ST R A B E Moholy-Nagy Lаszlо
44
The couple’s practice is a genuine merging of minds. They first started working together fifteen years ago at MVRDV where they found strength in collaboration. i Strijkers is more focused on interiors and Doepel on exteriors. i It’s an approach, they feel, that not only best reflects the times, but gives a more integrated and meaningful quality to what they do. It is also about being analytical. The beauty in their work stems from an honesty rather than any prescribed aesthetic and is most times the result of simple problem solving. i Light, accessibility, and the physical surroundings being the ongoing factors that must be incorporated organically rather then blocked out artificially. “We like to tackle these issues by working from the inside out,” Strijkers explains. Design-wise, the Netherlands excels in the integration of design into the everyday and the exhibition strongly supported this image. i Skalska: “I wanted to show that design is not only about fancy names and brands. Throughout the exhibition, as the title suggests, collaborations and connections are integral: between industry and education, manufacturers and designers for example. “The lines are short in this region- everyone knows each other. i This makes developments proceed very rapidly! That is the guiding theme at the exhibition: good design doesn’t just happen, but is the result of a successful collaboration between designers, training institutes, SMEs, the industry.”
WISE Marseille, Pont Transbordeur
DOEPELS & STRIJKERS Fascinated by the marriage of disciplines, Rotterdam-based architects Duzan Doepel and Eline Strijkers have a very holistic approach to their work. It is also about
Exhibition history: “The Art of Photography: 1839-1989”, US, TX, Houston, Museum of Fine Arts, Houston, February 11 – April 30, 1989. (Traveled).//
45
Inscription: verso-(in ink) “Marseille, Pont Transbordeur No. 19” “Photo L. MoholyNagy” (in pencil) “51 (circled)”
But with this new concept comes a twist. The products are made in short lines “allowing us to keep the price low” says Niels van Eijk, one half of the design duo. “What we often miss is the direct communication between designer and end user and designer and manufacturer.
3/91, MMC.
character director
Notes: Catalogued 10/88, DZ, updated
music by
transportation, sailboat architecture, bridge pier
executive produsser
Cassandra Pizzey Jeanne Tan Kylie Minouge Jane Air Bono Nick Drake Marco Polo
Subjects:
print production
1929
bbbbb
ST R A B E Moholy-Nagy Lаszlо
44
The couple’s practice is a genuine merging of minds. They first started working together fifteen years ago at MVRDV where they found strength in collaboration. i Strijkers is more focused on interiors and Doepel on exteriors. i It’s an approach, they feel, that not only best reflects the times, but gives a more integrated and meaningful quality to what they do. It is also about being analytical. The beauty in their work stems from an honesty rather than any prescribed aesthetic and is most times the result of simple problem solving. i Light, accessibility, and the physical surroundings being the ongoing factors that must be incorporated organically rather then blocked out artificially. “We like to tackle these issues by working from the inside out,” Strijkers explains. Design-wise, the Netherlands excels in the integration of design into the everyday and the exhibition strongly supported this image. i Skalska: “I wanted to show that design is not only about fancy names and brands. Throughout the exhibition, as the title suggests, collaborations and connections are integral: between industry and education, manufacturers and designers for example. “The lines are short in this region- everyone knows each other. i This makes developments proceed very rapidly! That is the guiding theme at the exhibition: good design doesn’t just happen, but is the result of a successful collaboration between designers, training institutes, SMEs, the industry.”
WISE Marseille, Pont Transbordeur
DOEPELS & STRIJKERS Fascinated by the marriage of disciplines, Rotterdam-based architects Duzan Doepel and Eline Strijkers have a very holistic approach to their work. It is also about
Exhibition history: “The Art of Photography: 1839-1989”, US, TX, Houston, Museum of Fine Arts, Houston, February 11 – April 30, 1989. (Traveled).//
45
Inscription: verso-(in ink) “Marseille, Pont Transbordeur No. 19” “Photo L. MoholyNagy” (in pencil) “51 (circled)”
But with this new concept comes a twist. The products are made in short lines “allowing us to keep the price low” says Niels van Eijk, one half of the design duo. “What we often miss is the direct communication between designer and end user and designer and manufacturer.
3/91, MMC.
character director
Notes: Catalogued 10/88, DZ, updated
music by
transportation, sailboat architecture, bridge pier
executive produsser
Cassandra Pizzey Jeanne Tan Kylie Minouge Jane Air Bono Nick Drake Marco Polo
Subjects:
print production
1929
bbbbb
ST R A B E Moholy-Nagy Lаszlо
44
The couple’s practice is a genuine merging of minds. They first started working together fifteen years ago at MVRDV where they found strength in collaboration. i Strijkers is more focused on interiors and Doepel on exteriors. i It’s an approach, they feel, that not only best reflects the times, but gives a more integrated and meaningful quality to what they do. It is also about being analytical. The beauty in their work stems from an honesty rather than any prescribed aesthetic and is most times the result of simple problem solving. i Light, accessibility, and the physical surroundings being the ongoing factors that must be incorporated organically rather then blocked out artificially. “We like to tackle these issues by working from the inside out,” Strijkers explains. Design-wise, the Netherlands excels in the integration of design into the everyday and the exhibition strongly supported this image. i Skalska: “I wanted to show that design is not only about fancy names and brands. Throughout the exhibition, as the title suggests, collaborations and connections are integral: between industry and education, manufacturers and designers for example. “The lines are short in this region- everyone knows each other. i This makes developments proceed very rapidly! That is the guiding theme at the exhibition: good design doesn’t just happen, but is the result of a successful collaboration between designers, training institutes, SMEs, the industry.”
WISE Marseille, Pont Transbordeur
DOEPELS & STRIJKERS Fascinated by the marriage of disciplines, Rotterdam-based architects Duzan Doepel and Eline Strijkers have a very holistic approach to their work. It is also about
Exhibition history: “The Art of Photography: 1839-1989”, US, TX, Houston, Museum of Fine Arts, Houston, February 11 – April 30, 1989. (Traveled).//
45
Inscription: verso-(in ink) “Marseille, Pont Transbordeur No. 19” “Photo L. MoholyNagy” (in pencil) “51 (circled)”
But with this new concept comes a twist. The products are made in short lines “allowing us to keep the price low” says Niels van Eijk, one half of the design duo. “What we often miss is the direct communication between designer and end user and designer and manufacturer.
3/91, MMC.
character director
Notes: Catalogued 10/88, DZ, updated
music by
transportation, sailboat architecture, bridge pier
executive produsser
Cassandra Pizzey Jeanne Tan Kylie Minouge Jane Air Bono Nick Drake Marco Polo
Subjects:
print production
1929
bbbbb
The juxtaposition of emotion and ration essentially showed two polar opposites of Dutch design under one umbrella. It was interesting to compare the approach of the conceptual (emotional) products/projects with the industrial (rational) within the context of the same theme and observe that they don’t need to be at loggerheads with each other. For instance in Farming, a soup server machine is included alongside a beautifully crafted lunchbox by Van Eijk/Van der Lubbe. Similarly in Healthcare, Brigitte Coremans’ Miscarrivage coffins touch a raw emotional nerve whereas Philips’
MYHEART, IS A PRAGMATIC RESEARCH CONCEPT
selection ☜
MILK TOPS
Throughout the exhibition, as the title suggests, collaborations and connections are integral: between industry and education, manufacturers and designers for example. “The lines are short in this region- everyone knows each other. This makes developments proceed very rapidly! ion, manufacturers and designers for example.this region- everyone knows each other. This makes developments very rapidly!
that enables the heart and breathing rate of a person to be measured while they are sleeping via textile sensors integrated into the pillow case and bed sheet. Considering the boundaries where the emotional and rational crossover, can we think more about how conceptual thinking and industrial design can complement each other more?
v
46
9
2
ROMANCE
and rational zones: the emotion and rational representing the functioning of the brain but also a characteristic way. Of thinking in Dutch design. (on an interesting side note, not all aspects could be represented, however, in particular those products with a bio-
o
DARK
THINKING IN DUTCH
Design-wise, the Netherlands excels in the integration of design into the everyday and the exhibition strongly supported this image. Skalska: “I wanted to show that design is not only about fancy names and brands. It’s about design in everyday objects. I also wanted to show where creativity meets the business side: design means business and business means design. In the context of Turkey, where the economy is relatively booming and the search for a contemporary identity is increasingly important, I wanted to show how this identity could also be closely connected to the local industries.” Curated by Zuzanna Skalska, trend watcher at VanBerlo, Design strategy + Product development, the fifth edition of the Made in Brainport series of exhibitions entitled Six Degrees of Smart Society takes its cue from the idea of six degrees of separation. Here six themes (Wellbeing, Technology, Farming, Craft, Environment, Local) were illustrated via a curated presentation of products and projects differentiated into emotional
t
c
13
o
MOMA product
n
47
The juxtaposition of emotion and ration essentially showed two polar opposites of Dutch design under one umbrella. It was interesting to compare the approach of the conceptual (emotional) products/projects with the industrial (rational) within the context of the same theme and observe that they don’t need to be at loggerheads with each other. For instance in Farming, a soup server machine is included alongside a beautifully crafted lunchbox by Van Eijk/Van der Lubbe. Similarly in Healthcare, Brigitte Coremans’ Miscarrivage coffins touch a raw emotional nerve whereas Philips’
MYHEART, IS A PRAGMATIC RESEARCH CONCEPT
selection ☜
MILK TOPS
Throughout the exhibition, as the title suggests, collaborations and connections are integral: between industry and education, manufacturers and designers for example. “The lines are short in this region- everyone knows each other. This makes developments proceed very rapidly! ion, manufacturers and designers for example.this region- everyone knows each other. This makes developments very rapidly!
that enables the heart and breathing rate of a person to be measured while they are sleeping via textile sensors integrated into the pillow case and bed sheet. Considering the boundaries where the emotional and rational crossover, can we think more about how conceptual thinking and industrial design can complement each other more?
v
46
9
2
ROMANCE
and rational zones: the emotion and rational representing the functioning of the brain but also a characteristic way. Of thinking in Dutch design. (on an interesting side note, not all aspects could be represented, however, in particular those products with a bio-
o
DARK
THINKING IN DUTCH
Design-wise, the Netherlands excels in the integration of design into the everyday and the exhibition strongly supported this image. Skalska: “I wanted to show that design is not only about fancy names and brands. It’s about design in everyday objects. I also wanted to show where creativity meets the business side: design means business and business means design. In the context of Turkey, where the economy is relatively booming and the search for a contemporary identity is increasingly important, I wanted to show how this identity could also be closely connected to the local industries.” Curated by Zuzanna Skalska, trend watcher at VanBerlo, Design strategy + Product development, the fifth edition of the Made in Brainport series of exhibitions entitled Six Degrees of Smart Society takes its cue from the idea of six degrees of separation. Here six themes (Wellbeing, Technology, Farming, Craft, Environment, Local) were illustrated via a curated presentation of products and projects differentiated into emotional
t
c
13
o
MOMA product
n
47