserie, la sculpture, le tournage d’art, la ciselure, la gravure…), se sont développés récemment des diplômes de design reconnus et enviés, en architecture, en produits et objets. Solidement ancrée dans son environnement local, l’école développe un programme ambitieux à l’international.

www.ecole-boulle.org

École nationale supérieure d’arts appliqués Duperré Disciplines: Language: French Admission: Application form + interview

PARIS École nationale supérieure des arts décoratifs Disciplines:

Language: French Admission: Competitive examination L’École nationale supérieure des arts décoratifs a pour mission la formation artistique, scientifique et technique d’artistes et de designers aptes à concevoir des réalisations et des recherches dans tous les domaines des arts décoratifs. La formation se déroule sur 5 ans et le diplôme de l’École nationale supérieure

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Disciplines: Language: French Admission: Competitive examination

École Boulle

NEVERS

Industrial & Product Design

École nationale supérieure de création industrielle

L’école Duperré forme des étudiants aux métiers de la création, en mode et textile, mais aussi en espace et en graphisme. Elle accueille également des formations aux métiers d’art en textile (broderie, tissage et tapisserie) et en céramique. L’école délivre des diplômes en arts appliqués de niveau III (BTS et DMA), de niveau II dans le cadre d’une Licence professionnelle menée en partenariat avec l’université de Marne-la-Vallée et de niveau I (Master) dans le cadre d’un DSAA design mention mode. Elle offre également depuis la rentrée 2011, au-delà du DSAA, une poursuite d’études et une ouverture à la recherche dans le cadre d’un post-DSAA mené en partenariat avec l’École Boulle et l’École Estienne.

www.duperre.org

Graphic & Communication Design

École Estienne Disciplines: Languages: French Admission: Application form + interview En 1889, l’École Estienne accueille ses premiers élèves. Depuis, le souci de l’école a toujours été de proposer des enseignements et des outils adaptés aux changements afin de former des professionnels d’excellence. Aujourd’hui école du livre et de la communication, école supérieure de l’enseignement public, l’École Estienne accueille 115 enseignants et 600 étudiants qui suivent les formations de 5 DMA, de 5 BTS, de la licence professionnelle et des 3 DSAA.

­ evesque de Pouilly pour « éclairer l’indusL trie ». Rebaptisée École supérieure d’art et de design (ESAD) en 1992, l’établissement actuel relève de cette filiation et accorde toujours la même importance à la relation de l’Art avec son environnement social et économique. Une nouvelle page d’histoire vient de se tourner, puisque l’école est un Établissement Public de Coopération Culturelle (EPCC) depuis 2011. Cette mutation s’accompagne d’un développement pédagogique important avec le post-diplôme design culinaire et l’ouverture d’une pépinière d’entreprises art et design en octobre 2011.

www.esad-reims.fr

www.école-estienne.fr

SAINT-ÉTIENNE

École supérieure de design, d’art graphique et d’architecture intérieure

École supérieure d’art et ­design de Saint-Étienne

Disciplines:

Language: French Admission: Application form (1st year), competitive examination from the 2nd year on L’ESAG Penninghen forme des professionnels créatifs de haut niveau. L’école délivre 2 diplômes de niveau Master : un diplôme de directeur artistique en art graphique et design numérique et un diplôme d’architecte d’intérieur – designer. S’appuyant sur un enseignement rigoureux des fondamentaux, la formation contribue et soutient la recherche personnelle, informe et forme aux métiers de la création en phase avec les exigences des sociétés en constante évolution.

www.penninghen.fr

Les Gobelins, L’école de l’image Disciplines: Language: French Admission: Application form + interview Acteur de référence dans la communication numérique, le design numérique, le design interactif et l’entertainment, Les Gobelins, l’école de l’image, forme depuis près de cinquante ans aux métiers de la photographie, de la communication et des industries graphiques, du cinéma d’animation, de la vidéo, du multimédia / design numérique et du jeu vidéo. Ses différents programmes délivrés par la voie du temps plein, de l’alternance ou de la formation continue, préparent des futurs professionnels, capables d’analyser les demandes de clients, d’y apporter des solutions créatives et pertinentes.

www.gobelins.fr

REIMS École supérieure d’art et de design de Reims Disciplines:

Language: French Admission: Competitive examination

Disciplines:

Language: French Admission: Competitive examination Fondée en 1803 sous le nom d’École de dessin, rebaptisée École régionale des arts industriels en 1884, École régionale des beaux-arts en 1923, puis École supérieure d’art et design en 2006, l’ESADSE est depuis son origine étroitement liée à l’essor industriel et au développement économique d’une ville qui fut pendant tout le 19e siècle à la pointe de la modernité industrielle. Son histoire épouse celle des arts industriels et met en jeu toutes les tensions qui s’y rattachent : art et économie ; esthétique et fonctionnalité ; souveraineté et commande ; beaux-arts, arts appliqués et arts décoratifs. C’est cette histoire qui a conduit l’école à développer un département design à partir de 1990 et à créer en 1998 la Biennale Internationale Design.

www.esadse.fr

STRASBOURG Haute école des arts du Rhin (HEAR /Arts déco Strasbourg) Disciplines:

Language: French Admission: Application form + interview La Haute école des arts du Rhin est née en janvier 2011 de la fusion des « Arts déco » – l’École supérieure des arts décoratifs de Strasbourg (ESADS) – de l’École supérieure d’art de Mulhouse (Le Quai) et des enseignements supérieurs de la musique du conservatoire de Strasbourg, en un seul et même établissement d’enseignement supérieur artistique.La HEAR offre un grand choix de diplômes en arts plastiques, ainsi que des formations musicales d’excellence. Elle regroupe des enseignements dans les champs de la musique, de l’art contemporain, de la communication visuelle et du design. Implantée sur trois sites à Mulhouse et Strasbourg, elle prépare quelque 700 étudiants à devenir des créateurs, auteurs, musiciens, graphistes, artistes, illustrateurs, etc.

www.hear.fr

L’École des Beaux-Arts de Reims est créée en 1748, sous l’impulsion de Louis-Jean

Web and Interactive Media Design

Architecture & Interior Design

Textile & Fashion Design

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Design schools

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Design schools GERMANY

Universität der Künste

BERLIN

Disciplines:

Language: German Admission: Application form + interview

Design Akademie Berlin – Hochschule für Kommunikation und Design Disciplines:

Language: German Admission: Application form or entrance examination (according to the different programmes) Die Design Akademie Berlin, SRH Hochschule für Kommunikation und Design, qualifiziert den Fach- und Führungsnachwuchs in Kommunikation, Marketing, Werbung und Design. „Der direkte Kontakt mit visionären Projekten befähigt zu zukunftsorientiertem Denken, Handeln und Gestalten. Wir lehren mit professioneller Technik und Software auf aktuellem Agenturstandard. Wir unterrichten in Aufnahmestudios Ausleuchtungstechniken, Fotografie, Film- und AVMedien, Video- und Schnitttechniken. Eines unserer Hauptziele dabei ist die Fähigkeit zu kritischer Selbstreflektion. Bei uns lehren besonders qualifizierte Professoren und Dozenten aus Agenturen, Verlagen, Wissenschaft, Forschung und Kreativwirtschaft in enger Zusammenarbeit miteinander. Sie binden stetig Praxis und Projekte in die Lehre ein.“

www.design-akademie-berlin.de

Kunsthochschule BerlinWeißensee – Hochschule für Gestaltung Disciplines:

Language: German Admission: Entrance examination Das Lehrangebot wurde bereits in den Anfängen, bei der Gründung vor über 50 Jahren, angelegt und erweist sich heute zeitgemäßer denn je. Obwohl sich die Studierenden für eine Studienrichtung entscheiden, starten sie mit einem einjährigen interdisziplinären Grundlagenstudium, auf dessen Basis sie sich spezialisieren. Für die Auseinandersetzung mit Themen und Ideen gibt es sowohl ein umfangreiches theoretisch-wissenschaftliches Angebot als auch die praktische und projekt­ orientierte Arbeit. Beispiellos gute, fachgebietsübergreifende Arbeitsmöglichkeiten in elf Werkstätten runden das Angebot ab.

www.kh-berlin.de

Mediadesign – Hochschule für Design und Informatik Disciplines: Language: German

Die Mediadesign Hochschule für Design und Informatik hat drei Studienstandorte: Berlin, München und Düsseldorf und ihren Sitz in Berlin. Die Mediadesign Hochschule ist eine der führenden Hochschulen für Medien und Design Deutschlands. Sie bildet in allen relevanten Medienbereichen den Nachwuchs von Morgen aus. Die Studierenden profitieren dabei von der besonderen Nähe der Mediadesign Hochschule zum Medienmarkt.

www.mediadesign.de

Industrial & Product Design

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Die UdK Berlin zählt zu den größten, vielseitigsten und traditionsreichsten künstlerischen Hochschulen der Welt. Das Lehrangebot der vier Fakultäten Bildende Kunst, Gestaltung, Musik und Darstellende Kunst sowie des Zentralinstituts für Weiterbildung umfasst in über 40 Studiengängen das ganze Spektrum der Künste und der auf sie bezogenen Wissenschaften. Mit dem Promotions- und Habilitationsrecht gehört die UdK Berlin darüber hinaus zu den wenigen künstlerischen Hochschulen Deutschlands mit Universitätsstatus.

www.udk-berlin.de

HAMBURG Akademie Mode & Design Hamburg Discipline:

Language: German Admission: Application form with portfolio Die AMD Akademie Mode & Design entwickelt Bildungsprogramme für die Kreativbranche und qualifiziert für die Bereiche Mode, Design, Kommunikation und Management. Um diesen Anspruch erfolgreich zu verwirklichen, definiert die Akademie sich in der Lehre und Forschung über die Werte Innovation, Interdisziplinarität, Qualität und Internationalität. Als Bildungseinrichtung, in deren Fokus die Designdisziplin steht, verfolgt sie in der Kommunikation nach Außen eine reduzierte und auf das Wesentliche konzentrierte Formsprache. Dabei orientiert sie sich an zeitgemäßen und in die Zukunft gerichteten Maßstäben.

www.amdnet.de

Design” is offered with 6 European Partner Universities. A two-year Master course in Product design and Process development is offered in collaboration with the Faculty of Computer Science and Engineering Science.

www.kisd.de

Fachhochschule Köln – Köln International School of Design Disciplines:

Language: German and English Admission: Portfolio + interview Abandoning traditional classroom structures and turning to a more project-based education, Köln International School of Design (KISD) allows for an explorative approach to design education. As an academic institution of the Cologne University of Applied Sciences, KISD can take advantage of the experience and interest of more than 450 professors and 18,000 students.

LEIPZIG Hochschule für Grafik und ­Buchkunst Leipzig Disciplines:

Language: German Admission: Portfolio + entrance examination (test of aptitude + interview) Die Hochschule für Grafik und Buchkunst Leipzig (HGB) gehört zu den ältesten Kunsthochschulen Deutschlands. Zum gegenwärtigen Zeitpunkt werden ca. 600 Studierende in den Diplomstudiengängen Malerei/Grafik Buchkunst/Grafik-Design, Fotografie und Medienkunst ausgebildet. Im Sommer 2009 wurde zudem der neue Masterstudiengang „Kulturen des Kuratorischen“ gegründet.

Dieses weiterbildende Studienangebot ist in Deutschland einzigartig und verbindet anwendungsorientierte Forschungspraxis mit wissenschaftlicher Reflexion. Es wendet sich an Menschen mit unterschiedlichen disziplinären oder professionellen Hintergründen: der verschiedenen Künste – bildende Kunst, Tanz, Theater, Film und Musik –, der Kulturvermittlung, der Geistes-, Sozial- und Naturwissenschaften. An der HGB lehren Professoren und Dozenten mit internationalem Renommee und ausgewiesenem künstlerischem Werk.

www.hgb-leipzig.de

MANNHEIM Hochschule Mannheim – Fakultät fur Gestaltung

Die Fakultät für Gestaltung bietet mit dem Studiengang Kommunikationsdesign (Bachelor und Master) ein theoretisch fundiertes, medienübergreifendes Studienangebot, das gleichzeitig individuelle Studienschwerpunkte erlaubt. Die Regelstudienzeit beträgt sieben Semester für den Bachelor-Studiengang. Das Studium führt zu dem akademischen Grad Bachelor of Arts oder Master of Arts.

www.gestaltung.hs-mannheim.de

KISD offers a four-year BA programme “Integrated Design” – including communication, product or industrial design. The MA “Integrated Design” is an internationally- and research-oriented Master’s course that can be studied either consecutively or after a Bachelor’s or higher academic degree. Furthermore, a BA / MA course “Master of European

Graphic & Communication Design

Web and Interactive Media Design

Staatliche Akademie der ­Bildenden Künste Stuttgart Disciplines:

Language: German Admission: Application form + competitive interview

Disciplines: Language: German Admission: Application form with portfolio

COLOGNE

STUTTGART

Architecture & Interior Design

Die 1761 gegründete Staatliche Akademie der Bildenden Künste Stuttgart (ABK) ist eine der ältesten und größten Kunsthochschulen in Deutschland. Mit einer Vielzahl von Studiengängen in den Bereichen der bildenden Künste, der Architektur, des Design, des Fachs Künstlerisches Lehramt, der Restaurierung von Kulturgütern und der Kunstwissenschaft pflegt sie auf verschiedenen Ebenen künstlerische Denkformen und fördert auf vielfältige Weise kreative Fähigkeiten und Fertigkeiten. Neben der künstlerischen Arbeit in den Klassen und Ateliers bietet sie mit ihren über 30 Lehrwerkstätten exzellente Möglichkeiten, um neue Ideen, Entwürfe und Konzepte praktisch umzusetzen.

www.abk-stuttgart.de

Hochschule der Medien Disciplines:

Language: German, English Admission: Application form Since 2000 Stuttgart Media University has brought together the combined know-how of the former University of Printing and Media, an educational institution with over 100 years of tradition, and the University of Librarianship and Information whose history reaches back to 1942. With 15 Bachelor’s degree programmes and 6 Master’s degree programmes, a part-time MBA, and a doctoral programme, Stuttgart Media University covers a broad spectrum of media expertise: from printed media to electronic media, from media theory to media production, from media design to making media available.

www.hdm-stuttgart.de

ITALY MILAN Domus Academy Disciplines:

Languages: English Admission: Application form

Domus Academy was founded in Milan in 1982 as the first postgraduate design school in Italy, and as an open project focusing on the Italian Design and Fashion experience.

Throughout the years, DA also asserted its importance as a school, in the full meaning of the term: a place for postgraduate education and research lab investigating innovation and design topics. The Academy offers 12 masters courses, attended by students from all over the world: accessories design, business design, car & transportation design, product design, luxury brand management, fashion design, interaction design, interior and living design, urban vision and architec-

Textile & Fashion Design

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Design schools tural design, fashion management, fashion styling and visual merchandising, and visual brand design.

www.domusacademy.com

Scuola Politecnica di Design Disciplines: Language: English

In Milan, the capital of design, SPD organises annual Master’s courses. With over 50 years of experience in the field, these courses range from product design to interior design, from communication to multimedia. Didactics is personalised, in a human sized environment promoting easy contact with the faculty and the staff. The study programmes have a strong orientation towards real projects, keeping in close contact with companies and professionals.

www.scuoladesign.com

Politecnico di Milano Disciplines: Language: English, Italian Admission: Entrance test

Politecnico di Milano is a scientific-technological university which trains engineers, architects and industrial designers. The University has always focused on the quality and innovation of its teaching and research developing a fruitful relationship with business and productive world by means of experimental research and technological transfer.

The Gerrit Rietveld Academie is a university of applied sciences for Fine Arts and Design. It aims to support talented young people in such a way that they can operate independently in the field of visual arts or design. The Gerrit Rietveld Academie offers two bachelor degree programmes (a Bachelor of Fine Arts and a Bachelor of Design) and four master degree programmes (Master of Fine Arts, Master of Applied Arts, Master of Design, and Master of Interior Architecture).

Libera Università di Bolzano Disciplines:

Languages: Italian, German and English Admission: Admission test (video presentation and admission workshop) The Free University of Bozen/Bolzano was founded in 1997 as a multilingual, internationally oriented institution. It promotes the free exchange of ideas and scientific knowledge, linking itself to the European humanities tradition and laying the foundations for its society by promoting respect for democratic principles. The Free University of Bozen/Bolzano contributes to society by combining research and its practical application, and it respects the principles of sustainable cultural, social and environmental development.

www.unibz.it

THE NETHERLANDS AMSTERDAM Gerrit Rietveld Akademie Disciplines:

Languages: English, Dutch Admission: Portfolio + interview

www.tudelft.nl

EINDHOVEN

www.gerritrietveldacademie.nl

Design Academy Sandberg Instituut Disciplines:

Languages: English, Dutch Admission: Portfolio + interview The Sandberg Instituut started in 2011 with the master programme Vacant NL, which explored the potential of thousands of vacant buildings in the Netherlands. For 2013-2015 it had: School of Missing Studies, on art and learning, and Material Utopias, on the shifting boundaries between (new) materials and techniques. For 2014-2016 it plans to start with three more new programmes: Cure Master on Health(care), Designing Democracy on political spatial design and System D Academy on informal and self-organising systems in society.

Disciplines:

Languages: English Admission: Application form + interview Design Academy Eindhoven offers a fouryear Bachelor’s course and a two-year Master’s course. The DNA of Design Academy Eindhoven can be described as conceptual, authentic, creative, flexible, free, passionate and curious. The design departments, compasses departments in the bachelor’s course, and the programmes within the master’s course are all headed by people who are leading figures in their professions. In the Academy’s own view, its excellence lies in the fact that it trains designers to be aware of the social implications of their designs.

www.designacademy.nl

www.sandberg.nl

ARNHEM

www.polimi.it

Bolzano

cies, the industry and small and medium-sized companies. Alongside the regular full-time Bachelor’s and Master’s degree programmes, TU Delft also offers elective modules, minors and postgraduate education.

The Werkplaats Typografie (WT) / ArtEZ Institute of the Arts

SLOVENIA LJUBLJANA

teaching art and design, the fostering of creativity and cultural debate. Studies at the School are directed towards the research and creation of new languages, at the same time as being oriented towards the training of professionals and creators with technical qualifications. Eina’s relation to the cultural and economic environment, and its contact with institutions and business, also allow its professional teaching to be given within the framework of a fluid articulation between training and work.

www.eina.edu

Escola Superior de Disseny i Enginyeria de Barcelona Disciplines:

Languages: Spanish, English Admission: Application form Founded in 1961, Escola Superior de Disseny i Enginyeria de Barcelona (ELISAVA) was the first School of Design to be established in Spain. ELISAVA promotes knowledge, research, development, and innovation in all the fields revolving around design, engineering, and communication. This is achieved by means of an academic training that prepares the students to meet professional challenges at an international level, promoting the relationship of our community with the business sector, as well as with institutions and nowadays society. In this way, the School ensures the student’s viability to transform themselves and grow in a global and changing environment.

www.elisava.net

Academy of Fine Arts and Design

SWEDEN

Disciplines:

Language: Slovenian Admission: Portfolio + interview

STOCKHOLM

The Academy of Fine Arts and Design of the University of Ljubljana focuses on teaching and researching artistic creation, design, restoration and conservation of artworks as well as theoretical knowledge in these fields. As the highest educational and artistic institution in the field of visual arts in the Republic of Slovenia, the Academy of Fine Arts and Design strives to preserve excellence in educational, artistic, research and professional development activities. It relies on European artistic, educational, scientific and general cultural tradition since antiquity, consolidating the nation’s independence and boosting the visibility of Slovenia in Europe and on a wider global level.

Konstfack University College of Arts, Craft and Design

www.aluo.uni-lj.si

www.konstfack.se

Delft University of Technology

SPAIN

UMEÅ

Disciplines: Language: English and Dutch

BARCELONA

Umeå University

Disciplines: Language: English Admission: Portfolio + interview The Werkplaats Typografie (WT) is part of ArtEZ Institute of the Arts. WT is a two-year masters programme centered on practical assignments and self-initiated projects. It also serves as a meeting place for graphic designers with regard to research and dialogue.

The WT programme stimulates and practices critical reflection on the basis of a broad cultural perspective, with theory playing a supporting role. Participants engage in artistic research involving content and form, text and image, theory and practice, in relation to professional practice and supervised by leading designers.

www.werkplaatstypografie.org

DELFT

TU Delft is the largest and most all-round university of technology in the Netherlands. The University also enjoys a good international reputation. TU Delft collaborates with a large number of other educational and research institutes within the Netherlands and abroad and has a reputation for high-quality teaching and research. TU Delft has extensive contacts with governments, trade organisations, consultan-

Eina Escola de Disseny i Art Disciplines:

Languages: Catalan, Spanish, English Eina, Escola de Disseny i Art, is a cultural institution organised as a non-profit­­private foundation whose principal aim is that of

Disciplines:

Languages: Swedish, English Admission: Application form Konstfack has about 900 students. Konstfack’s three departments offer different educations within the field of arts, crafts and design: Department of Design, Crafts and Arts, Department of Fine Art, Department of Visual Arts Education. High quality, humanism, sustainable development and high demands for creative ability characterise Konstfack’s study programmes and research.

Disciplines:

Language: English Admission: Application form with portfolio + interview Umeå Institute of Design at Umeå University opened in 1989 and is planned and equipped solely for the teaching of industrial design.

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Design schools The course in industrial design is keyed to the planning and design of industrial products, product systems and complete environments.

There are five academic programmes within the school focusing exclusively on industrial design and related specialisations.

www.umu.se

SWITZERLAND AARAU / BASEL

Enjoying international renown and featuring regularly among the world’s top ten universities of art and design, École Cantonale d’Art de Lausanne (ECAL) currently offers programmes (a Foundation Year, 6 Bachelor, 4 Master, a MAS) in the following fields: fine arts, cinema, graphic design, industrial design, photography, media & interaction design. Thanks to the network established at ECAL and by producing a portfolio to the highest professional standards, once they complete their studies the graduates have the choice of working for renowned companies or immediately setting up their own studios.

www.ecal.ch

Hochschule für Gestaltung und Kunst Nordwestschweiz Disciplines:

Language: German Admission: Competitive examination Die Hochschule für Gestaltung und Kunst bildet mit sieben Bachelor- und vier MasterStudiengängen eine facettenreiche Lern-, Lehr- und Forschungsgemeinschaft. Mit ihrem breiten Spektrum an künstlerischen und gestalterischen Disziplinen, Fragestellungen und Herangehensweisen anerkennt und fördert die Hochschule für Gestaltung und Kunst eine vielseitige Kultur des Entwerfens, Experimentierens und Vernetzens. Auf der Grundlage eines differenzierten sinnlichen Wahrnehmungsvermögens und der Reflexion des eigenen Sehens und Begreifens arbeiten Dozierende und Studierende daran, produktive Prozesse anzuschieben, qualitativ hochwertige Güter zu entwerfen und Werke zu schaffen, die auch in Zukunft Bestand haben.

www.fhnw.ch/hgk

LUGANO University of Applied Sciences and Arts of Southern Switzerland Disciplines:

Languages: English, German Admission: Application form The University of Applied Sciences and Arts of Southern Switzerland (SUPSI) is one of the nine professional universities recognised by the Swiss Confederation. Founded under federal law, SUPSI offers more than 30 Bachelor’s Degree and Master’s Degree courses, characterised by cutting edge education which unites classical theoretical-scientific instruction with a professional orientation. Great care is given to research, carried out in key sectors on competitively acquired projects with large European and national agencies or mandated by organisations and institutions.

www.supsi.ch

GENEVA Haute école d’art et design de Genève Disciplines:

Language: French, English Admission: Portfolio + interview

http://head.hesge.ch

LAUSANNE École Cantonale d’Art de Lausanne

LUCERNE

F+F Schule für Kunst und Mediendesign Zürich

Glasgow School of Art

Disciplines:

Language: German Die F+F Schule für Kunst und Mediendesign bietet als private Institution seit 1971 professionelle Ausbildungen im Bereich der bildenden Kunst und der Gestaltung an.

Die F+F offeriert auch ein vielfältiges Weiterbildungsangebot im gestalterischen und künstlerischen Bereich. Praxisbezug und die Vermittlung eines fundierten theoretischen Wissens zeichnen die Ausbildungen der F+F aus. Die F+F-Dozent/innen sind profilierte, oft international bekannte Persönlichkeiten aus den Bereichen Kunst, Gestaltung, Fotografie und Film, welche über einen soliden Leistungsausweis verfügen. Jedes Semester werden Fachleute aus dem In- und Ausland als Gastdozierende eingeladen. Dank ihrer überschaubaren Größe kann die F+F eine intensive und individuelle Betreuung der Studierenden garantieren.

Five departments or schools make up the Lucerne University of Applied Sciences and Arts: The School of Engineering and Architecture, The School of Business, The School of Social Work, The School of Art and Design, The School of Music. The School of Art and Design offers a complete range of disciplines in the fields of art and design. The bachelor’s degree programmes comprise fine arts, fine arts and art education, animation 2D/3D, video, camera arts, graphic design, illustration (fiction/nonfiction), material design, object design, textile design and design management. In addition to the bachelor’s programmes, the Lucerne School of Art and Design offers master’s degree programmes in the fields of Art in public spheres, art teaching and animation, graphic design, illustration, product design, service design, short motion and textiles.

Zürcher Hochschule der Künste Disciplines:

Language: German Admission: Aptitude test Die Züricher Hochschule der Künste gehört mit rund 2.500 Studierenden zu den führenden Kunsthochschulen Europas. Das vielfältige Studien- und Forschungsprogramm umfasst die Bereiche Design, Film, Kunst, Medien, Musik, Tanz, Theater, Vermittlung der Künste und Transdisziplinarität.

DUNDEE Duncan of Jordanstone College of Art and Design

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Graphic & Communication Design

Founded in 1845 as a Government School of Design, The Glasgow School of Art has grown to become one of the United Kingdom’s preeminent institutions for the study and advancement of fine art, design and architecture.

The Glasgow School of Art is a small concentrated community of committed, creative people bound together by a shared visual language and a concern for visual culture. It is at the heart of one of Europe’s most influential and creative artistic communities providing an energetic environment in which new ideas can flourish. The school produce mature, confident graduates through education in fine art, design and architecture, which is practice based, face to face, professionally oriented and socially engaged.

www.gsa.ac.uk

Royal College of Art – School of Design Disciplines:

Language: English Admission: Application form with portfolio + interview The RCA offers 24 distinctive postgraduate programmes across the art and design disciplines, delivered through a vibrant mix of studio work, critical and creative thinking, and research across six integral Schools: school of Architecture, school of Design, school of Material, school of Fine Art, school of Communication and school of Humanities. MA programmes and MPhil/PhD research are delivered through the Schools, with combined facilities and opportunities for cross-pollination. Each programme offers a full package of assisted learning through tutorials, seminars and support for individual and group projects, and learning is focused to give each student the support she or he needs to build expertise in their discipline.

www.rca.ac.uk

Disciplines:

Language: English Admission: Portfolio + interview

LONDON

The DJCAD helps the students locate themselves in the contemporary art and design landscape and acquire the skills and knowledge they need to succeed in a fast changing world. The research pushes the boundaries of art & design practice and involves partnerships with researchers from many other disciplines. The DJCAD engages with science, develops cultural narratives, explores 21st century issues such as sustainability and creates concepts and content for the digital economy. The DJCAD offers several programmes such as: graphic design, illustration, interior environmental design, fine art, product design, textile design.

University of the Arts

www.dundee.ac.uk/djcad

Disciplines:

Languages: French, English Admission: Competitive examination Industrial & Product Design

Disciplines:

Language: English Admission: Portfolio + interview

www.ffzh.ch

UNITED KINGDOM

Disciplines:

Languages: German, English

www.hslu.ch

GLASGOW

www.zhdk.ch

Hochschule Luzern – School of art and design

Located in the heart of Geneva, Haute école d’art et design de Genève (HEAD Geneva) is an important training institution in art and design in Western Switzerland. HEAD Geneva offers a wide range of high-level courses in two equally important domains: Fine arts and design. Atelier projects, courses and seminars, commissioned work in close collaboration with the professional worlds of art and design, workshops led by invited international artists and designers, contribute to the dynamics of a teaching environment devised as a space for freedom and personal and social responsibility.

ZURICH

Disciplines:

Language: English Admission: Portfolio + interview University of the Arts London is Europe’s largest specialist arts and design university, with close to 19,000 students from more than 100 countries. Established in 2004, University of the Arts London is a vibrant world centre for innovation, drawing together six colleges with international reputations in art, design, fashion, communication and performing arts. These colleges include Camberwell College of Arts, Central Saint Martins, Chelsea College of Arts, London College of Communication, London College of Fashion, and Wimbledon College of Arts.

www.arts.ac.uk

Web and Interactive Media Design

Architecture & Interior Design

Textile & Fashion Design

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Design schools

WORLDWIDE

INDIA AHMEDABAD National Institute of Design Disciplines:

Language: English Admission: Online application + aptitude test The National Institute of Design (NID) is internationally acclaimed as one of the foremost multi-disciplinary institutions in the field of design education and research. NID has been a pioneer in industrial design education after Bauhaus and Ulm in Germany and is known for its pursuit of design excellence to make Designed in India, Made for the World a reality. NID’s graduates have made a mark in key sectors of commerce, industry and social development by taking role of catalysts and through thought leadership.

www.nid.edu

JAPAN CHIBA Chiba University (Faculty of engineering) Disciplines: Language: Japanese Admission: Entrance examination

BRAZIL

CANADA

CHINA

CURITIBA

TORONTO

HONG KONG

Pontifícia Universidade Católica do Paraná (PUCPR) – School of Architecture and Design

University of Toronto (Daniels Faculty of Architecture, Landscape and Design)

Hong Kong Polytechnic University – School of Design

Disciplines: Language: English, Portuguese Admission: Analyses of the students’ academic records

Disciplines: Language: English Admission: Application form with portfolio

The School of Architecture and Design is a reference center dedicated to teaching, research and continuing education in the areas of architecture, urbanism and design. The School offers unique programmes, which integrate theory and practice in projects that contribute to the natural and artificial environments, by creating and improving objects, physical and/or digital visual interfaces, constructions or proposing interferences in cities and metropolitan regions. Such projects actively combine creativity, graphic expression, the added value of arts supported by social responsibility and sustainability principles.

As the largest city in Canada and one of the most dynamic in North America, Toronto is a thriving metropolis, providing exceptional resources for the aspiring architect, landscape architect, or urban designer to study the early 21st century human condition.

The Daniels Faculty has a global orientation in its teaching and research and believes in the importance of sensitively addressing local forces. In this context, Daniels strives to harness the potential of Toronto’s distinctive multi-ethnic and multicultural society. The greater Toronto region serves as a dynamic laboratory for critical studies and the imaginative exploration of design alternatives that will be of consequence internationally.

www.pucpr.br

www.daniels.utoronto.ca

Disciplines: Language: English, Chinese Admission: Competitive examination Being the sole provider of design education at both undergraduate and postgraduate levels in Hong Kong, PolyU Design has been an important hub of design education and research since 1964. The school, ranked as one of the top design schools in Asia and in the world by Business Week and Business Insider, is poised to play a key role in nurturing new generations of designers and driving the design industry in the region with the efforts of its internationally mixed faculty members.

The school’s dynamic and collaborative environment, contributed by multi-disciplinary partnerships among faculties, and with other overseas institutes and industries, prepares the students to rise to the challenges of the new global age.

www.sd.polyu.edu.hk

Chiba University was founded in 1949, unifying several regional former national colleges and schools such as Chiba Medical College and Chiba Normal School. Currently, Chiba University consists of nine faculties. The Faculty of Engineering consists of ten departments: Departments of Architecture, Urban Environment Systems, Design, Mechanical Engineering, Medical System Engineering, Electrical and Electronic Engineering, Nanoscience, Applied Chemistry and Biotechnology, Image Science, and Informatics and Imaging Systems. Most of the academic staff in the faculty are also fully responsible for research and education within the two-year Master’s and the threeyear doctoral programmes in the Graduate School of Engineering.

www.chiba-u.jp

RUSSIA MOSCOW British Higher School of Art and Design Disciplines:

Language: English Admission: English exam, portfolio assessment, interview The British Higher School of Art and Design (Moscow) was established in 2003 to teach

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Design schools and train students according to the highest international standards within the spheres of art and design. The British Higher School of Art and Design is one of the most important educational centers in Russia. BHSAD works in close partnership with the School of the Creative Arts of the University of Hertfordshire in the UK and specialises in professional education in various creative fields.

www.britishdesign.ru

USA CHICAGO Illinois Institute of Technology – Institute of Design

New York City provides Pratt students with an exceptional learning environment that extends beyond the Pratt campuses in Brooklyn and Manhattan. With a 25-acre campus in Brooklyn, a creative hub in the midst of a renaissance, and another in Manhattan, Pratt is a living lab of craft and culture. The Institute’s campus in the historic Clinton Hill neighborhood of Brooklyn is adjacent to the emerging Brooklyn Tech Triangle, a nexus for innovation and entrepreneurship. Pratt’s programmes are consistently ranked among the best in the country, and its faculty and alumni include the most renowned artists, designers, and scholars in their fields. Its interdisciplinary curriculum promotes collaborative and creative strategies for design thinking and provides students with unparalleled training facilities.

www.pratt.edu

PASADENA, CALIFORNIA

Disciplines: Language: English Admission: Application form with portfolio Since its founding as the New Bauhaus in 1937, the Institute of Design has grown into the largest full-time graduate-only design programme in the US, with students from around the world. IIT Institute of Design is ranked number one for research and theory, based on skills sought by recruiting organisations and number six for overall best industrial design graduate schools. The school offers a professional Master of Design degree programme with areas of study in communication design, interaction design, product design, strategic design, systems thinking, and user research; a dual Master of Design / MBA degree programme with the IIT Stuart School of Business; the Master of Design Methods, a nine-month programme for midcareer professionals; and a PhD in Design.

www.id.iit.edu

Art Center College of Design Disciplines:

Language: English Admission: Application form with portfolio For more than 80 years, the Art Center College of Design has achieved an international reputation for its rigorous, transdisciplinary curriculum, faculty of professionals, strong ties to industry and a commitment to socially responsible design. The Art Center prepares artists and designers to make a positive impact in their chosen fields – as well as the world at large. At Art Center, students go beyond aesthetics and technical expertise to think critically, intelligently and humanely about their practice and its effects on others.

www.artcenter.edu

CINCINNATI, OHIO

SAN FRANCISCO & OAKLAND, CALIFORNIA

University of Cincinnati Disciplines: Language: English The University of Cincinnati offers students a balance of educational excellence and real-world experience. UC is a public research university with an enrollment of more than 42,000 students. The programmes within the University of Cincinnati’s College of Design, Architecture, Art, and Planning are, year-after-year, ranked among the very best in both a world and national class.

www.uc.edu

NEW YORK Pratt Institute Disciplines:

Language: English Admission: Application form + portfolio

California College of the Arts

STANFORD, CALIFORNIA Stanford – d.school – Institute of Design Disciplines: Language: English It’s called the d.school, but it’s not actually one of Stanford’s seven schools, and it doesn’t grant degrees. Instead, the students are all enrolled in other degree-granting programmes on campus – everything from computer science PhDs to education master’s students to MD programmes. Absolutely ­every graduate student enrolled at Stanford is welcome to apply to d.school classes. If what you want is a degree in design, that is offered at Stanford. It shares its building with the D ­ esign Programme at Stanford; the programme is part of the Department of Mechanical Engineering. The constantly evolving programme is a two-year Master’s degree developing practitioners and leaders of design.

www.dschool.stanford.edu

PITTSBURGH, PENNSYLVANIA Carnegie Mellon University – College of Fine Arts Disciplines:

Language: English Admission: Academic record + portfolio The College of Fine Arts is a community of nationally and internationally recognised artists and professionals organised into five schools (architecture, art, design, drama and music) and its associated centers and programmes. The College of Fine Arts enhances and integrates the excellence and distinction of its five Schools with the strengths of the University to establish a unique position of international leadership in preparing students to engage successfully with local and international communities and in transforming the professions through critical inquiry and creative production.

www.cmu.edu

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Disciplines:

Languages: English, Italian Admission: Application form + interview IED is the International Higher Educational Network in Design, Fashion, Visual Communication and Management of creative industries. It offers undergraduate courses, advanced courses and Masters. IED owes its establishment in 1966 to the intuition of its President Francesco Morelli. Through time, it has become a 100% Made in Italy international network of excellence, operating in the fields of training and research, in the disciplines of Design, Fashion, Visual Communication and Management.

www.ied.edu

TO GO FURTHER Find here some websites with information on design schools www.admirabledesign.com

A French website about design, where you can find a list of design schools.

www.cedies.public.lu

CEDIES est le Centre de documentation et d’information sur l’enseignement ­supérieur du Grand-Duché du Luxembourg. On trouve sur le site Internet de nombreuses publications, dont une consacrée aux études et métiers dans le domaine de l’art.

www.designlinks.de

A website to find a lot of information about design in Germany. You can also find a list of design schools in Germany.

On this website specialised in Design in Germany, you can also find a list of ­design schools in this country.

Disciplines:

Language: English Admission: Personal essay + portfolio

www.designschoolshub.com

Design School Hub, a website about Design schools.

Founded in 1907 by Frederick Meyer, a German cabinetmaker, whose vision was shaped by the Arts and Crafts movement, California College of the Arts (CCA) is noted for the interdisciplinarity and breadth of its programmes. California College of the Arts educates students to shape culture and society through the practice and critical study of art, architecture, design, and writing. Benefitting from its San Francisco Bay Area location, the college prepares students for lifelong creative work by cultivating innovation, community engagement, and social and environmental responsibility.

http://digitaledition.domusweb.it Here you can find a free digital book about the 100 best design schools of Architecture and Design.

www.ecoles-arts.com

Le portail des écoles d’art françaises et francophones.

www.swissartschools.ch

A website to find information about art schools in Switzerland.

www.thinksmartdesigns.blogspot.com

www.cca.edu

Graphic & Communication Design

Instituto Europeo di Design (Italy, Spain, Brazil: Milan, Rome, Turin, Florence, Venice, Cagliari, Madrid, Barcelona, Sao Paulo)

www.designmadeingermany.de

A blog about design, where you can find an article about design schools in the world.

As one of the world’s multicultural epicenters for arts, culture, design, and business,

Industrial & Product Design

INTERNATIONAL NETWORK

Web and Interactive Media Design

Architecture & Interior Design

Textile & Fashion Design

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Georges Zigrand photographié à son domicile par Julien Becker.

Georges Zigrand lit Paperjam depuis 2006. Merci

Maison Moderne célèbre 20 ans d’édition indépendante et 200.000 lecteurs. Découvrez 20 ans d’archives sur www.maisonmoderne.lu/20

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nvision.lu

Brand & Digital Creation

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TURNING VISIONS INTO REALITY

by LUXEMBOURG CAPITAL

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Loft Apartments | Prime Office Space | Retail Space | www.southlane.lu

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e15_C

TA17 LONDON TABLE Developed by e 15, Design : Philipp Mainzer

www.firstfloor.lu/e15

Your dealer in Luxembourg : firstfloor · Centre Commercial Laangwiss 2 · L-6131 Junglinster · LUXEMBOURG · T. 26 78 28 88 · info@firstfloor.lu · www.firstfloor.lu

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Contributors f This issue of Dee magazine wouldn’t have been possible without the help of these lovely contributors who worked hard for the last months to make it as beautiful and informative as possible. A big round of applause for …

Silvano Vidale

Jill Mersch

Kustaa Saksi

Art Director / Layout Professional Graphic Designer since 15 years, Silvano Vidale is co-­founder and associate designer at Vidale-Gloesener. He loves designing and layouting. He has realised Design Friends’ identity and many of their publications.

Layout Après avoir terminé ses études en section artistique à l’Athénée de Luxembourg, Jill Mersch commence ses études en communication visuelle à l’école supérieure de Trèves et à l’EPSAA à ­Paris. Depuis septembre 2013, elle fait partie de l’équipe de Vidale-Gloesener.

Cover Illustrator In addition to his artistic production, Kustaa Saksi is known as an awarded graphic designer. He has designed wall paintings to cover skyscrapers, as well as patterns and ­tapestry. He works for world famous brands such as Nike, Issey Miyake and Wallpaper.

vidalegloesener.lu

vidalegloesener.lu

stinafisch.com

kustaasaksi.com

Stina Fisch

Nicolas Bourquin

Antonello di Pinto

Illustrator Stina Fisch est une illustratrice qui manie avec passion la ligne claire, la réduction formelle, l’humour et la séduction. Si une image est la visualisation d’une pensée, dessiner, c’est penser. Avec une légère touche rétro, le vocabulaire visuel de Stina est ludique et poétique.

Infographic Designer The Swiss graphic design agency onlab – based in Berlin, Germany – works on commissioned, collaborative as well as self initiated design projects.

The focus of the commissioned work lies in editorial design, infographics and visual communication projects.

Photographer Passionné par la photographie depuis plusieurs années, Antonello di Pinto a pris part à l’aventure Design Friends en tant que photographe depuis la quatrième saison. Son travail permet de garder un souvenir impérissable des événements qui animent chaque saison.

onlab.ch onlabsummerschool.com nicolasbourquin.com

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s for this issue

hanrion.frt

Jan Hanrion

Nicolas Przeor

Céline Coubray

Photographer Graphiste de profession et photographe par passion : voilà comment résumer le parcours de Jan Hanrion.

Membre de Design Friends, mais aussi photographe lors des événements, il a su capter les moments forts des conférences proposées au cours des deux saisons précédentes.

Writer Nicolas Przeor is mostly known as a musician in bands such as Mutiny On The Bounty and as a local show promoter for the Schalltot Collective or the Out Of The Crowd Festival.

When he’s not busy being on tour, he works as a DJ or as a freelance journalist for the Woxx Magazine.

Writer Rédactrice en chef du magazine d’architecture Archiduc (Maison Moderne), Céline Coubray a eu l’occasion au cours de son parcours professionnel de travailler avec des designers internationaux et de promouvoir de jeunes talents. Elle a également curaté plusieurs expositions de design.

Sven Ehmann

Dennis Elbers

Angelina A. Rafii

Writer Sven Ehmann is the creative director of Gestalten and mainly works on the overall research and conceptual structure of the publishing programme which covers design, art, architecture... He is also a consultant, lecturer and curator of contemporary design exhibitions.

Writer Dennis Elbers is an independent curator exploring visual culture and its social influence. He is the founder of the Graphic Design Festival Breda that gathers exhibitions, lectures, public interventions. He published articles in 360° and Etapes:.

Writer Angelina A. Rafii is a freelance writer based in New York city, with a predominant interest in the creative fields. She has been Nico’s editor since 2007 and until recently Twin’s associate publisher. angelinarafii.com

Lucie Delsalle Research and editing De formation en communication, Lucie s’est spécialisée dans le milieu culturel, faisant ses premières armes dans des structures culturelles et associatives.

Après la musique, la danse, le théâtre, et le cinéma, elle a découvert avec plaisir le milieu du design, grâce à son travail pour le Dee.

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DF needs your support Our programme is entirely financed by our members’ fees and our partners’ support. How can you help?

Members Categories

Student Member

Regular Member

Gold Member

Price

15 €

30 €

≥ 100 €

Period

All season

All season

All season

Catalogue Signed catalogue Mention on the DF site Access to all DF events Free drink * * Not at conferences. Only at special events.

Members support Design Friends’ activities with their membership.

Student Members: People registered in college or university courses (upon presentation of student registration as proof). Students pay 50% of the regular membership.

Gold Members pay 100 € – it’s not a VIP-thing, they are just ready to spend some extra money to help more programme to be done.

Donators Categories

Donator

Price

250 €

Period

All season

Catalogues Mention on the DF site Free drink * * Not at conferences. Only at special events.

Donators are companies or institutions that want to support Design Friends without being a sponsor. They are not members, but donators. Their money helps us to programme events.

Partners and Service Partners

Partners are companies or institutions willing to support our activities and associate their brand with ours. Obviously they are important to us. Contact board members for information.

Payment Pay at events or pay online (standing order possible). Please mention: “Membership 2014/2015” and add your e-mail address in the message.

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Season 5 Published by Design Friends asbl

Institutional Partners

Editors in Chief Nadine Clemens Mike Koedinger

Sponsors

Art Director / Layout Silvano Vidale Layout Jill Mersch Research and editing Lucie Delsalle Editorial collaborators Heike Fries Guido Kröger Anabel Witry Cover Illustration Kustaa Saksi Datavisualisation Nicolas Bourquin Writing Céline Coubray Sven Ehmann Dennis Elbers Nicolas Przeor Angelina A.Rafii Proofreading Muriel Dietsch Sarah Lambolez Anne Reding Duncan Roberts Printed by Imprimerie Faber Distribution Maison Moderne With the support of

Service sponsors

Cover Paper: BVS mat white, 300 gr

Corporate Donator Luxinnovation Thanks Catalogue Layout Joanna Grodecki, Arnaud Mouriamé, Mik Muhlen, ­Sebastian Reiter, Silvano Vidale Catalogue Writers and Editors Sven Ehmann, Mark Penfold, Brigitte Fitoussi, ­ Duncan Roberts Event Photography Jan Hanrion, Antonello Di Pinto Website Design Bureau / Laurent Daubach and Viktor Dick Special thanks Sebastian Reiter and Mik Muhlen (DEE ready to print) J + E (deejay sets), Sumo (sign painting workshop), Exit07 © Design Friends asbl (Luxembourg, Europe)

Design Friends asbl 41, rue Notre-Dame, PO Box 345, L-2013 Luxembourg

Visit www.designfriends.lu and subscribe to our newsletter.

Join us on Facebook.

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