DEE by Design Friends

lishe zine pub A ma g a s n Friend by Desig

e, 2012 First Issu ds.lu signfrien w w w.de Dee 2

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Elvis Pompilio Création inspirée par le monde des contes de fées, des princesses et de la nature, Défilé à Milan (2011)

A vibrant scene Welcome to Dee, a new annual magazine published by Design Friends, which will serve to both close the season and preview the next one. We thought it was about time to move from “annual reports” to a magazine format, to reach out to an even larger crowd. Three years after Design Friends’ inception and over 25 events later, we’ve already build up an audience of about 500, from Luxembourg and surrounding areas, interested in the various fields of design. Half of them are already members. Today design plays a role in society and in business that is as large as ever before, as you will read in the series of interviews that have been conducted for this issue. We’ve spoken with local politicians (Etienne Schneider and Xavier Bettel), a museum director (Enrico Lunghi) and two international experts in design (Margriet Vollenberg and Margo Konings). To show how vibrant the local design scene is, we’ve also profiled twelve designers from numerous disciplines. Thank you for reading Dee, we hope to see you soon at one of our events and, maybe, attract you to become a member and support our activities. Mike Koedinger, Editor in chief

Silvano Vidale, Art Director

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Contents Part 1 about design

Part 2 about Design Friends

Building bridges

Interview with Etienne Schneider, Minister for the economy and foreign trade. By Duncan Roberts. Eclectic praticality

Interview with Enrico Lunghi, Director of Mudam. By Duncan Roberts. Why Design matters!

Interview with Magriet Vollenberg and Margo Konings from "Organisation in Design". By Sven Ehmann. 12 Designers' Portraits Anne Kieffer, Eric Chenal, Claudia Eustergerling, Joanna Grodecki, Laurent Daubach, Jessica Theis, Stina Fisch, Miriam Rosner, Frank Weber, Mauro Doro, Jan Glas and Anne-Marie Herckes. By Gintare Parulyte.

A conversation with Silvano Vidale and Arnaud Mouriamé.

Interview with Xavier Bettel, Mayor of the City of Luxembourg. By Duncan Roberts. Beauty and originality

What is the philosophy behind Design Friends?

Flashback Season 3

Michael Johnson 28 Elvis Pompilio 30 Thonet Essence 32 Stefan Diez 36 Christian Schneider 38 Mario Lombardo 40 Art & Copy 42 Urbanized 43 Why are members so important?

A conversation with Nadine Clemens and Guido Kröger. Progressive partners

A conversation with Mike Koedinger and Stéphanie Rollin. Partners in mind

A conversation with Heike Fries. Talents, please!

A conversation with Anabel Witry and Pit Kuffer. Three Seasons, 15 Publications

Fast forward Season 4

A round of applause

Credits 66 Michael Johnson Ravensbourne (2010) Design Institution specialising in digital design and innovation

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Building bridges Etienne Schneider, Minister for the economy and foreign trade

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The minister for the economy and foreign trade and car collector talks about the economic impact of innovations and design on the economy, government strategy and his love of the classic 911 Porsche.

Interview Duncan Roberts Photo Jessica Theis

The government has been making strides in strengthening Luxembourg’s position as a centre for research and development. What role is there for creative design and innovation in this effort? Design builds the bridge between creativity, innovation and the final consumer. In this sense, design fills the essential gap between the initial idea and the final product offered in the marketplace. This approach creates the added value, respectively, the quality which is needed and requested by the end consumer. Innovation and design are indispensable, in the biomedical field as well as in many other sectors. Design is becoming more and more important in today’s economy. Many innovation research centres have integrated the field of design into their agenda, which underlines the essential role of this area in research and development. On top of that, my ministry integrates the European Fund for Regional Development, whose objectives stem from their support of the knowledge economy. What can the government do to encourage more young people to take up design as a career, or to become entrepreneurs in the design field? First of all we should present, describe and explain the opportunities that exist in the labour market regarding design careers. Normally, when young people hear about design they immediately think “fashion design”. They do not know exactly what design can involve. Designers are needed in different fields, such as architecture (exterior and interior), medicine, industry, logistics, electronics, computer software and so on. I believe that the crisis in 2009 has brought

forth the idea that companies have to innovate in order to survive. This will diversify the labour market and consequently, at least I hope so, will give more importance to this career. Designers will be needed for their innovation skills, as well as for their ability to solve problems in the sense of demand-pull innovation or to push-invention innovation. How can “design thinking” help improve the efficiency of public administrations? Given that design does not only cover the aesthetics, but also the functional, environmental, societal and economical factors of specific products and services, I think that it can certainly help with improving the efficiency of public administrations. Public administrations used to be criticised as retrograde, but when you look closely at international benchmarks you notice that they are an important factor in analysing the competitiveness of a country. Indeed, administrative hurdles make the administrations inefficient and consequently a country less competitive. Just like the private sector, public administrations have to be able to fulfil the specific needs of a population. In this sense, the Luxembourg government has initiated the simplification of its administration and enhanced its e-government internet presence. How else can design help make Luxembourg a more attractive place for business? A country that wants to improve the attractiveness of its business opportunities has to strengthen its offers in technologies, infrastructures, R&D, as well as human resources. The fact that a country is competitive in

those sectors will catch the attention of international investors. As far as I am concerned, the key sector would be industry. It is clear that Luxembourg cannot compete in terms of production costs with developing countries, but if we try to specialize in innovative industrial products, then we will be able to build a healthy industrial sector. Luxembourg should profit from the current challenges to find niches where it is capable of being the world leader. Luxembourg also has attractive intellectual property legislation, because the government recognises the importance of innovation in the development of companies active in ICT sectors such as gaming. You are famously a collector of “classic” automobiles. What is your favourite car and why did its design attract you? I stress my enthusiasm for the design as well as the simplicity and functionality of oldtimers. My favourite car is my white Porsche 911 from 1968. The distinctive design of the car is still up to date: the silhouette of the latest 991 model looks like the one Ferdinand Porsche drew over 50 years ago. This silhouette has become the pattern of the brand’s success story, while the design has only been slightly adjusted over the decades. The 911 is indicative of a timeless and classic design that retains its attractiveness over generations.

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Xavier Bettel, Mayor, City of Luxembourg

The mayor of the City of Luxembourg talks about how design can improve the lives of citizens, finding balance in public spaces and his own eclectic taste for design that is affordable and practical.

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Eclectic practicality Interview Duncan Roberts Photo Julien Becker

What role does design play in your daily routine and working environment? We have to ask what is design? Everybodyâ&#x20AC;&#x2122;s definition of design is different. For me vintage can be classified as design, while for others it is something futuristic. Something that has been created in the past may not have been recognised at the time but is viewed as design now. For me a designer is somebody who is able to create something that can be different, but does not have to be different â&#x20AC;&#x201C; although it should have something extra. But donâ&#x20AC;&#x2122;t forget that even when you go to IKEA there was a designer behind every item on sale there. How does good design improve the lives of those who reside in, work in and visit the city? You have this opposition between people who say we have to preserve everything and others who say we should have more design in the city. I think we have to have both exist-

ing side by side. You should not forget your roots, but also be able to put modern design into the city. You should never kill a city for the sake of design. You can mix and have design furniture such as public benches, but still retain the classical. To what extent does the Ville de Luxembourg consult with designers in the field of urban planning? We have installed Laurent Schwaller from the department of urbanism in charge of the aesthetics of public spaces, so there is a lot of design involved in his work. He has to decide how a place will be rebuild the furniture that we will install. I think it is important that we have one person in charge of all this, because if you have different services deciding what sort of flower pots we have and another deciding the design of a fountain or a bench it will be confusing. We do regularly consult external companies, but it is important to have one central deci-

sion-making point. A designer should not create a city. How could one change the image of design as something exclusive and expensive? I think young designers are coming through, and should be supported, too, because they are affordable. I think if the image continues of design being exclusive and expensive it will kill design. I think everyone who has an idea should be able to create and sell it. Do you have a favourite design object that you possess or one you would like to acquire? My partner is an architect, so he has a lot of favourite designers. I have to admit at home I had a lot of classical furniture from my parents, but he brought affordable designers into the home. And look at my office; it is very eclectic and I am very eclectic. You need to be able to feel comfortable and be able to touch and use everything. Dee 12

Beauty and Enrico Lunghi, Director, Mudam

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d originality The director of Mudam (Musée d’Art Moderne Grand-Duc Jean), art historian and author talks about the role design plays in a cultural institution, its historical links with art and its impact on a human scale. Interview Duncan Roberts Photo David Laurent

Fine art and design have become more and more synergetic over the last few years. Is this due to technology or a rethinking by artists about connecting more closely with the world in which they live? I think that there has always been a close link between the visual arts and design. But, depending on the times, cultural contexts and production conditions changed to allow new developments. We can say, for example, that in the baroque period there was a significant aesthetic continuity between fine art and everyday objects, and we find this repeated within the arts and crafts movement of the 19th century or in the art nouveau period on the cusp of the last two centuries. Today’s technological possibilities are immense: nobody any longer wonders about the mere existence of a product, whatever it is, because everything seems achievable. On the other hand, we can still be surprised by the beauty and the originality of an object.

Mudam recently organised the Design City biennale. To what extent do such events help bring design into the public consciousness? It was the second time that Mudam organised Design City in association with the City of Luxembourg. Such an event allows us to attract the attention of people who do not really frequent museums, which is where exhibitions on design are hosted more or less regularly. It can awaken curiosity and tempt people to learn more about design.

How important is it that Mudam has a strong identity – the iconic Pei building, the logo by Ott & Stein and the typography by Oliver Peters? Identity is a question of form and content. Through their beauty, their power and originality, the building by I.M. Pei and the Mudam logo instil an instantaneous recognition factor. But it is still necessary to be able to associate values and concrete qualities with that to become really attached to Mudam. The most beautiful espresso machine in the world will only create anxiety if it does not work properly. Mudam has had original and high quality artistic programming since its opening and, over time, it is this that creates positive associations when people see the logo and the building. How does design help in the everyday working of the museum? We try to make Mudam a real venue for contemporary art, where every element is part of the whole and contributes to enriching the aesthetic experience of the visitors. We place a lot of importance on giving the works of art the correct context and presentation, but also on details such as the quality of the texts that accompany the art, the guided tours, the side programme and of course, what is made in the café and in the shop. Mudam’s size allows us to maintain a human scale so that visitors do not generally leave the museum exhausted after a visit; quite the contrary.

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Organisation in Design is a unique hub in the world of design. The Utrecht-based company, founded in 2005 by Margriet Vollenberg and run by her and Margo Konings since 2007, offers any organisational support needed by designers, design studios and design related companies. They do communication, management, guidance and curation to make sure that the creatives can focus solely and exclusively on what they are best at. Organisation in Design are working with high profile dutch designers such as Maarten Baas or Studio Makkink Bey on one side and are behind the very successful Ventura Lambrate, the new must-see location during the Milan furniture fair. We spoke to Margriet and Margo about the current state and potential of design.

Margriet Vollenberg and Margo Konings from “Organisation in Design”

Why design matters! Interview Sven Ehmann Photo Lisa Klappe

From a personal perspective what do you see as the most relevant development in contemporary design? Margriet: It really depends on the period you are looking at. The design of today is already very different from the design we saw only a few years ago. The biggest difference we see is that the focus is shifting away from the limited edition and all the bling bling expensive things, which we had some five or six years ago. Now design is much more about research, concepts, processes, and production methods. I am not sure if and how that has a concrete influence on society yet, but the research factor will of course have an influence on society in the future. Designers will change our way of looking at things, compared to how we are used to doing that now; also in areas where design is not yet involved, such as science, health or medical issues. It will be much broader than just product design and it will be used to address much more complex situations, even towards social and political issues. If you were to pick 3 design projects that have a big impact not just within the design world, but also with a reach into society as a whole, which ones would you pick? Margriet: In the medical field I see the work of Susana Soares, who graduated from the RCA in London. She created a medical device for which she trained bees to discover diseases and variations in people’s breathing, so that they could help discover illnesses. It is really just a simple example, but it exists already. This is what is really happening now. We are still only at the beginning of a process but it shows that designers now take a look at these kind of questions.

Margo: I think science-wise you can also take a look at how designers are involving biology and nature in their designs. Joris Laarman created his Halflife lamps, for which he uses biological material. So the light that is generated comes from something that is alive. It is a complete different use of material and technique in that way. Margriet: There is also a project the RCA has been presenting on the recycling of plastic waste from the ocean into new products. They even produced their own machine for that purpose. They were more focused on the technology than on the final resulting objects. Or SpiderFarm by the Belgian designer Thomas Maincent, in which spiders from Madagascar produce a really strong silk from which you can then create other products. Again this is about finding completely new ways for design. You have been involved with presenting designers, brands and their projects around the Milan furniture fair for a couple of years and launched the new and very well received venue Ventura Lambrate in 2011. From your observation, how has the perception of and approach to design from the side of the audience changed over the recent years? Margriet: On one side you see that designers are always a little bit ahead of society. That is why they are designers. That is why it also requires a little bit of educating the audience but we also clearly saw this year in Lambrate again that the audience is ready for it. They are willing to absorb new ideas. Margo: They now take time to really look at projects. There is one part of the audience Dee 16

Watch the video

“Halflife Lamp” by Joris Laarman

that is still very much in the “I like” mode. They either see things and like them immediately or they completely ignore them. But we are also now seeing that the audience is becoming more interested in the process and concept behind design. Why is an idea there? What does it do? And that also requires taking time to read. Margriet: But there is still a part of the audience that is confused. People who still ask themselves: What am I looking at? Not everyone in the audience understands it or is ready for it yet. From your experience as designers, but maybe even more importantly from your role as a curators and communicators of design, how do design projects connect best to a general public audience? Margo: Everyone is looking for an interesting visual. It is the first thing that catches your eye. That will never change. But people are at a stage now where they are surprised by design. Not just by a new chair, but by a simple solution to a real problem. That can attract a lot of attention now. So would you say the best way to present and experience design is in an exhibition or trade show where the audience has the opportunity to actually meet the designer behind and also have a conversation to learn more? Margriet: That opportunity has been around for the professional design world for years and for a good reason. Margo: It is not to say that one is better than the other, but putting design into a museum for example clearly reaches out to a much larger and different audience than in gallerDee 17

“A simple solution to a real problem can attract a lot of attention” ies or at trade shows, which is good. Margriet: On the other end social media becomes very important as well and that is another way of reaching another type of audience. Does it come down to a closer connection between consumer and designer, not just between consumer and design object? Margriet: At Ventura Lambrate Spanish designer Jaime Hayon was presenting products but also his sketches and he spent more time in the exhibition than ever before, because the audience really took the time to listen to him and to understand the stories. He enjoyed the opportunity to talk about it. Design is everywhere, but public awareness and discourse seem to be limited. In terms of a general understanding and perception of design do you think that international general interest media does a good job in informing about, reporting on and offering critique and reviews around design related topics? Margo: I think it is a long and ongoing process. Design is slowly getting more attention, not just in the International Herald Tribune or the New York Times but also in more local media. It seems to be very difficult for them to choose to write about design. I do not know, maybe as a subject it does not yet have enough appeal to the general readers.

But isn’t it too important to be ignored? I see design not just as a subject for the cultural or style section but also for the business section of a publication? Margriet: I agree. The world of business changes slowly as well. There are a lot of companies now who collect art and also design more and more. But it still needs ambassadors to make design more known and understood. I am sure that this is going to be the big change in the coming years. It will go together with designers working in completely new and different fields. Through that they will become more popular and bring design to the attention of a wider audience. Margo: Still a lot of companies say they have design incorporated but then only produce some kind of design gadgets which might not even be design. But in an era in which there is the success of the iPod and iPhone - which has so much to do with design I am optimistic we will get there with other brands as well. Is this a generational issue? Does a younger generation relate more or better to design than an older generation? Margriet: No, I don’t think so. Margo: Design has only been here for about a hundred years, while the arts, opera or craft have been around for so much longer. Therefore they are much more integrated into general culture. Design has made its way from selected stores and galleries into mainstream retail environments. Would you say the general taste and understanding of design by consumers has increased? Or is design just

“Spiderfarm” by Thomas Maincent

used as a marketing tool? Margriet: Talking about general taste is always difficult; because taste is a matter for the individual. But design can clearly be brought in as a marketing tool and that is what companies do these days. I don’t see that as a bad thing. It is like in the music industry: You have to sell music to make music. But isn’t there a difference between design which is made to sell and design made to address a specific need? Do we see an audience now that articulates its needs more directly as in “We want a better design”? Margriet: Any product needs a shape and therefore needs a designer. So there clearly is a need in the market. But often the marketing comes in and then they chose a designer who is well know because they know they will sell better. The pity is that the biggest names are not always the best designers and companies often know too little about design to make a confident decision and to find the right designer for their product. Design classics like for example the Eames chairs are undisputedly a good choice for someone furnishing their new apartment or office space. But wouldn’t it make much more sense for interior designers and consumers to look out for the next Eames and invest in contemporary design and designers that are as dedicated and radical as the Eames᾿ where at their time? Margo: I think it is mainly a financial struggle. The new designs are likely to be the most expensive because it takes time and investment to create a new piece like that, while other items such as an Eames chair

“Bee’s Project” by Susana Soares

were designed a long time ago and are mass-produced. Margriet: And there is also the vintage market which is going very well. It shows the value of design classics, while the new pieces will still have to prove theirs. But then we also don’t know if the classics of today will still be design classics in fifty years. I think we have no idea about it really. I would be curious to hear two or three suggestions from you for contemporary designers who might have the potential to be as relevant as an Eames or Mendini decades from now? Margriet: That is very difficult to compare. There are a lot of designers and also companies now that do what Eames did. A lot more than in those times. But they might not become the new Eames or the new Mendini. That is why we are always looking for new designers with their own characteristics.

“The pity is that the biggest names are not always the best designers“

Margo: I also think it is very important that there are more designers, more companies, more opportunities, but we are also in a time where everything happens much faster. Eames built that whole collection of products with mainly just two companies producing it. Today it is not going to work like that anymore. Designers work with a lot of different companies. It is a completely different way. I don’t even know if there will be a next Eames who will be able to build a steady collection like that. Margriet: Of course we can pull out names like Jaime Hayon, Marcel Wanders, Zaha Hadid and they all have their body of work, but whether they really are the next Eames or Mendini only time will tell. There are many more of these names now and many more niches as well. Back in the day everybody was so used to the American way of design and Eames was the perfect fit. If you look at the variety of design forms now you see that each niche has its own protagonists. But in the niche there is also a true following. A designer like Jurgen Bey has real fans that closely follow what the studio is doing. The same is true for Marten Baas or Kiki van Eijk lately. Margo: The Eames studio was radical for its time and designers like Bey or Baas are as radical now. They change from one kind of project to a very different kind all the time. That doesn’t mean that they change their concept or ideas but they use the many opportunities, the many materials and ideas. As I said before times are very fast now. Margriet: Maybe times are too fast for a new Eames to arrive.

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12 Designers’ Portraits

Gintare Parulyte

Although the copy you are holding is merely the beginning of a long journey still in the making, we decided to set our humbleness aside by shedding light on several darlings of a burgeoning list of local personalities, each of them embracing different aspects of design. Put on your shades, grab your cocktail straw and inhale a fresh breeze of all things creative.

Eric Chenal After having worked as a financial adviser and recruitment manager, Eric Chenal decided to put his entire focus on corporate photography aiming to respect his goal of “first meeting the needs, then exceeding the expectations”. The main focus is reportage, portrait and architecture for national clients such as industrial companies and cultural institutions where the self-taught photographer describes simplicity as the key characteristic of his style. Viewing photography “not as a profession, but a way of life – to try to see things as they are”, he currently works on commercial assignments shooting artistic creations, corporate architecture and events and is busy preparing his first exhibition named “In Between” which will be showcased at the Nei Liicht gallery.

Anne Kieffer

Product, furniture and interior designer Anne Kieffer earned a BS in product design at the Art Center College of Design in Pasadena, CA. She began her career working for a digital animation company in Munich before moving to Italy where she spent four years as a car interior designer at the Centro Stile Fiat Spa. She’s been living in Luxembourg since 2005, working independently in multiple disciplines. Characterized by simplicity, her work consists of different processes dealing with the conversion of basic shapes into functional objects. “The nice part about product design is that your sketches end up in your hands and you can touch them.” She is currently working on her first comprehensive furniture line. Dee 19

personal: www.annekieffer.com interiors: www.morethanpurple.com furniture: www.studiodellealpi.com

Claudia Eustergerling

www.eustergerling.lu

www.kyeo.lu (Under construction)

Born in Germany, Claudia Eustergerling studied visual communication at the University of Applied Science in Aachen and gathered experience as a graphic designer in various studios before launching her own design studio in Luxembourg City whose main focus is based on design consultancy and creation. Aside from her personal work she’s been an active member on the board of Design Luxembourg since 2005, responsible for promoting design and its professions. She describes her work as the need to take on various challenges and finding solutions, as well as creating new ideas and developing clients’ projects, identities and services. “I love to be part of the whole process which begins with working out the right questions while focusing on a goal, doing a lot of research and analysis to be able to create something new and finally accompanying the realization. As a designer my role changes during this process.” She is in the process of building up and developing her newly established studio, and is aiming to work for national and international clients in the future.

Joanna Grodecki

www.monopolka.com

After initially studying marketing, Joanna Grodecki went back to school and graduated in Communication Design. Her graduation project called Hello – the Insiders’ Guide to Luxembourg-City was published and served her as an introduction to the market. She then launched her own company called Monopolka, a one-woman graphic design studio predominantly focusing on print design and best known for mapping jobs of the city of Luxembourg, doing public space research and redesigning public transport maps. She also loves to work on editorial projects, especially for cultural institutions such as Casino Luxembourg, Mudam, and create corporate identities for smaller businesses. “Aside from regular projects, I am focusing on finally launching my own website. So I’m taking this opportunity to announce it.”

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Laurent Daubach

www.designbureau.lu www.bikini.lu

Multi-disciplined, Laurent Daubach is a graphic designer and the second half of Designbureau, as well as the second half of the duo Wennig&Daubach and a member of Bikini Atelier de Sérigraphie dedicated to screen-printing. “I relish situations of collaboration between clients and myself above all. I love searching for the best solution in an aura of togetherness. I don’t know things better, but I do have enough experience in my domain to ease my ability to bring ideas straight to the point.” Laurent defines the conscious and proud lack of belonging to a specific style as an important feature, allowing him to constantly begin anew. The only exceptions are his creations for Wennig&Daubach, where he concentrates on very specific topics such as words, language and semantics. He is currently busy developing his screen-printing project in the hope of laying hands on more experimental work. The release of a website and a Bikinishop are to follow. By the way, he designed together with Viktor Dick the Design Friends website.

Jessica Theis

médias et médiations culturelles au Luxembourg colloque et tables rondes

28-29 mai 2010 Campus Walferdange Campus Limpertsberg le Cité (Centre ville) Organisation: Gian Maria Tore avec la collaboration de Marion Colas-Blaise

Following studies in photography and assistant jobs in Cologne, Jessica Theis 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’s been focusing exclusively on commissioned commercial and advertising photography Conference for national agencies and companies on Architecture, European Urbanisation since 2007. “As I work alone, every médias et médiations culturelles and Globalisation au Luxembourg client has to deal with me personally a closely collaborative way. I really 28-29in mai 2010 try to use the flexibility related to my work at its best and I am convinced that an ideal photograph, filling2,3,4 February 2012 entirely its purpose as well as its function, can only result from good communication.” Her current projects consist of miscellaneous portrait comIn English Open to public - No registration fee missions and a long awaited personal Reservation required: march@uni.lu project planned for 2013.

ARTABAN 1.08

HUDSON MOHAWKE 1.08 wow

MICACHU & THE SHAPES 14.08 FRACTURE showcase 17.08 BEN ANDREWS dj set 17.08 LO-FI + YIKEZ showcase 20.08 VAMPIRE STATE BUILDER dj set 20.08

DEERHUNTER 21.08 cool

Organisation: Gian Maria Tore avec la collaboration de Marion Colas-Blaise

University of Luxembourg - Faculty of Language and Literature, Humanities, Arts and Education - IPSE Fondation de l’Architecture et de l’Ingénierie Groupe de travail pour le Master in Architecture - MArch

www.blueboxdesign.lu Dee 21

LUCKY DRAGONS 5.08 MAHJJONG 5.08 SUSKE EN WISKE dj set 14.08

colloque et tables rondes

Campus Walferdange Campus Limpertsberg le Cité (Centre ville)

SPUD BENCER 1.08

RAFTSIDE 21.08 NATAS LOVES YOU showcase 25.08 CALVITIE SOUNDSYSTEM dj set 25.08

MUM 26.08

SUG(R)CANE 26.08

DAT POLITICS 28.08

IN AUGUST, EXIT07 IS OPEN FROM WED TO SUN EXIT07_CarréRotondes 1, rue de l’Aciérie L-1112 Luxembourg-Hollerich +352 2662 2007 / exit07@rotondes.lu

PHOSU-Sven Becker expo photo BUNKERBOX SHOWCASES MICROPONG 22.08

Stina Fisch www.stinafisch.com www.studiohanahito.com (An upcoming new project for sharing experiences related to gesture, drawing and making “all things beautiful and simple”.)

Independent illustrator and graphic artist, Stina Fisch studied graphic design in Antwerp before moving back to her native Luxembourg, where she’s been working on publications, newspapers and magazines, as well as embellishing children’s books with her drawings. Her images, always elegant and mostly black and white, stretch from simple to complex, reflecting her unique sensitivity to poetry, absurdity and humour. Her playful creations, aimed at adults and children alike, are the consequence of her inextinguishable love for growth, thought and doodle. “There is something about drawing and loneliness that is important to me. I have good times, when I sit alone and draw. This can’t compare it to anything else really and this experience can only be found there, alone, at the desk.” She is currently working on the children’s section of the Luxembourg city library among many other projects.

Miriam Rosner

www.binsfeld.lu After graduating in graphic design in Paris, Miriam Rosner stepped into the job market gathering knowledge and experience whilst working as a junior designer at Bizart and later as a freelance designer. Today she is senior art director and graphic designer at Binsfeld, one of Luxembourg’s leading agencies, and is in charge of developing creative solutions that are integrated into an overall marketing strategy for both national and international clients. “As we are a full-service agency, my work covers many skills, such as packaging, branding and editorial design.” Her current and near future projects are all linked to editorial design as she’s been working on new book projects, their development and design for the past two years.

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After working for different magazines in Luxembourg, Frank Weber went to Brussels where he studied for his profession as a photo designer; Frank says “life is too short to make things you don’t like”. Specializing in advertising, food and industry, he mainly works for advertising agencies and international companies located in Luxembourg. He considers the work of a photo designer as the visual transposition of an idea through photography, he persistently makes research with the aim of giving his own style to every client or project. His project in the near future consists of a nice stop-motion video currently in production.

Frank Weber

www.frankweber.lu

Mauro Doro Involved in various domains including architecture, design, graphics, interior design and scenography, Mauro Doro fuels his inspiration from careful analysis of social needs and phenomena with a special attention on the environment. “Nature itself is a source of inspiration, which evolves into a design process. Obtaining maximum results with minimum resources and avoiding waste are the primary goals; eliminating the superfluous and imagining new ways of using spaces.” According to him, a single thought, individual or collective, draws a map of its own, which helps understand the mental connections between its endless ramifications and manages to find solutions when applied to design. Discovery Gallery, ArcelorMittal Luxembourg headquarters, Dexia-Bil Luxembourg headquarters being just a few examples of his vast list of projects, he currently develops WIP (Work In Progress) working space solutions.

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www.below.lu

(Under construction, available for viewing starting September.)

Anne-Marie Herckes

Jan Glas www.luxinnovation.lu www.glasjan.com www.car-bag.com

After industrial design studies in Delft and subsequent professional experience with various design and creative companies in the Netherlands and Luxembourg, Jan Glas currently divides his time between his career as an independent product designer and consultant, his part-time job at Luxinnovation, where he is responsible for promoting design as added value factor within Luxembourg enterprises, his professorship in LTAM and finally his management of CarBag Luxembourg, a paper waste bag for cars that he invented. Following a user-centred and transparent approach in preferably collaborative processes, he considers that “the quality of the product and the service might be important, but the perception by the client is key.” He is presently working on a new product range for the local prison and on promoting more emphasis on design. ῝I’ve always wanted to improve life in every way. In short: be creative, transmit the message and enjoy it!”

Fashion designer with a focus on accessories, Anne-Marie Herckes studied in Antwerp and Vienna before working for various designers such as Victor&Rolf, Kostas Murkudis, Ute Ploier and The Girl And The Gorilla. Her creations are interpretations of past and current fashion and its icons, all done with a wink of humour. “I define my personal style as one loaded with playfulness. I don’t take myself or my work too seriously.” Herckes started her career as an independent accessory designer with a project for the opening of Mudam in Luxembourg. Specializing in accessories and jewellery for women, she’s been working for her own label and as a freelancer for other designers on an international level, selling her creations in boutiques all around the globe, with a steadily increasing fan club in Japan.

www.anne-marieherckes.com

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What is the philosophy behind Design Friends?

Design Friends stimulates a general interest for design and brings international designers to a local audience, but how did it all start? How do designers get selected to talk?

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Silvano Vidale, President

Arnaud Mouriamé, Vice-president

An interview with President Silvano Vidale and Vice-President Arnaud Mouriamé.

How did the idea for Design Friends arise? Arnaud: We were both engaged at Design Luxembourg, the body of professionals working in the design field in Luxembourg. At the time organising conferences was only one of the many activities the association undertook. That’s why we neither had the manpower nor the budget to do as much as we wanted. Silvano: We thought that conferences about design could attract a wider audience than only professionals and allow us to present them the work of great designers and to share with them all the different facets of design that are part of our day-to-day life. Therefore we created Design Friends, which addresses anyone who is interested in and loves design. Arnaud: From the start our committee included non-designers. This helps us to see design not only through the eyes of a professional – Silvano and myself are both graphic designers – but to have a very broad view. That’s why today we present conferences covering fields such as product design, media design, sound design, fashion design, photo design etc. Silvano: We feel complementary to Design Luxembourg which aims to promote the design profession to local companies in order to demonstrate, among other things, the business benefits of design on a local and international level. We want to stimulate a general interest for design in Luxembourg and the Greater Region by our activities and bring together a community.

How do you choose the designers for your conferences? Silvano: As already mentioned, design covers a lot of different fields and we want to pay attention to all of them. In the upcoming season – our fourth – we will once again showcase new themes that we have not yet covered: food design, automotive design, design and art. Arnaud: Of course the quality of the work is very important. We try to find designers who have a certain experience in their field, so that they can tell us a relevant story about it and illustrate this with interesting case studies. Silvano: Luxembourg is at the heart of Europe. This allows us to invite designers from different countries. A French editorial designer has different influences on his style than someone from Germany or the UK. Most of our speakers discover Luxembourg for the first time and really appreciate our initiative and the environment. How is the feedback from the audience? Arnaud: The feedback is very positive! Our conferences generally attract between 80 and 140 attendees. And we are often asked how we manage to get such fantastic designers to come to Luxembourg. Silvano: The most concrete feedback is probably the Q&A session we have after each conference. There are many interesting questions which show that the themes really touch the audience. And often the answers help to gain an even deeper insight and a quite personal feedback from the designers.

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Michael Johnson â&#x20AC;&#x153;Zig Zagâ&#x20AC;? a lecture about Corporate Design at Mudam on October 5, 2011. Audience: 142. Coordination: Silvano Vidale. Catalogue by Mark Penfold (interview) and Nicole Goetz (layout). Picture report: Jessica Theis. Dee 29

1 1 Glenfiddich (2008) Barrel art 2 Advertising/Design (1999) 3 Science Museum (2010) 4 Land Securities/CSC (2008) St David’s shopping centre 5 Royal Mail (2006) Beatles stamps

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 international experience working for clients as diverse as the British government, art museums or space observatories, Michael Johnson remarkably redefined corporate design with a high level of creativity and professionalism. 2

“ Design Friends struck me as a really great organisation set up to enjoy design, each others’ company and raise awareness of design in Luxembourg (with a really unique unusual publishing model added for good measure). It made me yearn for something similar at home, if I’m honest.“ 4

Michael Johnson

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Elvis Pompilio

Elvis Pompilio 30 November 2011 6.30 pm Mudam Luxembourg

www.designfriends.lu

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“How to become a Milliner” a lecture about Fashion Design at Mudam on November 30, 2011. Audience: 105. Coordination: Stéphanie Rollin. Catalogue by Catherine Callico (interview) and Joel Brücher (layout). Picture report: Jessica Theis.

Internationally acclaimed hat designer Elvis Pompilio owned boutiques in Brussels, Antwerp, Paris, and London. 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 or Mickey Rourke. A lecture about shape, fabrics, individuality and beauty.

“Design Friends a été pour moi une expérience intéressante : une occasion de rencontrer des personnes de tous horizons – artistiques avant tout – et de pouvoir communiquer directement mais aussi au travers des personnes que j’avais invitées (artiste, économiste). Tout ça dans une ambiance très cordiale ! L’organisation a été parfaite et m’a donnée envie de répéter ce genre d’événement.”

1 2

Elvis Pompilio

1 Croquis réalisé par Elvis Pompilio 2 Vues d’atelier, Collection privée (2011) 3 Créations inspirées par le monde des contes de fées, des princesses et de la nature, Défilé à Milan (2011)

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Thonet Essence Exhibition

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

“Thonet Essence. A Selection of Chairs & Furniture” an exhibition on the Thonet Collection at Cercle Cité from 7-26 February 2012. Opening guests: 102. Coordination: Pit Kuffer and Arnaud Mouriamé. Picture report: Tom Lucas. Organised in collaboration with Thonet, Carré Rouge, Cercle Cité and Ville de Luxembourg. lEcturE

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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

The family enterprise Thonet is considered a pioneer of furniture design throughout the world. Ensuring a long established tradition of quality and innovation in design, the company works today with many renowned contemporary designers. The exhibition at Cercle CitĂŠ presented a comprehensive overview of the tabular steel and bentwood classics of the Thonet 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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Photography: David Laurent / wide

Stefan Diez

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“Review & Preview” a lecture about Furniture Design at Cercle Cité on February 16, 2012. Audience: 88. Coordination: Pit Kuffer and Arnaud Mouriamé. Catalogue by Sven Ehmann (interview) and Mik Muhlen (layout). Picture report: Olivier Minaire. Organised in collaboration with Thonet, Carré Rouge, Cercle Cité and Ville de Luxembourg.

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Please register at www.designfriends.lu 18/11/11 10:40

1 Jean for e15 Photographer: Ingmar Kurth (2010) 2 Shuttle for Rosenthal Thomas Photographer: Ingmar Kurth (2006) 3 Villa Noailles exhibition Photographer: Olivier Ansellem (2011) 4 Papier with Saskia Diez Photographer: Stefan Diez Office (2009)

Industrial designer Stefan Diez, who founded his studio in 2003, works in various fields of design ranging from furniture and tableware to industrial design and exhibition design. Up to now he has worked for companies such as Authentics, Bree, e15, 足Established and Sons, Moroso, Rosenthal, Thonet and Wilkhahn. 3

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Christian Schneider

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

www.designfriends.lu

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24/01/12 14:36

“Boom Tschak Bang” a lecture about Sound Design at Mudam on March 28, 2012. Audience: 76. Coordination: Heike Fries. Catalogue by Michael Thomson (interview) and Silvano Vidale (layout). Picture report: Luc Deflorenne. The lecture was preceded by an interactive workshop in sound design (applications, uses, environments, ...) led by Christian Schneider. The main aim of the workshop was to create an acoustic identity for Design Friends.

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 identity 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 music studio specialised in acoustic identity and sound design. In his talk “boom tschak bang. Sound Design, Noise Attacks and Music” he gave an insight into the process of producing sound designs and provided examples of the work he did for clients such as Mercedes, Schöfferhöfer, Deutsche Bahn, Milka or Kylie Minogue.

“ The workshop in Luxembourg was something of an exclusive. Usually I hate these things. But it was really fun. The participants really joined in and we created a sound logo for Design Friends. I was impressed by what the Design Friends team has done here. I wish we had something like this in Germany, it is a much better quality here.” Christian Schneider

KYLIE (2010)

Schneider Kreuznach (2009) Deutsche Bahn (2012) Milka (2010) Schoefferhofer (2010)

NOISE ATTACKS

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Mario Lombardo

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15/03/12 14:19

“The Tender Spot” a lecture about Editorial Design at Mudam on June 6, 2012. Audience: 102. Coordination: Mike Koedinger. Catalogue by Sven Ehmann (interview) and Pietro Namèche (layout). Picture report: Mike Koedinger.

1 Openers (2011) 2 Microhate, Background Records (2004) 3 The Theatre of Real Life (2011) 4 Liebling (2008)

Berlin-based designer and editor Mario Lombardo is one of the leading creatives in the field of editorial design. In his projects he juggles with photography, typography and strong visual identities in order to create awesome works of stunning beauty. He is the art director of Spex magazine (2011-2006) and Liebling, and works for many fashion and music labels. In 2006 he founded the BUREAU Mario Lombardo in Cologne. At the age of 35 he was awarded “Visual Leader of the Year” for his complete works by the Lead Academy in Hamburg. In 2010 Gestalten published “The Tender Spot: The Graphic Design of Mario Lombardo”, the first monograph to feature the broad spectrum of Lombardo’s creative output. 1

“Meine Zeit in Luxemburg war reich an Inspiration und guten Gesprächen. Ich bin sehr dankbar über die Einladung, diesem wissbegierigem Publikum meine Sicht auf Design vermitteln zu dürfen. Das Niveau der luxemburgischen Design-Szene, gerade im editorialen Bereich, ist Oberklasse. Danke, Design Friends! Wo bekomme ich noch mal eine Mitgliedschaft?” 3

Mario Lombardo

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Special events

Art & Copy A FILM BY DOUG PRAY PRIVATE SCREENING FOR MEMBERS ONLY

13 TH JANUARY 2012 6.30PM CARRÉROTONDES

Watch the trailer

Art & Copy, a documentary film about advertising and design. This first private screening of the third season happened on 13.01.2012 at CarréRotondes with an audience of 62 people. The picture report was done by Sumo, DJ set by Lowic Villa. In collaboration with

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Partners

For members only

Urbanized A documentary film by Gary Hustwit Private screening for Members only

13th January 2012 6.30pm Carré Rotondes

Watch the trailer

In collaboration with

Partners

Urbanized, a documentary film about the design of cities worldwide and the issues behind them. This second private screening happened on 10.05.2012 at CarréRotondes and was an “Avant-première” for Luxembourg with, unfortunately, an audience of only 28 people. The picture report was done by Michel Feinen, DJ set by Château Bajac. Dee 44

Nadine Clemens, Secretary

Guido Kröger, Board member

Why are members so important? Why become a member? An interview with Secretary Nadine Clemens and Board member Guido Kröger.

Some may question why club membership is even important. Why is it so? Membership means being a part of a community of common interest. Design Friends asbl gathers people who share our passion for design, who like to be inspired and informed. For every event, we choose a location with a bar or a nice terrace so that having a talk with the guest-speakers is actually possible. And yes, social networking, get-togethers and chats are part of the game. What is the benefit in being/becoming a member? Your contribution to Design Friends will allow you - to be kept up to date on all Design Friends activities Dee 45

- to take part in DF “special events” reserved for members only - to get free entry to all DF events - to receive a catalogue and a poster from every conference. As a Gold Member we provide you with unique opportunities to meet internationally renowned designers: you’ll get privileged meetings with the guest-speakers and be invited to workshops. You’ll get signed catalogues, free drinks etc. But most importantly, being a Gold Member not only helps us financially but it means supporting us with utter conviction. What happens with the money? When members pay dues, they are not just purchasing a club membership.

“ Design Friends creates events and gathers people that are for me very inspirational and valuable, and give me a lot of energy also to create & do. DF is important for Luxembourg’s creative industries’ image.”

“For me Design Friends is a mixture of Pintrest, TED & Linkedin, but for real.” Daniel Clarens, student

Jan Glas, industrial designer

“Good design needs no words.” Frank Weber, photographer

“Mich bereichert es sehr, auch als Kunsthistoriker, aus nächster Nähe individuelle kreative Prozesse und Intentionen mitzubekommen. Respekt für die intelligente Auswahl der Graphiker und Designer! ” Hans Fellner, Kunsthistoriker

“Because design matters.” Frank Kaiser, communication agency / managing partner

They are investing in the quality of DF conferences and events. We are very committed to what we do and we attach great importance to quality: we’d like to invite only TOP speakers, and organise meaningful exhibitions and events. A main focus of our work is the conference catalogues, and we particularly value good print quality. All of this costs a lot of money, but it really matters to us. Does DF membership mean “standing at the sidelines” – or are active members welcome? Active members are very welcome! We learn a lot from our members, for example we welcome any suggestions for speakers we could invite. We are lucky to have talented people who help us in our “daily

“ Design in seinen unterschiedlichsten Facetten, Konferenzen mit internationalen Gästen und Austausch weit über die Berufsgruppe hinaus – das alles möglich nach der Arbeit und in walking distance. Für mich als Designer ein MUST.” Claudia Eustergerling, designer & design consultant

business”: photographers providing picture reports, graphic designers doing the layout of our catalogues, writers who take the time for exclusive interviews with the guest-speakers etc. Have a look through the pages of this magazine and you’ll see. I’m not creative, not a designer. But I like what DF does…. … and naturally you’re welcome to join! Your membership is important to us. It tells us you support and appreciate the work we do. Membership means that a louder and stronger voice for design and creativity is heard.

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“I love design, I love my friends, I love design friends.” Georges Zigrand, design consultant

“Why Design Friends? Coming from Prague I was very happy to find out that in Luxembourg there is an organisation focused on design. I discovered that Design Friends has an important function in our small country: it presents design in its wider context, its complexity and it shows that it is an open-minded organism. So I am looking forward to meeting open-minded design friends! ” Patrik Bitomsky, graphic designer, illustrator and painter

“ The reason I joined Design Friends was because it’s a good concept, plain and simple. It’s always good to be able to see “big” designers talk about their work and what drives them. So being able to do so on a regular basis and in a more relaxed environment, and then be able to have a chat with other like-minded people, or even the ‘big designer’ in question, just makes it extra nice. As an illustrator, it’s just nice to see this sort of initiative take place in Luxembourg, to have this little organism succeed in keeping a very open minded approach to design and opening up the topic to both professionals and the greater public alike.” Mik Muhlen, illustrator

1 “30 years of fighting AIDS”, by Stina Fisch 2 “Europa 2012”, by Linda Bos

1 2

“ When I first saw the postcards issued by Design Friends in a display at the place I go for lunch, I picked those of Linda Bos and Stina Fisch (and others) hoping that there would be soon a possibilty to work with them on a stamp design. When the topics of “30 years fighting against AIDS” and “Visit Luxembourg” came up, I found in Stina and Linda two talented graphic designers that developed for the Office des Timbres very attractive visuals.” Emile Espen, Head of the Office des Timbres

“Constant excellent selec“ The most brilliant initiative ever made tion of talks, speakers, topics and events. Always in Luxembourg by great opportunities to meet passionate people people, exchange ideas for thirsty people!” and get involved. Even for The Plug, artist

non-designers! ” Viktor Dick, webdesigner

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Memberships for season 4 Member 30€

Access to all events; incl. 1 free catalogue / talk; free access to DF-parties incl. 1 welcome drink.

Student member 15€

Registered in college or university courses, upon presentation of student registration as proof. Access to all events; incl. 1 free catalogue / talk; free access to DF-parties incl. 1 welcome drink.

Gold member 100€

Individuals only, access to all events; incl. 1 signed catalogue / talk; free access to DF-parties for 2 incl. 2 x 1 welcome drink.

THURSDAY 5 JULY 6.30 PM EXIT 07

Programme of the evening: • Release of the DESIGN FRIENDS MAGAZINE with a flashback on our Season 3 events, lectures, exhibitions and publications. Featuring interviews with the DF committee, statements by designers and many picture reports. • Presentation of our SEASON 4 PROGRAMME • Music by KUSTON BEATER Get a FREE DRINK for every (re)newed membership!

Gold Members

A nice occasion for chats, drinks and networking. BRING MANY FRIENDS WHO LOVE DESIGN!

Pay at events or make a bank transfer to: IBAN LU15 1111 2587 7778 0000. Please mention: “Membership 2012/2013” and add your e-mail address in the message.

Membership infographics 300 250 200 150 100 50 0 256 members

200 members

217 members

Season

gold members

regular members

197

150

163

student members

Frauke Brodd Jean-Paul Carvalho Nadine Clemens Valérie Conrot Valerio D’Alimonte Laurent Daubach Stéphanie Di Carlo Buffone Mauro Doro Jacques Drescher Claudia Eustergerling Marc Gerges Jan Glas Tom Gloesener Joanna Grodecki Philippe Gruber Anne-Marie Herckes Anne Kieffer Sylvain Kirsch Mike Koedinger Guido Kröger Charles Monteverdi Yvette Morheng Arnaud Mouriamé Mandela Munoz Annick Paquay Margreet Pompe v. Hoey Michèle Rob Stéphanie Rollin Donato Rotunno Raoul Thill Silvano Vidale Frank Weber Anouk Wies Marc Wilmes Paul Zeimet

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Progressive partners Since its early days, Design Friends has partnered with a number of cultural institutions. What do those partnerships mean and why are they relevant?

“ ‘A camel is a horse designed by a committee’ Sir Alec Issigonis. Au Luxembourg il y a beaucoup de chameaux mais par chance il y a aussi Design Friends.” Steph Meyers, CarréRotondes

“ Les actions menées par Design Friends sont un des piliers en termes d’éducation et de prise de conscience du métier de designer à Luxembourg. Elles permettent tant aux amateurs qu’aux professionnels de se confronter à d’autres pratiques et d’échanger sur le processus créatif qui lie toutes les disciplines du design.” Anna Loporcaro, Mudam

“ Donner un aperçu sur tout l’univers du design, éclairer sur ce domaine de création qui nous entoure au quotidien.” Anouk Wies, Cercle Cité

“ Là où le design est trop souvent cantonné au rôle de mobilier chic et de décoration d’intérieurs ‘contemporains’, Design Friends nous font, grâce à leurs choix et propositions, redécouvrir la création et l’inventivité incessante de ce domaine, nous rappelant qu’il s’agit avant tout d’une manière de (re)penser et de se réapproprier notre quotidien, et ce à tous les niveaux. Somme toute le design est à approcher tel un point de départ et non une finalité.” Kevin Muhlen, Casino Luxembourg

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Mike Koedinger, Board member

Stéphanie Rollin, Board member

An interview with Board members Stéphanie Rollin and Mike Koedinger.

Design Friends seems to have a lot of friends. Most are members, some are sponsors - but there are also “institutional partners”. Who are they and how did they get involved? Design Friends is a “friendly” and an open-minded non-profit organisation. We always prefer collaboration to competition, but we choose carefully with whom we work. Today, we have a very pleasant situation collaborating with some of Luxembourg’s finest and most progressive institutions such as Mudam, CarréRotondes, Casino Luxembourg - Forum d’art contemporain and Fondation de l’Architecture et de l’Ingénierie. They are not only great institutions, but they also have very professional teams with whom it’s very enjoyable to work with.

cesses. Our programme reaches a very eclectic audience, including a culturally interested crowd: designers, students and also parents. When we produce talks at Mudam, we naturally get some of their audience but we bring mostly new people to the museum. Or we create another good reason for an existing audience to go back to the museum. The partnerships are really beneficial to both parties. We mix our audiences and we promote each other’s events. People that are curious about design, might be curious about art or architecture - and vice versa.

How much do your partners get involved in your programming? Oh, this really depends. We love discussing projects with our partners, sometimes they even initiate them, but we also get very excited Architecture, art, dance, music, ... your partners cover a large brainstorming just within the committee. We’ve established trustrange of disciplines and target audiences from kids to senior ful relationships with our “traditional” partners and are very happy citizens, both local and international. How does that fit your to have started working with new ones this season. For the Thonetobjectives? weeks earlier this year, we got involved with Cercle Cité, the City We don’t believe that those boundaries are still relevant today. De- of Luxembourg and also a private partner, Carré Rouge. They really sign Friends’ work is focused on the cultural aspect of design: we put helped us to make “it” happen, to bring a great story to a demanddesigners in the spotlight and let them talk about their work and pro- ing audience.

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Heike Fries, Treasurer

Why become a sponsor? An interview with Treasurer Heike Fries.

Why are sponsors that important for Design Friends? Design Friends is a non profit organisation which is – not yet – subsidized by any public institution. As we want to attrack a broad public for our conferences there is no entry fee. We have two sources that finance our activities, one are the members, the other one are our sponsors. They allow us to planify and organise a diversified program on a high-quality level and to present as many different facets of design as possible. As you call your sponsors partners is there more than a ῝standard“ sponsoring involvment? Yes, absolutely. All our partners have an interest in and an understanding for design. This is very important for us as it associates us much stronger than just with a financial support. None of our partners discusses details of our sponsoring packages, they support us because they are – as we are – convinced that design matters and that our activities contribute to help understand and promote the benefits of good design. We have some partners which stand by us since the very first day of Design Friends! What do you do to maintain, intensify and develop the relation with your partners? We keep them informed about our activities and stay in touch with a little report after each event. They join us regularly for our events and the networking afterwards. We also develop new opportunities which allow them to show their relation with Design Friends, this new DF Magazine one of those. Dee 51

Design Friends’ events are free, but somebody has to pay for it. There are members, and there are sponsors – called “partners”, because they are partners in mind.

Partners in mind

“ I strongly believe that good design improves quality of life and makes economic sense for society at large. In that sense, Design Friends is in synchronicity with my values and vice-versa. That is why I support DF.” José da Costa, Hausing

“ As a manufacturer of high-quality coated paper, we are delighted that Design Friends has such a committed and professional approach to design. Design is a conscious process, a key aspect of our entire lives. And, in addition to conveying a message, paper is very much part of this process. Only when the right paper is selected then design shows its true face. And it is only through paper that design can be understood.” Michael Lüghausen, Papierfabrik Scheufelen

“ Wir unterstützen Design Friends weil wir der Auffassung sind, dass gutes Design uns tagtäglich das Leben versüsst und somit zu den Freuden des Lebens zählt. Und man sollte vorbildliche Initiativen immer unterstützen, damit sie die Kraft haben, sich über Konventionelles hinweg zu setzen.“ Max Bauer, Livin

“ As a printing company we think that the idea is great to create a design community in Luxembourg. Being part of this community is very important to us and we value design in our everyday life. The high quality of the confrences as well as the opportunity to share ideas with people working in different fields such as architecture, graphic arts, communication, marketing etc. makes it all important to us. I strongly recommend everybody to support Design Friends and to become a member – you being 7 or 77 years old! Anne-Françoise Bechet, Faber

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Talents, please!

On designfriends.lu, design students can show their work. With â&#x20AC;&#x153;Student Portfoliosâ&#x20AC;?, DF has created a new presentation platform for Design Students. Watch out! A conversation with Board members Anabel Witry and Pit Kuffer.

Daniel Clarens Portfolio

Nikolas Mueller Portfolio

Melanie Elsen Portfolio

Gilles Gardula Portfolio

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Anabel Witry, Board member

In the course of Season 3, Design Friends launched a new category on designfriends.lu: “Student Portfolios”. What is it about? Design Friends wants to raise awareness on design, support a creative exchange and give new thought-provoking impulses in Luxembourg and abroad. “Student Portfolios” offers a platform to our student members and gives them the opportunity to present their work and to get in contact with their future target group: Design professionals and design lovers. Moreover, we would like to show the broad range and diversity of creative ideas of young designers still at university and draw the attention to these newcomers. Who is allowed to publish a portfolio on the website? Every design student in the fields of industrial design, graphic design, fashion design, furniture design, architecture or any other design discipline, should take the chance to share the works and skills with our members and with all the people visiting our website that have a strong interest in design. How to publish a portfolio – what does a design student has to do in practical terms? There are only a few easy steps to get a portfolio published. Become a student member by registering on the website. The 15 € Student membership includes free entrance to all Design Friends events, a catalogue at every lecture and a free drink at our “Member’s Only Events”. Then, send an email to portfolio@designfriends.lu with a short presentation of yourself and a selection of the works you’d like to show. The submitted portfolios are presented to the Design Friends committee. After validation, the student receives a confirmation mail and the webmaster publishes the portfolio.

Pit Kuffer, Board member

“ Tout d’abord, j’apprécie beaucoup votre engagement ! Je suis actuellement en plein rush pour terminer mes études à Bruxelles. Je suis Luxembourgeois et je reviendrai travailler au Luxembourg d’ici quelques mois. Je suis heureux de savoir qu’il y ait une communauté où je puisse retrouver d’autres personnes de la profession, et qui ont les mêmes intérêts et passions qui moi. Je suis content de pouvoir compter sur Design Friends pour les expositions, conférences et autres événements autour du design. Le fait qu’il ait une plateforme pour les jeunes créatifs émergents est fantastique et absolument nécessaire au Luxembourg. Continuez comme ça ! Gilles Gardula, student

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3 seasons, 15 publications Missing some? All catalogues are available at the Mudam shop and at all Design Friends events.

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

Mapping August. An Infographic Challenge

2010

ISBN 978-99959-625-3-1

with CarrĂŠRotondes asbl

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Ladies and Gentlemen, please give a big round of applause for:

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«What makes our artwork special here at binsfeld? We’re fuelled by a spark of curiosity and we explore the world of our clients with a relentless appetite for innovation. And that’s why it’s not good enough for us merely to make good-looking graphic design. There’s a story behind every brand, a story only waiting to be discovered and see the light of day. We revel in telling these stories and in spreading them via cross-media channels. That’s why we think in images, colours, typefaces, media and integral concepts — not in stereotypes. This is our vision and understanding of OPEN COMMUNICATION here at binsfeld.»

Verena Landgraf chef de studio and senior art director

www.binsfeld.lu Dee 60

www.firstfloor.lu

Simplement complémentaires.

1 2

Proposer des objets, des idées et fabriquer du mobilier avec maîtrise. Réunir le beau et l’intemporel, l’insolite et le savoir-faire. C’est le sens que Firstfloor et Prefalux donnent au design. Eames Plastic Side Chair (1) et Eames Plastic Arm Chair (2) - VITRA et Fernando, menuisier.

ZAC Langwies - Centre Commercial Langwies 2 L-6131 JUNGLINSTER LUXEMBOURG Tel.: (+352) 26 78 28 88 infos@firstfloor.lu Dee 61

WHERE UNIQUE DESIGN MEETS PERFECT LOCATION

HIGHLIGHTS IN REAL ESTATE

T 26 47 76

www.livin.lu

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We are Maison Moderne - Luxembourgâ&#x20AC;&#x2122;s leading and award-winning media group. We create magazines, books, digital content, events and broadcast TV. We publish self-initiated projects and we create multi-channel, branded content for clients. Dee 63

www.maisonmoderne.lu

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Published by Design Friends

Art Director Silvano Vidale

Institutional Partners