DESIGN MAGAZINE (JULY/AUGUST 2015) by DESIGN MAGAZINE

EDITORIAL Tiago Krusse

The DESIGN MAGAZINE started more than four years ago. It started firstly as a Facebook page and then, one month later it went fully recognized by the Portuguese authority for the mass media. I’ve started the project alone but I needed a publisher and at that time I saw a digital rock magazine produced by Elementos À Solta. I’ve made a contact with the publisher and then I met Joel Costa and Cátia Cunha. I’ve made them a proposal and so we began our work. Both Joel and Cátia were responsible for putting the magazine operational, not only via social media but also with a website. Gave them the ideas I had for the magazine which were basically to keep it simple and like a white sheet of paper in which news would show up. So they developed the logo and the whole graphic design concept. A website was raised and all social media platforms had their specific layout and mission. In 2013 Joel and Cátia told me that they would have to shut down their publishing house due mainly to hard tax policies held by the Portuguese government. Good work we held together and beyond that a good friendship raised. In the beginning of 2014 I’ve decided to open my own publishing company – K Innovative Diffuser – which holds now the DESIGN MAGAZINE. Some people called me crazy and some still think we’ve got a solid media but that we are going nowhere. More than two years ago I was contacted by Lucas Fernandes, a Brazilian designer, who proposed me to produce a DESIGN MAGAZINE BRASIL issue based

on our editorial product. Lucas told me that it was a project he wanted to present at his university as a final year work. So Joel and Cátia designed the logo of the Brazilian project and our small team allowed Lucas to use the logo. The project was well received and Lucas and I became friends since then. Then I told Lucas why not to turn the DESIGN MAGAZINE BRAZIL in more than just a final university work? He agreed on that and over the last two years the Brazilian magazine is working its process of recognition among Brazilian readers and creating the similar media partnerships we did with the DESIGN MAGAZINE. Lucas build up his team and we are working closely ever since. In 2014 Lucas and his team became responsible for the pagination of the DESIGN MAGAZINE and one month ago a new website of both media was redesign by Lucas Fernandes. Now we are working as a media group based in Rio de Janeiro, Brazil, with the DESIGN MAGAZINE BRASIL written in Portuguese, and in Lisbon, Portugal, with the DESIGN MAGAZINE written in English. Why are we doing what we do? Lucas, I and the rest of the team we all are passionate about our work and we aim to go further but most important it is how we are, what we stand for and how we believe we can release news and information with dignity and commitment to the readers and followers worldwide. What the future would bring us? We don’t know but we sure know that the current situation has been good to us so far.

CONTENTS

Interview Brandon Gien

Interview Sara Jónsdóttir

iF Student Design Award 2015 Media Architecture Workshop GLU

22 32

International Biennial Poster Design Terras Gauda – Francisco Mantecón Competition 2015 Library in Aarhus

Coming soon

The new iF WORLD DESIGN GUIDE, the spirit of creative power Take your first big step into the future with iF and become part of the iF WORLD DESIGN GUIDE. This new online platform will give you access to countless opportunities for cooperation, unique inspiration and the attention that excellent design deserves. This network will be the ultimate authority for the future of the design world.

www.ifworlddesignguide.com 5

Director/Editor - Founder Tiago Krusse Executive Designer Douglas Silva Leandro Siqueira Lucas Fernandes Text Contributors Cristina R. Maier (Brussels) 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 Juridic Consultor Dr. Maria de Lourdes Castelo Branco Accounting Auditoc Media founded in 2011. Officialy recognized by the ERC - Entidade Reguladora Para A Comunicação Social under the register number 126104. 6

AGENDA Chicago Architecture Biennial

Iwan Baan / Chicago, 2014, courtesy of the Chicago Architecture Biennial

The Chicago Architecture Biennial will take place from October 3 of 2015 until January 3 of 2016 in the city of Chicago, the United States of America. The event was titled The State of the Art of Architecture and its program includes several exhibitions “featuring new generations of the world’s leading architectural talent and a rich offering of public programs that engage an extensive network of cultural partners (over 60 to date).” The supporters of the biennial are BP, Presenting Partners the City of Chicago Department of Cultural Affairs and Special Events, the Graham Foundation for Advanced Studies in the Fine Arts and the additional support of the Rebuild Foundation and the Chicago Park District. The Chicago Architecture Biennial held the reputation of North America’s largest international survey of contemporary architecture and it is funded through private donations. The artistic directors of the biennial are Sarah Herda, director of the Graham Foundation, and Joseph Grima, architect, curator and writer based in Ge8

noa, in Italy. The list of participants is wide and gathers architects and artists based in more than 25 different countries. The purpose of the event is “through its constellation of exhibitions, fullscale installations, and program of events, the Chicago Architecture Biennial will invite the public to engage with and think about architecture in new and unexpected ways, and to take part in a global discussion about the future of the field.” Admission to the event will be free. More - www.chicagoarchitecturebiennial.org

ERRATA

In the last May/June 2015 issue about the news of the World Design Impact Prize 2015-2016 by the International Council of Societies of Industrial Design (ICSID) we wrote a wrong information about the competition saying that “a panel of experts will nominate projects and will gather a shortlist, with a maximum of seven projects, to be voted by ICSID’s members”. The accurate information is that ICSID opened up the nomination process to the public, while the expert panel is responsible for determining the shortlist. ICSID members will then vote on the shortlist in order to select the winner. We want to sincerely present our apologies ICSID and the magazine readers for our mistake. The World Design Impact Prize nomination period is open until the 29th of July of 2015. Anyone, designers and design enthusiasts, can nominate a project. These nominations do not necessarily have to be made by ICSID members which is a new aspect of this cycle. The expert panel is formed by Mariana Amatullo, USA, Krista Donaldson, USA, Ashley Hall, UK, Younghee Jung, South Korea and Sérgio Póvoa Rodrigues, Brazil. The expert panel will take the nominations and will determine a shortlist. Finally the ICSID members will then vote for a a winner out of the shortlist. The voting process will take place between

the 17th of October and the 18th of December of 2015. The finalists will be announced on the 12th of January of 2016. Those finalists would be given the opportunity to show their work to members of ICSID that represents 167 organizations all over the world. The goal of the prize is to “bring attention to tangible examples of social impact industrial design that will help shape the future of the profession and create a better world through design.” The first award was presented in 2012 to Kenyan-based Planning System Services Ltd. for their Community Cooker project. In the 2013-2014 cycle the prize was awarded to A Behaviour Changing (ABC) Syringe, developed by Dr. David Swann from the University of Huddersfield, United Kingdom. The 2015-2016 prize will be awarded during a ceremony at the World Design Capital International Design Gala, which in February of 2016 will be held in Taipei, in Taiwan the Chinese Taipei. The World Design Capital designation is a biennial city promotion project that celebrates the accomplishments of cities that have used design as a tool to reinvent themselves and improve social, cultural and economic life. More information - http://worlddesignimpact.org/

INTERVIEW

Brandon Gien

By matching mechanical engineering and industrial design he started to see the world in a different way. Being CEO of Good Design Australia and president of the International Council of Societies of Industrial Design (ICSID) gives Brandon Gien the opportunity to fulfill his passion and carry on with the mission of putting in evidence how design is important to improve everything around us. Interview by Tiago Krusse Photography and image a courtesy of Brandon Gien and Good Design Australia

What are your strongest values and dreams that you kept from growing up years till today? Passion. I’ve always believed that you must be passionate about something and dedicate 1000% to this once you eventually find it. I was very fortunate that from a young age, I was drawn to design and it slowly became my passion and my life. I was always fascinated by how things worked, how they were made and how they could be improved. This fascination led me to a career in Industrial Design and from there, I’ve become intensely passionate about how design can improve everything around us – not just better products, but better services, better experiences, better businesses, a better, safer and more sustainable society and yes, ultimately a better world. It is easy to see how one can become passionate about that! How your family and friends were important to build up your personality? My family, particularly my father, has been very influential in shaping my values and the way I look at the world. Both my parents come from a medical background – my father was an orthopedic surgeon and my mother an intensive care nurse. The notion of helping people was ingrained in me from a very young age and although I see the world through the eyes of design rather than medicine – to me it is just another tool that can ultimately help serve humanity. Australian contemporary history shows a whole lot of social, economical and political changes since the beginning of the Commonwealth, in 1901, until the 80’s with the recession after an entrepreneur boom and then the 90’s with a shifting interest towards Asia. How did you experience your learning years

and which aspects brought a deep positive impact on social and cultural aspirations at that time? I actually grew up in South Africa and moved with my family to Australia when I was very young so I have an interesting blend of experiences from both these beautiful parts of the world. Growing up in Africa one definitely sees a very different side of the world and how it works. From a design perspective, there is so much potential for positive impact as the diverse continent opens up to the rest of the world both socially and economically. Australia on the other hand is still a very young country by comparison to countries in Europe and Asia and in many ways, we are still shaping our culture and defining what it means to be ‘Australian’. Design is slowly getting more and more understood and valued here in terms of what it can bring to helping us craft this culture. I truly believe that in many terms, Australians are leading the way in pushing design thinking forward in areas of business strategy and social innovation. Your academic path goes from engineering, industrial design and ending up with philosophy and environmental design. What were the reasons that lead you to choose these different steps during university years? I started off studying Mechanical Engineering, largely because I didn’t know anything about Industrial Design as it was a very new faculty in our University (this is about 25 years ago). Engineering provided me with a good technical understanding of the world around me but it was Industrial Design that really opened my eyes and made me look at the world very differently. I think design and engineering go hand in hand – designers need to think more like engineers and engineers also need to see the world through the eyes of design – but they

are two very different ways of thinking. I embarked on a PhD in Environmental Design that took nearly seven years to complete but it was worth the effort as it really allowed me to focus deeply on this area of design that I believe is vitally important. Did you have mentors who played an important role on your higher education? I have been very lucky to have many mentors over the years who have all helped me along the way. My Professor in Industrial Design has been a mentor to me since the first day I embarked on a design career. He taught me to look at the world around me as an ‘object of design’ and really opened my eyes to the enormous potential that design has. Do you draw different perspectives when regarding education, experience and knowledge? They are three very different things in my opinion. Education gives you a solid grounding about a particular subject – enough to understand the basic attributes. Knowledge comes from experience and the more experience you have, the wiser you become (in theory that is). I do think that you can only teach so much about the basic principles of design and creative thinking and that the rest comes from within. I believe we are all born creative but it slowly evaporates as we grow older, particularly if we don’t follow a creative career. Mush of this is the fault of our education system where creativity is not seen as a valuable enough subject to pursue. I believe creativity must play a vital role in all professional fields across business, law, medicine, engineering etc. If creativity is not central to these areas, there will never be any progress and certainly and new knowledge. When did you start working and why did you

decided to embrace Standards Australia? I worked with Standards Australia about 20 years ago now. It was a very interesting period as it taught me the importance of standardization and regulation in an increasingly globalized economy. It also reinforced to me the importance of design in the commercialization process as both are equally important i.e. it is no good to have a beautifully designed product if it does not meet certain basic industry standards. On the other hand, if you have a product that meets all these requirements but is poorly designed, it will also fail in the market. Standards, much like design is invisible to everyone. It is only when things don’t work or operate the way they are meant to that one notices the importance of them. How did you get involved with the International Council of Societies of Industrial Design and did you expect to become its president? Our organization became the first Australian promotional member of ICSID and it was a very proud moment for us. We saw ICSID as a very important link to the rest of the world and it allowed us to help put Australian design on the world map. After many years as a member of the organization, I was nominated to run for the Board and in 2007, was very fortunate to be elected to the Board of Directors at the General Assembly in San Francisco. I ran again in 2009 and was elected for a second term in Singapore and then after being encouraged to run for the President-Elect position, I was elected 2011 in Taipei and officially became President in 2013 at the Montreal General Assembly. I never in my wildest dreams expected to end up as the President and it has been an enormous privilege to serve the world organization for Industrial Design and to make a difference to a profession

“Yes, we still need designers to design ‘posters and toasters’ but design’s true value can be harnessed when applied to much bigger and more important problems. Global warming, traffic congestion, pollution, water salinity, sanitation, ageing population, access to healthcare – the list goes on.”

that I am so incredibly passionate about. Through more than 8 years of leading ICSID which aspects and facts do you believe where important to the whole design community? We are living in an incredibly interesting time for humanity. On one hand, advances in technology and innovation are happening in milliseconds giving us unlimited potential to advance our world. On the other hand, there is a horrible gap where the large majority of people on this planet don’t have the basic amenities that we take for granted in developed parts of the world. I see design as being one of the tools to help close this gap and in the process, create enormous potential for the profession of design and the awareness of the significant value it has when used effectively. At ICSID, we are trying to shift the narrative around how design is positioned in the solutions economy. Yes, we still need designers to design ‘posters and toasters’ but design’s true value can be harnessed when applied to much bigger and more important problems. Global warming, traffic congestion, pollution, water salinity, sanitation, ageing population, access to healthcare – the list goes on. When we look at these challenges as ‘objects of design’ they turn into opportunities. What we learn on one side of the world designing better appliances, cars, mobile technology, medical products etc. can be transferred to the other side of the world with these sorts of challenges. Ultimately, design for a better world is at the heart of what we trying to promote. What sort of challenges and hard situations are still pending on qualified design professionals worldwide? Recognition and relevance. Compared to 20 years ago, design is definitely now more valued as a critical business investment but it still has a very long

way to go. Unfortunately, professional design is still seen as a cost rather than an investment in the commercial success of a product or service. A good example is the disparity between how much money companies spend on marketing and advertising a new product compared to how much is invested in its actual original design. I think this is changing as companies are understanding that using design as a strategic tool provides a much more comprehensive and effective way of looking at your business as a system rather than sprinkling it on here and there. As more businesses become to understand this, the greater demand there will be for design and professional designers. It has been almost five years now that you began leading Good Design Australia. How is the Australian designers panorama concerning not only their fully recognition under the law but also their connection to the industries and active role on strategies? Professional design in Australia is maturing into the service and business strategy space and with this maturity, a world of opportunities are opening up. The service sector in Australia, like most developed countries, contributes to well over 70% of our GDP. As we see a decline in our manufacturing sector and a slowdown in our resources sector as demand for commodities decline, I see a brilliant opportunity for design to enter this space and make a significant impact. This is one of the core reasons we re-structured our Good Design Awards program to include categories such as Business Model Design, Service Design and Social Innovation as well as traditional design categories such as Product Design, Architectural Design and Digital and Communication Design. If you had to point down a list of crucial ob-

“Only when the last tree is cut down, the last fish eaten, and the last stream poisoned, will we realize that we cannot eat money.”

jectives among Australia’s design sustainability what it would be on top priorities? I laugh when people describe Industrial Designers as ‘landfill designers’ but in many ways it is true. Designers face a horrible dilemma. On one hand, we design for obsolesce. We are forced to come up with new models and variants of products that feed consumer demand and many of these end up on rubbish tips at the end of their life-cycle. On the other hand, we want to design with sustainable and ethical practices that lead to a better world. More than 80% of a product’s environmental factors are decided at the design stage. The more that businesses understand this and the value of good design vs. the negative impact bad design decisions have such as material selection, energy / water consumption etc., the more this will change. We are getting there but there is still a very long way to go.

Design Award® of the Year this year - the Tesla Model S. This is not only a brilliant example of great automotive design but a real game changer for the whole sector. This car is going to completely revolutionize the way we look at transport and our reliance on fossil fuels. It runs on battery power which can be charged for free (at Tesla Charge Stations) and is faster that some of the most expensive sports cars on the market today (0-100kms in less than 4 seconds). All this is packaged in a beautiful looking car that is very reasonably priced. This sends a very powerful message not only to other automotive manufacturers but also to government and consumers that a big change is coming our way and we need to be ready to embrace it. This is not only about the design of a car, it is a complete and holistic way of thinking about the design of our transport and energy systems with the end impact of the planet being a major consideration.

With more than a half century of existence of Good Design Australia and with such an active and important role in promoting design culture which kind of purposes have reached outstanding results? Our core aim is to raise the awareness of good design to business leaders, government and consumers / end-users of design. The objective is a create a growing demand for design and using the platform of our Good Design Awards, we are able to shine a spotlight on projects that are competing by design – both nationally and internationally. I think there is certainly an increased level of awareness of design in Australia and our designers and architects are up there with some of the best in the world.

Do you share the vision that technological development and this new burst of crucial innovative solutions are only a new stage for a radical boost on consumerism? It really depends how you look at this question and how you classify consumers. There will always be an ever growing demand for new technology driven products and services in developed countries and this will only be fuelled by good design as our appetite grows for well designed stuff. Consumers in developing countries need a completely different kind of design. A good example is mobile technology in Africa. You would be surprised but people in Africa have access to mobile phones but the biggest challenge is charging them as electricity is not only expensive but very difficult to supply. Again, a very interesting and challenging design problem that can be fixed as these parts of the world develop.

The Good Design Awards have what sort of an impact on Australia’s economy? I will use an example of the recipient of the Good

Looking back to all these years that you have given for an evolution of the design community, how would you evaluate your commitment and which aspects you keep has most relevant? I’m trying always to look at the bigger picture. That is where true design needs to operate – not only looking at the individual bits but the whole system. I am continually thinking about ‘the design of the world’ and if we were truly enlightened as human beings to the concept of design and that at the end of the day, everything around us designed as part of a system. Our environment is a vitally important part of this system and we need to ensure that whatever we design being products, services, buildings, businesses and ever our government policy takes this into consideration. This Indian American quote sums it up perfectly: “Only when the last tree is cut down, the last fish eaten, and the last stream poisoned, will we realize that we cannot eat money.”

For you Good Design stands for what? Kenji Ekuan, the famous Japanese industrial designer who recently passed away told me that good design is beautiful. To me, this one world sums it up perfectly.

INTERVIEW

Sara Jónsdóttir

About to make seven years of existence, DesignMarch continues to promote not only Icelandic design but creating opportunities for local designers. Before the upcoming 2016 edition to be held from the 10th to the 13th of March in Reykjavík, we’ve talked with Sara Jónsdóttir, festival director, about the event that is gradually building a wide and prolific network. Interview by Tiago Krusse with Hugo Poge Photographs a courtesy of DesignMarch

What is the mission of the DesignMarch? The DesignMarch is for promoting Icelandic design locally and abroad. The festival is very well sought by the Icelandic public and over 30.000 people are involved in it in some way every year. Furthermore it is an important venue for designers for networking, collaborating, being inspired and expanding in so many ways. During the days all areas of design meet, graphic design, fashion, architecture, and product design, so there is plenty of room for new ventures and cross disciplinary collaboration on all levels. The event promotes Icelandic design but also imports inspiration and knowledge from abroad on a day of DesignTalks with international speakers that are excelling within their fields of design. Furthermore it works as a platform for expansion of business connections for designers, where Icelandic designers get a chance to meet with international buyers and design companies. Who were the persons that planned this annual festival? We at the DesignMarch team create a platform, some kind of an empty canvas and it is the Icelandic designers themselves that fill it. We arrange DesignTalks, the key event of the festival, a daylong seminar focusing this year on Play. Apart from that, designers themselves put up the show. When was the first edition? The first DesignMarch took place in March 2009 just after the historic crash of the Icelandic banks and in the start of a financial crisis. You should never let a good crisis go to waste. In crises the creative start blooming. How it was possible to create such a design event? With great designers, a lot of hard work and a load full of optimism. Why it was important to start gathering social, professional, cultural and economical awareness to design? Because design it is extremely important for almost every aspect of our lives. Almost everything in our man made surroundings can be affected by good or bad design. Enlightenment and interest usually work as the key to progress and improvement.

What are the differences that you find when directing a design festival comparing to other similar events? At this particular kind of a festival touching upon so many fields of design, you are introduced to so many different mediums, whereas say in a film festival. Which design segments have a bigger expression in Iceland? It’s difficult to answer – architecture and graphic design have a longer history, whereas product design and fashion have been making waves in recent years. What are the key concerns about the role of the design to the local economy? I believe locally people and key corporations and the government are increasingly aware of the importance of design - and DesignMarch has been a platform for that awareness. So really, we are happy about the way things are developing. What sort of challenges does DesignMarch faces in every new edition? Challenges are different from time to time, but funding is still the top challenge, as the festival is growing faster than the funding. In the past edition what was the spotlight? It’s a bit hard to point out a spotlight, but graphic design and architecture is quite strong this year as well as projects collaborating across fields. The theme of DesignTalks this year is Play Away and it seems that the theme has spread over to the whole festival as designers are really playing and working outside the box. What surprised you most? I am at least quite surprised by the hype, all the pictures and messages in social media from far and wide, it’s so warming my heart to see how everybody is excited, everybody is all in, everyone is celebrating Icelandic design. Apart from that, it is still early. I look forward to being surprised every day.

Work by Karlssonwilker - the New York-based design studio founded by Icelander Hjalti Karlsson and Jan Wilker from Germany - used for the official poster of DesignMarch 2012 edition

IF STUDENT DESIGN AWARD 2015

This yearâ&#x20AC;&#x2122;s edition of the iF Student Design Award gathered almost 12 thousand entries with new concepts coming from 68 different countries. One hundred ideas were awarded and the final jury decided to equally split the 30 thousand euros prize money among the eight best concepts. Text: Tiago Krusse Photographs and images courtesy of the iF International Forum Design

The iF Student Design Award 2015 winners were decided on March of this year after a selection process involving more than 73 judges that were responsible to admit 11.785 projects coming from young talent designers from 68 different countries. The disciplines accepted on the competition were Product, Packaging, Communication, Interior Architecture, Service Design, Fashion Design and Photography. The iF Student Design Award had two judging sessions in which every new idea with a vision for the future were examined and evaluated with criteria by an international group of expert judges. The last judging session was held in Hannover, Germany, in March, gathering a panel of expert jurors composed by Ky Yoon from Samsung Electronics of South Korea, Fredrich Mack from Haier Europe of Germany, Ulrich Schumacher from Hansgrohe of Germany, Radhika Seth from Yanko Design of India, Heiko Schmidt from Kolle Rebbe of Germany, Alexandra Martini of Interiors Design Kommunication of Geramny, Sultan Kaygin Sel of Vestel Electronics of Turkey, Stefan Diez a office for industrial design of Germany and Tiago Krusse from Design Magazine of Portugal. This final juror session made a preliminary winners selection of a pre-selected shortlist of 300 entries. The jury chose 100 concepts that were awarded an iF Label and fort the first time the 30 thousand euros of the prize money were equally shared among eight winners that the final jurors decided they were worthy

of a prize money. Regarding country statistics, this yearâ&#x20AC;&#x2122;s final winners list gathered 18 different nations: Austria with 4, Brazil with 1, China with 22, Denmark with 1, Germany with 18, United Kingdom with 3, Israel with 1, Italy with 2, Japan with 1, Sweden with 5, Switzerland with 1, Singapore with 2, Slovakia with 1, South Korea with 15, Spain with 1, Taiwan with 16, Turkey with 3 and the USA with 3. The iF Student Design Award is one of the largest and most important world competitions for young design talents, requesting innovative concepts based on good design with a futuristic vision of different human needs. This award shows how important is the role of the iF International Forum for the whole design community, putting together a global and wider perspective of the importance of design by giving visibility to all things considered fundamental in a process with so many different players, so different needs and so similar aspirations. The competition has firmly gain not only importance but also reputation the mission of encouraging young design talents to present what they consider fundamental needs of a near future, reflecting not only about the utility of the product but also demonstrating deep reflections about their actions as future designers regarding the issues of provenience and consequence. The iF Student Design Award is sponsored by Hansgrohe, Haier Electronics, LG Hausys, Samsung Electronics and the iF International Forum Design.

Entry: Trident Gum | Gum packaging Category: Packaging Design: Mr. Hani Douaji University: University of Central Lancashire, Preston / United Kingdom Trident Xtra Care is a sugar-free chewing gum that protects the teeth and gums between meals. In this case, an amusing, playful and interactive packaging has been developed to call attention to the key feature of the gum – protecting your teeth. The concept consists of six packages with three flavors. Each package has its own illustration, either a woman’s mouth or a man’s moustache. Through the punched-out opening, the pieces of gum look like pearly white teeth with light pink gums. Held up in front of the mouth, the packaging puts a wide, happy smile on the face of any consumer. Judges’ opinion: “This packaging for chewing gum is not only simple but also communicates the product’s purpose in a witty and effective way: a smiling mouth with pearly white teeth. The concept has been very well and professionally executed!”

Entry: PIRA | Respiratory system for premature babies Category: Survival + Emergency / Eco Solutions Design: Mr. Carlos Arturo Torres Tovar, Mr. Martin Edlung University: Umeå Institute of Design, Umeå / Sweden PIRA is a CPAP respiratory system that provides warm, moist air to prematurely born babies during the first few minutes of their lives. Mechanical breathing support prevents an oversupply of oxygen and guarantees a reliable, yet gentle reanimation process. The system can be put in place quickly and easily by one person, transmits all the necessary data to a handheld device and displays when and how long the patient has to be ventilated until he/she is stable and ready for a long-term CPAP treatment. Judges’ opinion: “When there is no time to think about which life-saving measures to use, PIRA helps by indicating the right actions. A highly commendable idea that could save the lives of newborns in those critical moments.”

Entry: WATCHING THE WATCHMEN | Foldable poster series Category :Print Media Design: Mr. Fabian Harm University: Merz Akademie Stuttgart, Germany Video surveillance (CCTV) is a topic that is discussed often and affects each and every one of us, either directly or indirectly. This concept aims to provide information and to encourage people to become more aware and look at the topic of video surveillance with a critical eye. A series of foldable posters was developed here to do exactly that. If the posters are opened one after the other, the abbreviation CCTV appears. If the posters are folded back together, you will see four 8-page magazines on the topic of CCTV. In addition, the exhibition was also under video surveillance and the viewer encouraged to interact with a surveillance camera. This work is a silk-screen print. Judges’ opinion: “This concept deals with a socially relevant subject and, using the means of graphic design, it has been developed in a very sophisticated way. Using different perspectives, the means of design are used to consider the relationship between the visible and the invisible.”

Entry: Printtex | Wall printer Category: Industry / Skilled Trades Design: Mr. Benjamin Loinger University: Fachhochschule Joanneum Graz, Austria How can digital images be transferred to a wall? With Printtex, there are no limits to the imagination – any motif you could possibly think of can be printed onto a wall. The portable wall printer works on the same principle as an inkjet printer. It is equipped with two coordinate sensors that limit the printable area. This area then appears on the tablet, laptop or a similar device. The user has to upload the desired motif and position it in the printable area. Once the positioning is right, the printer prints each color separately. The information displayed on the edge guides the user through the process. Judges’ opinion: “This wall printer opens up totally new and virtually endless options for digital printing. It has a downright inspiring effect! A great concept, implemented in a very expressive way.”

Entry: Blind Guider | Orientation system Category: Telecommunication Design: Ms. Hui-Chuan Ma, Mr. Yan-Jang Cheng, Mr. Chih-Hao Wang, Mr. Yin-Kai Lee University: National Taiwan University of Science and Technology, Taipei / Taiwan Blind Guider is an orientation system for blind people that uses RFID technology to announce street names and the direction you are moving in. If the orientation modules installed in the ground are touched by a white cane, all of the location-relevant information is emitted over earphones. As a result, the blind person knows where he/she is and in which direction to continue. Judges’ opinion: “A very simple design idea developed to build on and enhance an already existing system. The earphones can be quickly and easily used to provide guidance. With Blind Guider, visually-impaired users will experience a huge increase in quality of life.”

Entry: TIO Diving System | Diving system Category: Sports / Leisure Design: Mr. Ivo Wawer University: Bergische Universität Wuppertal, Germany Snorkeling and diving with scuba gear are two different types of diving, both of which are becoming increasingly popular. There are, however, significant differences between the two. Snorkelers and inexperienced divers often want to be able to breathe under water – without having to get a diving license or use heavy equipment. The TIO diving system combines the simplicity of snorkeling with the advantages of being able to breathe under water – i.e. it’s the best of both worlds. With this unique system, snorkelers now have an opportunity to look at coral and fish, shoot underwater photos, go diving on kayak adventure tours or simply enjoy diving. Judges’ opinion: “TIO closes the gap between snorkeling and scuba diving. The system is very easy to use, perfect for novice divers or for snorkelers who want to be able to go further. The concept is very beautifully executed, down to the smallest detail.”

Entry: MINUS | Fruit and vegetable scales Category: Industry / Skilled Trades Design: Mr. Youngsub Song, Mr. Hyunsub Shin, Mr. JaeHyuk Lim, Mr. Il-Hyun Kwon University: Hansung University, Seoul / South Korea MINUS is a set of scales that works on the basis of subtraction. In supermarkets, the price of fruit and vegetables is usually based on 500 grams. In other words, the customer does not get any information on a single piece of fruit, but wonders, for example, “how much does this tomato weigh and what does it cost?” The MINUS scale is positioned underneath the tray containing the produce. As soon as a piece of fruit or a vegetable is removed, the weight is deducted from the sum and the weight and individual price shown on the display. If desired, a price tag can be printed out right then and there. Judges’ opinion: “These supermarket scales are absolutely customer-friendly: They make shopping easier and quicker, and they can be used intuitively. Definitely worth an award!”

Entry: WeWOOD Flagship Store | Showroom Category: Shops / Showrooms Design: Ms. Yuan Yuan Ma University: New York School of Interior Design, New York / USA The idea of the WeWOOD Flagship Store was inspired by the WeWOOD Watch, a wooden wristwatch produced in an environmentally friendly way. The interior design is reminiscent of tree rings and is meant to symbolize the beauty of nature with its warm colors and organic shapes. Tree rings indicate the age of a tree and also serve as a kind of timepiece – just like the WeWOOD Watch – thus creating a connection between the interior design and the product sold in the store. At the same time, it raises our awareness of the beauty of nature and the protection it deserves. Judges’ opinion: “A strikingly beautiful and poetic concept for a retail space. The use of natural materials creates a perfect connection to both nature and the product (watches) being offered. A very well-conceived, very realistic concept.”

MEDIA ARCHITECTURE WORSHOP Cristina R. Maier Architectural Designer and Freelance Research Fellow coroflot.com/InteractiveDesign

The Media Architecture Workshop was organized by Interactive Design together with Zumtobel, Energolux and Projekt7. It tackled current issues within the emerging field of Media Architecture, that involves new advancements within Lighting Design, Smart Materials and above all Interacting with the People. Technology has a great impact upon our lives and the future implies creating responsive and smart spaces that facilitate dynamic interactions between people and with the space. This provides an interesting and appealing potential. It is through intense collaborations among Architects, Designers, Artists, Engineers that innovations and interesting examples have been achieved so far. We are no longer talking about a singular discipline but more of a collaboration platform, a transdisciplinary approach that leads to unique, innovative solutions. In 2014 the Media Architecture Biennale was held in Denmark, MAB14: World Cities brought together about 300 academics and professionals from all over the world. It contained Conference, Workshops, Doctoral Consortium, Exhibitions, Awards Ceremony, Field Trips and Socializing Events. The Biennale presented innovations and new knowledge within the field and focused on a diversity of events and activities. In 2016 the Media Architecture Biennale will be held in Sydney, Australia an extraordinary location considering local events like Vivid Sydney, a Festival where Lighting Innovations, Art, Technology are at its core. After the presentations, a Brainstorming session took place, focusing on new ways of working with Light and the Installation that was later realized. The reflection continued and it was a very interesting process also during the making of the Light Installation. The concept was Connecting with Light, trying to realize Light Stripes by using an existing Light Box near the stair that has been designed to change light co-

lour and intensity in time. The light is reflected in the cellophane wrap and thus we have light stripes within the space .Re-inventing the space of the staircase as well as using some other sources of light was a learning by doing experience that has been achieved in a relatively short time. It is a rather dynamic space where Light plays an important role and because of the changing colour and intensity as well as the wrap created, the space becomes an intriguing one. Overall, the Light Installation was an experience where decisions were taken on spot, a nice way of sharing ideas and working together. Media Architecture Workshop was a unique initiative that had a duration of two days and overall an interesting and enriching workshop.

Roland Sandor ÂŠ

An Introduction to Media Architecture, presentation of recent and Awarded examples as well as ongoing research by Architectural Designer and Freelance Research Fellow Cristina R. Maier 33

New advancements within Lighting Design, recent examples as well as presentation and testing of some latest Lighting devices samples by Lighting Engineer Roland Sandor

Capix by Zumtobel is a LED matrix, one Capix pixel incorporating 3 RGB LEDs. It is able to generate colour, effects but also its intelligent control system can run a sequence of moving pictures 34

Aphrodite Projector by Zumtobel is an indoor LEDRGB Projector combining light, colour and movement

Aphrodite Projector by Zumtobel

Tutors: Architectural Designer and Freelance Research Fellow Cristina R. Maier, Lighting Engineer Roland Sandor Participants: Managing Director Energolux Andras Vernes, Lighting Engineer Catalin Pop, Architecture Student Maria Cenan, Architecture Teaching Assistant Alexandra Maier, Graphic Designer and Musician Ciprian Costache, Languages Student Sorina Macec 35

GLU

The GLU is a Portuguese brand founded in 2013 by Manuela Poças Ferraz and José Pedro Ferraz specialized in the production of adhesive fabrics. In April of this year the brand presented the new collection GLU by Viúva Lamego, the reputed manufacturer of Portuguese tiles with a history of more than 166 years. The new collection presents a selection of tiles patterns by Viúva Lamego produce in these adhesive fabrics which can be easily used on any type of a smooth surface. The innovation goes beyond than protecting the memory of the Portuguese good tiles manufacturers and it goes until the different uses of the product. Flexible and easy to apply the adhesive fabrics could solve the purpose of recover used furniture, coating walls and ceilings, decorating lamps or providing a new visual impact to interior design atmospheres where ceramics would hardly fit.

Photographs and images courtesy of GLU

“A Fonte”, GLU by Viúva Lamego 38

“O Forno”, GLU by Viúva Lamego

“A Lagoa”, GLU by Viúva Lamego

INTERNATIONAL BIENNIAL POSTER DESIGN TERRAS GAUDA – FRANCISCO MANTECÓN COMPETITION 2015

The 12th edition of the International Biennial Poster Design Terras Gauda – Francisco Mantecón Competition is calling designers, artists, design studios, associations and universities to present a poster until the 30 of September. The Terras Gauda wineries supported by the Port Authority of Vigo and the Galician Regional Government, through its Office of the General Secretary of Tourism, in Spain, will award 16 thousand euros to the winners.

The deadline for entering the 12th edition of International Biennial Poster Design Terras Gauda – Francisco Mantecón Competition 2015 is the 30th of upcoming September. The competition is promoted by the Terras Gauda wineries and has the support of the Port Authority of Vigo and the Galician Regional Government, through its Office of the General Secretary of Tourism, in Spain. This biennial is reputed among the three most important advertising poster competitions. The Terras Gauda wineries will award 16 thousand euros to the winners, 10 thousand for the first prize winners and 2 thousand to the 1st honorable mention, 2nd honorable mention and the Special Mention respectively. The winning poster will be used as the image of the winery over the next two years. The panel of jurors is lead by José Maria Cruz Novilo, a design teacher and Gold Medal for Merit in Fine Arts winner, that during these years called to the panel of jurors people like Javier Mariscal, Óscar Mariné, Alberto Corazón, Manuel Estrada, Isidro Ferrer, Pep Carrió, Emilio Gil or Roberto Turégano.

The competition has reached impressive numbers of participants since it started in 2002. More than 14 thousand posters from 88 different countries on five continents were submitted, proving not only an impressive participation but also a worldwide interest shown by associations and universities as well as from museums of contemporary art. The 11th edition reached o total number of 1,890 poster entries coming from 65 different countries. An exhibition was held for a one month period at the Maritime Station of Vigo, in Spain, attracting a impressive number of Spanish visitors as well as visitors from abroad. The 2013 winner was Barbara Pilarska, a Polish designer. The list of winners includes prominent graphic artists such as University of Osaka Art and Design professor Shima Takahiro from Japan, Thomas Pion from Belgium, Sebastian Büsching, from Germany, Taber Cauldron, from USA or Cristina Vergara Echarri, from Spain. www.franciscomantecon.com

Barbara Pilarska (2013) â&#x20AC;&#x201C;Â Polish designer

Cristina Vergara (2011)Â â&#x20AC;&#x201C; Designer from Navarra, Spain

Sebastian Büsching (2010) – Professional designer from Germany

Angel Luis González (2009) – Owner of a design studio in Valencia, Spain

Taber Calderón (2008) – Owner of a design studio in New York, USA

Thomas Pion (2007)Â - Owner of a design studio in Belgium

Shima Takahiro (2006) -Â Professor at University of Osaka Art and Design, Japan

LIBRARY IN AARHUS Architecture: Schmidt Hammer Lassen Architects Engineer: Alectia Rådgivende Ingeniører Landscaping: Arkitekt Kristine Jensens Tegnestue Text: Tiago Krusse Photographs: Adam Mørk

One time someone said that History was ending and since the new digital era began many sentenced paper and books to an end. Also the history of libraries and how they started and were kept through the centuries is quite an interesting subject to learn and understand. When a new library is built makes us feel that human behavior, intellectual and spiritual aspirations are still very much alive. Most of us could easily recognize the importance of libraries not only from anthropologic and cultural perspectives but also from a sort of a transcendental need. We are not only talking about culture, knowledge or education. We are also focusing about the history of human memory and the constant upgrade of perceptions about us and the world we live in. About building libraries the architects responsible for this project know a whole lot more than us. The Dokk1 is Scandinavia’s largest library that was open to the public on the 20th of June of 2015 in Aarhus, Denmark. The Schmidt Hammer Lassen Architects won the competition to design the new urban space in 2009. The project lead by the Schmidt Hammer Lassen Architects had the collaboration of Kristine Jensens, landscaping, and the Alectia company with engineering. The building has 30,000 square meter and is integrating the Urban Mediaspace project, a urban transformation of the harbor front of Aarhus. Dokk1 integrates a new library, a citizen service centre, automatic parking for 1,000 cars and new harbor-side public squares. The new building and its surrounding areas constitutes from all time the largest construction project by the Municipality of Aarhus. The building is set at the mouth of the Aarhus River. The large polygonal form makes connections be-

tween the city, the port and the water. Forest at north and south flank the structure and a recreational belt was designed to support a new light railway operating to Dokk1 station. Road traffic issues were considered so car direct access to the park beneath the building and bicycle parking spaces for 450 units will be a complementary benefit on daily flow. A transparent covered urban space was the main concept of Dokk1. For Kim Holst Jensen, senior partner at Schmidt Hammer Lassen Architects, the construction could not be seen only as a building, he underlines that “it is a place for exchanging knowledge and opportunities and a multicultural meeting point that will change people’s perception of the entire city.” Like the academia in ancient Greece, the new Aarhus library also plays a wider social role for the citizens and also for the city. Kim Holst Jensen also mentions that “Dokk1 enhances this special setting with an architecture that creates an exceptional visual connection to the city – both from inside the building and out. Through this, we form an icon for the knowledge society, an icon for the knowledge society, an icon that supports and stimulates creative collaboration.” At the heart of the building the approach to spaces functionalities were worked, we believe, under the spirit of any library. There’s no doubt we are facing a contemporary atmosphere, designed for nowadays spatial optimized functionality and possibilities. Kim Holst Jensen expresses that “inside, the open layout creates visual connections between the various functions, and invites the visitor to be inspired by the vast amount of information that inevitably meets them.”

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