DESIGN MAGAZINE 21 (JANUARY/FEBRUARY 2015) by DESIGN MAGAZINE

EDITORIAL Tiago Krusse

Reality is an infinite sequence of facts. We know that reality as whole is way too big for a human to comprehend. Our perception of the world comes from the way we look into facts and again I underline that we only get a lowermost part of that whole. But facts are facts and opinion about facts is an impression we make about them. Journalists have this huge responsibility of diffusing facts with accuracy and sensing them with honesty. They also have this task of fighting against censorship, sensationalism. They must also keep in mind that accusing without clues or copying others configures unethical procedures. Restrictions concerning full access to information sources are widely known as well as aggressive measures or prepotency of those who do not deal well with freedom of expression or with the right to inform. I dare to say that there are people that like to live in absolute obscurity and others in an absolute illusion. In a political dangerous world weâ&#x20AC;&#x2122;re still living in information plays an important role. In the same way we use our perception of the world to comprehend what surrounds us we, as information seekers, must also look into information beyond that a simple consuming act. I still remember well the crime drama Mystic River, directed by Clint Eastwood, and it is a good example on how our perception of the facts could be easily misguided. And Iâ&#x20AC;&#x2122;m talking about a film and we all know how life is way more fantastic than fiction. Journalists have this great responsibility of dealing with information not only because they have also to identify what is real from what is unreal but mainly because they know information also leads to consequences. Finally it is my opinion that freedom also means to have responsibility and that information, like most of the things we do with our own lives, it must be true. Acts are facts of that immense reality.

CONTENTS EXPRESSIONS Opinion by Rodrigo Costa - The strength and elegance of the age

DESIGN Interview Roselie Lemos

Interview Pablo Cabistani David Catalán Format

Gonçalo Prudêncio Office for Design Korea Craft & Design Foundation

32 36 C

ARCHITECTURE

Church in Knarvik

Viipuri Library Restoration

CMY

BOOKS Shooting Space

Wegner – Just one good chair

VISIT AND DISCOVER FLORIANĂ&#x201C;POLIS, BRAZIL MAY, 15th 2015 TO JULY, 12th 2015 Come and explore design exhibitions, workshops, national and international seminars, and street events focusing on the theme DESIGN FOR ALL.

Official Carrier

Official Magazine

Institutional Support

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Sponsorship

Editor in chief - Founder Tiago Krusse Executive Designers Douglas Silva Hebert Tomazine Leandro Siqueira Lucas Fernandes Text Contributors Francisco Vilaça (Stockholm) Hugo Poge (Reykjavík) Rodrigo Costa (Oporto) English editing K Photo Contributors João Morgado – Architecture Phtography Rui Gonçalves Moreno Advertising http://revistadesignmagazine.com/publicidade/ Office DESIGN MAGAZINE Jardim dos Malmequeres, 4, 2.º Esquerdo 1675-139 Pontinha (Odivelas) | Portugal www.revistadesignmagazine.com Publishing House K Innovative Diffuser, Sociedade Unipessoal Limitada Jardim dos Malmequeres, 4, 2 ESQ 1675-139 Pontinha | Portugal NIPC: 513 314 652 Media founded in 2011

AGENDA

Participations for the 8th edition of Computex d&i awards are open until the 31st of March of 2015. This design and innovation award is reputed among the ITC industry and calls manufactures and designers to present their innovative products under nine categories: Network + Communication Products, Computers + Systems, Computer Hardware + Components, Data Storage Products, Displays + Audio / Video, Peripherals + Accessories, Gaming Hardware, Smart Technology Applications + Products and Apps + Software. The products will be submitted to evaluation by a panel of international experts on the 9th of April of 2015 and they will give particular importance to those presenting a degree of innovation, design quality, craftsmanship, choice of material, ergonomics, universal design and product identity and branding. The ceremony for the COMPUTEX d&i awards 2015 is scheduled to the 1st and 2nd of June of 2015, during the Computex Taipei 2015 show in which all award-winning products will be presented in an exhibition that is open to the public. After the Taipei show the exhibition will go on tour through a group of the following worldwide ITC tradeshows: 8

IFA 2015 in Berlin, Germany, from the 4th to 9th of September of 2015; GITEX Technology Week 2015 in Dubai, the United Arab Emirates, from the 18th to 22nd of October of 2015; 2016 INTERNATIONAL CES in Las Vegas, USA, from the 6th to 9th of January of 2016; MWC 2016 in Barcelona, Spain, from the 27th of February to 1st of March of 2016 and in CeBIT 2016 in Hannover, Germany from the 1st to the 5th of March of 2016 All the award winners will also be presented in the iF online exhibition and in the COMPUTEX d&i awards yearbook. Online registrations at www.ifdesign.de

AGENDA

Isabelle Mattern, A do something but not anything manifesto

Patrick Hallé, Queesch magazine

RESOLUTE – DESIGN CHANGES

Fremke Herregraven, Christopher Hope/Kenji Nakayama, Invisible Children, Ivan & Andy, Jeremyville, Lazaros Kakoulidis/Tzortzis Rallis, Joran Koster, Made in a Free World, Next Nature, Ruben Pater, Lucas Pope, The Peace Factory, Elena Turtas, Koert van Mensvoort/Ton Meijdam/Floris Kaayk, Yuri Veerman/ Brigiet van den Berg, Brett Yasko. The exhibition, curated by Dennis Elbers and Sven Ehmann in association with the Design Friends, explores the current state of social responsibility displayed by graphic designer. The works gathered to this exhibition enhances the determination of an emerging generation of graphic designers who are promoting not only their work but also social development and evolution. Resolute – Design Changes leaves also an impression on how these artists keep in touch with culture using new technologies and a wide spectrum of communication tools with the purpose of increasing awareness and to create opportunities to make things happen. The press-release says that “they are determined, inspired, and motivated, and furthermore offer other people a critical perspective through which they can form their own opinions, express themselves freely, and act in all good conscience." It also underlines that to the given context and to the more decisive impact of visual culture these days, “the role of graphic artists is taking on an increasingly influential dimension in the realm of manipulation and power.”

The Casino Luxembourg - Forum d'Art Contemporain presents Resolute – Design Changes, from the 24th of January of 2015 to the 19th of April 2015. Celebrating the fifth anniversary of Design Friends, Casino Luxembourg is presenting the exhibition titled Resolute – Design Changes, first hosted in April 2014 by the Graphic Design Festival in Breda, the Netherlands, curated by Dennis Elbers and Sven Ehmann. In its role as associate curator, the Design Friends association issued a call for projects from designers based in (or with a link to) Luxembourg, in the goal of augmenting the existing show with an additional section devoted to the local design scene. The jury – composed of members of the Design Friends steering committee, the curators, and Casino Luxembourg‘s art director, Kevin Muhlen, selected projects by Laurent Daubach, Patrick Hallé, Reza Kianpour, Isabelle Mattern, Gina Schöler & Daniel Clarens, and Socialmatter (Lynn Schammel & Giacomo Piovan). Also on show will be the emblematic “NON” by Jean-Christophe Massinon (1962-2011), a logo-cum-manifesto that has become sadly relevant again today, summing up many of the issues raised in this exhibition. These artist will join the first selection composed by works from Artus Beifuss/Francesco Trivini Bellini, George Butler, Center for Urban Pedagogy, Conceptbouwers/Studio Daad/Raakt ICT, Circus Engelbregt,

http://www.casino-luxembourg.lu/ 10

Enter the search for good design good-design.com

AUSTRALIAâ&#x20AC;&#x2122;S GOOD DESIGN AWARDS 2015 Call for Entries 3 February â&#x20AC;&#x201C; 20 March 2015 Be a part of one of the longest standing and most prestigious design awards in the world, promoting excellence in design and innovation since 1958. Enter online: good-design.com

OPNION

Rodrigo Costa

The strength and elegance of the age … I look at Life as a friend of mine, despite of sometimes it does not look like — perhaps because I want more than I deserve or more than I can have. As an artist, my concerns are about knowing for improving my skills and going ahead with projects; trying to find inspirational people with thoughts and work that worth being observed, once I always believe to be possible finding unexpected teachers and lessons, due to the Life, besides to be a friend, to be the biggest and the most realistic class-room — at any time, the great moments happen. When the world is lost in discussing tradition and technology as matters that, artistically, are seen as in opposition, I realize that the youth, the freshness, is dependent of old and safe visions and thoughts — what makes sense, if we can see how the Universe and its movements are supported on old formulas; not because they are old but because they are the appropriate since the beginning. So, I found in Max Ginsburg the youth, the freshness of an aged man, a discovering that reinforced my believing in Painting as an eternal and irreplaceable activity, as immutable essence and as the result of the profound affection besides any technical analysis. I must say to have had as main reference the Ginsburg’s paintings from the alive model — or from photography, but after long experience painting from the natural, when the memory has already registered the raw taste of the things. So, one can see the naked action, when the moment and the context do not allow staying for long on all unnecessary details; when the synthesis happens because the brain has not time for resting in each place; after, such as many times happen and many artists do, the structural work being supported by projection or by another strange way for assuring a balanced structure —one of the most difficult part in the pictorial process. Unfortunately, the Painting became an industry. The technology has occupied places and moments that belong to the human hand, as guarantee of the truth and purity, once to have ideas is not enough, given that the concept lives from the close connection between spirit and body, mind and hand, if we are talking about painting, in the purest sense. I have nothing against technology in the art world, even because are not the tools that define the genius, and art is a world exactly because it is a world of expressions. However, I am writing as a painter and not as an illustrator working under the indus-

trial taste and pressure. The Painting is a sacred place where the artist can and must be himself, expressing his emotions, choosing and portraying his models — whatever they are — and assuming his own digital print. In the end, it is not possible to separate the Painting from the Poetry; the fluidity and assertiveness of the strokes from the fluidity and assertiveness of the words, because, such as in Poetry, to paint is to give body to the atmospheres… by drawing and painting the shapes or by drawing and giving color to the words… The Max Ginsburg’s painting works as message of quality and hope. When I am not a child any more, I can be hopeful in the future of the Painting, once the quality of the thoughts and gestures depends from passion more than from age or any chosen tool or style — l though, naturally, the tools and the styles undeniably contribute to express the quality of the passion, telling about the quality of the soul that is in love. At any age…

http://rodrigovcosta.wix.com/rodrigocosta

INTERVIEW Roselie Lemos

Photo by Estúdio Fotográfico Univali – Campus Florianópolis 14

Brazil is pioneer on producing design biennials and most recently it gave a new step forward concerning the profession regulation. The executive coordinator of the Brazilian Design Biennial Floripa 2015, expresses how the whole event process was developed and why she has so good expectations about it. Designer, teacher and president of the Santa Catarina Design Association, Roselie Lemos underlines a fully cooperative work between the government and institutions to bring a more democratic venue under the moto “Design for All” and the event’s contribution for social, cultural, industrial and economical development of the region. Interview by Tiago Krusse

Brazil is pioneer on producing design biennials. What differences you find between producing in 60’s and today? In the 1960’s design have expanded to express the generation gap and the huge change of thinking and behaving of the whole society. At that time, Brazilian industrialization followed the purposes of the President Juscelino Kubitschek and the progressive Governor of the State of Guanabara, Carlos Lacerda. Against this backdrop, the School of Industrial Design (ESDI) of the State University of Rio de Janeiro was founded attracting architecture students from all over the country and beginners like me, who were delighted with this new profession. Design was going through a phase of super appreciation of the global technology and functionality. This rational process in design opened the door to experimentation of new forms, concepts and production processes. The opportunity for holding an international design biennial was there, seeking eagerly more information, more examples of good design with a higher degree of industrialization and new concepts. Three biennials were held in 1968, 1970 and 1972 at the Modern Art Museum of Rio de Janeiro with great commitment of ESDI teachers, professionals and politicians of this period.

When it began the whole process? Which obstacles and opportunities were found since the start of the project? It began precisely at Curitiba Biennial and at that time Belo Horizonte was already chosen as the next city to host the biennial in 2012. So it was necessary to fight for the 2014 biennial, articulating politically with the academia, politicians and the industry. It took me 2 years of many meetings in Florianópolis with government representatives, Fapesc, SCParcerias, Fiesc and the Universities. These contacts have made me notice that design only needed a little push to take off in this state which has a great creative and industrial potential.

Who is responsible to put up Brazilian Design Biennial Floripa 2015? I am responsible to bring the biennial to Florianopolis. At that time I was the coordinator of a design course in the University of Blumenau (FURB) and I was aware of the necessity to get new settings for the design course graduates. It was a rational strategy for solving the problem of lack of a design culture in a highly industrialized state. More of that, Santa Catarina need to rescue its pioneering role of design that began in the 80s with the LBDI (Laboatório Brasileiro de Desenho Industrial)

Why is the state of Santa Catarina relevant to embrace this biennial? It is very important for the industrial development and performance of its economy. Even in this moment when Brazil shows negligible results in the economy, the growth rate of the Santa Catarina industries did not fall. Instead, the state economy grew in 2013 more than the whole country. The Regional Economic Activity Index of Santa Catarina (IBCR-SC) rose 4.1% last year, while the average in Brazil was 2.52%. (Source: IBC-BR). You could say that Santa Catarina has a vocation for the

How it was possible to present such an event in Florianopolis? It was possible to introduce the biennial in Santa Catarina with the institutional support of Fiesc, the State and Municipal Governments, the Universities and the recognition of the touristic potential of the event. Floripa is well known throughout Brazil for its beautiful beaches and for its gastronomy. Put together design and the beauty of the island and you have a strong marketing strategy for the biennial. Those who will come to Floripa to attend the biennial will get additionally the blue sky, the sea and the great positive energy of the city.

“We are building a biennial for all people, accessible to all the groups who can benefit from the universal concepts of design”

development and competitiveness which is one of the purposes of design. The integration between industry, design and innovation will build in this state a strong and sustainable economy. Which new opportunities will the event bring to the region and to the local companies? Companies and their managers will be in contact of new concepts developed by the creative companies around the world, new technologies makers, 3D printing technology, new methods of co-participation realizing a new way of looking for the construction of a contemporary design in Santa Catarina. How design and the role of the profession it’s perceived by the regional authorities and the industrial and commercial agents? CEOs, companies and government authorities invest heavily in technological innovation in Santa Catarina. However, the view that there is no innovation without design or that there is no design without innovation must be acknowledged. The combination of these two forces, innovation and design, with creativity are the essential elements for new results in the recognition of the value of design to build on the long run a more sustainable economy. In which stage of development is Santa Catarina concerning educational and technological standards? Santa Catarina has 75 design courses (undergraduate, technical and technological) 15 master courses and a doctorate. It ranks second in Brazil just under the state of São Paulo. A major force in corporate education is being encouraged by Fiesc with businesses and industries in Santa Catarina. The IEL and Senai have agreements with the Milan Polytechnic, the Steinbeis University of 16

Berlin and the MIT (Massachusetts Institute of Technology) in the pursuit of knowledge through the exchange and transfer of technology. Which are the main design activities? Design is in everything: in projectual activity, organizational management and political, in new product concepts and processes, in aesthetic interventions, even in the way to build new business models. A designer way of thinking is more than developing a new product or service or build new business models. A designer had to be acknowledged by the mainstream of creative thinking. What gives substance to the biennial’s moto “Design For All”? The total democratization of design: for all people who have different physical configurations related to age, weight, height and cognitive possibilities as well as with special accessibility needs. We are building a biennial for all people, accessible to all the groups who can benefit from the universal concepts of design. The designer regulation is a new step forward conquered by the whole professional community. How has been the involvement of the Brazilian designers and professional institutions towards the biennial’s mission and goals? Most of Brazilian designers are engaged and motivated and sending their works for selection by the curators of the exhibitions and participating in the theoretical and academic works of the events. They understand not only the importance of a biennial of design but also as the high visibility and great opportunity for new contacts to build an international networking.

What are your main expectations? I hope that the result will be positive for designers, business people and public managers to value design as a field of knowledge and celebrating the Brazilian design with all the participants of this big cultural festival. I particularly hope to make it the best and most exciting of all the biennials of design in Brazil. How do you see the role of the Centro Design Catarina after the biennial? The Center of Design Catarina will benefit working for the execution of the biennial, creating opportunities to develop new researches, observing signs and new trends, disseminating information and preserving the historical memories of design, virtually and physically.

INTERVIEW Pablo Cabistani

He won the national competition for visual identity for the Brazilian Design Biennial Floripa 2015. Believing that design works as a cultural tool, Pablo Cabistani works as professional graphic designer for more than a decade. By asking about his “Oba” winning project we went a little bit further and tried to sense the feel that someone in the field has about the idea Brazilian have towards design and the designer role. For him this biennial will be a memorable one. Interview by Tiago Krusse

What is the essence of the whole graphic concept for the Brazilian Design Biennial Florianopolis 2015? The theme of this edition, chosen by the organizing committee of the biennial, was “Oba, design for all”, a celebration of the concept created by the Design for All Foundation (designforall.org), which aims to disseminate the design for all diversity of society. “Oba”, in Brazil, is an expression of joy and celebration, like WOW. I sought to create a joyful identity, using colors and patterns to represent the human variety and diversity, and to celebrate the “design for all” theme. The identity is composed of a set of visual elements that interact with each other: (1) a thematic version of the traditional biennial logo, which receives a colorful detail in symbol, (2) the OBA graphic (a geometric and colorful OBA word), which is complemented by the phrase “design for all”, and has a modernist touch (one of the most influential creative movements in Brazil was the modernist school, with proeminent and well-known graphic designers, like Alexandre Wollner and Aloísio Magalhães), (3) the OBA faces, a set of colored faces of people of various ethnicities and ages - that gives a human touch, and (4) a set of specific colors and patterns.

What were the reasons that lead the jurors to award your concept? l don’t know exactly - it’s not easy to say why a group of experts prefer a concept to another. I talked informally with some of the jurors after the choice and read a few statements and interviews, and I think my concept was chosen mainly because of its relevance and for its “human” look. The thematic version of the traditional biennial logo, which receives a colorful detail in symbol, was also considered a smart solution - I created a specific version of the logo for this edition without changing the traditional Biennial logo, used since the first edition.

When did you start working for this project? It started around July of 2013. I worked three months on the project, until October of 2013, when the project had to be sent to the contest staff.

Which orientations do you believe are important to consider when dealing with a visual product? I believe the orientations are the same for any design project: focus on solving the problem presented, creating something unique and - like the well known Massimo Vignelli expression - “visually powerful”. What do you feel about this evolution on Brazilian society towards the importance of the designer? I think there is still a huge confusion throughout Brazilian society about the role of the designer. If most people don’t know exactly the designer role, is very difficulty that they know its importance. Ten years ago, when I was a beginner, I have the impression the confusion was the same, or very similar. Since then, with the Internet and all the branding “speeches”, the design became more commercially viable, but his incorporation to the Brazilian culture and to the society as a whole, still seems to me very far.

How many designers were competing for the prize? There were about 1.300 pre-registered designers or teams, with 90 validated works.

You run a fulltime designer business or you have to do other works to cope with your needs? l work as a senior graphic designer in a traditional design office in São Paulo. It’s my only work.

Did you developed the concept alone or it was a team work? I developed all the concept alone.

Who makes part of the list of your references? I developed my language already at the time where design offices were replacing the big stars graphic designers, like Paul Rand, Saul Bass, etc. Then, in my “reference list” there are designers and also design offices and studios. There are so many, that I’ll mention the people and design offices that I always remember to see what they are doing. Wolff Olins, Red Antler and Duffy & Partners always do great stuff. Everything Michael Bierut and his team do at Pentagram is extremely good, too. Talking about the new generation: Jason Little and Jessica Walsh are brilliant. In Brazil, Gustavo Piqueira of Casa Rex is probably one of the best Brazilian graphic designers alive. But, you know, I could do a large list here...Sites like Behance show how is impossible to know all talented designers in the world. My Pinterest has almost 10.000 pins, and I use it a lot as a place to search for references. What sort of expectations you have for the biennial? Biennial is one of the greatest Brazilian design events. I was born and raised in Rio Grande do Sul, a neighborhood state of Santa Catarina, where the biennial

will take place. Many people in my state go to the beaches of Florianópolis and other Santa Catarina cities on vacation. Then, I have a special affection for the state and I’m very proud of my identity being chosen to represent this edition. Santa Catarina is a extremely beautiful and well-developed state in Brazil. I’ve been lecturing on two occasions in the state in recent months and I see that all design market is engaged and with a lot of expectations for the event. I’m pretty sure Roselie Lemos (director of this edition) and her biennial staff team will do a great and memorable biennial. And I’ll be there, off course.

DAVIDCATALAN

Photo by Pablo Hernández Esteban

Designer graduated since 2014 at the Escuela Superior de Diseño de La Rioja, David Catalán found in 2012 his own fashion brand. He’s been achieving experience through the world fashion design industry for more than 4 years presenting his first collection during the 33th edition of the Portugal Fashion Week 2013. He likes to express his connection to Portugal and he underlines the two years studies under the Escola Superior de Artes e Design in Matosinhos, Oporto. Under his working experience there is also mention to con2tijeras, a men’s clothing and assessories shop, and Maria Gambina’s brand. David named Coverless to his final thesis which consolidated him as a designer, a collection shown at the EGO runway at the Mercedes Benz Fashion in Madrid where the SS15 was awarded, enhancing his talent. The brand DavidCatalan is Spanish and it is based in Oporto and Madrid. David’s creative direction has the complicity of Almudena Bretón who leads the role of the brands communication. Through his learning years of different art disciplines David kept all that knowledge to be able to materialize them into his designs. The way he defines his work is a fusion between design, innovative production techniques and culture. Simplicity of shapes, accuracy of design and paying special attention to finishing touches with a secure way on how to treat the textiles properly are his working standards.

PRINTVOLTAGE-SS14. Printed bomber and pants. Bomber made with subliminated polyester bound by hot-melt glue to foam. Photo by Ricardo Santos

PRINTVOLTAGE-SS14. Reversible oversized parka (white/voltage print). Black and white platform sandals. Photo by Ricardo Santos

COVERLESS-SS15. Fluorescent hot-melt glued mesh bound to foam shirt. Mesh point bound by hot-melt glue to gauze. Callaghan shoes and cotton socks. Photo by JosĂŠ Morraja.

COVERLESS-SS15. Pastel blue denim onesie with embedded backpack in dark blue denim. Zara shoes and cotton socks. Photo by JosĂŠ Morraja

COVERLESS-SS15. Her: Pastel pink mesh shirt. Dark blue denim shorts with silicone bias. Zara shoes and cotton socks. Him: Pastel pink shirt and shorts. Transparent acrilic necklace. Callaghan shoes and cotton socks. Photo by JosĂŠ Morraja

FORMAT

COLOUR, STRUCTURE AND INNOVATIVE CHARACTERISTICS ARE MAKING A WOVEN LOOP CARPET STANDING OUT. WE’VE ASKED NICOLE CYPERSKI, DESIGNER AND PRODUCT DEVELOPER FOR VORWERK FLOORING, ABOUT THE ESSENCE OF THE WHOLE CONCEPT.

What is Format? Format is a woven loop carpet, which consists of highly durable weaving yarns for use in the contract sector. The special weaving technique creates micro structure patterns, which are either self-coloured (Format structures 1,3 and 5), or striped (Format 2 and 4), which gives the product a knitted appearance. The new sample card for architects is an overview, which contains of 68 different colours and shows the structures Format 2,3,4 and 5. The sample has been compiled alongside the colour concept by the designer Helene Ogeborg. It displays how the different colourings work in each of the four different structures and shows that both the colouring and the structures can be easily combined with each other. Every colour scheme is available in one of the four mentioned structures. A further highlight of the sample card is the accented colouring with which Vorwerk flooring once more shows its expertise when it comes to innovative flooring solutions. Who developed Format and when? Format has been created by Vorwerk’s in-house studio and it’s designers. The structures Format 1 to 4 were developed in the year 2003, Format 5 was created in 2013.

novative addition to its woven loop series. 2003 the Vorwerk design team created the Format structures 1,2,3 and 4. Since 2012 the rising interest in the texture, i.e. the surfaces of carpets made the design team create the new Format 5 as well as the new sample for architects with the Swedish designer Helene Ogeborg with its wide colour range. Secondly, the product specifications. Format has been developed especially for the contract sector and fulfils all essential criteria regarding performance such as durabiliy, resilience and comfort. FORMAT can be used on staircases as well. The footstep sound absorption degree is 18 decibels (dB), which makes Format highly suitable for offices and areas with intense traffic such as hallways. What ecological/sustainability criteria were taken into account in case of production? During the dyeing the colours used are free of metal components. Spare yarn, which is not used during the production process, are re-used. The durability and longevity of Format avoids the replacement of the flooring in short periods of time. Therefore the carpet offers an ideal Product Life Cycle concerning the amount of material used and the duration of the product.

In which way were the different criteria taken into account regarding the production process? Firstly, a economic strategy. As the general interest in high-end loop carpets rose over the past years, Vorwerk thought of developing an interesting and in-

GPOD

GPOD STANDS FOR GONÇALO PRUDÊNCIO OFFICE FOR DESIGN, A COMPANY FOUND IN 2006 PROVIDING SERVICES FROM FURNITURE TO PRODUCT DESIGN AS WELL AS SOME INTERVENTIONS ON URBAN PLANNING AND ARCHITECTURAL PROJECTS. THE TEAM OF DESIGNERS, THINKERS AND PRODUCERS CREATED OVER THE LAST YEARS A FEW PROJECT-BRANDS AND A CONSULTANCY SERVICE. EAT, FROM 2014, WAS ONE OF THOSE BRANDS, AN ELEGANT SET COMPOSED BY CHOPPING AND SERVING BOARDS AND A BOWL. Photographs by António Nascimento

Bowl, 2014. Copper clad with Tin or Lioz from Sintra

Serving Board, 2014. Acacia Wood or Lioz from Sintra

www.gpodonline.net

KOREA CRAFT & DESIGN FOUNDATION

The Korea Craft & Design Foundation (KCDF) is a governmental organization, under the Korean Ministry of Culture, Sports and Tourism. Its mission is to promote and develop Korean craft and design industry. A group of eight contemporary craft designers and two brands reveals a little on how the traditional skills and creativeness could mingle with such harmony. www.kcdf.kr

Yujin Kim. Wavy bowl set, copper, enamel

Jiwoon Yang. Cera-Stone Series, beverage, Porcelain, colored clay, gold

Healim Shin. Bracelet, leather, peva, lacquer paper

Goeun Wang. Folding Eat, ceramic

Hayoon Kim. Cutlery Collection 7â&#x20AC;&#x153;Plate, bone China

Woonggul Yang. Dup Seok Shelf, walnut, aluminum

Bmix. Puremold, concrete, bulb

Junghoon Lee. Wormhole Lounge Chair, red oak, ash

Auroi. Bareum, copper, tin, Korean lacquer (finishing)

Sun Young Park. Peony Blossom (Blue Bowl), white and blue porcelain, gold

CHURCH IN KNARVIK Architecture: Reiulf Ramstad Arkitekter Text: Tiago Krusse Photography: Hundven-Clements

We can feel the spirit of architecture in this church built by the Reiulf Ramstad Arkietekter. This Christian community church was completed in 2014 and it is located in Knarvik, in the north of Bergen, in Norway. Besides the purpose of providing the space for cult the building was also thought of to be a niche for cultural development through art and music events. The “intrusion” in the space was taken with sense and sensibility, taking full advantage of the site and making sure that the building would set in the right place, facing all that good views form the hillside. Inspired by the landscape and inspiring those looking from a distance. It expresses its visual identity at the hillside and its form turns it into a new reference in the skyline. The building plays for the people but also plays harmoniously with the landscape. The roof planes like arms reaching out to the skies bring that poetry to the external form of the building. The good communication of the whole it is “inspired by the local tradition of Norwegian stave churches, the building utilizes clear and elemental geometries, materials and constructions.” The church is designed through a rectangular plan with a program for the cultural and administrative function at the ground level leaving the sacred spaces above. These two levels are connected with the atrium stair and the space at the 48

heart of the building “may be joined or separated from the sanctuary with sliding glass walls to accommodate more than 500 people.” Executed mainly in wood, architects took advantage of the qualities of the material not only to mark playful geometric intentions but also to underline the comfort perceived and felt. All this is “expressed in the homogeneous cladding of pre-weathered pine heartwood and mirrored by the light-coloured pine finish on all interior surfaces.” Natural light its welcome by tall and narrow windows in an optimised and comfortable way, providing a good atmosphere and reducing glare effects. The Knarvik church was drawn to serve its community and it “aspires to provide a platform for a safe upbringing for children and youth, to become a local venue for gatherings and faith, and to facilitate art, music and cultural development. To our eyes this building expresses that transcendent spirit of the architecture, respects the origin of the faith and projects the whole further beyond than that simple functional temple. The essential is to unite the community around its reality and its aspirations. http://www.reiulframstadarchitects.com/

VIIPURI LIBRARY RESTORATION Restoration: Finnish Committee for the Restoration of Viipuri Library Text: Tiago Krusse Images: courtesy of the Finnish Committee for the Restoration of Viipuri Library

Photo by the Finnish Committee for the Restoration of Viipuri Library

The Viipuri Library restoration won the 2014 World Monuments Fund/Knoll Modernism prize. The restoration of the building, designed by Alvar Aalto and constructed between 1927 and 1935, was lead by the Finnish Committee for the Restoration of Viipury Library. The Finnish committee was established in 1992, one after the fall of the Soviet Union. These dates are important facts because Viipuri Library is located in Vyborg, the Russian Federation, a city at northwest of Saint Petersburg, that was actually called Viipuri and it was part of Finland. The city of Viipuri became Vyborg due to the results of the Winter War, 1939-1940, between Finland and the Soviet Union. So in 1992 the Finnish Committee for the Restoration of Viipuri Library took the initiative of proposing the work and to carry the project with the Central City Alvar Aalto Library. The cooperation had from one side the Finnish team whose members were Eric Adlercreutz, Tapani Mustonen, Maija Kairamo, Leif Englund, Maren Nielsen, Olli Helasvuo, Eero Pekkari, Heikki Pekonen, Ben-Roger Lindberg, Aki Schadewitz, and Mariel Pohlman, and from the Russian side the library was represented by Tatiana Svetelnikova, Helen Rogozina, and Alexander Batalin. The urgency of restoring the building was due to its progressive state of deterioration. The World Monuments Fund press information says that shortly after Soviet Union taking the territory the library began to face “threats including, but not limited to, abandonment, inappropriate renovations, and unclear stewardship.” Under Soviet administration the access to the library began limited and this lead to fairly assume that the preservation state of the building was uncertain. The mission to restore the building was also to preserve the memory of one of Alvar Aalto’s most acclaimed works. The World Monuments Fund underlines that the library “reflects the emergence of Aalto’s distinctive combination of organic form and materials with the principles of clear functionalist expression that was to become the hallmark of his architecture.” An important note by Teppo Jokinen, a well known researcher of Alvar Aalto’s work and a reputed academic, tell us that “term funktionalismi was used in Finland at the end of the 1920’s to refer to rational and internationally oriented architecture,

and partly as a synonym for the so-called International Style.” The project of restoration was completed in 2013 and expresses on how Finnish and Russian authorities can cooperate in nowadays despite all disputes and issues held in the recent past relationships between both countries. The conservation professionals and the international funding allow the team to proceed with an accurate work of restoration putting in evidence what the World Monuments Fund jury described as “highest standards of scholarship, authenticity, architecture, materials conservation, functionality, social impact, stewardship, and technical imagination.” The building About the history of the building the World Monuments Fund/Knoll – Modernism Prize booklet leave us the following information: “In 1927, Aalto entered and won a design competition for a municipal library in what was, at the time, Viipuri, the second largest city in Finland. With its Nordic classicist design, including a frieze with classical figures, and a sunken center hall, the design was compared to the Stockholm Municipal Library by Gunnar Asplund, which was being completed at the time. Due to requests for alterations from the competition jury, changes in the site plan for the building, and an economic recession, construction of Viipuri was delayed until 1933. An analysis of Aalto’s early drawings reveals a significant period of maturation throughout the delays, during which he modified his plans a number of times. In the end, what emerged was a radical new design that coincided with Aalto’s own evolving approach to architecture. The building was completed in 1935, by which point its final form had become a functionalist design with a new personalized modern vocabulary, informed by the architect’s contemporaneous designs for the Turun Sanomat Newspaper Building (1929) and the Paimio Sanatorium (1932). As is the case with all of Aalto’s work, the architecture of Viipuri was experimental. He used flat roofs boldly penetrated by numerous skylights (in the lending and reading halls) and a distinctively exuberant undulating wooden ceiling (in the

Photo by the Finnish Committee for the Restoration of Viipuri Library and Petri Neuvonen

lecture hall) for the first time. Many of Aalto’s innovations at Viipuri would appear in his later buildings, including the libraries at Seinäjoki (Finland), Rovaniemi (Finland), Mount Angel (U.S.), the National Pensions Institute (Finland), and the Wolfsburg Cultural Center (Germany). At Viipuri, Aalto created a completely new library system, where patrons could wander freely in response to “an open invitation to read.” The architecture of the library symbolized the modern movement’s ideals of transparency and equality. The library has a net floor area of approximately 25,000 square feet, and includes a periodicals reading room, children’s library, lecture hall, lending and reading halls, entrance hall, and offices. Aalto, together with his wife Aino and assistant Aarne Ervi, designed everything, including the building, site plan, interior fixtures, furniture, and lights. The result was a work that was utterly new and perfectly integrated. In 1995, the Alvar Aalto Library was included on the Russian Federation’s List of Objects of Historical and Cultural Value.”

Photo by the Finnish Committee for the Restoration of Viipuri Library and Petri Neuvonen

Photo by the Finnish Committee for the Restoration of Viipuri Library

Photo by the Finnish Committee for the Restoration of Viipuri Library and Petri Neuvonen

2. FLOOR LENDING HALL +4.03

READING HALL UPPER PART

- main stairs 4, railings reconstructed, stairs origin - materials follow the original solution - starcase 1, windows restored - service starcase 2, soviet era railigs restored - terrace floor reconstructed - terrace stairs 14, partly restored, partly reconstru

+2.33

STAIR 4

N TERRACE

OFFICE CORRIDOR +4.03

STAIR 14

STAIR 2

OFFICES STAIR 1

2. FLOOR

TERRACE

1. FLOOR CHILDREN'S LIBRARY UPPER PART

READING HALL +1.84

INFO -1.06

STAIR 4

STAIR 16

+1.44 STAIR 3

WARDROBE LECTURE HALL CORRIDOR

STAIR 2

MAIN ENTRANCE HALL +0.00

STAIR 1

1. FLOOR

LECTURE HALL

- the entrance facade reconstructed with soap sto original facade - entrace bronze doors reproduced - entrance hall and lecture hall reconstructed - wardrobe preserved at the sovietic period style - info-center enlanlarged a little from the original - new connection from the main entrance hall to th library, star 16 - reading hall reconstructed, service counter resto soviet period - star 3 restored, railings reconstructed - lecture hall windows restored

RESTROOMS

MEASURES MUST BE CHECKED ON CONSTRUCTION SITE! Name and address

Drawing subject

UL. SUVOROVA 4,

18890 VYBORG Helsinki 30.10.2014

THE FINNISH COMMITTEE FOR THE RESTORATION OF VIIPURI LIBRARY Tiilim채ki 20, 00330 HELSINKI Finland phone +358 9 480123 fax +358 9 485119,

WORKING DRAWING Representation, floor plans, page

ARK

208

A10

ROOF LEVEL - the office floor roof reconstructed 1999-2000 - the lending hall roof reconstructed 2001-2004 - surrounding of the library reconstructed 2013

ROOF LEVEL

GROUND FLOOR OFFICE -1.23

CHILDREN'S LIBRARY -1.66

-1.77

CHILDREN'S LIBRARY -1.06

CORRIDOR

PERIODICALS -1.78

BOOK STORAGE -2.52 N

- corridor slope opened and reconstructed 2013 - book storage renovated 2013 - techical cellar under the office renovated 2013 - periodicals hall restored 2008 - childrens library reconstructed and restored 2013 - subwater drainage systems built 2013 - technical systems at the library renewed 2012-13

STAIR 2

STAIR 1

GROUND FLOOR MEASURES MUST BE CHECKED ON CONSTRUCTION SITE! Name and address

UL. SUVOROVA 4,

Drawing subject

18890 VYBORG Helsinki 30.10.2014

THE FINNISH COMMITTEE FOR THE RESTORATION OF VIIPURI LIBRARY Tiilim채ki 20, 00330 HELSINKI Finland phone +358 9 480123 fax +358 9 485119,

WORKING DRAWING Representation, floor plans, page

ARK

208

A10

BOOK RECOMMENDATIONS

Shooting Space – Architecture in Contemporary Photography / Elias Redstone Publisher: Phaidon ISBN: 978 0 7148 6742 7 Hardback English 240 Pages 200 Illustrations 2014

Among a vast number of Arnold Newman’s quotes about photography there is this one that says that “a camera is a mirror with a memory, but it cannot think.” Elias Redstone, an independent architecture curator and writer based in Paris and London, gathers more than 50 thinkers dividing them through five themes: Manufacturing Iconography, Cityscapes of Change, Man-Altered Landscapes, Excavating Modernism and After Architecture. He clearly states in his introduction that “Shooting Space is a photographic anthology presenting a selection of artist’s responses to architecture through the medium of photography.” He says also that “the book showcases photography that scrutinizes and critiques built environment, with architecture acting as a protagonist with which to explore wider social and cultural themes.” He finishes saying also that “architecture is in and of itself a lens through which to see the world.” Like it is important to respect the one who captures or “builds” the image, the viewer has also his importance by viewing what it is given to see but also by having total liberty to create his own perspective of the proposed subject. And is it a proposed subject or just simple shots of reality? And are those shots real or unreal? Beyond such variety of outstanding photography, the book establishes a sort of a cause/effect between photographer and the photographed giving that human rich perspective on how the world could be understood in such different layers of thought and passionate reactions. Looking to all photographs we get the feeling that we are on continuous dialogue with the nature of things. All types of moments capturing that fantastic reality which sometimes leaves us the impression that is fiction. In the end we judge what we are seeing but not to simply judge or to condemn, instead we are questioning human behavior. We are questioning ourselves.

“Just one good chair” is a phrase that Hans J. Wegner used often when he was thinking of creating a new piece of furniture. He managed to send to production more than 500 of his designs. He was called “The Chairmaker” and the Shell Chairs, 1949, would be a mark in its career. He was fascinated with plywood technology and he went to England to understand this new form of working with the raw material. His work for Fritz Hansen and his close collaboration with Johannes Hansen allowed him to present the first shell chair. With any doubts concerning this achievement, Christian Holmsted Olessen, the author of book says that “the resulting Shell Chair, consisting of three shells, was one of Wegner’s most innovative and groundbreaking designs. Here he was competing on International Modernism’s terms with such heavyweights as Eames, Le Corbusier, Alvar Aalto, and Marcel Breuer. Wegner, however, had something shockingly new to offer: a entirely different recliner, one without armrests in which you were neither lounging nor sitting. The chair was an ingenious construction –a ‘machine for sitting’ made of wood – that expressed the era’s faith in scientific analysis in construction yet simultaneously emphasized seating that facilitated relaxation and was flexible in its use.” The book is way more than a look into the Danish designer skills in producing chairs, it is a in depth look to the life and spirit of a man whose genius makes us understand a little bit more about the essence of design. It was produced to celebrate the centennial of Wegner’s birth and Christian Holmsted Olessen turned it in an outstanding and comprehensive working biography of the prolific craftsman. The author was also very skillful by turning a massive research into something pleasant to read, to learn with and, for us, for transmitting with facts the whole Wegner’s path and the way he lived all his projects.

WEGNER: just one good chair Publisher: Hatje Cantz Verlag ISBN: 978 3 7757 3809 5 Hardback English 256 Pages 2014

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