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"Sharing Desing Knowledge" is the BoostMag for the Miniboost at Stockholm Design Week 2008.
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SHARING DESIGN KNOWLEDGE
Program at Stockholm Furniture Fair and Northern Light Fair6 – 10 February 2008
DESIGNBOOSTDesignboost is a knowledge company that helps companies and organisations
to learn more about design in general and sustainable design in particular and
how to use it as a competitive weapon and turn it into a business advantage.
Designboost can be seen as a process to create greater competitiveness.
Designboost will arrange so people can meet, discuss and challenge the meaning
of design, through “boost chats”, “boost talks”, “boost shows” and other media.
Designboost has developed a to method define sustainable design in a more
profound and holistic manner. The method is called the “Sustainable Wheel”.
During 2008 the “Sustainable Wheel” will be presented as a sustainable
design label.
Designboost is as well using the “Sustainable Wheel” as a tool to conceptualize
sustainable design and turn it into a competitive edge.
Designboost is furthermore a knowledge tank with a broad network of creative
thinkers from all over the world where thoughts on sustainable design and
durable development can be debated, exchanged, tried and developed.
Designboost is a fusion of the two words design and boost.
Design can help us create a better world. Inspiration, injection or more power
– that is the meaning of boost.
Designboost is created by award winning communication strategist Peer Eriksson,
founder of the communication agency Peer Communication and international
acclaimed design and future strategist David Carlson, founder of David Design and
David Report. With City of Malmö and Region Skåne as partners.
SHARING DESIGN KNOWLEDGE
DESIGNBOOST Fridhemstorget, 217 53 Malmö. Peer Eriksson, peer@designboost.se +46(0)705 336631David Carlson, david@designboost.se +46(0)707 982897www.designboost.se info@designboost.se
PROGRAM 6–10 FEBRUARY
BOOST TALKS (formerly known as lectures/discussions/interviews)
On 7-8 February specially invited participants will be given the opportunity to take part in Boost chats (formerly known as workshops) at the top floor of Talk Hotel. The theme of the workshops is how companies and organisations can conceptualize on the notion of “sustainable design” to gain business advantage and consequently benefit the society.
Among the participants at the Boost chats: Mark Isitt/freelance journalist, Dan Gordan/Sköna Hem, Daniel Golling/Forum AID, Johan Lindau/Blå Station, Eva-Maria Elstner/Audi, Mirkku Kullberg/Artek, Christel Vaenerberg/Iittala, Kersti Sandin/Materia, Peter Jiseborn/Swedese, Erik Lundh/Källemo, Magnus Wästberg/Wästberg, Satyendra Pakhale/Designer, Damian Wiliamson/designer, Matti Klenell/designer, Alexander Lervik/designer, Gabriella Gustafson/designer, Mattias Ståhlbom/designer, Johannes Carlström/designer and Magdalena Nilsson/designer. On top of this students from Beckmans College of Design and Konstfack University College of Arts Crafts and Design will participate.
BOOST CHATS (formerly known as workshops)
All activities will take place at the scene in Giulio Cappellini’s lounge in the entrance hall if nothing else is stated. The Designboost activities will be performed from the mobile “Design sofa”. David Carlson and/or Peer Eriksson represents Designboost in the conversations where Designboost is stated.
WEDNESDAY 6/210.00 Designboost: A conversation between designer Jean Marie Massaud and Designboost about humanism and “sustainable design”.
11.00 Designboost: Ewa Kumlin, managing director of Svensk Form talks with designer Stephen Burks on the theme “Saving the planet in style”.
12.00 Designboost: Ewa Kumlin, managing director of Svensk Form and Caroline Heiroth, Swedish Style in Tokyo talk with Teruo Kurosaki and Benjamin Budde among other representatives from the Tokyo design community.
13.00 Designboost: A conversation between designer Ilse Crawfoord and Designboost.
14.00 – 15.00 PRICE AWARDS
The Nordic Design Prize 2008. Almedahls award 2008 Design award ”Design Nu”, Hesselboms Universum
THURSDAY 7/210.00 Designboost: A conversation between Anders Englund, design director at Offecct and designers Eero Koivisto and Satyendra Pakhale about “sustainable design”.
11.00 Designboost: Presentation by Mr Giulio Cappellini, Guest of Honour 2008. Place: Conference room K2
12.00 Designboost: A conversation between Yvonne Karlsson and Maria Midby Arén from Alcro and Designboost on the theme “paint vs colour”.
13.00 Home Furniture Supplier of the Year/The Swedish Furniture Retailers Association.
14.00 Designboost: Presentation by Mirkku Kullberg, managing director of Artek on the theme “sustainable design”.
15.00 Designboost: A conversation between Christel Vaenerberg, design and brand director at Iittala and Designboost on how to conceptualize “sustainable design”.
16.00 Judith Gura, Professor of Design History, New York School of Interior Design, and author of “Sourcebook of Scandinavian Furniture: Designs for the 21st Century”
16.00-18.00 Designboost: Book releases by Arena publishing house. Drinks. Interviews by Designboost. Place: Konst-ig, stand AG:01.
FRIDAY 8/210.00 TMF/Swedish Furniture Industry
10.30 TMF/Swedish Furniture Industry
11.00 Price award Forum for real estate boxes
11.00 Designboost: A conversation between Johannes Carlström and Magdalena Nilsson from Save our souls and Designboost about the ideas behind the Designbar. Place: Designbar in hall C.
12.00 TMF/Swedish Furniture Industry
12.30 TMF/Swedish Furniture Industry
13.00 Stefan Nilsson, Interior trends for 2008/2009
13.00 Designboost: Designer Alexander Lervik talks about his work with the lighting exhibition “Enlightenment”. Place: The lighting exhibition “Enlightenment”.
14.00 Birgitta Tryberg from Feng Shui Goodliving
14.30 TMF/Swedish Furniture Industry
15.00 Stefan Nilsson, Interior trends for 2008/2009
15.00 Designboost: A conversation between Gabriella Gustafson and Mattias Ståhlbom from TAF about their design of the Greenhouse. Place: Greenhouse
16.00 Price award: +1 Best in Show/Forum AID
SATURDAY 9/210.00 Designboost: To be announced
11.00 Stefan Nilsson, Interior trends for 2008/2009
12.00 Designboost: Material expert Anders Breitholtz from Råvara talks about interesting materials in general and sustainable materials in particular.
13.00 Designboost: A conversation between Irene Bernald, markering director at Audi Sweden and Designboost about a holistic view of “sustainable design”. 14.00 Stefan Nilsson, Interior trends for 2008/2009 15.00 Johan Sjöberg, Svenssons i Lammhult
SUNDAY 10/2Seminar programme arranged for the general public by interior magazine Hus & Hem.
For more information and the complete seminarprogramme, please go to www.stockholmfurniturefair.com, www.designboost.se or see it at the main entrance area at the fair.
THE SUSTAINABLE WHEELEnvironmental issues are quite often the main ingredient in the
“sustainable design” debate. Designboost suggests a more
profound and holistic view. We have developed a tool called the
Sustainable Wheel.
The Sustainable Wheel consists of seven parts:
– Environmental influence– Innovation– Emotional connection– Aesthetics– Quality– Authenticity– Compatibility
The parts may be seen as “spokes of a wheel of sustainability”.
It means that this imaginary wheel is not stronger than its
weakest spoke. A product can be defined as truly sustainable
first when it consider all parts of the Sustainable Wheel.
In the end, a product is nothing worth not favouring a human
context. We always have to extend sustainability beyond
materials. We have to remember to always look through the lens
of humanity when we are trying to define a sustainable product.
During 2008 the Sustainable Wheel will also be presented as a
sustainable design label.
The seven themes:
1. Environmental influence“to have an aspiration to affect the environment as little as possible”
Environment is a concept that has been reported massively
during the past few years. Is it “environmentally friendly” to
drive an ethanol car when we know the problems of the ethanol
production? Or are we often just loading problems onto other,
less obvious and exposed areas? Perhaps in the end the
amount we pay ends up on the same bill?
The same thing goes for buying organic food that has been
transported from the other side of the globe.
It’s important to see the whole picture, not just the romantic
notion of being eco. Stella McCartney would say about being
a vegetarian at the same time as she wears leather shoes;
“ I think doing anything is better than nothing”.
An important part of the environmental ethos is that products
and services must be produced with a minimum of energy
consumption and also consume as little energy as possible
during their lifetime. In total, environmental influence is about a
responsible use of resources, a sustainable product is always
beneficial to both society and environment.
2. Innovation“to develop unique attributes on several levels”
If we are aiming for a decent sustainable future, we must
invest in scientific research and innovation. Only through
constant evolution can we create more sustainable design and,
consequently, a more durable society. Focus should be on
creating new functions that improve our lives. If we can increase
the level of innovation in each developed product, we will
increase the pace at which we’re going towards the sustainable
future.
Innovation is about seeing things in different ways, thinking out
of the box, thinking for renewal and change, removing blinders,
boldly processing new and old information.
To the extent that everything is already invented it’s the ability to
see that before us in new ways that is a strength of innovators.
Products are, in the end, the result of human actions and
therefore an extension of humans. That’s why we mustn’t forget
the importance of social innovation...
3. Emotional connection“to be part of the user”
Emotional connectivity is a parameter which often falls short
in a mechanical and technical friendly culture. It’s rather strange
when designs must be sensorial engaging for commercial
success.
A clear identity can create an emotional connection for a
product. Both from a social and psychological point of view,
identity is the core, the material physical objects “really don’t
exist”.
What meaning have: recycling, durable materials,
environmentally friendly production and use, if the consumers
don’t discover, understand and care for the product, i.e., they
are disregarded while still functioning? What makes us want
to keep certain objects while we throw away others without
thinking? Is there an important parameter that ties us to an
object? Could it be that we have greater affection for a product
which we have saved up to and longed for compared to a wear
and tear product we have no relation to at all? It’s important
to create a lifelong love and not just a brief fling with product
design...
A more holistic view of sustainable design
THE SUSTAINABLE WHEEL4. Aesthetics“to age with grace”
Aesthetics is personal. It has it’s given definition but at the same
time it is subjective and a personal question about what is good
or bad.
A product can create a craving for different reasons, where
aesthetics is one of the most common. Aesthetics is important
when it comes to most forms of design, such as furniture,
architecture, fashion, products and typography. Aesthetics is
however dependant on culture, seeing that in some cultures is
it everything and in others, it is much less important. In Sweden
cars are built to survive a crash, big, safe and functional (SAAB
and Volvo were for a long time world leading in safety for
personal cars). In Italy they build cars that are not meant to
crash. Small, elegant and hot tempered. See the difference in
vision and expression. One is not better than the other since
there are other parameters involved, but it is without doubt a
fundamental difference in thought and innovation.
It is our belief that timelessness is a strong and important
aesthetic value. The Seven and Ant chairs by Arne Jacobsen
are great examples of timeless, iconic products. Classics that
survives year after year, are inherited by the generations to
come and excellent examples of truly durable products.
5. Quality“to own multi-quality capacities”
With quality we mean durability and function as well as
consumer value. Quality is at the same time an environmental
responsibility to consider for the long term. The Gucci family
slogan refers quite well to the topic: “Quality is remembered
long after the price is forgotten”.
One can buy a sofa for a 300 EUR and throw it out after three
years, or one for 3000 EUR and keep it for thirty years. Which
is more cost-effective in the long run, both for you and society?
It all comes down to quality, timeless design and a sustainable
economic as well as ecological way of thinking. On the other
hand it is not unreasonable to challenge the need to make
sofas that last for thirty years when the buyer may get tired of
it after five. Is it a waste of resource to deliver too high quality?
It’s unfortunately a relevant question in our mass-consumption
world.
The Swedish architect Thomas Sandell links quality in a great
way with his Designboost one-liner quote “quality is always
sustainable”.
6. Authenticity“to be able to tell a credible story”
Authenticity is both a necessary and desirable attribute.
Authenticity is, among other things, origin, quality and identity.
Authenticity is to perfectly perform a service or to produce a
perfect product. Or to produce a product/service that is not
perfect, but with which the individual executing it has done his
very best, despite, or thanks to, lack of resource/knowledge.
Authenticity is both subjective and objective. This means
both the history as well as the ability to tell it is of uttermost
importance; storytelling, soul and/or cultural inheritance are
tactic models to use.
We believe a product won’t be “durable” unless it tells a
credible story. We live in a materialistic society which often lacks
spirituality. People like storytelling, it’s a part of human history.
As soon as something has a story, it becomes important. It gets
a soul. And if it’s important it will be durable!
7. Compatibility“to be part of a bigger coherence”
Compatibility in it’s fundamental role is to get people to interact.
Without communication nothing works and both the future
and innovation becomes sterile utopias. Humans are social
creatures that want and need to belong to a social group in
order to function. In this process compatibility is the key, all
communicators (groups/individuals) must be compatible to
understand each other and hence reach their goal.
This human compatibility is analogue with many different
techniques (MP3, IR, video, CD, DVD, Blu-ray, TV, HDTV etc...)
that producers try to convince the market to adopt.
All producers want a monopoly, but a regard for compatibility
would grant a sustainable development outcome. All involved
will gain off of it if the product/service becomes standard.
The companies will find new and better means of competition,
it’s the core of evolution. Bluetooth is a good example of
collaboration that supports and generates more, that is
sustainable development/design.
Just as when we talk about emotional connectivity, compatibility
is also about creating far-sightedness and long lasting
desirability. And last but not least, supporting human to human
relationships.
The Sustainable wheel”™ is a trademark of Designboost AB©. All rights reserved.
Quality
Neo by Claesson Koivisto Rune for Iittala
Iittala’s new range of pots, Neo, has been designed by one of the foremost design and architectural offices in Scandinavia, Claesson Koivisto Rune. As a result, the new Neo is exceptionally distinguished, ergonomic and lasting Iittala quality. Neo introduces new superior design details to food preparation. The series if pots is available in three essential sizes, all made a bit larger than usual, to better serve today’s consumer needs. The pots have a five-layer induction base, and their distinctive, ergonomic handles make sure cooking is effective and enjoyable. Neo’s unique matt-brushed stainless steel forms are true partners for life, and Neo as a series evolves the Iittala collection with fundamentally pure, mindmade design.
Alcro product: Artwall Betong in colour “Högtryck”
Compatibility
Apple by Jonathan Ive
Compatibility in it’s fundamental role is to get people to interact. To support human to human relationships. Compatibility has for a long time been one of the corner stones of the Apple brand. Compatibility between both men and machine. The brand has a lot of brand fans, it’s emotionally sustainable and creates a strong desirability. The products itself are user-friendly and developed to answer to new demands in creative contemporary life. As well, both software and hardware are designed to continuously communicate with each other. Just like friends.
Alcro product: Accent in colour “Smoking”
Innovation
Jens Martin Skibsted for Biomega.
Biomega was the first company to turn the bicycle into a lush piece of industrial design by focusing on design driven branding and urban mobility. Biomega redefined the values within the industry. Having used the best industrial designers and unmasked industry values such as ‘minimum weight & maximum gears’ as meaning fragile and complex, Biomega created a virgin segment in a century old business with repercussion far beyond its niche. When Biomega spearheaded super-plastic forming, shaft transmissions, night glow frames & dynamic high stress load bonding within the bike industry, it brought itself at the forefront of the innovation economy. Also Biomega was one of the few pioneers of New Luxury and remains a market leader.
Alcro product: Accent in colour “Korall”
Emotions
Noir Illuminati by Peter Ingwersen
The Noir fashion line was founded two years ago with a mission to create meaningfulness in the luxury segment. The founder Peter Ingwersen not only purchases goods that support sustainable business in developing nations, but he’s also developing a collection of organic cottons in Uganda. Peter got a deep knowledge on sustainability and ethical clothing but he doesn’t want the collection to shout out the message; “I don’t want to be lumped as that ethical clothes label. Our garments look like normal, stylish clothes, made from luxurious fabrics and, unless you new about us, you’d never guess the organic provenance.” Noir Illuminati it’s definitely a dream for the eco-fashionista.
Alcro product: Puder Pärlemor in colour “Puder”
ALCROA visualization of the Sustainable Wheel
Emotions
Noir Illuminati by Peter Ingwersen
The Noir fashion line was founded two years ago with a mission to create meaningfulness in the luxury segment. The founder Peter Ingwersen not only purchases goods that support sustainable business in developing nations, but he’s also developing a collection of organic cottons in Uganda. Peter got a deep knowledge on sustainability and ethical clothing but he doesn’t want the collection to shout out the message; “I don’t want to be lumped as that ethical clothes label. Our garments look like normal, stylish clothes, made from luxurious fabrics and, unless you new about us, you’d never guess the organic provenance.” Noir Illuminati it’s definitely a dream for the eco-fashionista.
Alcro product: Puder Pärlemor in colour “Puder”
Environment
Eco ware by Tom Dixon.
The Eco Ware line is the result of experiment-ing with biodegradeable plastics made from compressed natural materials such as byproducts of coconut, rice and bamboo processing. Tom Dixon created this line of biodegradeable plates, bowls and cups dubbed Eco Ware. This elegant line of sustainable tableware is 80% bamboo bound with a water-soluble polymer. Eco Ware is fine enough for formal occasions, tough enough for the outdoors, and robust enough for every-day use. The best part is that after a long functional life (5 years give or take), the Eco Ware objects can be recycled into plant pots or simply composted back to the earth.
Alcro product: Stil (Swan eco-labelled) in colour” Aloe”
Aesthetics
Ultrasilencer by Pia Wallén for Electrolux.
Electrolux invited Pia Wallén to produce her own interpretation of the Ultrasilencer vacuum cleaner. The result is startling in its simplicity. She found inspiration in the extraordinary quietness of the cleaner. It reminded her of the most beautiful sound she knows – the sound of falling snow. An Ultrasilencer that is as easy on the eyes as it is the ears. Totally white, the design is boldly unconventional and as fresh as a layer of Scandinavian snow. But in Pia Wallén’s work, there is always a touch of humour. Flashes of bright orange on some of the machine’s functions echo the colour of guide poles that are used to mark pathways through the wintery Swedish landscape.
Alcro product: Servalac aqua blank in colour “Piri-piri”
Authenticity
BRIO Toys
Swedish toy maker BRIO has been known for generations. Almost all of us (at least in Sweden and many European countries) grew up with the solid wooden railways, the shiny sausage dog Dachsie or the brightly coloured stacking clown.Toys come and go, materials change – but all in all what’s needed is the fuel of a child’s creative imagination – The power of play remains. BRIO sees play as a natural way for a child to learn and develop. But that’s not new. BRIO has been doing pedagogic toys for decades. At the moment BRIO is in the middle of a process to reposition the brand. They are going contemporary but are strongly holding on to the heritage at the same time – their authentic identity. And looks like it works; the target group defines them as a traditional, trusted and safe quality brand with pedagogic play values.
Alcro product: Stil in colour “Saffran”
IittalaIn today’s fast-moving consumer society, there is a need for products that are made to
last throughout a person’s life. Iittala has always believed everyone has every right to
expect design to last a lifetime. Unfortunately a radical thought in today’s high-speed
consumer society, where most of the things we buy are made to be replaced.
It is a philosophy of “lasting everyday design against throwawayism” that drives the Iittala
brand forward. Design insight and craftsmanship knowledge can shape a positive future
for everyone, in all areas of design. By offering design that remains relevant no matter
how times change, every individual is free to live their life without adding to the world’s
mountains of useless things.
The core of this philosophy is based on the early thinking of Kaj Franck, who believed
that objects should always be appropriate, durable, and functional. This is also why
Iittala believes that one of the most important functions of design is to ensure that items
designed for everyday use should be universally usable and respond meaningfully to
universal human needs.
All Iittala products are also designed to be easily combined with each other, so that
people do not feel the need to throw anything away simply because it does not ‘fit’.
Rather than add to the mountains of waste, Iittala wants to improve people’s quality of
life – and ensure that every product in the Iittala range embodies the principle of ‘lasting
everyday design’.
A movement against throwawayism.
ArtekArtek’s visionary design found its expression in breakthrough technology to create pieces
as timeless as the Picassos that used to hang above them in the shops of Helsinki. The
dints, the scratches and the patina tell their never-ending story. And no matter where
they’ve been or the place they’ll end up next, one thing is certain: they’re never out of
time nor out of place. As Alvar Aalto once said, “Nothing old is ever reborn, but neither
does it totally disappear. And that which has once been, will always reappear in a
new form.”
Sustainable 2nd Cycle items are part of Artek’s environmental strategy.
By creating the 2nd Cycle Artek wants to raise the discussion of conscious
consuming, praise the authentic design and honour the importance of originality.
Solidly made and impervious to fashion, these iconic pieces of furniture have gained
value and beauty through their everyday use.
A coded RFID tag embedded in each 2nd Cycle item records the furniture’s
history, stories, as well as information about its origins.
The tag can be read by mobile phone, revealing an internet link to
the particular item’s history, allowing also new owners to upload their
own stories..
2nd Cycle
AUDIVorsprung durch technik
Current knowledge on the topic of CO2
CO2 stands for carbon dioxide. This colorless and odorless gas is a natural component
of air. Most of the CO2 in the air is produced by humans and the cellular respiration
of other living things. A further proportion is produced by the complete combustion
of carbon-containing raw materials. The reduction of CO2 emissions is one topic in
the current debate on climate protection. The reason for this is that CO2 absorbs part
of the heat radiated by the sun, which causes the greenhouse effect and in turn the
warming of the earth’s atmosphere.
CO2 emissions in vehicles
The CO2 emissions from vehicles are governed directly by the fuel consumption.
Compared with petrol, diesel is slightly more disadvantageous in terms of CO2
emissions. The lower consumption, however, balances this out again. Basically
speaking, three factors influence the level of CO2 emissions, these being a driver’s
individual style of driving, vehicle technologies and transport systems.
Holistic concept at Audi
TRUTH IN ENGINEERING is a commitment. At present, no other automotive
manufacturer implements a holistic concept as consistently as Audi. As the pioneer of
numerous technologies, Audi represents a clear stance on the topic of CO2. Factual
argumentation and responsible eco-conscious behavior help promote a sustainable
form of mobility.
ARENA
SHARING DESIGN KNOWLEDGE
07Timeless publishing
The publication of the publishing house Arena consists of general
specialist literature with a focus on art, design, travel and graphic
handbooks. Several titles have been awarded with “Svensk bokkonst”,
a certification that Arena is living up to their objectives concerning
quality and timeless design. Further info about the Arena books at
www.arenabok.se or contact at info@arenabok.se.
På spaning efter Lamino
The furniture designer Yngwe Ekström from Småland is one of the greatest profiles in Swedish design history. His chair Lamino, designed in the fifties, has been chosen furniture of the century – an extremely popular and timeless best seller. “På spaning efter Lamino” is the story of a designer and his creative power during a dynamic period in the history of Swedish furniture design. It’s also a personal story about a creative man’s vision of a better world. About creation of furniture in the heart of Småland and entrepreneurship during the fifties and sixties.
Bruno Mathsson
With a great confidence and an outstanding credence in personal capability Bruno Mathsson made a fantastic career, all the way from his fathers woodworks to international success.Its a portrait of Bruno Mathsson by three writers – as a person and as a furniture designer. Karin Winter, who has been working at The Swedish Museum of Architecture, is searching for his sources of inspiration. Nina Stritzler-Levine, exhibition manager at the design institute Bard Graduate Center in New York, writes about the amazing reception of Bruno Mathsson in the US.
Arkitektens hem
The general interest in interior decoration and architecture is reflected in the home supplements of the daily press and in all the TV-shows about design. But how does it look in the homes of the professionals? What kind of thoughts do they have around their own resident? In the book “Arkitektens hem” we will get an unique opportunity to see 28 different homes of architects. Some have ecological thinking as their guiding star. Others give priority to the location. Or the aesthetics. And so on. Everyone, despite how you live, can be inspired by photographers and wise words from a couple of the foremost ambassadors of the occupational group.
During the Stockholm Furniture Fair the books of Arena are available at the bookstore Konst-ig (stand AG:01).
Vespan, Myran, Chanel No 5– historien bakom 30 designklassiker
The look of objects made by man is not a coincidence. They are all designed. Some design will soon be forgotten while some will live on and continue to fascinate new generations. In the book “Vespan, Myran, Chanel No 5” we will be able to learn more about a couple of the most interesting designed objects and its creators. The selection includes everything from simple everyday objects like the scissors, telephone and crockery to extreme designer furniture like Hill House Chair (the rumour says that it originally was made for the gloves instead of the bottom of the designer). A lot of the objects will be recognized at first sight, like the Ant chair and Superellipse. And the Vespa of course, which wasn’t a mish-mash of aeroplane parts.
Personakt Sven Lundh
Furniture entrepreneur Sven Lundh has for a long time offered a platform where now established designers has been able to create incredible things. One good example is Concrete - the concrete chair by Jonas Bohlin, one of the major classics in Sweden. In the book “Personakt Sven Lundh” we will meet an open-minded producer that would like to brake the boundaries between art, craft and design. In texts by Gunnar Lindqvist, Sune Nordgren and Rebecka Tarschys the multifaceted work and intensive engagement of Sven Lundh is illuminated.
DEIGNBOOST 07 – Sharing design knowledge
Designboost 07 is the first in a series of annual year-books. It’s a creative resume of the premier Designboost main event that took place in Malmö, Sweden in October 2007. The book is an inspirational journey into the world of “sustainable design”, the main theme for the event. You will be presented in writing and pictures to the different three legs of the event; the Boost Chats, Boost Talks and the Boost Show. You will be able to read the visions of “sustainable design” in sharp “one-liners” from all of the international participants. On top of this a DVD attached to the book which encapsulates the creative, humanistic and relaxed feeling of Designboost 07.
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