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The Dots nr5 - September 2012 London

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Connecting the Dots
Yearbook Dutch Design London 2012
Representing all Dutch presentations during the London Design Week
13 – 23 September 2012
Connecting the Dots publishes and
presents Dutch designers and design-
culture internationally during key
design events and fairs.

Publicado en: Diseño
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The Dots nr5 - September 2012 London

  1. 1. interview Deyan Sudjic about the Dutch p.12 column the article Socially Responsive Design p.42 interview dots Ineke Hans and Max Bruinsma and the RCA Pao Lien Djie p.17 about the future of interview Items magazine p.52How Droog can it get? p.18 Connecting the Dots showcases all Dutch presentations at the London Design Festival 2012 #5 September 2012 London
  2. 2. Partners Connecting the Dots · London 2012
  3. 3. Hello London,this is #002 WorkSofa by Studio Makkink & Bey#001 EarChair by Jurgen Bey, Studio Makkink & Bey #005 SitTable by Ben van Berkel, UNStudio Curious about #006? Join us @ Superbrands London for the premiere of PROOFF #006 by Studio Makkink & Bey. Stand 13-14 | 20th - 23rd September 2012 | Old Truman Brewery, London E1Not able to visit us during Superbrands? PROOFF’s pop-up showroom is located at Foundation Studio, Unit 1,49-59 Old Street, London, EC1V 9HX. For visiting please contact us at +31 10 211 00 80 or
  4. 4. Precious™ is proud to present only on our online store www.precioustore.comThe n°1 removable adhesive skinswith a coloured glass-like finish that fiton your MacBook Air or Pro screen frame.Available for:MacBook Air MacBook Pro iPhone11-inch & 13-inch 15-inch & 17-inch 4 & 4s
  5. 5. Rachel Griffin, Rotterdam · Rachel Griffin is an American designer, who after her graduation at Design Academy Eindhoven in 2011 startedher own firm named Earnest Studio. Thought the name is not related to Shakespeare’s novels, Earnest Studio wants to keep its work pure andhonest through researching traditional and sustainable production methods. Griffin is based in Rotterdam, where she did her internship atStudio Makkink & Bey, designers whose she admire and value, together with the London-based studio Industrial Facility.
  6. 6. Jólan Van der Wiel, Amsterdam · Jólan van der Wiel graduated at the Gerrit Rietveld Academy in Amsterdam wherehe established his studio in 2011. Soon became a designer-to-keep-an-eye-on with his ‘Gravity Stool’ that was especiallyacclaimed at Milan Design Week 2012 in Milan. His favourite designer is Olafur Eliasson. Connecting the Dots presentation p. 30
  7. 7. Emmanuel Babled, Amsterdam · When asked who was his favourite artist he replied: Mother Nature. The European Institute of Design in Milanhad between its students Emmanuel Babled, a French designer who established his independent studio in this famous design city in 1992.In 2010 he moved his firm to Amsterdam where he continues to show his talent after 20 years of experience in the design field.
  8. 8. Lonneke Gordijn and Ralph Nauta, Amsterdam · While half of Europe was packing to leave for vacation, in the summer of 2006 Lonneke Gordijnand Ralph Nauta were deep in their work, starting their design brand. Design Drift is a duo design firm created after graduating at the DesignAcademy Eindhoven. In their childhood they wanted to become a horse (Gordijn) and a robot (Nauta), growing up they kept their fantasy and crea-tivity alive developing a personal Wonderland of shapes and lights that you can visit in their studio in Amsterdam.
  9. 9. Maarten Baptist, Eindhoven · The young Maarten Baptist dreamed of selling ice creams on the beach. Growing up, he decidedto stick to the food and restaurant business, but started to make furniture pieces from the age of 8. After graduating at DesignAcad­ my Eindhoven, he founded JOINE in 2008, which mostly creates kitchen furniture as cutlery and glassware. Though not eeven close to the food design field, his favourite design item is ‘TEDDY BEAR’ by Philippe Starck (1998).
  10. 10. foreword index article From networking to collaborating Dutch Design London 2012 Socially Responsive Design David Heldt Hannah Jones and Anette Lundebye 25 11 Guide Dutch presentations interview Moooi A view on Design, Dutch design, Ineke Hans Research and the Museum: Bolefloor Deyan Sudjic Sabic Deyan Sedjic interviewed Mint by Anne Bates Social-Unit 42 Vij5 Pastoe column Bo Reudler London – Olympic Games and Design Prooff Jan van Weijen Studio Lambert Kamp NgispeN Mosa Van Rossum Meubelen Anon & Co. Bathroom Mania! Dennis Parren 12 Imme van der Haak Jólan van der Wiel Studio-Re-Creation 50 column Studio Rik ten Velden Design Faces Teun Fleskens interview Ineke Hans The Cottage Industry Items, the conscience of Dutch design Tiago Sá da Costa Max Bruinsma and Pao Lien Djie Versaflex Systems interviewed by Tracy Metz 26 – 31 Maps London 32 – 37 17 Program interview How Droog can it get? 38Renny Ramakers and Agata Jaworska interview by Daniela De Lorenzo 52 Index 39 portraits Ten portraits of Dutch designers Photographed by Judith Jockel 18 article Waste Mountain as Arm Accessory? Heleen Willemsen 4 – 8, 57 – 61 2211 content the dots #5
  11. 11. Favourite everyday object of Julius VermeulenAdvisor visual communication PostNL, The Hague
  12. 12. From networking to collaborating Cultural entrepreneurs and institutes in the Netherlands have to defend their raison d’être and adapt to the new economic reality whenever necessary. It can be a painful but often healthy development. Whereas five years ago the new creative class met each week for sponsored network drinks, radiating success and armed with a stack of business cards wrapped in rubber, now it has become more modest, is open to far-reaching collaboration, and meets by appointment. The trendy jackets are back in the wardrobe awaiting better times. In the interview with the design magazine Items on page 52, managing director Pao Lien Djie has this to say on the present economic conjuncture: ‘It does mean that we have to become more creative in forging collaborations with partners who share our stance on the cultural importance of design and the arts in general.’ Networking has given way to collaborating. This is as true of magazines as it is of government bodies such as Premsela, which is on the eve of a merger, and certainly of designers as well. The design sector is redesigning itself, and that is a job we will have to do together. I dare not say whether the financial situation has anything to do with it, but the meaning of the word design is also changing. When we talk about design, we increasingly have to explain which part of the spectrum we are referring to, because it is growing broader and broader. In the article Socially Responsive Design on page 42, the London-based design researchers Anette Lundebye and Hannah Jones go into what we mean by the term Social Design. They explain: ‘In line with societal changes, we are seeing designers that are forging new roles as facilitators, mediators and change agents. Design thinking is moving out of the box and into the world.’ So collaboration is not just confined to the professionals, but the public seems to be playing a crucial role in the design process too. Lundebye and Jones continue: ‘Rather than looking at people as mere passive consumers, they are included as active participants and offered a chance to co-design the lifestyles and livelihoods we want.’ We have to find out what we need before we start to make it. Once again Connecting the Dots is full of articles and photos. We have deliberately opted for shorter articles but more of them. As in previous editions, the magazine is illustrated by 10 portraits of Dutch designers, this time photographed by Judith Jockel. Besides the articles mentioned above, we have invited the director of the Design Museum in London Deyan Sudjic for his opinion on Dutch design, we interviewed Droog design about their striking presentation in Milan, and both the designer Ineke Hans and the Head of Public Diplomacy, Press & Culture at the Dutch Embassy in London Jan van Weijen have each written a column. You will have seen that the design of Connecting the Dots has been completely renewed. Design studio Haller Brun has carried out the graphic design of this edition with great care and precision, as well as providing Connecting the Dots with a new housestyle and website. Of course it is not so much design thinkers but design makers who will be present at the London Design Festival. No less than 25 Dutch companies will present themselves on various locations in the city. For the first time, Connecting the Dots will itself present a selection of 12 companies at Tent London. Please come and see our presentation, and make use of the maps on the inside of the magazine to view all the other exhibitions as well. David Heldt Editor-in-Chief13 foreword the dots #5
  13. 13. A view on Design, Dutch design,Research and the Museum: Deyan Sudjic Deyan Sudjic interviewed by Anna Bates Photography by Hege Saebjornsen This year, eight Dutch design studios were nominated for the Designs of the Year prize at the Design Museum in London; among them a land mine detonator, a conference exploring‘What Design can Do’, and a speculative project that imagines a present without oil, through a series of vessels made of natural polymers. Anna Bates spoke exclusively for Connecting the Dots to Deyan Sudjic, the museum’s director, about the changing landscape of Dutch design. Or, at least, she tried to. Is it relevant to speak of ‘Dutch design’ or ‘British design’ today? Do these terms actually mean anything?the dots #5 interview 14
  14. 14. Deyan Sudjic, director Design Museuem London
  15. 15. I always think of the museum Anna Bates · How do you choose what is ‘good’ design? How do you decide what goes on a pedestal?as being like a multiplex cinema, Deyan Sudjic · We are in an agnostic era. People are anxious of using terms like ‘good design’ andit needs to have different shows ‘bad design’. But when you show something in a magazine or museum, it is seen as an endorsement.and qualities: you need art-house So how does one introduce a nuance there? It’s difficult. I think that this is not a museum of ‘goodand blockbuster. design’, but a museum that tries to look at con­ temporary design – in particular mass-produced• design – to make sense of it. I keep repeating a phrase, which I think Paola Antonelli first used: ‘design is a way to understand the world around us’. I think this is a very powerful idea. AB · Isthis your ethos as director of the museum? DS · Yes, I wrote a book called ‘The Language of Things’ around the same time that I became director of the Design Museum, and it’s a manifesto of sorts: a bit of the intellectual knowledge that goes into the museum. But the Design Museum is not mine; it’s a platform for many viewpoints. I always think of the museum as being like a multiplex cinema, it needs to have different shows and qualities: you need art-house and blockbuster. AB · One of the nominations for the Design Museum’s Designs of the Year prize was a con­ ference in Amsterdam: ‘What Design Can Do’. The designers that organised the event claim ‘design thinking’ can be used as ‘a response to the challenges of today’s world’. Do you agree? The Design Museum DS · I took part in the conference and I sort of in London. enjoyed it. It seemed a little innocent in its beliefs. Deep down there is a system idea that if you analyse a problem carefully enough, there is a de­ sign answer to it. But I never really believed that, because some things are intractable. There are not solutions to everything. It’s a bit like the idea of psychoanalysis: if you put a problem into words, that somehow solves the problem, but I don’t think this is true. Would I go again? Probably not, it’s a theatrical event. The really great conferences they had in Holland about design were in the 90’s, when John Thackara was doing ‘Doors of Perception’; that was amazing. He was really thinking about the subject before it became mainstream, and he really understood it. AB · Designers in the new generation are increas­ ingly interested in the claims of the conference; that design can be socially and politically moti­ vated. The output of this line of enquiry is more often systems than things; will you address this work in the museum, and if so, how? DS · The museum is not only about exhibitions. We have a teaching programme here from primary to postgraduate; residencies; talks and other dif­ferent ways of looking at things. The worst thing a museum can do is become predictable, and what interests me about design is that it keeps on changing its shape. Fifty years ago a design museum could have told a story in a selection of well chosen chairs, which would trace the history of technology; people’s approach to the act of sitting; the architectural languages expressed through the chairs. I still have a collection of chairs – personally and here – but design is about much more than just these things.the dots #5 interview 16
  16. 16. Deyan Sudjic inMuseum bookshop. If design didn’t keep changing its definition it would DS · I am always cautious about seeing national become as marginal as bookbinding. characteristics in design, it can quickly degenerate into stereotyping. Look, for example, at how inap- AB · What do you think is lacking in design propriate it is to describe what Jonathan Ive does discourse now? as ‘British design’ simply because he is British. DS · I think we need more research. On the one hand It’s equally problematic to call it American design. we know that an iPhone lasts eight months and Apple puts it well when it prints the words designed depends on strip-mining lithium from the high in California on the side of the box. What is inside deserts in Chile. On the other hand it does away is assembled in Shenzhen from components made with a telephone, music system, camera, GPS. It in a dozen different factories all around the world. does away with packaging, transport, shipping etc. To British eyes the Netherlands is a country So we need to work out whether this could be the which initially seems very familiar; both have a guilt-free consumption Reyner Banham and the queen as a head of state; both are beer drinking Independent Group were interested in or whether and football loving; both have lots of 18th century it is really an evil. There was a very strong piece brick terraces with sliding sash windows. But in at the Design Biennale in South Korea last year, fact the superficial similarities conceal utterly dif- which was doing exactly this; it presented how an ferent characteristics. The Netherlands depends iPhone is made and sourced. But really this kind on an almost Japanese social cohesion that the of research is beyond the scale of an individual; British have trouble with. They live very close to- it requires the effort of universities. Unless we get gether with big windows; you see your neighbours to the root of things we might be doomed to make all the time, which is rather un-British. a huge effort to recycle without much purpose. AB · Do you think this characteristic is reflected AB · Do you think it should be part of the work of the in Dutch design? designer, to pay as much attention to the process DS · What has come to be called Dutch design is of how things are made, as the final outcome? better called design in the Netherlands, which DS · I think the good ones do. Vitra doesn’t want is the product of some well publicised educational to put poisonous pigments into its supplies so it experiments, and the residual afterglow of a state chooses to make things in different ways, but of that once felt obligated to reflect certain cultural course if you manufacture in eight different factories values for example, through the design of the PTT, around the world, how do you keep track? and the Pre Euro banknotes. AB · How would you compare design values in the UK and the Netherlands? •17 deyan sudjic the dots #5
  17. 17. Favourite everyday object of Anouk Vogel Landscape architect, Amsterdam
  18. 18. In 1995 I graduated from the Royal College traditional.” Marjan explores the potential of Art. Two years earlier I had made a very use of new and high-tech technologies for our conscious choice to go to London and study lifes now and in the future. In her field she there. London was tempting and my impression certainly is an outcast as a woman, but equally was that design in the UK was more focused Dutch in her storytelling way of confronting on industrial thinking. Coming from Dutch us with technology and getting us acquainted education that taught conceptual thinking and with it. having graduated there with one-off pieces (limited editions avant-la-lettre, you could say) this seemed a very wise and interesting move to me. The Energy Collection, by Marjan van Aubel. Graduation show RCA, London 2012. 380 chairs for Ahrend What is experienced as Dutch still seems to by Ineke Hans be part of them and me after two years of the RCA. Do London and the UK make any sense This year I was external examiner at the for Dutch Designers, you might ask? RCA for Design Products. In 1997 I had my RCA exams myself and – unlike my main You could also say that design has many faces. reason to study in the UK – I graduated with The storytelling, conceptual part is perhaps Design mainly one-off pieces, exploring designed objects, their functional visuals and sculptural not just a typically Dutch phenomenon but one of the faces of design. To me it seems that powers. Not very industrial but very con­ the UK’s educational system just embraces faces nected to the more artistic work I made in the Netherlands before. more designers with different faces in the courses and this might perhaps be the real eye-opener for Dutch Designers! Ineke Hans According to Marjan and Imme: “The design world in the UK is bigger and more varied than the Dutch one, which means more possi- bilities.” Personally I believe that the future of design lies in where these different faces of design meet: if the worlds of one-off experiments, high technology, storytelling, asking questions Beyond the Body (film) and industrial production get together, it pro- by Imme van der Haak. Graduation show RCA, vides us with great and interesting things. London 2012. Designers have to be aware of all these worlds to make that happen. And London is a great It’s interesting to hear that recent Dutch RCA melting pot to make you aware of this. graduate Imme van der Haak still experiences this similar difference in design attitude between the UK and the Netherlands: “My • impression is that the background of English Ineke Hans has a Studio in Arnhem, the design is more based on industrial design Netherlands and had her first self-initiated design history and Dutch design is more conceptual presentation in The Tramshed, East London, in 1997. and artistic.” Imme made impressive and per- (;; sonal work: She printed photos of her own body, her mother’s and grandmother’s on trans­ parent robes. Persons wearing these garments become laden by the body of someone else. According to her own description you could say Imme’s work is very Dutch. Marjan van Aubel, another Dutch RCA grad­ uate in Design Products, also recognizes: “The Netherlands has a rep­ ­ ation for an inno- ut vative and storytelling way of design. English design is very to the point, is well made and uses high-quality materials. In general it remains quite male-dominated and is more19 column the dots #5
  19. 19. Daniela De Lorenzo · What was the Milan Design Week 2012 audience reaction to the Droog presen­ ation? t People expect to see brand new objects, instead you brought an idea, a concept. Agata Jaworska · We had quite a mixed reaction. While some passed it by, looking for the next show that would feature new objects, others stayed, often for quite a long time, examining each company and discussing their thoughts with us. Many people told us it was refreshing to come to a presentation that was not about the latest product launches. It seems there is a need for presentations that reflect upon the design industry at large, and also upon the furniture fair in Milan as its Mecca. NI · What were the criteria for your selection of the design projects? AJ · It was a combination of finding existing initia- tives by designers, incorporating some of our own past and present initiatives, and inventing new ones. We wanted a broad range of business propositions, ranging from the realistic, like We Fix, a company that specializes in creative repair, to the entirely fictional, like the 10kg Institute, an institution that How Droog rations 10kg ‘polyblocks’ that can be endlessly re- printed in different shapes. The 10kg Institute came from a speculative scenario by Justin McGuirk in an can it get? article he wrote about Material Matters, which was recently published by Domus. NI · What are the main features of the business Renny Ramakers and Agata Jaworska models you are trying to offer? interviewed by Daniela De Lorenzo AJ · There is no singular over-arching feature of the Photography by Ilco Kemmere business models. Some focus on developing alter- native new materials, some on finding alternative Palazzo Clerici in Milan looks like a piece material sources, on enabling people to share things, of design itself, with its frescoed ceilings and on designing things that last longer, on satisfyingancient golden-framed mirrors. This glimmering our psychological addiction to material goods, location became just the surroundings on reuse, repair and upcycling. The imaginary fair for a simple at-a-glance installation by Droog is an illustration of what is already happening at the Milan Design Week 2012, as part of in the real world – designers are reacting in very Domus Open Design Archipelago. different ways.Driven by curiosity about this unusual presen­tation made me get closer; paper panels placed NI · This model goes completely against the flow around the room revealed powerful concepts of the whole current system. Do you think thatfor a revolutionary view of design. With ‘Material we will have to wait for new generations to fully Matters’, Droog presented 20 imaginary develop this ‘maximizing’ mentality? Who is design companies which introduce innovative most likely to follow this brand-new model? forms of economic systems that draw AJ · If you provide a good experience with very attentionto material scarcity. Droog showed simple means, there is no reason why it can’t exist design through ideas, not objects. Is this now. Every generation has its own dynamics and a U-turn in the Droog approach to design? urgencies. Perhaps the issue of material scarcity Not according to Agata Jaworska, content and might not be so relevant many years from now. project manager at Droog. NI · How do you relate the early Droog products to this new approach to design? What do they have in common? AJ · Material Matters frames some of the earlier initiatives within a context that is relevant today. Droog in the early days was very much about improvisation and making use of existing things as a reaction to design that aimed at formal and material perfection. Rag chair by Tejo Remy of 1991 is a classic example, which was featured by the imaginary company Scraps. Material Matters shows a broader range of possible alternatives to making new products from scratch. The imaginary company Waste Watchersthe dots #5 interview 20
  20. 20. Renny Ramakers (co-founder and director of Droog) and Agata Jaworska (content/project manager at Droog)
  21. 21. It’s about reconsidering teaches you how to furnish your house without buying stuff. One of its ‘products’ is Calorie stairs,the full chain and redesigning which proposes using the stairs instead of buying a work-out machine. This idea came from the ex­the process, which is part hibition Hotel Droog of 2002, which was all about maximizing experience without the need for moreof the designer’s scope. stuff. Material Matters also presents digital and other service-based alternatives to consuming• tangible goods. What is also noteworthy is that the formation of Droog was curatorial. Renny Ramakers and Gijs Bakker put existing developments within a common framework which made a statement about design. Material Matters also brings together existing initi- atives as a curatorial act, but I would say this time that the focus is more on a structural level – on the impact of a policy shift, on the need to propose alternative business models. Top: Wild Goods, Wild bone china by Christien Meindertsma for Droog. NI · Clearly the tasks of designers are changing. As designers used to be trained to design products, Bottom: UP by Droog, what is the approach they should have now? offers a range of goods made with dead stock. Will they need to have new abilities? What sort Snack set designed by of skills make someone a designer nowadays? Studio Droog. Material: AJ · As an industry, but also like most industries, we glass (supplied by Royal Leerdam / Libbey are at a point in which reconsidering our methods – Europe), coating, spoons. of production, of financing, of communicating, of interacting with our audience – is particularly necessary. Some designers are reconsidering the various parts of the supply chain, proposing new ways of sourcing, producing and distributing. The great thing about the (fictionally named) company Sea Treasures by Studio Swine is that the plastic is fished from the sea. The company Solar Sinter by Markus Kayser Studio similarly is intriguing because it brings a self-sustaining machine to the desert where there is an abundance of material and energy from the sun. Crow Works by Joshua Klein is fascinating because it turns crows into material collection agents that gather material wealth while cleaning our streets at the same time. Joshua Klein happens to be a hacker, but I think his way of thinking is also design think- ing at its best. It’s about reconsidering the full chain and redesigning the process, which is part of the designer’s scope. NI · Some of the fictional design companies of Material Matters lease or rent objects for daily use. Therefore the public, and not only designers, are directly involved and have a main part in your project. Do you think that consumers are ready to change their attitudes towards this new concept of ownership? AJ · Renting makes a lot of sense at a time when we change neighbourhoods quite frequently, not knowing how long we will stay in any given place. Renting homes and sharing cars are all quite ac- ceptable notions. It can be the same for furniture, and eventually maybe even for clothes. If tax on raw material is increased, it changes the value of existing material. People are likely to treat existing material more carefully, they will be more versatile with what they have, they will be less likely to throw things away, they might be more open to renting things, and so on. With changed incentives, people’s behaviour and even- tually attitudes might also change.the dots #5 interview 22
  22. 22. UP by Droog, offers a range of goods made with dead stock. Shoes designed by Studio Droog. Material: carpet (supplied by 2012Architecten/ InterfaceFlor), leather laces. NI · Are reuse, repair, reboot the new words also interested in making statements on structural to identify progress? levels, which means proposing alternative busi­ AJ · Regress can certainly play a role in progress. ness models and scenarios. Repairing – bringing something back to a previous state – will never go away, but our incentives NI · The DNA of Droog consisted of a Dutch to repair things fluctuate over time, becoming approach to problem-solving, and a dry sort of especially relevant when resources become scarce humour. Is Material Matters something that fits and the alternative of buying something new with that picture? becomes less attractive. Raising tax on materials AJ · Material Matters presents a relevant framework artificially increases their scarcity, thereby artifi­ for the design industry, speculating about a pos­ cially raising the incentives for repairing, reusing sible state of affairs in the future. There is some or rebooting them. humour or perhaps caricature involved, in the sense Material Matters presented a myriad of pos­ that each response quite literally took on a ‘branded’ sible reactions to material scarcity. There is approach. Within the framework, we essentially no single direction that the industry – and that presented a series of logos with one-line business progress – should take, but ultimately the show propositions, in order to convey the message that has a progressive and optimistic tone. Part of businesses will react to a top-down policy shift, progress is rethin­ ­ ng business models and not ki turning the limitation into a market opportunity. The blindly sticking to the same strategy and expecting playful and naïve tone of the logos designed by TD the same results when everything else around (Theo Deutinger) made them seem as if they were you is changing. part of another time. Whether or not this fits with the DNA of Droog NI · Was the Saved by Droog (2010) presen­ ation t we’ll leave you to decide. of items saved from liquidation sales and leftovers the core and starting point of Material Matters? What do you think Droog has achieved in the last • few years by taking this challenging path? AJ · Saved by Droog is part of a trajectory that started in the ’90s, when Droog was dealing with leftovers. At that time, the main objective was to make a statement about a different approach to design, which manifested itself through new products. We still have that ambition, but now I think we’re23 how droog can it get? the dots #5
  23. 23. It seems as though hardly a week goes by without the eco blogs reporting on a new waste product that designers are converting into a trendy handbag. It is a persistent trend in which the bag designers are increasingly opting for industrial or other rough waste materials. For instance, the Dutch company Kazmok recently won a Red Dot Design Award for its line of stylish, classically designed and robust- looking briefcases and suitcases made from indus- trial transport belts. If the Kazmok bags are not entirely your thing, as a hip, environmentally-minded consumer you can also choose a bag made from discarded fire hoses, banners, lorry canvas, army tents, men’s suits, parachutes, safety belts, bicycle tyres, sheets, plastic bags, benches, sails, or rice sacks. Most suppliers offer not only various bag models but also purses, belts and protective sleeves for mobile phones and iPads. Freitag The trend started in 1993 when the Swiss company Waste Mountain Freitag introduced its first line of bags made from lorry canvases. Freitag was also one of the first com- panies to cater to the demand for unique consumer as Arm products, since as each canvas is printed differently, every bag is different. Freitag is a big international brand that processes 390 tons of lorry canvas, Accessory? 36,000 bicycle inner tubes, 220,000 safety belts and 1,200 square metres of recycled airbags a year. Slums Heleen Willemsen in collaboration with Some ten years later, but still as one of the first, Vormberichten, magazine by BNO – Association the Dutch designer Siem Haffmans introduced his of Dutch Designers Ragbag bags. These bags are not only made from waste material such as plastic foil, but they are There is no waste material that designers produced by slum dwellers in India into the bargain.cannot turn into a bag line. Why are so many bag The company has won many prizes in the last ten designers turning to discarded material? years and sales in various countries have increased And will this save the planet? to a couple of thousand pieces a year. Easy Both Freitag and Ragbag have been imitated several times. But why is designing bags made from recy- cled material so popular? Haffmans: ‘Sustainability is attracting a lot of attention. Socially responsible enterprises are enormously popular. And the poten­ ial of recycled material is limited, of course. t A bag is an easy item to make something of and it is conspicuous in the street.’ So a bag is an easy and eye-catching product when it comes to the in- corporation of recycled material. All the same, many of the designers behind the bag labels also have big environmental ambitions with their products. Take the mission of the British firm Elvis Kresse, which makes fantastic bags from fire hoses: ‘Save the world from waste’. Still, it remains debatable whether you can save the world from waste by re- cycling it in a product. Elvis Kresse prevents the discarded hoses from ending up on the scrap heap or in the incinerator. Instead, the waste material is flown over the world to trendy design and clothing stores in the form of bags, to be worn on someone’s shoulder for a couple of years. In the end the bag will wear out too, and will then still end up on the scrap heap or in the incinerator. In the meantime the hose manufacturers carry on using new raw materials to make new fire hoses, which will also be bound to be discarded at some point.the dots #5 article 24
  24. 24. So saving the planet with a bag line is 1 a rather tall order. What Elvis Kresse and all the other designers of bags from recycled materials do achieve, of course, is to save on raw materials for new bags. Pallets Siem Haffmans is more realistic about the environ- 2 mental effects of his own Ragbags and other bags made from recycled material: ‘The environmental effect is relatively limited. A bag is more of a sym- bolic product, something that communicates. It contributes to awareness of sustainability, but it won’t save the world. We recycle maybe five hundred grams of plastic per bag and the number of bags is not so large. It would be better to make pallets from 5 recycled material, hundreds of millions of them are made. But people simply find recycled pallets less interesting.’ 3 Perhaps that is a bright new challenge for the designers of bags made from recycled materials to devote their creativity and ecological awareness to. 4 Who is going to make the first pallet from recycled handbags? And who will design the first fire hose made from discarded purses, or the first car tyre from used iPad sleeves? • 7 6 H eleen Willemsen is a freelance journalist and consultant in the field of ecodesign 9 8 10 11 1 Cyclus (inner tubes), 2 Freitag (lorry canvas), 3 Italian Coffee Hand- bags (coffee packaging), 4 Edson Raup (men’s suits), 5 Ragbag (cotton saris), 6 Feuerwear (fire hoses), 7 Doybags (soft drinks packaging), 8 BELT! (safety belts), 9 Anne van Dijk (army tents and jackets), 10 Demano (banners), 11 Doreen Westphal (inner tubes), 12 ElvinKresse (fire hoses), 13 Kazmok (transport belts) 12 1325 waste mountain as arm accessory? the dots #5
  25. 25. Favourite everyday object of Irma Boom Graphic designer, Amsterdam
  26. 26. Dutch Design London 201201 08 16 24Moooi Pastoe Anon Co. Teun Fleskens02/10 09/18 17 25Ineke Hans Bo Reudler Bathroom Mania! The Cottage Industry03 11 19 26Bolefloor Prooff Dennis Parren Tiago Sá da Costa04 12 20 27Sabic Studio Lambert Kamp Imme van der Haak Versaflex Systems05 13 21Mint NgispeN Jólan van der Wiel06 14 22Social-Unit Mosa Studio-Re-Creation07 15 23Vij5 Van Rossum Meubelen Studio Rik ten Velden27 presentations the dots #5
  27. 27. Dutch Design Presentations 01 02London 2012 Moooi The Unexpected Welcome Ineke Hans SCP Location Location Moooi London – The White Building SCP West 555 Harrow Road 87 Westbourne Grove London W10 4RH London W2 4UL Contact Designer Laura Ramos Bello-Kluit Ineke Hans Minervum 7003 4817 ZL Breda Contact Netherlands INEKEHANS|ARNHEM t +31 (0)6 388 231 22 Burgemeester Weertsstraat 132 6814 HT Arnhem Netherlands t +31 (0)26 389 38 92 map A p. 34 map B p. 3403 04 05 06Bolefloor Sabic Mint Social-Unit Mint | A Spatial SurpriseLocation Location Location Location100% Design London 100% Design London Mint Gallery HouseEarls Court Exhibition Centre Earls Court Exhibition Centre 2 North Terrace 19 Greek StreetStand E112 Stand E40 London SW3 2BA London W1D 4DTWarwick Road Warwick RoadLondon SW5 9TA London SW5 9TA Designers Designers Daniel Hulsbergen, Daphna Isaacs, Wouter Kalis, Corinne de KorverContact Contact Mieke Meijers, Dirk Van Der Kooij,Prinsengracht 13 Michael Smits Kirstie Van Noort, Jetske Visser Contact1015 DK Amsterdam Plasticslaan 1 Corinne de KorverNetherlands 4612 PX Bergen op Zoom Contact Maasstraat 160-3m +31 (0)6 205 545 75 Netherlands Nadia Chin 1079 BK m +31 (0)16 429 29 11 2 North Terrace London SW3 2BA m +31 (0)6 340 249 80 United Kingdom map C p. 35 map C p. 35 m +44 20 722 522 28 map E p. 36 map D p. 35the dots #5 presentations 28
  28. 28. 07 08 09 10Vij5 Pastoe Bo Reudler Ineke Hans Bathware for SCP SUSHISAMBA’s bathroomsLocation Location LocationMilk Concept Boutique Viaduct Furniture Location SCP Design Department Store19 Greek Street 1-10 Summers Street Sushisamba 135-139 Curtain RoadLondon W1D 4DT London 1R 5BD Heron Tower, 38th and 39th floors London EC2A 3BX 110 BishopsgateDesigners Designers London E1 6QR DesignerFramed: Breg Hanssen together Pierre Mazairac Karel Boonzaaijer, Ineke Hanswith Vij5 Studio Pastoe DesignerNewspaperWood: Mieke Meijer Bo Reudler Contacttogether with Vij5 Contact INEKEHANS|ARNHEM Rotsoord 3 Contact Burgemeester Weertsstraat 132Contact 3523 CL Utrecht Bo Reudler Studio 6814 HT ArnhemArjan van Raadshooven Netherlands Krelis Louwenstraat 1-B29 NetherlandsDebussystraat 2 t +31 (0)30 258 55 55 1055 KA Amsterdam t +31 (0)26 389 38 925654 SC Eindhoven Netherlands info@inekehans.comNetherlands m +31 (0)6 455 264 74 www.inekehans.comm +31 (0)6 245 275 31 map F p. 36 map G p. map H p. 37 map E p. 3611PROOFFHello London, this is PROOFFLocation AboutSuper Brands London PROOFF is about creating innovative products whoseStand 13 – 14 every last detail has been refined and refined again.Old Truman Brewery PROOFF involves spatial furniture elements for the pro-Hanbury Street gressive office, communication areas and public spaces.London E1 6QR From consultation furniture, in which unconscious behaviour can naturally occur, creating conditions forDesigners concentration, to the simple functionality and creativityAxia Design, Ben van of meeting places.Berkel (UNStudio),Jurgen Bey (Studio PresentationMakkink Bey) Premiere of PROOFF #006 at SuperBrands London: at stand 13 – 14 PROOFF’s newest product development,Contact designed by Studio Makkink Bey (NL) will be exhibitedAntoinette Veneman for the first time ever. Of course, you can experienceP.O. Box 34095 #001 to #005 as well.3005 GB RotterdamNetherlandst +31 (0)10 211 00 Photo‘s: Roel van Tour, Pim Top and Mathijs Labadie, map H p. 3729 presentations the dots #5
  29. 29. 12 13 14 15Studio Lambert Kamp NgispeN Mosa Van Rossum Meubelen B.V.Be Seated Playing with TraditionLocation Location Location LocationMilk Concept Boutique Super Brands London Super Brands London Super Brands London118 1/2 Shoreditch High Street Stand 25 Stand 8 – 9 Stand 28London E1 6JN Old Truman Brewery Old Truman Brewery Old Truman Brewery Hanbury Street Hanbury Street Hanbury StreetDesigner London E1 6QR London E1 6QR London E1 6QRLambert Kamp Designers Designers ContactContact Maarten Baas, Claesson Koivisto Rune, Mosa Design Team Hogeveld 8Lambert Kamp Dick van Hoff, Richard Hutten, James 6617 KR BergharenP.O.Box 1157 Irvine, Iris Janssen, Jerszy Seymour, Contact Netherlands9701 BD Groningen Wim Rietveld P.O. Box 1026 m +31 (487) 53 12 88Netherlands 6201 BA Maastricht +31 (0)6 482 733 16 Contact Netherlands Charly Jongejans t +31 (0)43 368 92 Parallelweg West 23 map H p. 37 4104 Culemborg map G p. 37 Netherlands m +31 (0)6 510 028 27 map H p. 37 map H p. 37Connecting the Dots 16Presentations Anon Co. Connecting the Dots Presentation Location About Tent London – Shop 25 AnonCo.’s journey began with a vision to create Old Truman Brewery luxurious objects of desire by engaging the global com- 25 Hanbury Street munity to take timeless concepts to reality. Fashioned London E1 6QR by you the design voyeur, AnonCo. is truly ‘designed by everyone’. As purveyor of design, you, are empowered Designer through our voting portal to elevate extraordinary designs Bryan Steendyk to iconic status, and engage in balanced consumption. Contact Presentation Anon Co. Blurring the line between art and product, AnonCo.’s Billie Holidaystraat 17 bold and energetic work utilises various medium to 2066 HA Amsterdam creatively convey a sculptural allure, exploring line, Netherlands colour and form in objects derived from recyclable and naturally renewable resource. map H p. 37the dots #5 presentations 30
  30. 30. 17 18Bathroom Mania! Bo ReudlerConnecting the Dots Presentation Connecting the Dots PresentationLocation About Location AboutTent London – Shop 25 Bathroom Mania! is an innovative Design company, from Tent London – Shop 25 Bo Reudler Studio designs and realises productsOld Truman Brewery Dutch designer Meike van Schijndel, that focusses on Old Truman Brewery (furniture and objects) and interiors commissioned by25 Hanbury Street reviving the bathroom experience. By using images and 25 Hanbury Street both private clients and companies. Alongside, theLondon E1 6QR stories in their designs they introduce a colorful fantasy London E1 6QR studio initiates and self-produces furniture collections world in the conservative white bathroom. in limited editions.Designer Bathroom Mania! received so many positive responses DesignersMeike van Schijndel to their Kisses urinal design, that led in 2003 to the Bo Reudler in collabo­ Presentation decision to start their own production and market the ration with Olav Bruin The aim of the Bamboo Windsor Chair is to re-examineContact products worldwide! the reputation and aesthetic of bamboo furniture, andBathroom Mania Contact to use the inherent qualities of the natural material toBrigittenstraat 2 Presentation Bo Reudler Studio create mass products that are all individual. The design3512 KK Utrecht The Kisses urinal, also known as the ‘mouth urinal’, Krelis Louwenstraat 1-B29 is a contemporary interpretation, of the all-time westernNetherlands transforms a daily event into a blushing experience. 1055 KA Amsterdam classic windsor chair, made with Asian craftsmanshipm +31 (0)30 214 52 10 Netherlands and materials: in this way east merges with m +31 (0)6 455 264 map H p. 37 map H p. 3719 20Dennis Parren Imme van der HaakConnecting the Dots Presentation Connecting the Dots PresentationLocation About Location AboutTent London – Shop 25 Studio Dennis Parren is engaged in the design of Tent London – Shop 25 My work is playful, yet subtle in its approach. I constantlyOld Truman Brewery furniture and lamps. Old Truman Brewery strive to question and challenge our perception of what25 Hanbury Street 25 Hanbury Street is ‘normal’, focusing on the everyday, which we mightLondon E1 6QR Presentation London E1 6QR take for granted. Colorful mysteries of light.Designer You can’t really say “that chair is red”. Actually, the chair Designer PresentationDennis Parren is reflecting red light while absorbing green and blue Imme van der Haak My interest has a strong relation towards the human light. It is light that colors the world. My CMYK lamp body and its appearance, function, and behaviour.Contact plays with the mystery of light and color casting an Contact ‘Beyond the Body’ focuses on altering the human formDennis Parren elusive network of lines of cyan, magenta and yellow Imme van der Haak by affecting its figure with just one simple intervention.Fuutlaan 45 light on the ceiling. 31A Fonthill Road Photos of the human body are printed onto translucent5613 AA Eindhoven London N4 3HZ silk, which will create the possibility of physically layeringNetherlands m +44 (0)7 733 84 40 36 different bodies, generations, and identities.m +31 (0)6 143 556 96 map H p. 37 map H p. 3731 presentations the dots #5
  31. 31. 21 22Jólan van der Wiel Studio-Re-CreationConnecting the Dots PresentationLocation About Location AboutTent London – Shop 25 I admire objects that manifest the experimental discovery Tent London – Shop 25 While functioning on the grey borders of interiorOld Truman Brewery where natural phenomena are translated into functional Old Truman Brewery design and art, Studio-Re-Creation does more than25 Hanbury Street design. In my design studio the production process 25 Hanbury Street re-cycle or re-use materials, it helps to preserveLondon E1 6QR through which products are produced is investigated. London E1 6QR belongings and memories, that would otherwise be This led to the development of new forms of craftmenship neglected or thrown away, by transforming them intoDesigner I develop production techniques inwhere a natural force Designer iconic sculptural objects.Jólan van der Wiel is the designer of the obejct. Nikola Nikolov PresentationContact Presentation Contact For Connecting the Dots 2012 Studio-Re-Creation willJólan van der Wiel Departing from the idea that everything is influenced Nikola Nikolov be presenting a new series named ‘The Scrap Staffies’:Nassaukade 369-2 by gravitation, a force that has a strongly shaping effect, Krommenieerpad 88 ‘The Scrap Staffies’ are sculptural English Staffordshire1054 AB Amsterdam Jólan van der Wiel intended to manipulate this natural 1521 HB Maastricht Bullterriers snapping at light objects. They symbolizeNetherlands phenomenon by exploiting its own power: magnetism. Netherlands the playful relation between man, nature and designm +31 (0)6 339 747 51 The positioning of the magnetic fields in the machine, t +31 (0)6 270 466 76 and remind us to treat this symbiosis with love, opposing each other, has largely determined the final and shape of the Gravity Stool. map H p. 37 map H p. 3723 24Studio Rik ten Velden Teun FleskensConnecting the Dots Presentation Connecting the Dots PresentationLocation About Location AboutTent London – Shop 25 By experimenting with material and manufacturing Tent London – Shop 25 Teun Fleskens is an industrial and interior designer,Old Truman Brewery techniques Studio Rik ten Velden tend to create a base Old Truman Brewery graduated from the Design Academy Eindhoven. He25 Hanbury Street for its form statements. 25 Hanbury Street has worked for companies like: Douwe Egberts, RIZZ,London E1 6QR London E1 6QR Habidrome, Design Academy Eindhoven, Commune Presentation Veldhoven, Province Noord Brabant, Shoesme Inter­Designer I started my ‘Single Knotted Wire’ project with a visit Designer national and chyczy.Rik ten Velden to the harbour museum in Rotterdam. I was fascinated Teun Fleskens “In a few words my style could be described as experi- by all those different kinds of objects knotted. mental, pure, natural versus industrial and clearly presentContact So I asked the Museum’s employees if they could teach Contact but not demanding”.Rik ten Velden me some techniques. I knotted for three months to per- Teun FleskensCaeciliastraat 77 A fect the technique. Then started to work on my designs. St. Annaplein 18 Presentation2312 XB Leiden For the lamps and chair only a single wire is used and 5038 TV Tilburg The V roots bank can ‘grow’ through their environmentNetherlands knotted in a form reflecting its maritime inspiration. Netherlands because they are modular. Whit 7 different elementm +31 (0)6 108 994 49 The combination of knotting technique and the applied t +31(0)6 300 664 44 in various colors you can create many options material results in unique constructive features in in size and form. All plastic components are these designs. from recycled bottle caps. The steel parts from recy­ clable (renewable) materials. Produced by Fiberplast. map H p. 37 map H p. 37the dots #5 presentations 32
  32. 32. 25 26The Cottage Industry Tiago Sá da CostaConnecting the Dots Presentation Connecting the Dots PresentationLocation About Location AboutTent London – Shop 25 The Cottage Industry products are less about form and Tent London – Shop 25 Small studio of Portuguese designer Tiago Sá da CostaOld Truman Brewery more about content. What at first glance seems ordinary, Old Truman Brewery based in Den Bosch, the Netherlands. Presently its work25 Hanbury Street will, upon closer inspection, turn out to be quite unique. 25 Hanbury Street is focused on ecological design, more specifically usingLondon E1 6QR Not too witty, not too clever, just simple products that London E1 6QR cork (one of the most sustainable materials) as a core are guaranteed to bring a smile to your face. subject. This resulted in the Corkmatters series.Designer Why the name? The origins of the term ‘cottage industry’ DesignerCharlie Guda date back to the days before the industrial revolution. Tiago Sá da Costa Presentation In those days, artefacts were made in people’s homes In the Corkmatters series, cork is crafted in a way youContact in limited supply, and it is precisely this which we have Contact have never seen before. It explores the physical propertiesDamian O’Sullivan in common with our namesake, namely, industriously Tiago Sá da Costa of cork to an utmost aesthetic use. The combinationBurg. Meineszlaan 109 A made goods with special attention to care and quality. Orthenstraat 282 of laser cutting technology with a unique non-pollutant3022 BE Rotterdam 5211 SX Den Bosch handmade technique unfolds 2 dimensional sheets intoNetherlands Presentation Netherlands 3 dimensional almost sculptural objects with organicm +31 (0)10 842 73 64 Ever wished you could see what the bee sees? Nestle m +31 (0)6 344 600 49 lines. Eco-design at its best with all natural, sustainableshop@the-cottage- in close to those petals and see all of the flowers’ fine and non-pollutant intricacies in much greater detail. Now you can, as the www.tiagosadacosta.euwww.the-cottage- Big Blossom will greatly enlarge any flower due to its magnifying lens. Whether it’s a rose you received from map H p. 37 your loved one or a flower plucked from your garden… map H p. 37 this vase knows how to make the best of it.27Versaflex SystemsConnecting the Dots PresentationLocation AboutTent London – Shop 25 Versaflex Systems takes great care to select materialsOld Truman Brewery from readily available and sustainable resources.25 Hanbury Street With the invention of the Versaflex, a sustainable andLondon E1 6QR adhesive-free modular flooring system with porcelain top surface has become a reality.ContactVersaflex Systems BV PresentationArrestruwe 39 Versaflex is the new flooring system with a push, clip6218 BE Maastricht and go feature. Unlike other clip tile systems, VersaflexNetherlands allows for vertical tile lifting giving immediate accesst +31 (0)45 785 12 22 to under floor cables or quick tile changes. No grouting, no cementing and no messy drying time make instal­ lations typically 6 times faster to lay than traditional wet lay porcelain floors. map H p. 3733 presentations the dots #5
  33. 33. 01 Moooi The White Building 555 Harrow Road London W10 4RH Kensal Green Bakerloo London Overground 02 Ineke Hans / SCP SCP West 87 Westbourne Grove London W2 4UL Royal Oak Circle Hammersmith City Bayswater Circle Districtthe dots #5 map 36
  34. 34. 03 Bolefloor 04 Sabic 100% Design London Earls Court Exhibition Centre Warwick Road London SW5 9TA Earl’s Court District Picadilly West Brompton District London Overground 05 Mint Mint Gallery 2 North Terrace London SW3 2BA South Kensington Circle District Picadilly37 map the dots #5
  35. 35. 06 Social-Unit Gallery House 19 Greek Street London W1D 4DT 07 Vij5 Milk Concept Boutique 19 Greek Street London W1D 4DT Tottenham Court Road Central Leicester Square Picadilly Northern 08 Pastoe Viaduct Furniture 1 – 10 Summers Street London 1R 5BD Farringdon Circle Hammersmith City Metropolitan Chancery Lane Centralthe dots #5 map 38
  36. 36. 10 Ineke Hans SCP Design Department Store 135-139 Curtain Road London EC2A 3BX 12 Studio Lambert Kamp Milk Concept Boutique 118 1/2 Shoreditch High Street London E1 6JN Old Street Northern Shoreditch High Street London Overground 09 Bo Reudler Sushisamba Heron Tower, 38th and 39th floors 110 Bishopsgate London E1 6QR 11 PROOF 13 NgispeN 14 Mosa 15 Van Rossum meubelen B.V. Super Brand London Old Truman Brewery Hanbury Street London E1 6QR 16 Anon Co. 17 Bathroom Mania! 18 Bo Reudler 19 Dennis Parren 20 Imme van der Haak 21 Jólan van der Wiel 22 Studio-Re-Creation 23 Studio Rik ten Velden 24 Teun Fleskens 25 The Cottage Industry 26 Tiago Sá da Costa 27 Versaflex Systems Tent London – Shop 25 Old Truman Brewery 25 Hanbury Street London E1 6QR Liverpool Street Circle Hammersmith City Metropolitan Central Shoreditch High Street London Overground39 map the dots #5