THE DOTSp22

p90

p48

p34

p60

p44 p36

p12

p52

1

ww

smool by robert bronwasser design by robert bronwasserby robert bronwasser

smool by robert bronwasser

opening showroom12 - 14 may 2011amsterdam

www.smool.nlwww.ahrend.com/salone

Famous Dutch designer Ineke Hans presents

Ahrend 380 made of recycled and recyclable materials.

Japanese designer Yuya Ushida presents

Ahrend XXXX_Stool play with space.

Visit the exhibition Space Tricks and Material Treats, powered by Ahrend.Check @ Via Ventura 6, Milan

Press Preview: 11 april, 15 20 hours

Ventura Lambrate Opening Night: 13 april, 19 23 hours

Opening hours: 12 17 april, 10 20 hours

New Ahrend Loungescape

Playing tools for architects (not in Milan yet).

Basten Leijh designed a spectacular broad Soft Seating programme.

_ SPaCe TrICkS aND MaTerIaL TreaTS

Het NII is een platform van bedrijven in de interieur en lifestyle branche. NII organiseert events waar trends de basis zijn voor inspiratie.

27 MEI 2011Masterclass Interior & Lifestyle door o.a. Li Edelkoort.Meer informatie op www.interieurinstituut.nl

25 OKTOBER 2011Masterclass Architecture door Li EdelkoortMeer informatie op www.interieurinstituut.nl

Meer informatie om lid te worden en de masterclasses bij te wonen: info@interieurinstituut.nl, +31(0)70 345 08 24

HET NEDERLANDS INTERIEUR INSTITUUT VERBINDT

POSTBUS 43 2501 CA DEN HAAG TEL +31(0)70 345 08 24 info@interieurinstituut.nl www.interieurinstituut.nl

MILANO PARIS PARIS

MILANO PARIS

MILANO LONDON LONDON PARIS LONDON PARIS PARIS LONDON PARISTRENDFORECASTTRENDFORECASTTRENDFORECAST LONDONTRENDFORECAST LONDON

TRENDSTRENDFORECAST

TRENDSTRENDFORECASTTRENDSPOTTINGTRENDSPOTTINGTRENDSPOTTING

TRENDSTRENDSPOTTING

TRENDSEVENTS

TRENDSPOTTINGEVENTS

TRENDSPOTTINGNETWORKINGNETWORKINGNETWORKING

EVENTSNETWORKING

EVENTSPLATFORM

NETWORKINGPLATFORM

NETWORKING

The Dutch Interior Institute is a network organisation of companies in the interior&lifestyle business. They organise events inspired by trends. 27TH MAY 2011Masterclass Interior & Lifestyle by Li Edelkoort.More info at www.interieurinstituut.nl

25TH OCTOBER 2011Masterclass Architecture by Li EdelkoortMore info at www.interieurinstituut.nl

To become a member: info@interieurinstituut.nl, +31(0)70 345 08 24

adv NII 286x216 The Dots.indd 1 07-03-11 10:36

Het lijkt zo eenvoudig: water uit eigen bron, gerst van eigen land en hop uit

eigen tuin. Maar waar vind je dat nog? Gewoon in ons eigen Limburg! Bij

Gulpener. Daar put onze meester-brouwer (Zeg maar gewoon Jan-Willem)

zijn natuur-zuivere water uit eigen bron en staat hij met liefde voor u aan de

ketels. Daar verbouwt Ben Lacroix, samen met ng dik vijftig andere milieu-

vriendelijke boeren uit de streek, zijn zonnige gerst en teelt Roger Wouters

met trots de hoppigste hop. Gulpener bier is telen met trots, brouwen met

liefde en genieten met smaak. Z eenvoudig, dat het gewoon weer bijzonder is.

Sharing the Real ThingBoer Zoekt Vrouw is a popular Dutch television show, in which farmers go looking for their future wives. Is this the umpteenth variation on the dating show format, which is so tediously familiar? Nothing could be further from the truth. 5.5 million people watch the show. Only the World Cup football finals scored higher. One third of the Dutch population tunes in every week to watch the struggles of very ordinary, shy farm boys who live with four ultra-Dutch women for one week and then get to pick Mrs Right. The awkwardness with which the men court these women is authentic and many have found it to be moving. While milking the cows, making cheese or shovelling manure, a fragile romance blooms. This has turned out to be a golden egg, a formula for success in a time in which integrity and sincerity seen to have become scarce. The programme illustrates a strong predilec-tion for authenticity. People want to see the real world, not an idealised one. Nothing would seem further from what you came to see this week in Milan. But even so, this spirit of the times is haunt-ing us even here, during Milan Design Week 2011. Where do these products come from? How are they made? What materials have been used and what social aspects cling to the creation process? Design is not purely functional, more and more it tells us about its origins: true stories that are visualised in the countless presentations held throughout the city, whether it is by individual designers, small design agencies or large compa-nies. You could even say it is an international movement that is gaining influence. And it is a trend in which the Dutch are in the lead. More and more, Dutch designers are turning their attention toward the consumer, as a result of which the development process has increasingly fewer secrets. This offers the maker the opportunity of embedding his work in a broader context. Claudy Jongstra (p. 19), Christien Meindertsma (p. 77) and Lotte van Laatum (p. 53, p. 20) are only a few examples of designers for whom the development process is an important part of the design. The process as a starting point seems to be increasingly important and that is exactly why we ,ve asked Diana Krabbendam for an interview, which opens this edition, on page 12. Krabben-dam initiates projects in which creativity is the driving force behind change and innovation.

On the principle that You are what you share ,, she advocates the sharing of knowledge. With that, Krabbendam leads the attack against large companies who, in her words: are too attached to principles of not sharing and of creating scarcity ,. She is putting her money where her mouth is and is launching a new master ,s programme in Amster-dam under the name of THNK., starting in Sep-tember. An important leitmotiv during the pro-gramme is the notion that multi-disciplinary collaboration is the key to creative leadership. A master ,s in process design, you could say. Krab-bendam will elaborate on her ideas during the launch of Connecting the Dots at the Dutch Consu-late in Milan. Hidden behind the products shown in Milan lies a dynamic world. That is made all the more clear during Milan Design Week, where the entire industry gathers together once again; a temporary global village, where everyone presents their work internationally and comes to expand their net-work. Designers who are not presenting their work in Milan are often here nonetheless. So if you should have trouble finding a Dutch designer in Connecting the Dots, just ring them up. Chances are they are in Milan even without a presentation, and you can get together for drinks at one of the openings. Have fun!

David Heldt

Television stills from Boer Zoekt Vrouw

Colophon

Connecting the DotsDutch Design Yearbook in MilanRepresenting all Dutch presentations during the Milan Design Week 12-17 April 2011

The magazine Connecting the Dots is published by Tuttobene

Tuttobene, Damrak 70 - studio 5.631012 LM AmsterdamThe Netherlandswww.thedots.nlconnecting@thedots.nl+31 (0)208932886

Editor in Chief David Heldt david@thedots.nl +31 (0)615510727 Contributing editorsAnnemiek van Grondel, Jeanne Tan, Maria Serra, Monique van Empel, Alexandra Onderwater, Thies Timmermans and Judith van de Goor (Groene Offerte), Johan Kramer (Consul General of The Netherlands, Milan), Els van der Plas (director Premsela), John Wood (Emeritus Prof. of Design, Goldsmiths University of London), Diletta Toniolo (designpun-todoc.com), Victor le Noble (Tuttobene), Micaela Nardella (intern at Tuttobene).

Translator/Copyeditor Caitlan Kennedy www.bureaukennedy.com

Graphic design Koehorst in t Veld www.koehorstintveld.nl

All images set in blue are taken from Het Geheugen van Nederland.www.hetgeheugenvannederland.nl

Contributing photographers Roos Kroes (photo reportage) www.rooskroes.comIlco Kemmere www.ilcokemmere.nlArthur van Megen www.arthurvanmegen.com

Printed by VNV Mediaprinting www.vnvmediaprinting.com

Communication & PressLuc Deleau luc@thedots.nl +31(0)652472990

Advertising Victor le Noble

Commissioned byAgency NL, Ministry of Economic Affairs, Agriculture and Innovation

Supporting partnersBNO - Association of Dutch DesignersConsulate General of the Nether-lands in Milan

Tuttobene 2011All rights reserved. Copyrights on the photographs, illustrations, drawings, and written material in this publica-tion are owned by the respective photographer(s), the designer(s) and the author(s). No part of this publication may be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without permission of the publisher and designers, photographers and authors involved.

Potsherds, found in Sneek 200 200

6 COLOPHON 7 FOREWORD

Presentations Photo Documentary Designers at Work , by Roos Kroes

Articles & Columns

Foreword

Sharing the Real Thing by David Heldtp7

Interview

Now is the Time for Designers Interview with Diana Krabbendamby Annemiek van Grondelp12

Column

Social Design, a Dutch Tradition by Els van der Plas, director of Premsela, the Dutch institute for design and fashion.p20

Article

Dutch Designers Who Live Abroad by Jeanne Tanp22

Column

Creativity Flourishes Mainly in the Right Environment by Johan S. Kramer, Consul-General of the Kingdom of the Netherlands in Milanp31

Column

How can Metadesigners Design a Diversity-of- Diversities? by John Wood, Emeritus Professor of Design, Goldsmiths University of Londonp34

Article

Sustainability from a Technological Viewpoint by Thies Timmermans and Judith van de Goor (Groene Offerte) p36

Article

The Entrepreneurial Designer by Maria Serrap44

Article

Bugaboo The Logic of the Asymmetrical Donkey by Alexandra Onderwaterp58

Article

Textiel Museum Craft Meets Innovation by Alexandera Onderwaterp59

Article

More Atmosphere, Less Names by Monique van Empel p60

FuoriSalonep69

Fierap93

Zona Tortonap80

Zona Lambratep84

FS01 Mat&Me and Made in Design Studio p69FS02 Yii p69FS03 Max Lipsey p69

FS04 Nodus p70 Studio Formafantasma Studio Job

FS05 Studio Job p70

FS06 Dilmos p71 Kranen/Gille Studio Formafantasma

FS07 Pastoe p71

FS08 Tuttobene p72 Barbara Vos Hendrik Studio Jacob de Baan Jolanda van Goor Architectural Designer Laurien Oversier Louise Cohen Melle Koot Design Studio Collective Paper Aesthetics Melt interieur Studio Sjoerd Jonkers Tanja Soeter Temporary collective Teun & Floris Vormstudio Willem Matthijs Schilder

FS09 Stortplaats van Dromen p76

FS10 ag22 p76 Droog Lensvelt

FS11 Spazio Rossana Orlandi p77 BCXSY Jack Brandsma Studio Formafantasma

FS12 WET p78FS13 Design Academy Eindhoven p78 FS14 aMAZElab p78

FS15 Cascina Cuccagna p79 Gitte Nygaard Jair Straschnow Wouter Nieuwendijk & Jair Straschnow

ZL01 Autofficina p84 Studio Roel Huisman De Vorm Designlabel Vij5 & Mieke Meijer Floris Hovers Galerie Judy Straten Studio Schneemann Studio Laurens van Wieringen

ZL02 New Times, New Heroes p86 ZL03 Studio DRIFT p87

ZL04 Collective Location p87 PeLi Design Academy Fine Arts Maastricht Studio Dave Keune

ZL05 Kevin van Braak p88

ZL06 Light Space p88 Annelou van Griensven detailF Doreen Westphal Design BV Lambert Kamps Particles Gallery

ZL07 Undai p91 Ahrend Emmanuel Babled Studio The Dutch Standard Van Eijk & Van der Lubbe Weltevree

ZT01 BRAND VAN EGMOND p80ZT02 Moooi p81

ZT03 Via Tortona 12 p81 Pieke Bergmans Tristan Frencken YLdesign

ZT04 Functionals p82ZT05 NgispeN / Gispen p82ZT06 Iconic Indoors p83 ZT07 Royal Academy of Art p83

F01 Arco p93F02 Magis p93 F03 Montis B.V p93

BCXSYp18

Claudy Jongstrap19

Dirk van der Kooijp32

Frederik Roijp33

Ghyzcyp42

Ineke Hansp43

Kranen/Gillep52

Lotte van Laatump53

Piet Hein Eekp56

Yuya Ushida & Wijtse Rodenburg p57

8 Contents 9 Contents

Design Cooperation Brainport aims to stimulate and

connect creative initiatives that strengthen the regions

(inter)national reputation in the field of top technology

and design. We are a broad collaboration between

various design organizations within the Brainport

Eindhoven region, which distinguishes itself through

Technology and Research, quality manufacturing, and

a close-knit Design community. In connection with

the establishment of Design Academy Eindhoven, this

region may rightfully position itself as the cradle of

Dutch Design.

Within the Brainport Eindhoven region there is a strong

focus on close cooperation between government,

business and knowledge institutes. We work hard to

link the industry with the creative sector so conceptual

design can be translated into industrially feasible

products, including connected services. The ambition

of Design Cooperation Brainport is to further integrate

Design and Design Thinking into the economic and

social system of the region.

by Design Academy Eindhoven

Design Cooperation Brainport is proud to present THIS WAY, an exhibition by

Design Academy Eindhoven (DAE). This is a wonderful example of the way the

Brainport Eindhoven region operates. The exhibition consists of a selection of

2010 graduation projects as well as alumni work, and also shows successful

collaborations of designers and industry.

This year DAE is based at Via Friuli, where the Academy Caf will be run by alumni

and students. A number of events are scheduled, including MY WAY (talks by

prominent alumni) on Wednesday 13 April from 5.00 6.30 pm, and a series of

Breakfast Conversations by DAE Masters students in collaboration with Premsela

on Thursday 14, Friday 15 and Saturday 16 April from 9.30 11.00 am.

Curated by:

British designer Ilse Crawford, Head of Department Man & Well-Being

at Design Academy Eindhoven.

WEDnEsDAy 13 ApRIl unTIl sATuRDAy 16 ApRIl

11.00 AM 7.00 PM

sunDAy 17 ApRIl

11.00 AM 6.00 PM

VIA FRIulI 26 MIlAn

nEArEST SuBWAY ExIT LODI T.I .B.B.

1 DESIGNER AS ENTERTAINER The sound of the cityAkko Goldenbeld: Pianola graduated 2010

Photo: Design Academy Eindhoven, Ren van der Hulst

2 DESIGNER AS INNOVATORFrom production line to prototyping machineDirk van der Kooij: Endless graduated 2010

Photo: Design Academy Eindhoven, Ren van der Hulst

Other photos:Boudewijn BollmannSjoerd Eijkmans

THIS WAY

OPENING TIMES

CONNECTabiliTy

grOwTh

iNCUbaTiON

NETwOrkiNg

DEVElOPMENT

iNiTiaTiVE

SErViCE

kNOwlEDgE ExChaNgE

COOPEraTiON

ViSibiliTy

1

2

CO

NC

EPT

: VO

LLE-

KR

AC

HT

// P

HO

TO: L

ISA

KLA

PP

E

www.ddw.nl

10th anniversary Dutch Design Week

DDW is a renowned international design festivalheld in the Netherlands. Over 1.500 designerspresent unparalleled ideas, individualistic worksand insightful designer solutions. DDW is aplatform for innovation and inspiration with asophisticated blend of fresh talent, excellentdesigners and established bureaus. Providing acomprehensive overview of all aspects of design,from the conceptual stage to the high-profileproduct, showcased at more than 60 locationsthroughout the city. In cooperation with our guestcurators, DDW oers a balanced and inspiringevent.

360 events: exhibitions, lectures, awardceremonies, workshops, food, and parties.

10thAnniversary

4143 DDW] Adv Connecting the Dots_286x216mm DEF_Opmaak 1 01-03-11 16:15 Pagina 1

Annemiek van Grondel Photography Ilco Kemmere

There are more than enough innovative theories about the design profession, but putting them into practice is a whole different matter. Diana Krabbendam is the prototype of a multifaceted source of inspiration and creative innovator who considers the saying You are what you share , of paramount importance. With her company The Beach, she examines creative innovation in various fields and truly puts it into action. With culture as my driving force, I am continuously searching for new meaning.,

Now is t he T ime fo r Des igners

12 13

I share, therefore I am. Is this the answer to designing new routes for complex issues? Is it the way to interpret creative leadership in this day and age? Let ,s focus on Nieuw-West, hardly the most dynamic of Amsterdam suburbs. Here we find an unshrinking violet amid the concrete. An immense former car park is concealed amongst silent blocks of flats. Inside, its metamorphosis from stag-nation to industry becomes clear: the building has been rechristened a creative breeding ground, complete with concierge. On the ground floor, there is a meeting/caf area, an open neighbourhood kitchen and various workshops. On the first floor, offices have been constructed round an open area, which is regularly used for meet-ings and events. Behind a simple wooden partition is the working space of Diana Krabbendam (1956) and her creative innovation company, The Beach. She shares the space with Goods, a company set up by her husband Frank Blom, which produces and distributes accessories for the home and small furniture pieces by Dutch designers.

I am looking for a new ecology, a free-functioning organism ,

Five years ago, Krabbendam and two others decided it was time for a change. An important driving force behind this decision was the Creative Challenge Call initiated by the ministries of Economic Affairs (Economische Zaken, EZ) and Education, Culture and Science (Onderwijs, Cultuur en Wetensc-hap, OCW). This Creative Chal-lenge Call asked the business community, both creative and otherwise, to come up with project proposals aimed at creating networks between the creative sector and other parts of the Dutch business community. Its aim: a fertile cross-pollination between

culture and economy. Michiel Schwarz, a pioneer in the field of e-culture, proposed a collabora-tion. So we set up The Beach, which stems from a desire to work towards a better society ,, says Krabbendam, seated at a large meeting table with a cup of coffee. One of our questions was: how can creative processes in a general sense be of influence? How can examples of real-life design within various disciplines contribute to developments in culture and economics? We decided to under-take a thorough investigation of the matter.,

TransdisciplinaryKrabbendam trained as a graphic designer in Utrecht. After graduat-ing in 1984, she worked at Keja Donia design agency in Amster-dam for ten years, part of that time as creative director. Her strategic insight into helping companies define their identity in terms of their products and services was noticed by Randstad Holding, an employ-ment agency with over 15 thousand employees. She crossed over to the client side and assumed responsi-bility for the management of international design. Nearly seven years later she went on to briefly manage a design agency, after which she started her own com-pany, initially called School. Guts and a willingness to stick her neck out, that ,s what character-ises Krabbendam. My approach is a transdisciplinary one and com-bines thought and action. Dreaming up concepts doesn ,t solve complex social problems and that is pre-cisely where my passion lies,, she says. My design ambitions were not unexpected my father was an architect, my brother is a structural engineer and my sister is a fashion designer but I am also an idealist. For a long time, I was a liberal activist, active in the women ,s liberation, anti-nuclear and squat-ters , movements and in political theatre. For me it was all about achieving a greater goal together. That also applies to design con-cepts. I think it is more interesting to be able to complement one an-

other in creating something than to have it be your idea.,

While advising companies in design and innovation under the name of School, she also became editor-in-chief of Items design magazine and managing director of Pal West, where she encouraged young people in Amsterdam Nieuw-West to collaborate and discover their talents. A fashion show featuring clothing designed by young people in an empty garage in the neighbourhood resulted in a dialogue with the housing association and the district in the Notweg Garage, a creative hotspot, in which The Beach also set up shop. Makers+Co is an emerging platform for new design,. It is a programme for creators and designers with, among other things, a festival and a youth workshop

programme. We create new connections, for example by bringing media technology togeth-er with more traditional crafts, such as in FABLab. This creates a learning environment for (potential) creators and designers from different disciplines.,

Large companies are far to attached to principles of not sharing and creating scarcity. It prevents them from developing a truly innovative view of society ,

T-shaped designerKrabbendam has titled herself a cultural programmer and considers creative professionals and cultural design processes to be the motor of creative innovation. The Beach has formulated several key concepts for this new playing field. They reflect a holistic ideology that can be recognised in culture as a giver of meaning, conversation, diversity, culturisation versus economisation, mass innovation instead of mass production, collective thinking, open participation, from function to meaning, and from design in a situation to design of a situation,. I think it is important to consider the motivation behind and conse-quences of your actions ,, she says. With culture as my driving force, I am continuously searching for new meaning. And collective processes, such as collective intelligence and collaborative creativity, are crucial in doing so.,

Design thinking is more than thinking about how to design something, according to Krabben-dam. The T-shaped designer? I never use that buzzword. When it comes to designing new routes for complex issues, the term T-shaped designer is confusing. People who are hardly interested in the com-

plex context in which they are designing, are hailed as conceptual designers. It ,s rubbish. Designing is both head work and hand work. I believe in workmanship, going into things in depth and being good at your craft. But it is also about finding new perspectives, visualis-ing and translating into products, services, situations and environ-ments, which give rise to new meaning. Good design contributes to changes in society in a positive way. So designers need to have a lot to draw from. They need more than an expressive and creative ability; they need stamina and they need to be vulnerable. I believe in more of a T-shaped team, in which designers contribute a broad outlook: broad collaboration, thinking and designing as a team, inspiring people. That is creative leadership, it ,s a new form of

authorship. For me, it ,s about taking the lead, claiming responsi-bility and including others in your plans or in other people ,s plans so they can be realised. That is better than the umpteenth designer featured on TV or on a magazine cover. You are what you share; that ,s the main idea.,

Free flow of ideasAs Head of Design, Krabbendam is involved in setting up the THNK training programme at The Amster-

dam School of Creative Leader-ship, which is starting a pilot in September. People from various disciplines will be trained to actively seek no comfort zones to trigger creativity ,. She knows sharing knowledge and skills is hard for a designer. Exposing ideas to others when they haven ,t yet been completely thought-out is risky. So some creatives have developed a com-fortable stage persona. The media use them and quickly catapult them into the position of inaccessible star designer. Why is an open attitude difficult? It ,s a continuous balance between, on the one hand, author-

ship and gut feeling and, on the other, the enrichment of society, which is something you can never do alone. At the same time, you want to clarify your own perspec-tive, even when other people ,s ideas are forced upon you. Trust and vulnerability are part of sharing ,. Large companies are far too attached to principles of not sharing and of creating scarcity. She believes it prevents them from developing a truly innovative view of society and from seeing and taking advantage of opportunities to improve themselves socially. Passionately, she says: That is the big flaw in the system. What does this mean for designers? Do you act

14 15NOW IS THE TIME FOR DESIGNERS

in the interest of companies or of society? How can you put into action the enormous potential of individuals and of organisations to solve social issues? By sharing or saying: I am at an advantage, because I have something you don ,t have? If you want to solve a

problem, you have to take advan-tage of all possible sources. Don ,t create scarcity, create a free flow of ideas. This requires new environ-ments and interchanges with opportunity for the development of new insights and practices through use of media technology. I am looking for a new ecology, a free-functioning organism. I was recently at a conference of the UN Global Compact on the realisation of the Millennium Development Goals. Despite their good intentions, participating companies are disappointed about the level of cooperation and the result. TNT ,s CEO Peter Bakker concluded during the discussion: First, we should redesign the whole system. But we can ,t do that, you can. Then he pointed to the young people in the audience. I agree with him that the system must be changed. To begin with, more connections should be formed.,

What will change within the designer ,s playing field? How can he design new environments in order to enable those connections and facilitate a new way of cooper-

ating? This is what THNK and organisations such as Mediamatic and Waag Society stand for,,

Krabbendam says. Take the book Sustainism Is The New Modernism: A Cultural Manifesto for the Sustainist Era by Michiel Schwarz, published at the end of last year, in which he launches a new language and conceptual framework, togeth-

er with Joost Elffers. Or my col-legue Bas Ruyssenaars, Institute for Brilliant Failures,: a platform that discusses failing practices, purely to gain insight into where they went wrong and where they could be improved. These are initiatives that advocate a change in mentality. And that is also what The Beach is about.,

Play RealOne of the projects that The Beach is working on is PlayReal, an online and real-life design platform based on gaming principles with technol-ogy comparable to that of World of Warcraft. Participants can link their efforts to those of others in order to reach higher levels. Instead of knowledge is power , or scarcity creates value ,, the partici-pant creates value by collaborat-ing. All kinds of (local) problems contributed by various parties, for example concerning the environ-ment, food shortage or neighbour-hood livability, can be solved through play. It is an environment in

which digital natives and older gen-erations play together by contribut-ing their knowledge and experi-ence and are facilitated by a storyline with accompanying characters. After successfully completing a pilot on Food Wis-dom, the PlayReal team is now in talks with a cultural festival on Curaao, which wants to examine the cultural identity of this former Dutch colony using PlayReal. We live in a complex world with problems such as crumbling healthcare, unsafe streets, concern about the environment and failing education resulting in school dropouts. How can this be im-proved through design? Krabben-dam: Linear thinking is pass. A complex society and a great variety of visions require a holistic approach. Start with asking the right questions. You do that by involving people from the neigh-bourhood in question in the design process. For example, regarding the feeling of security on the streets: are there loitering teens, are the houses too small, why aren ,t the young people in school? As a designer, you have a moral responsibility. Author and critic John Thackara says in his book In the Bubble Designing in a Com-plex World (2005): You don ,t design something within a situation, designing is the situation. Design thinking should be a part of all sorts of processes and should, in any case, be taught in school far sooner than is currently the case.,

She sees more benefits than pitfalls. Now is the time for design-ers. Stay true to yourself and know where your strengths lie. And also try to share your knowledge and skills. It is the answer to consumer-ism and materialism. The creation of scarcity is still the mainstay of the economic system. Sharing has proven difficult and remains so. But we are working hard at breaking that taboo.,

16 17NOW IS THE TIME FOR DESIGNERS

BCXSY FS10 ZL06

Claudy Jongstra claudyjongstra.com

At the Design Academy in Eindhoven in 2004, Lotte van Laatum created a bowl made of three hundred polystyrene coffee cups, which is modern and refreshing. The recycling of this waste prod-uct, or the upcycling, of the material as she herself calls it, was a convincing example of sustainable design. But this practical and aesthetic way of combating the destruction of the planet wasn,t taking it far enough. She also wanted to make a social impact.

So a year later, she started Bloei, in which she further developed and renewed the embroidery technique for the Oya the crocheted, decorative trim of a headscarf in collaboration with first-generation Dutch-Turkish women. This group of women is hardly integrated in Dutch society. By applying their expertise and skills to new and contemporary creations, Van Laatum produced a beautiful new product - floral, crocheted neck and home jewellery that also gave these women respect and prestige.

The role of the designer is becoming more and more a social one, both in the Netherlands and abroad. Take Colombia, where urbanist Alejandro Echeverri and Sergio Fajardo, political activist and mayor of Medellin, changed the social structure of this city known for its high crime rate. In the elevated slums of Medellin, where ordinary citizens dared not go, they planned culture centres with libraries, connected to the city centre via cable-lifts. By placing the newest and most beauti-ful buildings in the poorest slums, the neighbour-hood improved, people came in from the centre of the city and the murder rate dropped from 134 in 100,000 to 34. The designer didn,t design build-ings but, in collaboration with the policymaker, he found solutions to appalling social problems.

The Netherlands has a design thinking, tradition. So Van Laatum,s attitude and qualities are not singular. At the beginning of the 20th century, many Dutch designers believed that design done well could change the world. With their dedicated approach, Gerrit Rietveld and J.P. Oud created a beautiful living environment for the common man, full of light, air and space. Their work has left an indelible impression on art and industry and has helped determine the standing and the look of Dutch design and the dedicated approach of its designers. Van Laatum fits into this tradition beautifully. More and more often we see that, in other countries, designers are relating to social fundamentals, often out of social necessity. It would be good to bring together these like-mind-ed people with different experiences, skills and cultural backgrounds. That way, designers who create something functional and beautiful from disposable cups and designers who improve slums can think up new and unique solutions to difficult social problems.

Els van der Plas, director of Premsela, the Dutch institute for design and fashion.

Social Design, a Dutch Tradition

Dutch Design Fashion Architecture (DutchDFA) is a four-year strategic programme that aims to strengthen the international position of the most prominent sectors of the Dutch creative industries design, fashion and architecture through a joined-up approach with (inter)national partners. www.dutchdfa.nl

design fashion architecturedutch

Dutch Design WorkSpaceThis creative incubator programme provides fully equipped office space to Dutch design companies that would like to enter the Chinese market. The WorkSpace aims to support their first steps into this challenging business environment by providing assistance with local marketing, networking and practical governmental issues. More information: www.dutchdesignworkspace.com

Dutch Design DeskSouth China used to be the anonymous factory of the world. Today, Chinese companies want to grow, from producing to creating. They need professionals with design and branding skills. Providing market insight and matchmaking, the Dutch Design Desk GPRD supports the entry of these professionals into the Chinese market. Interested? Get in touch via: contact@dutchdesigndesk.com

DutchDFA in China: Join the Dutch Design WorkSpace in Shanghai and work with the Dutch Design Desk in Guangzhou

DDFA_ad_inChina_216x143.indd 1 04-03-11 17:05

Bloeisofa by Lotte van Laatum, Ayse-naciye

20 COLUMN ELS VAN DER PLAS

Kijk op rabobank.nl/internationaal of mail naarinternationaldeskmilan@rabobank.com

Rabobank. Een bank met ideen.

Internationaal Zakendoen.De Rabobank gaat verder.

Kansen pakken waaranderen grenzenzien. Dat is het idee.Uw internationale bankzaken regelt u via uw eigenRabobank. U profiteert van onze kennis en onsnetwerk van buitenlandse kantoren. OnzeInternational Desk in Milaan staat voor Nederlandseondernemers in Itali opgesteld. Zodat u zaken kuntdoen op wereldniveau, met de persoonlijkebenadering die u van ons gewend bent.

Dutch Des igners Who Live

Abroad

Jeanne Tan

In the 2010 edition of Connecting the Dots, we explored the changing face of Dutch design with the article Foreign Designers who call Holland home ,. We looked at how a new generation of international designers who relocated to study and/or work in the Netherlands, were making their mark on the Dutch design scene.

In this 2011 edition, we examine the other side of the story and speak with Dutch designers living abroad. Nine Dutch designers on all sides of the globe share their experiences of love, hilarious cultural differences and what it is like to be a foreign designer.

Sarah van Gameren United Kingdom

Lok JansenJapan

Marc RuwielSouth Africa

Frank BakkerIndia

Maaike EversUSA Said Mahrouf

Morocco

Anne FeenstraAfghanistan

Boukje KochChina

Huub UbbensItaly

Nicole UurbanusBrazil

22 23

Sarah van GamerenGlitheroLondon, UK Product Design

London is full of people who find it a challenge to make something seemingly impossible happen,

Since leaving Eindhoven to study at the Royal College of Art London in 2006 and soon thereafter establish-ing Glithero with British designer Tim Simpson, Sarah van Gameren has barely had a moment to pause. The Anglo/Dutch duo earned international accolades of late for their unique brand of performance- and installation-based design: think viscous poured-concrete tables or their Blueware series of ceramic vases and tiles, which slowly turn blue by exposure to light. Van Gameren credits the rapid growth of their studio to people,s open attitudes towards design in London. We found an audience for our ideas in London. People are receptive to cross-discipline work and have an unconventional ap-proach to design. Our customers are diverse, varying from museums

and galleries to interior designers and private clients. London is the portal through which we reach these people, all over the world. , While the established Dutch design culture attracts many foreign designers to the Netherlands, Van Gameren sought distance to exam-ine her own work. It felt liberating to be able to develop our design identity outside of the Netherlands. There seems to be a more eclectic approach in the UK; it ,s a melting pot of influences from all different cultures and one designer ,s ap-proach can differ enormously from another ,s. , Van Gameren adds, Not forgetting the similarities, most importantly that the design commu-nities in both countries are very close-knit. , And while she might get the occasional craving for Dutch herring or a yearn for flat roads to cycling on, Van Gameren sees few downsides to calling London home. No doubt she ,s picked up some British traits in the process? Defi-nitely a fascination for engineering and machines!,

Frank BakkerCGC EngineeringFB DesignPune, India Industrial Design

It seems to me that many Indians live life as a process, while the Dutch and much of the West live lives filled with targets and deadlines, always chasing results,

Judging from the enthusiasm that industrial designer Frank Bakker has for his adopted homeland, he ,s obviously in his element in India. Eight and a half years after found-ing his design and manufacturing companies CGC-Engineering and FB Design, the future is looking bright. Admittedly, it wasn,t always smooth sailing. The culture is difficult to understand (as an out-sider). Like unpeeling the layers of an onion, one begins to understand why things are the way they are,, Bakker says. Health risks are an issue (Bakker contracted Malaria last year) and sometimes basic necessities are challenged like water, electricity or proper roads., For newcomers to India, Bakker recommends leaving all precon-ceived cultural notions behind. The meaning of 'yes', 'food', 'time', 'deadline' changes as does the

concept of right, and wrong,. The cultural differences are indeed huge and you must be open to seeing that and to adapting to make life work-able and liveable., As a result, Bakker has integrated both Indian and Dutch ways of working. In the Indian context being blunt is gener-ally not appreciated. Not being able to express opinions freely makes the design process very complex. In India, one has to make things work and many things go differently than originally planned but not wrong per se. As a result, there ,s a flexible, "everything is possible! mindset, which is fantas-tic. To manage these processes I keep the end goal in mind like a Dutch person would, but work with the variability of local conditions. , Industrial design is still relatively new to India design in general takes a functional or engineering-based approach and Bakker ,s clients still need convincing when it comes to investing in good design. Despite this, Bakker continues, It's the Indian mindset of seeing possi-bilities and tapping into resources that is very energizing. There are people of great skill and talent here and a market that ,s only beginning to discover design. A growing economy brings excitement; the people here are very positive about life. ,

Said Mahrouf

Photography: Michael Durr

Glithero

Photography: Petr Krejci

Frank Bakker Lok Jansen

Said MahroufCasablanca, Morocco Fashion

Even though I knew my culture very well, I only discovered how Dutch I was when I actually came to live in Morocco,

An opportunity to expand his career amid an emerging design culture led fashion designer Said Mahrouf to relocate his design studio to Morocco in December 2010. Mahrouf had been jetting between Amsterdam and Casablan-ca since 2008, but the increasing demand on and recognition for his work in his birth country cemented his decision to stay. It looks like I ,ll be staying long term just because I see much faster growth in my business here. Specifically in fashion there are few designers and the design industry is still developing. So it ,s an exciting time to be here. , In addition to designing fashion collections and art installations, Mahrouf is an advisor for local fashion brands and fashion events. His international background gives him a new outlook on the local scene. My experience and educa-tion in the Netherlands and New York have enriched my design skills, which differentiates me from other Moroccan designers, as does my simple Dutch aesthetic. , On the business side, this is perhaps where Mahrouf ,s Dutchness shines through most. People here are not direct in their opinion, which makes it tricky during negotiations. It affects my work in such a way that agreements are not always respected but that means I need to think of creative ways to get the job done. , On the plus side, manufacturing in Moroc-co, with its established tradition of craftsmanship and exquisite materi-als, is easier and less expensive than in the Netherlands. And what inspires Mahrouf most about being in his country of birth? What I find fascinating about Morocco is how colour is used unrestrictedly and yet always in perfect harmony. ,

Lok JansenTokyo, Japan Illustration and art direction

Surrounded by the rich culture in fashion, art and design in Tokyo, I feel like I ,m being re-charged all the time,

For illustrator and art director Lok Jansen, living in one of the world ,s most populous and dynamic metropolises is his biggest source of inspiration. Jansen ,s first taste of Tokyo came in 1999 when he studied at the Tokyo Institute of Technology. Since 2004, he ,s been based there full-time creating visuals for clients including Prada and OMA. Much of my work comes from what I see in the city. Whenever I ,m stuck in a project I just take a long walk outside because I know I ,ll always find something that excites me. Visually I find the surroundings, the chaos and the juxtaposition of seemingly random things incredibly rich. , Thanks to the enormous scale of the city Jansen continues, there is enough critical mass to cater to even the smallest sub culture. This brings a whole host of surprising visual input from the sensitive and subtle, to the wild and crazy - a real visual treat. , With regards to doing busi-ness, Jansen observes a much clearer system back home. In the Netherlands things are more direct and efficient, from initial contact to getting the go-ahead for a project. In Japan I ,ve had clients approach-ing me about wanting to work together and it might take 2 years before collaborations can get started. Good times to work on your patience and perseverance! , And what has he learnt most from his adopted homeland? An in-creased sensitivity or sensibility both art- and design-wise, as well as in dealing with situations and the people around me. ,

24 25DUTCH DESIGNERS WHO LIVE ABROAD

Marc RuwielIdeso Cape Town, South Africa Industrial Design

South Africa has a real entrepreneurial spirit and a can do attitude that I hope to take with me wherever I go,

The abundance of sun, space and nature are some of the things industrial designer Marc Ruwiel loves most about living in Cape Town quite different to that of his home country. My parents immi-grated to South Africa in 1974 (I was eight years old at the time), so I had little choice in the matter. My father and I had attended a few English lessons in the Netherlands. I had proudly learned the word umbrella but once we arrived in sunny South Africa, there was no need to use it! , Ruwiel sees his immigrant background as a positive influence on his practice, Ideso, which he founded in 1998. As someone with foreign roots who can easily draw inspiration from different places, it has helped to open my mind to different ideas and influences and to have a more lateral viewpoint in my work. , South Africa ,s design industry is relatively young, which has its advantages and disadvan-tages. The general Dutch public has a pretty good understanding and appreciation of design where-as in South Africa, even though there are annual events like Design Indaba, I still regularly have to explain what industrial design is and what we do. , While locals might be learning about his profes-sion, Ruwiel is absorbing valuable lessons from daily life. South Africa is a melting pot of cultures. It has taught me to accept that not everyone has the same set of beliefs or values. Our problems here are huge, but South Africans have an incredible resilience. I ,m proud to say that I ,m truly a Dutch South African or a South African Dutchman whichever you prefer. ,

Nicole UurbanusSo Paulo, Brazil Jewellery

The Brazilian spontaneity and culture has been, and still is, extremely enriching for my work ,

Jewellery artist and goldsmith Nicole Uurbanus , connection to Brazil began as a teenager when she lived in Recife for several years with her family. Thirty years ago, after meeting the (Brazilian) love of her life in Japan, she returned to Brazil and is now settled in So Paulo, setting up her atelier there in 1984. The more traditional nature of Brazilian jewellery making has driven Uurbanus to carve her own path with an open mind. The situation is both limiting and liberating. The lack of jewellery schools and exchange among jewellery-makers here forces me to practise on my own, allowing me to delve into anything that interests

me. I have complete freedom to develop my work in a non-tradition-al way, adapting and adopting input from different fields. The challenge of always finding your own way around things forces you to become extremely creative. , The openness of the creative commu-nity seems less evident in Brazil. I always show my work and my experiments, which is not normally done here for the fear of being copied this lack of sharing is a big handicap. But I surprise people by not being afraid of trying. I try to convey through my work that anything is possible. , For Uurbanus, who has previously lived in the Netherlands, Pakistan and Japan, her experience of cultural ex-change has been invaluable. Dealing with different cultures makes you grow, reach out, rede-fine. It ,s wonderful to observe and reinterpret my work from a totally different perspective. Living abroad, I ,ve learned that different isn ,t wrong it ,s just different. ,

Maaike EversMike and MaaikeSan Francisco, USA Industrial Design

The main thing the local culture has taught me is to be much more at ease with the ambiguity that comes with the Californian life & work style,

When industrial designer Maaike Evers first arrived in the US in 1992 to do an internship, she was reprimanded not for her design work but for her language skills. I learned English by watching TV and listening to music, so when I came to the US I thought that swearing was a completely normal part of conversation. About a

month later I was pulled aside in the office and asked to tone it down a little ,, laughs Evers at the memory. No doubt, her English skills have come a long way since then. America has been Evers , permanent base since 1994 and together with her Californian partner Mike Simonian, she estab-lished industrial design studio Mike&Maaike in San Francisco in 2005. Their aim is to bring a more experimental outlook to a design culture that is largely industry-focused. In the Netherlands, design has the potential to progress more autonomously from industry, with the benefit of government support. In the US, design tends to be very dependent on indus-try. There is also much more design in everyday life in the Netherlands compared to in the US - design is seen as an element of Dutch

culture. , The Dutch tendency towards directness and discourse, Evers feels, has filtered through to benefit the practice. I think it ,s typically Dutch to have strong opinions and a quickly-developed point of view, usually with the objective to start a discussion. I believe this attitude can be found in the work that we do. I ,ve had to learn, however, to become more tactful with my opinions. Americans are not comfortable with confronta-tion like the Dutch are. , But the casual American relaxedness, in particular that of a Californian nature, does wonders for learning to let go. If I were to ever leave the US, I would take with me a more open-minded and anything goes work mentality. ,

Mike and Maaike

Mike and Maaike

Marc Ruwiel

Nicole Uurbanus

26 27DUTCH DESIGNERS WHO LIVE ABROAD

Boukje Koch Ask4me Group Guangzhou, China Industrial Design

China is the workshop of the world ,

A desire to learn from the work-shop of the world , led industrial designer Boukje Koch to Guang-zhou China in 2005, to help a Dutch company set up an assembly factory. After that, Koch founded her company Ask4Me Group, which acts as a design agency and an intermediary between local manu-facturers/factories and international companies wanting to produce goods in China. This is where the practicality of the Chinese mindset can be an issue. Where the West needs to stand out by concept, the Chinese still do it by price. It ,s essential to be practical (I learned that in China) in order to be price competitive but it ,s also important to push the manufacturing possibilities to create something special and be competitive through innovation (that ,s my Dutchness in China). Manufacturers tend to modify clients , original ideas blindly to what they ,re used to doing and to cut costs. When doing design projects for Chinese clients, it ,s difficult to convince them of the importance of design and that it ,s more than making a pretty shell around a product. But it is somewhat chang-ing. , The world flocks to Guangzhou for production, however, and Koch has a fond word to say about her compatriots. Dutch companies are particularly notorious for demand-ing the lowest price and best quality but ordering the smallest quantity. You can ,t have all three; quantity and quality of course influence the price. To produce in China, you need a large market. , For now, there is still much to learn and Koch is enjoying the fast pace. What has she learnt most while being in China? Quick decision-making. That anything is possible. I do think I will go back some day, but not quite yet ,

Huub Ubbens, Milan, ItalyProduct design

What I ,ve learned from my Italian colleagues is to be patient and what Ive often taught them is that they are crazy to be so patient!,

When Huub Ubbens has first arrived in Naples, Italy, many years ago, he spotted a guy on a Vespa and asked him why he wasn ,t wearing a helmet. Surprised at my question, he replied, But why should I, it is not cold outside today! For a newly-arrived Dutch boy, this was the best answer I ever heard! , Ubbens recalls fondly. Eighteen years later, Ubbens is an honorary Italian, previously

heading the design departments as the art director at Artemide and Danese-Milano before establishing his own studio in Milan in 2005. He ,s also mastered the language, which he credits as an important influence in his work, which focuses on lighting. There ,s an ease of communication in Italian. Living the language every day permitted me to discover an enormous new range of possibilities of expression that we do not have in Dutch. I dare say that already, intrinsic aspects of my work that have had the opportunity to flourish in Italy may have remained hidden had I stayed in the Netherlands. , Doing business in Italy did take a little getting used to. A gentleman ,s agreement, or a deal is a deal mentality is an almost not-existing concept in Southern Europe and our typical

Dutch straight-forward approach is sometimes almost offensive in Italy, especially when writing emails. , While Ubbens cites the heritage, sense of beauty in Italian culture and the strong tradition of craftsmanship as big inspirations, it ,s the more humble pleasures that he relishes. One of the specific things I love about Italy is the clanking sound of coffee cups and plates that announces an open cafe. Upon entering, there ,s that distinct coffee smell, people quickly downing their morning shot; the cashier guy makes a joke and you ,re off! Thinking about it now, it was about twenty-four years ago, one morning drinking coffee in Florence that I decided that I really wanted to live in Italy. ,

Anne FeenstraKabul, Afghanistan Architecture

Afghanistan has time, something that the Anglo-Saxon world has lost a bit; perhaps these ancient civilizations have a different, more spiritual approach towards time ,

Anne Feenstra ,s story must surely provide good fodder for conversa-tion. Feenstra set up his own architectural practice in Kabul in 2003 with a second office in the northern city of Khulm - and teaches architecture pro-bono at Kabul University and, since 2009, at the School of Planning & Archi-tecture in Delhi India. He must often

be asked what brought him to Afghanistan. A combination of love and curiosity, , he answers, smiling. A passion for architecture for humanity is what drives the energetic Dutchman, whose build-ings include a visitors , centre for Afghanistan ,s first two national parks Band-i-Amir (Bamyan) and Wakhan corridor, the renovation of the National Museum and five Maternity Waiting homes commis-sioned by UNICEF that address the high mortality rates of pregnant women and their newborn babies by creating a safe, hygienic envi-ronment. Feenstra has international experience, working for agencies such as OMA and Will Alsop, and a specialisation in sustainable design with an eye for keeping architecture local ,. Our design practice is very much hands-on;

with my team we also build a lot together with local crafts-people, (there ,s no construction company involved) like carpenters, black smiths, glass-blowers, stone-carv-ers, textile designers. , Conditions are far from easy but Feenstra wants to tough it out for the long term. It has become more difficult to work in Afghanistan because of the blurring lines between military and civilian. The gender issue is the most difficult part; I will never get used to that. Climatically it is harsh; one needs good stamina to be able to work here! , The biggest reward, however, is the architecture itself: Design is NOT a luxury; design is a language of the world. Ultimately it is about the relationship with the people and their appreciation. You can make a real difference here as a designer. ,

Anne Feenstra

Huub Ubbens

Ask4me GroupAsk4me Group

28 29DUTCH DESIGNERS WHO LIVE ABROAD

Creativity Flourishes Mainly in the Right

EnvironmentI often hear people talking about the power of creativity. By this I think they mean that there are people who are able to look at the world with a sense of renewed possibility. Because people who are creative primarily occupy themselves with products and services that are full of symbolism. Design, fashion, new media and music are all activities that are born out of inspiration; they contribute to our dreamworld. Ever since my arrival in Milan, I have realised that these things occupy me more now than they did in the past. In this city of all places, every effort is made to create a fertile environment in which creative powers can thrive. Milan has taught me that this is only possible if all participants in business and culture contribute to this objective. For example such participants as design academies, cultural institutions, museums, chambers of commerce, branch organisations, fairs and the media. It is not by accident that Milan is one of the most important creative platforms in the world and the place to be if you want to present your creativity to the world. Milan smells and tastes of creativity. And the FuoriSalone has a major part in this. The dynamics and that trendy innovative aura that characterises every FuoriSalone-goer are evident everywhere. It is an atmosphere more international cities, such as New York, London and Tokyo, are eager to equal. The synergy between the various creative sectors is typical of Milan. For example, for the past few years the BIT tourism fair has had its own FuoriBIT. This year the hyper-modern and, at the same time, terribly Dutch Dutch Pumps,, a design by Hester Vlamings, have been presented. Prem-sela too has taken the opportunity to organise a public interview with Thomas Widdershoven, conducted by Aaron Betsky in the Triennale design temple. Furthermore Milan is the quintes-sential fashion capital and in strong competition with cities like Paris, London and New York. Is it already time for the spring/summer collection? I hear myself asking, to my own surprise, when I see models walk by on their way to the next

catwalk. I have also had to learn more about fashion since I have settled in Milan. The DFF, the Dutch Fashion Foundation, has been attracting much attention here with mainly young and innovative designers. Names such as SPIJKERS en SPIJKERS, Marcha Hskes and Avelon are no longer unknown to me! Coming back to the importance of the FuoriSa lone for the Netherlands, I notice that the number of Dutch participants has increased yet again. And this magazine, Connecting the Dots, provides a comprehensive overview. Some participants are looking for a manufac-turer, others for a showroom, a buyer or a partner-ship. Whatever the case may be, they all have one main goal: to present themselves to the world. And that is precisely what we, as a consulate general, encourage. For years now, we have been devoting ourselves to the introduction of visitors and press to Dutch Design in the most important of design bazaars: Milan.

www.holland.it

Johan S. Kramer, portret Carlo Boni. Background photo: Kate M - Mature 1999, by Erwin Olaf

Johan S. Kramer, consul general of the Kingdom of the Netherlands in Milan

Jacobakan,, 1400~1500

Fragments of a lamp, from Bodegraven

Fragments of blue glass vase found in Zeewolde, 1880~1900

Potsherds, found in Sneek 200~200

3030 31 COLUMN JOHAN S. KRAMER

Dirk van der Kooij FS12 ZT05

Frederik Roije roije.com

As we know, the world needs our help. Species are disappearing at between 100 to 1,000 times the background , levels found in fossils, and carbon in the atmosphere is higher than it was 650,000 years ago. According to the Pentagon climate change is the greatest threat to our survival. OK - governments are doing their best to encourage changes in behaviour, but their meth-ods (e.g. targets, taxes, penalities, bureaucratic definitions) are too indirect to be effective. The good news is that designers have enormous untapped potential for remedying the situation.

But this calls for measures that exceed what designers are trained to do. The design profes-sions were established in the 19th century as a way to make the industrial revolution work for society. As a result, designers became the merce-naries who maintained vested interests and catalysed economic growth. In the 21st century, governments and NGOs must commission more

designers to address mankind ,s global predica-ment, before it is too late. But, to be able to take on this challenge, designers must learn to work in a far more joined-up, comprehensive and adapt-able way. Our initiative the Metadesigners Open Network - is developing a conceptual framework within which designers would work together more coherently and holistically. So, what is wrong with design? As we have seen, designing greener prod-ucts and services have failed to avert a possible impending Force Majeure ,. This calls for innova-tive measures, including more radical, joined-up , ways to feed, clothe, shelter, assemble, communi-cate and live together. The scale of this change will require us to re-think the way that designers are taught, practice and organise themselves. The changes needed suggest that we will also need to re-design design, as we currently understand it. Working to bridge top-down , and bottom-up , initiatives, metadesign teams would seek to integrate community and government approaches. They would generate new possibilities at the level of economics, technology, logistics, language and ecology. They would encourage a diversity-of-diversities ,, from which many synergies could be cultivated, harvested, named and branded. Ultimately, they would seek to cultivate, and align, existing synergies in order to create a global and emergent synergy-of-synergies ,.

www.en.wikipedia.org/wiki/Metadesign www.metadesigners.org

John Wood, Emeritus Professor of Design, Goldsmiths University of London

How canMetadesigners Design a Diversity-of-Diversit ies?

Oakwood tableleg, found in the Noordoostpolder, 1800~1850

Earthenware plate, found in Zeewolde, 1600~1625

Silver spoon, found in Voorburg, 20~270

Two wooden chairs from ,Groninger Tjalk De Zeehond,, 1878~1886

3534 COLUMN JOHN WOOD

Sus ta inab i l i t y f rom a

Techno log ica lV iewpoin t

Thies Timmermans and Judith van de Goor (Groene Offerte)

Well-known, forward-thinking designs based on sustainability are often amassed in the design , category: limited editions with a strong concept and an attractive aesthetic. But what about sustainability as a result of technological innovation and its application on industrially manufactured products?

UTwente, photography: Arthur van Megen

36 37

Delft University of Technology (TU Delft)

As a PhD, Ingrid de Pauw is con-ducting research at the Industrial Design Faculty of TU Delft into nature-inspired design strategies. She says sustainability within the Industrial Design faculty (Industrieel Ontwerpen or IO) is apparent even in the mission statement of the research institute: Fostering Sustain-able Wellbeing. There are also several courses within the pro-gramme in which sustainability is interlaced. And there is even a possibility to specialise in sustain-ability and receive a sustainability annotation on your diploma. Students are offered the opportu-nity to take courses in which the newest sustainability strategies are covered. During these courses they are encouraged to assume a critically positive attitude in assess-ing sustainability claims and develop a well-founded vision for design commissions. This experience encourages students to be critical of sustainabil-ity and new developments, which will be increasingly important in the future. But sustainability is not included in the standard design courses in the way that a calcula-tion of costs is, even though de Pauw thinks it should be. A minor in sustainability has been set up for all of TU Delft: ASSET. It is a collaboration be-tween the Industrial Design Engi-neering, Aerospace Engineering and Technology, Policy & Manage-ment faculties. ASSET stands for Applied Sustainable Science, Engineering and Technology and is a research and development institute, which examines sustain-ability through education and projects. Main themes are transport and energy. The minor is described as a minor for optimists who believe that human ingenuity can solve most environmental prob-lems ,. The Laddermill and the Superbus are examples of well-known projects that stem from the programme. The visionary Wubbo Ockels, the first Dutch astronaut to travel aboard the Challenger Space Shuttle in 1985 and now

known as a pioneer in sustainable and innovative projects, is head of the ASSET minor. He has been both criticised and praised for this, but the noticeable projects provide national and international atten-tion.

But sustainability is not included in standard design courses in the way that a calculation of costs is, even though it should be ,

Ingrid de Pauw (TU Delft)

The Nuna Solar Car, which takes part in the Nuna Solar Challenge every year, or Formula Zero, in which teams of students compete for the honour of having built the fastest hydrogen-driven kart, are examples of innovative projects with which the TU Delft presents itself as technological trendsetter, including to the general public.

The Pharox Solar Kit by Bernard Hulshof is an example of a sustain-able project that is now commer-cially produced. Hulshof graduated from the Industrial Design faculty in 2007 with a LED lamp charged by solar power. This lamp was initially designed for emerging markets, but has now been developed further into the Pharox Solar Kit for Lemnis Lighting. The Kit allows you to use solar energy to charge, for exam-ple, a mobile phone or MP3 player, in addition to its LED lamp function. And in addition to solar energy, the Kit can be used as back-up and be hooked up to an arbitrary energy source from 4 to 25 volts. The set comes with a solar panel, the lamp, which has three intensity levels and works from 9 to 45 hours depending on the level, and a USB connector. And the packag-ing has also been thought through. The box has been designed so that it can be used as a stand for the lamp or as storage box, for exam-ple for food, in addition to offering shock, moisture and dust protec-tion.

The Netherlands has three Universities of Technology: in Delft, Enschede and Eindhoven. These universities guarantee a measure of innovative initiatives and technological solutions. The question is to what extent this progressive outlook extends into the area of sustainability. This article offers a behind-the-scenes look at the three universi-ties and their view on sustain-ability.

These (sustainable solutions) range from lightweight packaging to the dream of every true beer drinker: the introduction of a beer supply system, in addition to the existing water supply system ,

Judith van Voorthuizen (UTwente)

Twente University of Technology in Enschede (UTwente)

The big difference between the three Industrial Design programmes at the technical universities is that UTwente teaches students to design products that can be launched in 5 years, TU Delft products can be introduced in 10 years and TU/eindhoven designs products to hit the shelves in 20 years., This is according to Thonie van den Boomgaard, Director of Education Industrial Design at UTwente. Is this eastern level-headedness? He is of the opinion that UTwente ,s con-crete and realistic approach is brought about mainly by its under-standing of the importance of environmental issues and the finite supply of resources at present. A designed product must be taken seriously by the consumer, so that it can be accepted. This requires a design strategy without ado that introduces the consumer to sustain-ability one step at a time. It is not surprising that Cradle to Cradle, the prevailing usable sustainability strategy, is inextricably linked to the faculty in Enschede. In the master ,s course of the same name, students are taught by the master himself, Michael Braungart. Be-cause energy problems are not extensively covered in the Cradle to Cradle story, but are a contem-porary issue, a more general approach to sustainable product design is discussed in other mas-ter ,s courses.

Judith van Voorthuizen did her final research project on sustainability in packaging development at Royal Grolsch. There, she discovered that packaging plays a crucial role in the protection of a product from the moment of packaging up until the product is consumed. The greatest challenge for a packaging devel-oper is to find the right balance between protection of the product and the minimising of the environ-mental impact of the packaging. In the end, the environmental impact of three types of packaging was determined with an extensive life cycle assessment. The outcome gives Grolsch insight into areas of improvement within the process and in terms of use of materials. Through literature study and a brainstorm session, several solu-tions have been devised for the creation of new, environmentally friendly packaging. These range from lightweight packaging to the dream of every true beer drinker: the introduction of a beer supply system, in addition to the existing water supply system. Solutions also include the supply of pouches, creating concentrated beer and printing the label directly on the bottle. Four ideas have been worked out in a case study and after a thorough LCA (Life Cycle Assessment) the environmental impact was compared to that of regular packaging. Ultimately, all aspects were integrated in Grolsch ,s packaging development process. This will help the company not only to calculate the environmental impact after the fact, but to make the right choices during the development process.

SUSTAINABILITY FROM A TECHNOLOGICAL VIEWPOINT

Pharox Solar Kit by Lemnis Lighting. TU Delft

UTwente, photography: Arthur van Megen

38 39

Eindhoven University of Technology (TU/e)

TU Eindhoven presents itself as the specialist in healthcare, sustainable energy and smart mobility educa-tion. Students at the Industrial Design faculty are mainly busy developing so-called intelligent products and services. Here intelligent means: reacting to the environment in an intelligent way. According to Martijn Verkuijl, lecturer and theme champ of the Next Nature , educational theme, sustainability requires more than just awareness. Influencing behav-iour offers more opportunities. So Verkuijl considers Van den Boom-gaard ,s comments about designing products that will be introduced in 20 years as a compliment.

Design for social change requires a strong visionary ability, where a desired idea of the future is determined and is then worked towards. This does not mean that students sit in class dreamily philosophising about a better future,

Martijn Verkuijl (TU/e)

Design for social change requires a strong visionary ability, where a desired idea of the future is deter-mined and is then worked towards. This does not mean that students sit in class dreamily philosophising about a better future. From the beginning of the programme, students get to work on projects for clients in the real world ,. The TU/e is often approached by companies that want to get started on a topical theme, such as sustainability.

A good example of a concrete but intelligent product is the Persuasive Innovative Emotional Trashcan, lovingly called P.I.E.T. This product, designed by first-year students, won the Strijp-S, Simply the clean-est design contest in Eindhoven and, in doing so, defeated several professional submissions. Currently, usability tests are being performed with the prototype and the team is working hard at developing the rubish bin further. The P.I.E.T. is a product with feelings: by using light, image and sound the rubish bin can change its expression. It can talk to people and give compli-ments. This should entice passers-by to throw away their rubbish. This rubbish system has been devel-oped to solve the street litter problem. In addition to the planet factor, the product also scores in the people and profit areas of the well-known triple p model. This is because residents benefit from a clean neighbourhood and the product saves local authorities money through a reduction in cleaning activities.

CollaborationIn 2007, the 3 TUs founded the 3TU Federation, to strengthen the position of the Dutch knowledge economy and generate innovation. Through this collaboration, five joint master ,s programmes are being offered. With regard to the specific area of sustainability, the universi-ties have indicated that there is no concrete collaboration other than the joint master ,s in Sustainable Energy Technology (SET).

ConclusionThere is a growing awareness within the three Universities of Technology that sustainability is an indispensable aspect for the future. By offering more and more pro-jects, electives, minors and master ,s programmes with a sustainable character, more and more students will graduate feeling very strongly about sustainability. Ultimately, this will affect both the industry and consumer products, but it will take time. The universities of technology are known for innovative projects that require time to develop before they are ready to be applied in the commercial world. Awareness of sustainability is a relatively new phenomenon. And the collabora-tion between the universities even more so. So much can yet be achieved in the coming years. Fortunately, there are more and more commercial projects for which sustainability is the basic principle. And within the universities the demand for sustainable courses is growing. Hopefully, we will soon really be able to say that thinking about sustainable solutions is just as common within the design process as making a calculation of costs.

SUSTAINABILITY FROM A TECHNOLOGICAL VIEWPOINT

Via Maroncelli, 14 - Milan Contacts: T +39.02.29062986 - sscetti@libero.it

EDIT is a communication platform, an innovative promotional format, a playground for creativity addressed at trends and trade. Home to international nomads, EDIT is also an exclusive location in the city centre of Milan: because meeting is always the way for authentically communicating. The exhibition space is located between the districts of Brera, Garibaldi and Isola and is rarely large for the city centre. EDIT is also amazingly airy and luminous, a piece of contemporary architecture set in a quiet atmosphere. EDIT can provide 1.250 square meters of available floor surface in a modular and flexible environment composed by: 2 grand open-spaces with double height and double air/sun exposition, private offices and rooms, kitchen, services, loading area with elevator and 2 private courtyards. EDIT provides to companies, communities and a selected public a pleasantly living space and a community of diversified professionals to help them communicate and promote their ideas, projects and products.

P.I.E.T. (Persuasive Innovative Emotional rubish bin) TU/e

40

Ghyzcy ghyczy.nl

Ineke Hans ZL04 F02

Maria Serra

Setting up a business is hard work. Doing it in a profitable but creatively rewarding way might be an even bigger challenge. Does the environment a designer finds himself in play a significant role in this respect?

The En t repreneur ia l

Des igner A Dutch/Italian portrait

44 45

noses,, comments Anglo-Italian designer Sam Sannia, who moved to Milan immediately after his studies in London. While I was preparing my exhibition at the Salone Satellite for the first time, I outsourced the production of my prototypes, which I had up to then built myself, and it was at that point that I had my first encounter with the prolific Italian workshops. I was so impressed with them that they still make my collections to this day.,

At the same time, Italian designers also benefit from the presence of big brand names that, once a relationship is established, may commission their designs for large-scale projects. However, what would at first glance seem like a great opportunity sometimes actually turns out to be a limitation; indeed, some designers have seen their entrepreneurial aspirations frustrated. In the absence of adequate financial support, the

appeal of an apparent fast-track , to lucrative commissions essentially means that designers based in Italy rarely take the plunge and launch their own brand or, if they do, sadly, it will generally be a side activity to their main concern. Nevertheless, an increasing num-

ber of Italian designers seeking artistic autonomy are slowly adopting the kind of entrepreneuri-al approach displayed by their Dutch counterparts. The success of

recent fairs and events aimed at these people, such as Operae in Turin and Open Design Italia in Modena, in fact seems to confirm this. Antonio Cos, who has created his own Cosllection ,, sees it as an essential form of creative survival, which allows designers to show-case their ideas and ways of working without compromise: It ,s quite hard to find an ideal partner in the industry. They are business-oriented people, while we as designers have more concept-ori-ented minds. Italian design masters have become such because, besides obviously being extremely talented and bold, they have found sensitive industrial partners who were not just interested in sales. Entrepre-neurs of this kind could not survive in the highly competitive global market that exists today.,

In the Dutch educational system the focus is on the designer who is encouraged to express his individual creativity in various forms. In Italy, where education is rather methodical and generalist, the project and not the person is brought to the foreground ,

Edoardo Perri (Whomade)

Dodo Arslan, an Armenian-born designer with a studio in Milan says: My pieces would not meet the requirements of large-scale indus-trial production in terms of the choice of materials, the manufactur-ing process and cost. This is the reason why I have started to work with local craftsmen and, as a

Human geography does count and in fact makes a real difference to a designer, especially in a world that calls itself global , but is unequivo-cally local , in many respects. Looking at Holland and Italy, the social, political and cultural land-scapes found there seem to share few similarities and when it comes to the economy the gap between these two countries becomes even greater in terms of their respective resources, production modes and business models. Indeed, notable stories of design entrepreneurship do appear to confirm this but, surprisingly, they sometimes also highlight a like-minded approach.

It all starts at school,,explains Edoardo Perri, co-founder of the Milanese brand Whomade, who attended the Gerrit Rietveld Academie in Amsterdam and taught at the Design Academy in Eindhoven. In the Dutch educa-tional system the focus is on the designer who is encouraged to express his individual creativity in various forms. In Italy, where education is rather methodical and generalist, the project and not the person is brought to the fore-ground., Gionata Gatto, a young designer who studied in Eindhoven

and currently runs a studio there called Atuppertu, shares this view: A crucial reason for my staying was that I had adopted some typical Dutch characteristics, such as the ability to approach projects with spontaneity and with a kind of boldness almost.,

Dutch designers tend to oversee every aspect of their business without interference, from concept to manufacturing to distribution ,

Maria Serra

This does not necessarily mean that Italians do not have a hands-on attitude or that they are afraid of putting their feet in the clay , as the well-known Dutch proverb goes; they simply seem to learn these skills outside school. I was born in a typical industrial area, which is a direct product of the pragmatic attitude of its inhabitants,, recounts Filippo Protasoni, who comes from the outskirts of Varese near Milan,

one of Italy ,s most productive industrial and craftsmanship districts ,. As I see it, design has always been a creative solution to a very real and practical issue, or an answer to a question that has not actually been formulated yet but which calls for an exhaustive

reply anyway., Italy ,s exceptional production infrastructure is a strong draw; indeed, many foreign designers have decided to relocate their business there for this very reason. Italians are lucky because, before they have even properly begun, they already have every-thing they need right under their

1

3

6

5

2

THE ENTREPRENEURIAL DESIGNER46 47

bonus, I have the opportunity to contribute to keeping their knowl-edge alive, which is a privilege really., In fact, Arslan has collabo-rated with some of the most well-reputed artisans, including the original makers of Gio Ponti wood furniture (the Buraschi family), the manufacturer of Memphis and Cappellini ,s fibreglass classics (Antonio Pileri) and many more.

One of the main advantages of working independently seems to be the opportunity to be proactively involved in every stage of the process up to and including promo-tion and distribution. Matteo Cavallari and Thea Campioli from TheGreenThea in Modena, who specialise in customisable objects made from recycled materials, are of the opinion that: Working on your own collection requires total commitment and a lot of effort in terms of research but the rewards

can be phenomenal., Daniele Mazzoleni, who makes hand-made products for his art design brand NeroAcciaio, highlights another plus: Having straightforward access to the market and establish-ing a direct relationship with the final consumer, who can then track your work., Disadvantages, accord-ing to most design entrepreneurs, lie mainly in the difficulty in finding the right distribution channels and actually bringing the product to sale. This is certainly the main difficulty we come across, espe-cially since ours is a niche product, crafted with unconventional materi-als,, says Arianna Subri from Uroboro design, whose striking collection includes cardboard furniture.

It has to be said that Italy still lacks strong designer-to-consumer ,

entrepreneurial models of a calibre that is recognised at an interna-tional level. The Netherlands does not have this problem, however, as designers like Piet Hein Eek clearly show. Eek strategically uses his own name as his brand, which only some of the more well-established figures in the design scene have dared to do (Tom Dixon and Ingo Maurer, for instance). Dutch design-ers tend to oversee every aspect of their business without interference, from concept to manufacturing to distribution. This new way of approaching the design process essentially takes the old-style tradition of making one ,s own products to a new level. It follows in the steps of the music world, where establishing one ,s own label offers musicians the independence that they often crave: they retain control over production, make the

kind of album they really want and then sell it through whatever medium(s) they choose.

This independent way of working seems to appeal in particular to designers who work with new technologies. Digital production is the best way to have a designer-to-consumer approach,, believes Janne Kyttanen, founder of FOC (Freedom of Creation), a design company pioneering the manufac-turing and commercialization of 3D printed products. You can quickly reach customers worldwide and they can have your piece produced in their hometown. All you have to do is send them a digital file and they take this to their local 3D

printer., The Finnish designer gradu-ated from the Gerrit Rietveld Academy in Amsterdam and, after a few years, relocated his start-up business to the Dutch capital where he explains: Thanks to the govern-ment, which has been very support-ive of art and design, there ,s a lot more happening now .,

FOC ,s forward-thinking use of new technologies, which essentially amounts to a re-design of the way products are made, is actually something shared by an eclectic group of Dutch colleagues, who are experimenting with new kinds of production methodologies in various ways. Dirk Vander Kooij, for instance, has developed an automated but flexible serial

production system to craft his Endless, chair. He has basically built a customised robot and programmed it to make furniture out of a long string of plastic, which comes from recycled old refrigera-tors. Fanuc, as the robot is known, supplies a very clever digital arm,, which replaces the traditional industrial mould. This is fascinating, especially given the flexibility it affords the designer in that he is able to make unlimited changes and refine the object time and time again at any stage of the process. Vander Kooij explains: Indeed, it works like a digital mould, which can easily be adjusted using the right software. Even once a product has been made available to shops I can still make a few changes, so there is nothing to stop me from continuing to tweak the product, something that conventional manufacturing techniques would of course never allow.

Another interesting example can be found in Studio DRIFT, which challenges product design itself: There is so much more that can be done other than simply using existing production techniques to design more chairs or lamps. Industrial product design should not be seen as the only possible path. The studio,s co-founders Lonneke Gordijn and Ralph Nauta, who design groundbreaking light installations intended to raise various questions with regard to nature and technology, firmly believe that a design revolution, should and will happen: The role of designers will change in the future. As long as we remain passionate and approach things in the right way, some truly inspira-tional figures will emerge from amongst us in years to come. A small group of us are in fact al-ready searching for new materials and technologies to express ourselves in completely new ways. It will show us what might be possible in the future and give our work a real edge.,

Although aspirational perhaps, Italian colleagues on the whole do not seem to be taking up this

7

8

10

11

9

THE ENTREPRENEURIAL DESIGNER48 49

challenge, at least not at present. This is puzzling when one considers the fact that Italy is actually highly technologically developed, includ-ing in the field of 3D printing. Furthermore, FOC,s recent partner-ship with HSL Italy, a high-tech company specialised in advanced prototyping, makes this perhaps even more surprising. There are, of course, a few exceptions. One such exception is AquiliAlberg studio in Milan, an innovative architecture and design practice by Laura Aquili and Ergian Alberg. Thanks to an international background and a proven track record in major Dutch architectural offices, including Kas Oosterhuis ,s ONL, the studio has managed to develop a flexible approach to parametric design using up-to-date software and technology. 3D technologies are a fundamental tool for us that we use right from the outset of a project. 3D printing, for instance, allows us to more quickly visualise projects and control form, proportions, defects, required modifications, etcetera. We have a nice zoo here in the studio! , In keeping with the designer ,s supposed new role ,, they have challenged a group of leading international companies to produce their progressive furniture; since their studio opened in 2006, they have collaborated with the

likes of Ritzenhoff, Moroso, Ser-ralunga, Fiam and Fossil.

AquiliAlberg ,s experience shows that, as long as designers maintain a proactive role, working on commission does not need to be perceived as a threat to freedom and creativity. What is clear is that there will not be and there does not need to be a single successful model. Designers of all schools of thought are ready to play a more active role than ever before in shaping the future of design and this can only result in the industry becoming more colourful and diverse.

There is so much more that can be done other than simply using existing production techniques to design more chairs or lamps. Industrial product design should not be seen as the only possible path ,

Lonneke Gordijn (Studio DRIFT)

1 Uroborodesign

Gruppo

2 Antonio Cos,

Cuore di bottiglie

3 Endless Rock

Blue Stripe & Lowback

4 Whomade Capela

5 Aquili Alberg,

Inner table

6 Sam Sannia Meduse

7 The GreenTea_AL

8 Filippo Protason

Who's the Fashion

Victim Trophy

9 NeroAcciaio Around

10 Drift FF Concrete

Chandelier

11 Gionata Gatto The

Pedalator

12 FOC 1597 Wall Light

12

THE ENTREPRENEURIAL DESIGNER50

52

Kranen/Gille FS05 ZT04

Lotte van Laatum lottevanlaatum.nl

Check out these Dutch designers from Brainport Eindhoven:

Fuori Salone--------------------------------------01 | Design Academy Eindhoven

Via Friuli 26--------------------------------------02 | Studio Formafantasma

Dilmos SrlPiazza San Marco 1

--------------------------------------03 | Studio Formafantasma

Via Delio Tessa 1--------------------------------------04 | Max Lipsey

Corso Giuseppe Garibaldi 71--------------------------------------05 | Piet Hein Eek

LensveltVia Alserio 22

--------------------------------------06 | Studi