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Connecting the Dots showcases all Dutch presentations at the Milan Design Week 2015 the dots COLUMNS The Art of Selectively Browsing Annemartine van Kesteren · Matylda Krzykowski · Ann Maes · Robert Thiemann “If it’s raining I won’t even think about taking a detour” p. 17 PORTRAITS Marjan van Aubel · Mae Engelgeer · Little Owl Design · Elise Luttik · Jan Puylaert · Nienke Sybrandy · Rick Tegelaar · Jeroen Wand pp. 6 – 19 INTERVIEW Madeleine van Lennep, director BNO “The concept of Dutch Design requires rebranding. We cannot continue to lean on our image from the previous century” p. 8 ARTICLE The Dutch Spirit in Milan Annemiek van Grondel “The current political, economic, social and cultural conditions are reflected in design, showing a clear lack of confidence” Lou Beeren p. 12 GUIDE + 200 NL Designers and Brands Including street & tube maps pp. 20 – 32 ONLINE GUIDE www.dutchdesignpressdesk.nl t h e #11 APRIL 2015 MILAN

Connecting the Dots - Milan Design Week 2015

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Magazine about Dutch design + guide of all Dutch design presentations at the Salone Internazionale del Mobile di Milano / Fuorisalone / Milan Design Week 2015.

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Page 1: Connecting the Dots - Milan Design Week 2015

Connecting the Dots showcases all Dutch presentations at the Milan Design Week 2015

thedots

COLUMNS

The Art of Selectively Browsing

Annemartine van Kesteren · Matylda Krzykowski · Ann Maes ·

Robert Thiemann

“If it’s raining I won’t even think about taking a detour”

p. 17

PORTRAITS

Marjan van Aubel · Mae Engelgeer · Little Owl Design · Elise Luttik ·

Jan Puylaert · Nienke Sybrandy · Rick Tegelaar · Jeroen Wand

pp. 6 – 19

INTERVIEW

Madeleine van Lennep, director BNO

“The concept of Dutch Design requires rebranding. We cannot

continue to lean on our image from the previous century”

p. 8

ARTICLE

The Dutch Spirit in Milan

Annemiek van Grondel

“The current political, economic, social and cultural conditions are

refl ected in design, showing a clear lack of confi dence” Lou Beeren

p. 12

GUIDE

+ 200 NL Designers and Brands

Including street & tube mapspp. 20 – 32

ONLINE GUIDE

www.dutchdesignpressdesk.nl

Rick Tegelaar · Jeroen Wandpp. 6 – 19

INTERVIEW

Madeleine van Lennep, director BNO

“The concept of Dutch Design requires rebranding. We cannot

continue to lean on our image from

the

#11 APRIL 2015 MILAN

Page 2: Connecting the Dots - Milan Design Week 2015

Design needs to be smart, modest, iconic, logical and enjoyable.

SMILE if you get it.

Page 3: Connecting the Dots - Milan Design Week 2015

The creative Industries Fund NL wishes all the 30 supported designers and teams a lot of success with their presentation during the Milan Design Week. The Fund supports cultural projects in The Netherlands and abroad. Visit our website for our grant programmes.

www.creativeindustriesfund.nl

design

e-culture

architecture

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cross-overs

good luck!

architecture

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dust

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good good luck!

we arearco

we maketables

arco

Local Wood

Local Wood is wood from the region around the Arco factory in Winterswijk. For us, Local Wood is honest, clear and transparent. We want to show the unique qualities of the wood and not disguise any imperfections.

www.arco.nl

Table Designer

BaseOvalOval

Jorre van Astvan Ast

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the dots #114 FOREWORD / COLOPHON

Connecting the Dots #11Milan Design Week 14 – 19 April 2015

Connecting the Dots publishes and presents Dutch designers and design-culture internationally during key design events and fairs.

Connecting the Dots magazineJacob van Lennepkade 386-2NL – 1053 NM Amsterdam+31 (0)20 89 32 [email protected]/thedots_mag

Organisationwww.thedots.nl

Magazinehttp://connecting.thedots.nl

Dutch Design Press Deskwww.dutchdesignpressdesk.nl (guide + press database)

Editor in ChiefDavid Heldt, [email protected]

Contributing editorsAnna Bates, interviews 7 designers /

Ingeborg van Lieshout, interview Elise Luttik / Annemiek van Grondel, article The Dutch spirit in Milan / David Heldt, interview Madeleine van Lennep / Columns The Art of Selectively Browsing: Annemartine van Kesteren, Matylda Krzykowski, Ann Maes, Robert Thiemann

TranslationsBureau Kennedy

Graphic designHaller Brun, www.hallerbrun.eu

Contributing photographersIlco Kemmere, www.ilcokemmere.nlMischa Haller, www.mischaphoto.comDaphne Kuilman, www.daphnekuilman.nl

Cover photoEbullience; soap-bubbles on textiles. Designed by Nienke Sybrandy for Studio Sybrandy.

Printed byRODI rotatiedruk

Communication & PressLuc Deleau, [email protected] t +31 (0)6 52 47 29 90

AdvertisingMartin Mansoor, [email protected]

Special thanks to Jacco Bregonje, Bethuel Heldt, Mindert de Koningh, Madeleine van Lennep, Ann Maes

© Connecting the Dots 2015

All rights reserved. Copyrights on the photographs, illustrations, drawings, and written material in this publication are owned by the respective photo- grapher(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 other wise, without permission of the publisher and designers, photographers and authors involved.

How do we recognise valuable inventions, how do we recognise a burgeoning trend, how do we recognise some­thing that we are not yet familiar with?

The Salone is the perfect place to discover new trends, new production methods, and surprising connections between design and other fields, such as healthcare or food. These developments surface gradually and when you visit several exhibitions in succession it becomes more difficult to interpret the differences. Please don’t ask me what the latest developments are right after the exhibition, because the impressions need time to sink in. Developments lie dormant; sometimes they are around for a few years, but I don’t notice them until I have seen them several times. Discovering is an art. After visiting an exhibition, it may happen that I don’t notice something until a few months later, when I can place it into a broader context.

But where does one start looking? We asked four experienced visitor for their methods of separating the wheat from the chaff. On page 17 you will find tips from Annemartine van Kesteren, Matylda Krzykowski, Ann Maes, and Robert Thiemann. Read the columns and get more out of your trip to Milan.

The tips show that preparation is important and that it is wise to start with tried and tested presentations, but to remain open to the unknown. Or use your intuition, like Annemartine van Kesteren. Recognising a successful design might be just as hard as designing a successful product.

It is up to the visitor to pay attention and to observe with the eyes of a visionary, because a small idea from a newly emerged designer can be revolutionary. The butterfly effect always plays an important role in the industry. So my tips are: stay curious, pay attention to details and ask for explanations, because design is less and less about what

it looks like and more and more about the problem it solves, and the context is always crucial but not always present.

That this exhibition doesn’t provide everyone with nothing but inspiration can be deduced from the interview with designer Rick Tegelaar, in which he says: “Milan doesn’t inspire me at all. It sort of paralyses me: if you see a lot of terrible stuff, you hate your profession, and if I see good stuff, I feel I’m not good enough. I’m not inspired by other designs, I’m inspired by a good factory” (p.18). In addition to Techelaar, we feature seven other designers, including Marjan van Aubel and Mae Engelgeer, and we’ve asked them about their personal motives; you can find these interviews throughout the magazine.

You will also find an extensive interview with Madeleine van Lennep, director of the Association of Dutch Designers (BNO) about BNO’s course, the policy changes in recent years, and the sustainability of the concept of Dutch Design (p.8).

“The Dutch Spirit in Milan” (p.12), an article by Annemiek van Grondel, shows how changeable trends are. Between the seventies and the nineties Milan was the cradle of design. During the heydays, Dutch designers, such as Maarten Kusters, Geert Koster, Lou Beeren, and Maurice Mentjes, moved to Milan to live and work, and there they caused a furore. The article shows how transient image can be and that quality knows no bounds, but that success does shift its focus.

This last point does not seem apply to the Salone itself; this 53th edition proves once again (since time immemorial) that it is the centre of design. And this certainly holds true for its importance to the Dutch design sector, which will once again be well represented.

David Heldt

Where Does One Start Looking?

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the dots #116 PORTRAIT

What is your process?I work on material research and I take a science approach to design. A lot of the things I do are from intuition, I’ll won-der: what happens if I do this… And mix a few things to see what happens. All the things I’m doing are big mistakes!

How so?With the Well Proven chairs, I was adding this bio-resin with waste wood shavings – which you’re not supposed to do – and it bubbled up. If I can repeat my mistake, then I’m happy. That’s why it’s so important to document everything carefully. There are times when nothing happens, when nothing goes wrong again. But with the chairs it worked. There is only the mould of an existing chair, the legs and the foam. The wood chip provides a structure; the foam forms around the legs and it holds. This was your graduation project at the Royal college of Art. Where did your next experiment take you?I’m interested in the hidden energy of things – I made a table of Dye Sensitized Solar Cells. They transform light energy into electricity; it’s based on photosynthesis – it uses the properties of colour to create a current. The light is translated into electricity as opposed to sugar, so you can charge the appliances in the room.

Does it have potential in mass production?I’m now talking to industrialists. I’m working on this right now: how to make for a bigger scale. I’ve also developed a follow up project, a modern version of stained glass windows. The glass pieces are made of the so-lar cells, and the different col-ours have different efficiencies because of the wavelengths. So blue is less efficient than red, and so on.

Do you have an environmental agenda with your design?I want to combine aesthetics with awareness. With the cur-rent table you can see it takes eight hours to charge a phone – the object itself tells the story – it all becomes more under-standable. You can use design to instigate a mentality change. My solutions are little, but if everyone contributes... I think we should not really wait for this top down answer to problems. It would be much quicker if we do it ourselves.

•www.marjanvanaubel.com•See work by Marjan van Aubel at the Milan Design Week at Spazio Rossana Orlandi. Find more information at page 21, presentation 07.

MARJAN VAN AUBELText Anna Bates • Photo Mischa Haller

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the dots #11 7PORTRAIT

In the end it was design her heart was after. Elise Luttik was a marketing professional mak-ing big money, who switched careers and invested her earn-ings in her tech driven design products. “It all started at SXSW festival in Austin (US). All those creative people and tempting ideas! During a long drive through Texas, I made a promise to myself to create an actual product the moment I returned home. So here I am, ready to go to Salone Satellite in Milan.”

As the instant production method 3D printing was the quickest way to fulfil her promise, Luttik’s first designs are small white items like the Little Rabbit webcam cover and coaster Cookie. In Milan she’ll launch the Upside Down collection, a complete interior concept consisting of the Upside Down Chair, Upside Down Table and the Upside Down Lamp. Upside Down Chair is a lounge chair that offers a safe place to sit while it embraces your back. Place the chair upside down to turn it into a throne, a pedestal to sit on that allows better views from a royal perspective. Upside Down chair is cut out of 2 boards from the same ash tree, sourced locally in The Netherlands. Elise makes the nerves and veins of the wood stand out and tells the story of years of growing. “It is the tree that determines which pieces with wood nerves have enough strength to become those slender legs, and which part has the most interesting pattern for the seat bottom.” The Upside Down Table follows the same idea and style to com-plete the sitting arrangement as a table, or turn it into a bas-ket to store magazines or other belongings. Upside Down Lamp sheds a light on the set and might just help you have that ‘eureka’-idea you have been waiting for. As a Master in Prod-uct Design, her work always features well considered tech-nology and construction, like the slender steam shaped wooden legs of the chair and the laser sintered light bulb.

Travelling still leads the way to inspiration. The Upside Down Lamp was an idea that popped into mind while being on the road. Check out Elise on Instagram and you’ll see on which journey a product was born. An inspiring person? “Marcel Wanders, for every-thing he has achieved business wise: his own design studio, the label Moooi, his interior designs for hotels, and an exhi-bition in the Stedelijk Museum to top it all off.”

•www.eliseluttik.nl•See Eli5e by Elise Luttik at the Milan Design Week at Salone Satellite. Find more information at page 22, presentations 19, 21.

ELISE LUTTIKText Ingeborg van Lieshout • Photo Ilco Kemmere

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the dots #118 INTERVIEW

Much has changed in recent years in the Dutch design landscape. Not only is Dutch Design reinventing itself, but a lot has changed at the policy level as well. The government decided to implement a ‘top sector’ policy in order to promote the Netherlands as a land of innovation, where the creative industry ranks as the ninth top sector. At the same time, it cut expenditure on both the resources made available by the Ministry of Economic Affairs and on cultural subsidies. The sector institute Premsela was abolished, for which the sector got the merger organ­isation Het Nieuwe Instituut in return. The international promotion programme for design, fashion and architecture, DutchDFA, ended two years ago. The new foreign policy for the sector has still to be properly fleshed out. Things have also changed at the Association of Dutch Designers, BNO: after 27 years at the helm, Rob Huisman has been succeeded by Madeleine van Lennep. Who is she and what can we expect in the coming years? How is BNO responding to an evolving sector? David Heldt had the opportunity to ask a few questions.

David Heldt • Two years ago you took over from Rob Huisman, who had steered BNO for many years. What is your back-ground? And what is your relationship with Dutch design?Madeleine van Lennep • After studying at St. Joost Art Academy in Breda and completing a study in Museology, I quickly grew into several cultural-political positions. Before BNO came around I was deputy director of the Mondriaan Foundation, later the Mondriaan Fund. Before that I was an advisor on Dutch cultural politics, on behalf of the Dutch Council for Culture. I was director of Federatie Kunstuitleen. I also coordinated the production of art in the city of Utrecht. In all these previous jobs, Dutch design regularly featured on the side-line. I have always been well aware of design in my personal life – after all, it’s all around us and it has always intrigued me to see how information, products and services are shaped and in turn shape the world.

DH • How did BNO strike you, two years ago? Are there things that you would like to improve? What are your ambitions? MvL • I found a professional and down-to-earth organisation, but one in need of some revitalisation. I formulated the ambitions in a brief policy plan at the end of 2013, under the title ‘Via BNO’, which you can still read on www.bno.nl. A professional association like BNO can continue to have a huge added value in the 21st century, provided it keeps eyes and ears wide open and remains in touch with the professional practice of designers. My goal is to see the potential of the design discipline more fully understood and utilised, whether in respect of pure functionality or of beauty. Actually, these two matters are a lot more closely related than one might think.

DH • The policy plan you just referred to talks about the challenges of our time, such as sustainability, health, ageing, social provisions and migration. I quote: “To tackle such issues requires technological innovation as well as behavioural and organisational change. Ideally, all parties work towards a creative economy in which material and immaterial values reinforce each other.” I notice that Dutch designers are increasingly collaborating with other sec-tors and that the design process is increasingly driven by research rather than by concepts or aesthetics. By tradi-tion, a professional association serves to group together a discipline. Does this history hamper today’s trends?MvL • Due to a number of mergers in the past, BNO unites and represents many and diverse design disciplines. This is appropriate to the described trends in the world and the pro-fession. As long as we are clear about the how and why of our activities, this large differentiated entity is very important to all (potential) stakeholders. Consider for instance a seminar on packaging design, tied to innovation and sustainability, or workshops about smart products, where industrial designers link up with digital designers and inventors.

DH • As a consequence of funding cuts and mergers, the subsidised cultural infrastructure in the Netherlands has changed significantly. We no longer have separate sector institutes for architecture, digital media and design, and Het Nieuwe Instituut has formulated an agenda of its own. Does this represent an opportunity for BNO to develop activities in more areas?MvL • It is counterproductive for public institutions to cling to a differentiation between sectors, while the sector boundaries are becoming increasingly porous and contest-able. I believe in the benefits of a theme-based approach, with diverse disciplines and practices naturally emerging as you go along. Regarding Het Nieuwe Instituut and BNO: we operate in the same domain but have different roles and resources. As a self-supporting organisation, it is BNO’s responsibility to optimally assist the affiliated designers and agencies in their professional practice. BNO further-more pursues issues that are important more generally

and for the longer term; think for instance of raising public awareness of the discipline, adequate education pro-grammes, helpful rules and regulations, a productive top sector policy, and so on. For many it may not seem so relevant, but it is essential nevertheless. Incidentally, as a result of the restructuring effort of the government, some important matters have fallen through the cracks such as design heritage, internationalisation and education. BNO is doing all it can, but it does feel that the national govern-ment has some omissions to make up for.

DH • Should designers themselves become more vocal in communicating their interests to the political estab-lishment, alongside BNO?MvL • I doubt whether many designers are eager to do so, I think they prefer to leave that to their professional associ-ation. Nevertheless, there are some role models who could play an important role in representing the sector. The Society of Arts, founded last year, will also seek to exert influence in that way. By the way, BNO has lobbied to have designers represented in that body, and successfully so: Irma Boom, Iris van Herpen, Jurgen Bey and Koert van Mensvoort will soon be joining the Society.

DH • Unlike in previous years, this year BNO has been more outspoken about how the Netherlands should present itself in Milan. Will we be seeing more of BNO at inter-national fairs from now on?MvL • In response to signals communicated by the Consulate and by seasoned Milan-goers, we wanted to see if we can’t get more out of the Salone del Mobile, making use of initiatives like Connecting the Dots which has generated an extensive network and a vast amount of knowledge in recent years. If designers prepare more thoroughly for the fair and in good time, and if you can connect all the individual efforts to create more visibility and impact, then everyone will benefit from that. That’s why we discussed with a number of parties whether it’s time for a ‘rebranding’ of the concept of Dutch Design, how we can improve the promotion of participating designers, agencies and busi-nesses, and how we can contribute to a better follow-up. We are also examining the opportunities and possibilities with regard to other fairs.

DH • The Netherlands has been looking for a way to promote itself more effectively on the international stage since many years. People regularly cast a jealous glance at the Scandinavian countries, who manage to present a very robust identity. Why does the Netherlands have such trouble promoting its talents? MvL • It is a pity that a programme like DutchDFA is not really followed up on. Still, a lot is possible and a lot gets done, too. But our memory is limited, we neglect the lessons learnt, and there is often no systematic and effective promotion. Many people are moreover inclined to promote themselves individually, through a kind of naiveté or from a bit of a spoiled position. Collective ideas and a collective approach are not necessarily at odds with that, but it does require some missionary work to create a whole that is more than the sum of its parts.

DH • Your policy plan refers to the loyalty that exists between designers, which always strikes me as well. Doesn’t this make designers an eminently suitable group with which to create more synergy at a policy level?MvL • There are limits to designers’ capacities, leaving aside the question of what they prefer to spend their time and energy on. Although there are good exceptions: BNO has a board with very dedicated designers. Many designers are active within our regional platforms, former board members like Jeroen Verbrugge and Tom Dorresteijn play an impor-tant role advocating the effectiveness of design. And Jeroen van Erp is putting in an tremendous effort as chairman of the Creative Council to boost the internationalisation

Design Policy Adapting to ChangeA conversation with Madeleine van Lennep,

director of the Association of Dutch Designers

Photo Ilco Kemmere

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the dots #11 9INTERVIEW

of the sector. But the various parties involved all play according to complex rules, so it requires a great deal of persistence.

DH • We are in the midst of a crisis and many designers, brands, fairs and trade media are struggling. What, in your opinion, does the sector need in order to stay afloat? MvL • An acute social awareness, and a more deliberate focus on professionalism and promotion. Opportunities can be found in extreme specialisation as well as in crossovers within and beyond the sector, and in internationalisation. I furthermore advise all designers to regularly attend train-ing courses, as this helps you keep your eye on the ball. BNO currently offers an attractively priced range of courses, and not just for starters but also for office staff and for people looking for new stimuli.

DH • How would you describe the landscape of the Dutch design sector? Who are the main players and what qualities do you see, with respect to entrepreneurship and design styles?MvL • A few points: we have excellent digital designers. Dutch designers still stand out for their unique and inven-tive approach. And they are good at crossover-thinking, as we demonstrate systematically in the Crossover Works series which is available in English and now also in German, both online and offline. Entrepreneurship is indispen-sable, but does not come naturally to everyone. Also on that account: the future demands teamwork. The world is changing profoundly, and those in the design discipline who can best respond to or even anticipate the trends, are sitting on a gold mine.

DH • Do you think the world around shares this view of the Dutch design identity? MvL • I said with good reason that the concept of Dutch Design requires rebranding. We cannot continue to lean on our image from the previous century, and we shouldn’t want to, either. This is a very different era, with new challenges and new opportunities. The Dutch education programmes still enjoy a strong reputation, but it’s a good thing that they are working hard at renewing themselves. Urgency is the key word, I think, in each and every design discipline.

DH • A few years ago we interviewed Deyan Sudjic, and one of the things he said was: “What has come to be called Dutch design is better called design in the Netherlands, which is the product of some well publicised educational experiments, and the residual afterglow of a state that once felt obligated to reflect certain cultural values, for example through the design of the PTT and the pre-Euro banknotes.” Did he have a point there? MvL • Certainly. Presumably, he was referring both to the vision and efforts of Droog and to the designs that came about as a result of the government acting as launching customer. But the world of design has always been broader than what he focused on here. BNO portrays the full scope of the design domain through Dude, which we have delib-erately christened the Dutch Designers Magazine, with a bit of tongue-in-cheek but also out of self-interest.

DH • You will be visiting the Milan fair this year for the first time – how do you feel about that? How are you going to tackle your trip? Will we be seeing you in Bar Basso until the wee hours of the morning?MvL • Indeed, I could never get around to it before – I’m familiar with Milan but not yet with the Salone del Mobile. I’ve got three days there and I aim to make the most of it. I will gratefully use the advice of regular attendees: first of all the designers of course, but also my colleague Anouk Siegelaar, Margo Curto of the Consulate, some people from Het Nieuwe Instituut and from the Creative Industries Fund. And your advice too, of course! Let’s anyway meet up in Bar Basso to discuss our adventures of the day.

“The world is changing profoundly, and those in the design discipline who can best respond to or even anticipate the trends, are sitting on a gold mine.”

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the dots #1110 PORTRAIT

What made you move to Italy?25 years ago Milan was still known for design. Sottsass… Castiglioni – they were still working in the centre of town. You’d meet them in streets. I think it was curiosity; I wanted to see what Italians had that was so special.

What was that?Everything that Holland lacked! Those days Holland was still very technical design-wise. It’s only the last 10 – 15 years that this has changed. How-ever I believe that also Holland became more artistic, Italians may seem artistic, but actually they are just very commercial. They know how to appear in an artistic way.

How do you navigate this balance?I have my own small production company here. The fact that the economy isn’t too well at the moment actually makes it a good climate to make low-cost products here. Lately I also listen more to what the market expects. I try to give them the best product I can, in the most artistic way, but I make products to sell rather then to show.

Who do you sell to?A lot of hotels lately: they need a different kind of product. You get to study the product more carefully because it’s repeated in many rooms – I work close with the architects to make things as perfect as possible. For a consumer on the other hand, I can design something but I will never know what kind of room it will be put into, or how it will fit in.

Standard (CE) thinking make things awkward… It is an interesting European reality to think in CE standards, but in our global economy it loses its logic. Standard colors, sizes, typologies... as a designer it makes you feel stuck in pre-defined patterns. Last month I was working in Egypt, where people don’t even buy products loose – they buy a whole room. Materials and styles are different – very ba-roque and decorated. We got more and more respect for their manufacturing cap acities – they can still take a piece of marble and cut a whole wash-basin out of it. Over here the ability of creation is gone. It makes you think maybe we should let loose of our stand-ards a bit.

•www.wet.co.it

JAN PUYLAERTText Anna Bates • Photo Mariandrea Zambrano

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the dots #11 11PORTRAIT

Why did you set up your practice?It just happened – I came from art school and happened to have a graduation project that sold, so I kept going. I never made a business plan, it just grew.

Where does your inspiration come from?Always daily life: the things you see and hear, and wonder about.

Like flowers? I am fascinated by the phenom-enon: you have this flower, you bring it for dinner, birthdays, funerals… It symbolizes all the things you can’t say and those moments you celebrate. I work with this symbolism, but I also really work the material itself – flowers – in the same way that people work with wood to make a table. Its my muse and my material.

What characterizes your work? Is there an opinion or feeling that links your work on flowers to, say, your series on bubbles?Yes… I was doing the dishes one day, and suddenly a bubble came out of the soap and I had this isolated moment. You look at something and suddenly you see it: how temporary every-thing is. All of my work deals with decay, and temporariness.

Starting with this moment, how did a series of products develop?It began with a spoon, three years ago. You use it to stir your coffee and when you do the dishes you can blow soap bub-bels with it. Last year I made a series of white tableware decorated with a soap bubble print directy on the porcelain. The plates are decorated on the spot – you witness it happening. When a bubble bursts, there is this beautiful splash: the table-ware captures the moment.

What is your next project?I’m going to do a residency. Starting a research on tran-siency in ‘time’ on ceramics and thus develop another way of decorating.

•www.studiosybrandy.nl•See work by Studio Sybrandy at the Milan Design Week at Ventura Lambrate. Find more information at page 26, presentation 35.

NIENKE SYBRANDY Text Anna Bates • Photo Ilco Kemmere

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the dots #1112 ARTICLE

The Dutch Spirit in MilanText Annemiek van Grondel

The Dutch descend upon Milan for a week every year. Shining at the Salone is not that difficult, provided you have some good design to show, but living and working in Milan is a completely different matter. We spoke to a number of Dutch industrial designers, who moved southwards during the eighties and nineties to try their luck in northern Italy, studying for a year at the Domus Academy, or diving into the unknown for a longer period of time. An exciting, revolu­tionary time. Experimentation equals learning, so it seems. Nowadays, do we see the dawning of a new revolution?

Let’s start with a much-loved cliché: Milan as the Mecca for fashion and design. But is that still true in relation to industrial design? The economic crisis of the past years has caused deep wounds, and especially in Italy manu-facturers are more cautious when commissioning assign-ments. Furthermore, thanks to the success of design in previous years professionals have emerged from every-where, making it easy for Italian companies to choose whomever they want, and – how Dutch – at the lowest pos-sible cost. The crisis has become an excuse.

But the crisis has not only created challenges, but also change. Just as in the seventies and eighties, when designers felt the need to do something different. After being disillusioned with the lack of progress in architecture and product design, which was still clinging to Modernism or earlier art movements, Studio Alchimia, which included among others Ettore Sottsass, Alessandro Mendini and Andrea Branzi, moved on to form a new style. Their aim was to create revolutionary design, rather than consumer orientated products, from cheap, everyday materials, with asymmetrical characteristics and exuberant decoration in bright colours. This design movement paved the way for the Memphis Group in the eighties. Just in those decades Milan was sizzling with energy.

Maarten Kusters (1956) fell in love with Italy whilst under-taking an internship at a wooden furniture company in Friuli. Back in the Netherlands, in 1981, he was informed about a yet-to-be-created postgraduate school: the Domus Academy, a spin-off from the magazine Domus. Andrea Branzi had been asked to become the director. An article from 1987 in Items describes the vibe at the academy at that time. Kusters: “Most designers were being educated as architects. The Domus Academy’s ambition was to become after Ulm a major player in design education in Europe and, helped by raving reviews in Domus, it worked as a self-fulfilling proph-ecy. Being there was a wonderful experience, the crème de la crème of architects and designers came over for (guest) lectures, debates… from Ettore Sottsass to Mario Bellini, from Alberto Meda to Philippe Starck.”

After working as an assistant during the 1983 foundation year, Branzi invited Kusters to become design-training assistant for the academy, which meant teaching courses and supporting students. Kusters also worked for Italian companies such as Cassina and Edra. His oval couch No Stop became talk of the town. “The seat is pierced with two mechanisms which facilitate rotation of the cushions,” explains Kusters. “You can sit or lie on it in many ways. The couch was no bestseller: lack of worldwide distribution and too expensive, I think. I could not afford one myself!”

Being an art director for Molteni & Molteni, specializing in steel furniture, he designed an extensive chair collection, which resulted in an exhibition of the brand STEEL during the 1990 Salone del Mobile. STEEL was in a way an inter-national young designers movement. Kusters: “The press loved it: youngsters against the old guard. During the first STEEL presentation, our press release was about the so-called Carry-seat: a trolley to carry catalogues, which could be converted into a chair to have a rest. Two more collections followed, but despite the buzz, the brand dis-appeared after five years.” Kusters continued with his small design studio in Milan, working in furniture design and other design disciplines. In 2006 he decided to return to his home country.

The lack of organization and structure in Italy, which demands improvisation, was one of the appealing factors for Geert Koster (1961). He joined the Domus Academy in 1984, inspired by the radical design of the Memphis Group. “In the 1980s design was not really happening in the Netherlands,” he recalls. “There the motto was:

‘impossible’, whereas in Italy one shouted: ‘Proviamo!’ (Let’s just try it). In Milan design was a lifestyle, in Holland a profession. It was a moment in time when everything was possible and when different disciplines like architec-ture, design, fashion and graphic design were merged into one big activity.”

Koster decided to stay, worked for Studio De Lucchi and Olivetti and is still working for mainly Italian clients or foreign clients who appreciate the Italian design approach. “Design business is huge here, Italy is a country full of contrasts that still offers a lot of possibilities,” although he realizes that because of the economic situation design is taking a more cautious approach. “There is less experimenting and for artigiani it is difficult to stay in business, which means a lot of craftsmanship is disappearing. At the same time new technological developments are becoming more important in the industrial production companies, which because of inter-national take-overs have become much bigger cartels. Therefore Italy risks losing its typical Italian design image. Globalisation is everywhere.”

Due to the increasing globalization, one can no longer talk about Dutch or Italian Design, is the opinion of Lou Beeren (1940), now retired and living in Groningen. From 1975 he spent many years working in Milan for Philips as a design director of large domestic appliances. “In the optimistic fifties, sixties, seventies and eighties Italian Design was leading, which coincided with the Italian Wirtschafts-wunder of companies such as Olivetti and Fiat. Now the traditional maakindustrie (manufacturing industry) has been replaced by the smaakindustrie (‘flavor’ industry: fashion, furniture, gift items [Alessi]). The current political, eco-nomic, social and cultural conditions are reflected in design, showing a clear lack of confidence.”

In an article in trade magazine Vormberichten in 2007 he wrote how relevant Dutch Design actually is economically and socially: “(…) very limited. Except in a few galleries and shops in Amsterdam and New York, there is no question of a breakthrough towards industry. The most negative side of this is that each year many designers are put on the market who virtually have no chance. (...) As a result, the market is highly diluted and the supply too big. Many producers now know that, for little or no money, they can easily outsource their design projects.” In this article, he argues for limiting government subsidies, less but better education and a good climate for entrepreneurs.

Koster, who was involved in the ‘invasion’ of the Dutch Design in Milan in the nineties and organized many Dutch design presentations in the city, thinks there will be in-creasingly less space for Dutch design graduates in Italy. “Companies work with a select group of success guaran-teed designers, leading to a loss of power of experimental and radical twentieth century Italian design. For the Dutch design scene it is important to be less experimental and more realistic. It should focus more on innovation and manufacturable products. Dutch Design is for Designers, Italian Design is for Consumers.”

AllureDistinguished Italian companies such as Kartell, Artemide, Cappellini, Cassina, Foscarina or Molteni rather work with international stars than young beginners; their image helps selling the product. But in the early nineties there was still hope for young adventurers in Milan. In 1990 Barro de Gast (1966) decided after being a student at the Domus Academy to try his luck. “Alessi shook up design by their Family Follows Fiction presentation at the Salone,” he re-members. “A plastic collection of figurative forms, creating a ‘family’ around fictitious characters. Everybody knew: this is weird, this is different, but there was a lot of disdain:

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the dots #11 13ARTICLE

is this ‘high style’ Alessi, with its timeless, stable line of products? Thanks to the King-Kong Production Group (Stefano Giovannoni and Guido Venturini) these plastic transparent objects were being pushed, and suddenly everybody went on copying this playful style.”

De Gast stayed in Milan and worked for clients mainly from Germany and the United States. “They probably thought: a Dutchman living in Italy must be good. This helped building my own agency. It was a great time to be in Milan. At a younger age you don’t mind uncertainty. But I became tired of promises that weren’t kept as soon as there was concrete action. In the end you have a product that has to be paid for. I went on realizing that as a freelancer: Italy is a beautiful country, but mainly for taking a holiday.”

In the eighties and nineties it was different, agrees Maurice Mentjens (1964). He followed a summer course at the Domus Academy. “Sottsass, Branzi, Michele de Lucchi were there, and you could bump into famous foreigners like Ron Arad, Philippe Starck and Ingo Maurer.” Mentjens does not think the current crisis affects the design world too much: “I’m sure that many companies are still doing very well. They use the crisis as an excuse to avoid paying designers the full amount. The Salone is still going strong. Though it seems as if less great designers are there. Back then Arad, Branzi, Starck and Newson all had their own special presentations in the inner city. Expos in the Design Gallery at Via Manzoni were amazing experiences, just like the exhibitions and parties of Ron Arad and Ingo Maurer at Spazio Krizia and later on at the Dolce & Gabbana Headquarters. Once, in the wake of my best friend Ernest Mourmans and the still young and pretty Marc Newson and Ross Lovegrove, I went out, invited by Simon Le Bon of Duran Duran to club Hollywood. After a Newson party at Barbasso, we went there and all models fainted at the sight of Le Bon…”

In 1990, the Tortona design expo area was not as important, he remembers. “Around 1995 Cappellini and others began exhibiting there. Every location downtown was still afford-able. The most awesome designs were there to see. Thanks to Ernest I came in contact with Sottsass, my idol. At an exhibition I was able to shake his hand for the first time. My hero came in ... shock and awe! Nervously I lit a ciga-rette, finished it in five puffs. When I was doing interiors in Maastricht he wanted to come and watch. Really, me

showing God my work? Hastily I made a portfolio booklet and gave it to him, and he surprisingly even wanted to have a lamp for his apartment. Beyond proud I was. An extra-ordinary man. One of the last people in design who was averse to stardom.”

Arnout Visser (1962) lives and works in Arnhem, but was a postgraduate at the Domus Academy in 1990 and stayed for another year. “I loved it there, Memphis and Studio Alchimia were hot and happening,” he says. “Instead of turning into a Memphis clone I learned how to develop my own style, which was stimulated by the teachers. In 1990, during the first three months of training, I made Salad Sunrise, an oil-vinegar set; my teacher Andrea Branzi encouraged that simple design instead of giving it a Baroque touch. Renny Ramakers, who went on to found Droog Design, wrote about it in Items. Once Droog Design was founded, the oil-vinegar set was included in its collection.”

The Dutch added Dutch sobriety to Italian design after the ‘bombastic’ Memphis style, Visser thinks. With an emphasis on the concept, and made out of unexpected low budget materials. He remarks that there is no city in the world where so many designers want to work such long hours for very little compensation. “There are still trainees who pay money to work as an intern somewhere,” he says some-what surprised. “Every few years a new crisis comes along. At the last Salone I saw a wonderful exhibition that proved that crisis stimulates creative thinking. Great to see how bright ideas and used, low-cost materials constitute beauti-ful design; crisis as an inspiration!” He is a little concerned about the craftsmen who are struggling. “In Milan, in base-ments survivors continue specializing in working wood, leather and other fabrics, even though in China they make the same for one fortieth of the price. But people stay proud and dress with allure. Dutch designers visit exhibi-tions in a turtleneck sweater with jeans and sneakers. Do I prefer still living in Italy? If my wife Anja had not come along, that would not be unthinkable.”

New possibilitiesIn 1990 Piet Billekens (1966) worked as an intern in Milan. After graduating in Eindhoven he went back, and applied for a design job at Cesana, a company specialized in bathroom systems. Eventually he became head of the de-velopment department, showing the manufacturers the importance of design. After the bankruptcy of Cesana in 2013, Billekens established his own agency in Milan,

working mainly for Italian clients. He has seen many Dutch designers come and go. Speaking on the phone from the Bad Messe in Frankfurt: “It is important to be introduced by a third party. Building trust is key. Details speak more than formal business aspects. For me luck was an important factor. Designing a piece of furniture is relatively simple, compared to the bathing industry, where you encounter things like installation, water pressure, electricity, tiling, bricklaying and so on. The last fifteen years a new type of Italian designers has emerged, who are more special-ized and product-orientated, with much knowledge of new materials. This market demands design skills that are common but yet have a specific identity, to avoid quick Chinese copying.”

Jan Puylaert (1963) left in 1988 for Italy to study bionics at the Instituto Europeo di Design (IED) in Milan. “Italy was known worldwide for its design while the Netherlands were merely technical. I love Italy for being without rules,” he says. “The Italian way of being creative is born out of necessity. No one helps each other. Certainties do not exist here, let alone subsidy. In the Netherlands at the time an engineer achieved his preconceived solution from a book, and the designers helped him finalize the edges. In Italy, however, it is the designer that first draws the con-cept, often together with the client (and a bottle of Campari). The Italian client is looking for the unknown future and believes in the designer, and this future is not to be found in a book.” In 2000 Puylaert opened his own Milan based design and production company WET®, also the name of a bathroom brand offering a new concept of low budget design. “It’s all wonderfully complicated with little income or free time. We are busy with both design and production and selling through our store showroom. Such a direct connection with the audience gives us a very different view on design. In terms of timing, I think that the busier the better: the faster a draft should be ready, strangely enough, the better design comes out. In terms of production Italy is my country. Sales I do elsewhere. The Netherlands could be a very good partner for Italy nowadays. For years I have produced top products in Italy for often less than half of the Dutch costs.”

Another design entrepreneur, Jacco Bregonje (1964), who left for Italy in 1992, still lives and works there. Last year he and his brother Tanno among others even took over Italian furniture brand Felicerossi. Design happens between vision and reality, he believes. “It emerges at the synthesis of control and let go. The Netherlands taught me to think methodically, Italy to let go. I strive to combine the best of both worlds.” He knows that Italian design acts from within the industry, which thrives in good times. Dutch design is more self-producing, putting focus on the designer, with government aid. “The Dutch are strong in difficult times and do maximal things with minimal means. Italians are sensitive in their design to esthetical and cultural values, are driven by intuition, and reflect in action. Beauty is everywhere, in nature, architecture, people, daily life. But the system is in turmoil, strengthening individuality’s and self-determination’s grip on society.”

Both Memphis Group in the eighties and Droog Design a decade later put their countries’ design on the international map. They challenged mainstream design and searched for new forms of expression. “The eighties were power years with more focus on appearance, while in the nineties inner values were important. The new school will be a merge of Dutch and Italian design, but also from other countries,” Bregonje predicts. “Dutch designers are searching for more connection with industry while that same industry is looking for more values, not just selling a successful product. Having a relationship with nature, sustainability, services and information are key ingredients that have international attention.”

Left pageTable Dos and couch No Stop by Maarten Kusters

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How do you work?My work is raw and originates partly while I’m doing it. I try to find new ways to use every-day materials like paper and plaster – materials that have no value and are undervalued by paint that goes on them or the words written on them. I try to show their beauty.

How do you work with the plaster? I make vases in a mould and I let the plaster set. When it dries, I dip it into a new mix of plaster. The old plaster sucks out the moisture from the new plaster, and it clings to the already hardened shape, creating a solidified cover.

This same material led process is present in your other work…I’m showing a room divider called ‘Solid flat’ in Milan along with the vases – it’s a wooden frame –covered with a sheet of paper on both sides. There are several layers glued together and put in a vacuum where they are sucked together. You get this membrane: the end result has the same quality as the last part of the plaster vases, there’s a point where it’s up to the paper how and where it wrinkled.

How did this methodology start?I graduated from the Academy of Fine Arts and Design in Maastricht in 2006 with The Paper Chair. This is when I real-ized you could do a lot with paper. What is important about these materials is that high-tech materials are fine-tuned for a particular purpose. With low-tech materials, you can do different things with them; it’s in the nature of the material, it’s like they have an open mind.

How did you work with the paper to make the chair?The idea came from plywood. I laminated about 35 layers – and then pressed it into a mould really hard. You can sit on chair with someone on your lap, and it weights only 4 kilos. Because it’s paper you can make sharp edges – it’s more flexible than plywood to work with. It also absorbs information; it gets stained when you use it. But that is a story that I like. It’s a bit like a book which is read 100 times.

What next?A laminated table, which I also show in Milan. It’s the same technique as the paper, but using very thin slices of left over wood veneer, so you get the same sharp edges.

•www.jeroenwand.nl•See Studio Jeroen Wand at the Milan Design Week at Ventura Lambrate. Find more information at page 26, presentations 34, 39.

PORTRAIT

JEROEN WANDText Anna Bates • Photo Daphne Kuilman

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the dots #11 15PORTRAIT

How did you get started in the industry? Bruce Wayland: I was working as a chef in the US, and had an opportunity to work with an American designer here in Amsterdam. I’d always been interested in design. The place-ment went well, and I stayed in The Netherlands and met Marcello, who was working for a Dutch menswear designer, in 2009.

Where did the name Little Owl come from?BW: Having always liked owls, and wanting a name for the company that was not tied to one specific thing, the moment I was asked while registering the company at the Dutch chamber of commerce, the name just popped into my head – we were lucky it wasn’t weirder.

What was your first project?BW: We started with plates combined with paintings, split-ting the image into several parts, and extending/adding to the subject with the décor of the plates. To quote Kurt Koffka, “The whole is other than the sum of the parts”.

The plates reveal traces of their existing pattern, but this is layered with transfers of vintage paintings, pasted onto them. Would you say your work is nostalgic?Marcello De Simone: I don’t think it’s nostalgic – both of us studied art history and we like working with images from the 18th & 19th century, and then layering them, to remove the images a series of degrees from what they were.

This process is evident through-out your work. Your Dutch Sky wallpaper for example follows a similar process.BW: I was living in a rooftop apartment and I started keeping a photographic album of the sky shot from the roof, and this became the inspiration point – the beauty of the ever changing sky here in The Netherlands. We saw a story that we could tell using the modern (digital) pho-tographs, but in a different way. MDS: You can look at Dutch art going back centuries – the sky has always been an inspiration, and we wanted to pay homage to that. Some of the photographs were from a trip in the north of Holland, and then we layered them with antique Dutch etch-ings of skies. We like that the result is both modern, and yet is layered with the history of the place that inspired it.

Is this the project that best en-capsulates your design process? MDS: In a way yes. Every new project becomes that project. BW: …Marcello’s mother has a collection of old textiles. We started experimenting, and cast a positive relief of the textile into antique forms of ceramics. The forms and the textiles com-bine to make something totally new, which is very exciting to us. Now we’re 100% into ceramics.

•www.littleowl.eu•See Little Owl Design at the Milan Design Week at Ventura Lambrate. Find more information at page 26, presentation 32.

LITTLE OWL DESIGNText Anna Bates • Photo Ilco Kemmere

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EAT SHITDesign Academy Eindhoven at Salone

A provoking title perhaps, but one that embraces what we eat, what we buy and what we produce, an exclamation that captures the passion of protest. The Design Academy Eindhoven exhibition for the Salone del Mobile from the 14th to the 19th of April 2015 will this year center around the new department in the bachelor programme: Food Non Food.

Head of the department, Marije Vogelzang, who describes food “as the most important material in the world”, calls herself an “eating designer”, and has on occasion referred to her own work as literally designing shit. Remember food (and shit) is just some of the many materials moving through every single one of us. Vogelzang will co-curate the exhibition with fellow DAE alumnus, Jan Konings, the Rotterdam-based artist-designer who has had numerous collaborations with many public and private institutions including Droog and the DAE itself.

It should not be a surprise that most of the core concerns surrounding this topic have been part of the DAE DNA for years. By delving into this past, the curating team, which also includes DAE alumnus Jason Page, has discovered over 400 graduation projects focusing on food or faeces from 1976 until now. Other projects include the installation Outdoor Pharmacy by Marloes van Bennekom, or The Poederij by Femke Mosh, and not forgetting Food Non Food tutor – Arne Hendricks – and his Pigeon Poo Tower, an interactive installation over 6 meters high.

Food Curator Lucas Mullié has been portrayed as someone who brings time to a standstill, creating, collecting, while displaying locally produced food for instant and future

consumption. For Eat Shit, he will present Infinite Sausage, a machine that will produce food that can be enjoyed with a beverage in the courtyard space of the exhibition.

Thomas Widdershoven, Creative Director of the DAE, describes Eat Shit as: “A way to look at secretion as a technique, disposal as a necessity and contemporary agriculture as a challenge.”

The entire Food Non Food department including 18 students and their tutors will be taken on-site to Milan where they will continue exploring this semester-long subject, which is a genuine research into faecal matter. Visitors will be able to discover their DAE work in situ.

“An authentic exploration of the relationship between education and exhibition,” is how Widdershoven and Vogelzang describe this part of the exhibition.

The yearly DAE Breakfast Talks will be the space where the public can enquire into the subject. Food Non Food tutors alongside their students will moderate inter nationally acclaimed artists, theoreticians and designers such as Ezio Manzini from DESIS Lab, Barbara Putman Cramer – Industrial Ecologist, Francesca Miazzo from CITIES Foundation and Daisy Ginsberg, to name but a few. Secret Dinners will accompany these talks, but shhh, we can’t say much about that.

The Universal Exhibition opening in May 2015 in Milan focuses on the uncertain and certain food futures that are facing society today: Feeding the Planet – Energy for Life. The reach and scope of the Eat Shit exhibition confounds, examines, investigates… acting as a sort of prequel public laboratory to bring to surface existing and, we must say, shitty concerns that impact and unite us all.

•Exhibition locationCorner of Via G. Crespi and Via Dei Canzi

DatesTuesday 14th to Sunday 19th April

Opening times14th to 18th 10:00 am to 9:00 pm 19th 10:00 am to 6:00pm

Breakfast Talks15th, 16th and 17th April from 10:00 am to 11:00 am (in collaboration with the Creative Industries Fund NL)

Group exhibition for

Dutch designers & brands

presented by

Connecting th

e Dots

24 – 27 September 2015

at Tent London

Join the show with

3 objects

Participatio

n includes:

Stand design, communication,

press support at D

utch Design Press Desk,

opening cocktail

For more details please contact

us at [email protected]

+31 (0)20 89 32 886

London Design Festival 2015

LO

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ON

CA

LL

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ANN MAESIntroductionMuch has changed in Milan since my first visit in 1968, but one thing has remained the same: there are always a number of extraordinary, inspiring exhibitions that are not to be missed. What’s more, ABITARE has taught me ‘what is essential in the design sector’ and ‘how to prepare for a week like this.’ Sharing all my experiences would require a whole book, but I do have some practical tips for sharing. The ‘art of seeing’ comes with experience, but it’s very important to plan wisely for your trip.

How you can prepare at home• Make a list of leading brands and shows, in or-

der of their location in the town or the venue.• Map out a logical walking route for each day.• Take along a town map showing the different

‘zones’ and indicate in colour what can be seen where and at what times: this way, the in-formation will be available at a single glance while you’re walking through Milan. (Apps can help you find your way, but they can’t make your choices for you.)

• Try and meet well-informed insiders for a shared walk through Milan.

What you should and shouldn’t do in Milan• Avoid shows you can see in your own country!

Instead, go to exhibitions of the most inspiring foreign brands and designers.

• Don’t visit the ‘overcrowded’ zones in the evening – It will ruin your schedule and you won’t be able to see much!

• Even as an exhibitor, it pays to take time to look around.

Where you should go• New materials and techniques are most

frequently found at the ‘Eurocucina’ (in even years) and ‘Euroluce’ (in odd years) trade fairs, resp. for kitchens and lighting.

• Pay a visit to historic brands with a proven track record who have been pioneers of design: they approach things from a sober and realistic perspective, which doesn’t stop them from putting on an impressive display in Milan!

• Visit the themed exhibitions organised by COSMIT at the Fiera and in the city – these are based on a great deal of research and their exhibition design is always worth seeing!

• Take in the individual shows by the large manu facturers who create exhibitions with top architects and art directors, showcasing various disciplines and using exceptional locations, such as churches and monasteries, palaces and historical buildings.

• Don’t miss the Triennale Design Museum, which is given each year to a different art director. The Triennale location also offers a number of temporary exhibitions.

• Don’t spend hours looking at ‘student work’: these are often messy and clumsy exhibitions which appeal mainly to those looking to spot new design talent.

• Don’t waste too much time strolling through Zona Tortona and Ventura Lambrate – be very selective, because there are only few treasures there to discover amongst the junk.

• The quality of the initiators, curators and stylists determines who will be on display and how. For example, when an exhibition is designed by Paola Navone, Piero Lissoni, Michele De Lucchi or Italo Lupi, it’s bound to be a must!

• Listen carefully to other visitors who may have made a ‘discovery’, and stay open to surprises along your way.

•Ann Maes, design manager, editor and curator in architecture & design, www.ipcin.nl

ROBERT THIEMANNMilan in five stepsApril. Milan! Great! However… last year it was mainly disappointment that lingered. Four days and three nights of stress. So much to do and see, but how do you tackle the megalomaniacal supply of information? Setting up specific meetings with the right people, and then patiently waiting again and again to see whether they will even show up? And on top of everything else, having to run back and forth all over town to be on time yourself? Or should you just let every thing go and go with the flow? After about 17 tries, I still haven’t cracked the ‘Milan’ phenomenon. So this is my plan for this year:

1. The exhibition. No self-respecting creative would be found dead at the exhibition in Rho. Too commercial. I always go. After a degrading metro ride and a day of perseverance, I know exactly who and what is happening in the heart of design. Commercial? Does anyone ever go to Milan without the intention of making some money someday?

2. Reputation. Sorry for all the newcomers, but in the city I always go to see everything and everyone of whom I know more or less what to expect. Better than expected? Then I’ll be there again next year. Did it fall short? One more chance.

3. Improvisation. Of course I will go to see newcomers that are on the route, at least if the flyer looks promising. An interesting group of names, from a trendsetting school, with a fresh new theme – you can count me in. If it’s good, I’ll be back next year.

4. Location, location, location. The three basic principles in retail also apply in Milan. You have to be quite a name to draw people north of central station or to the wrong side of the wall along Zona Tortona. If the invitation looks promising, I will consider taking a detour. But otherwise...

5. The weather. If it’s raining I won’t even think about taking a detour. Milan in the rain or – even worse – the snow (true story): horribly cold, bleak, and bare. Taxis and metros will take you where you really have to be in a quick and business-like fashion. Improvisation can wait until next year. And yes, that day at the exhibition will become two. Is the sun shining? Nothing could be nicer than to leave the wintery Netherlands and arrive in the sultry spring atmosphere that turns Milan into an advance post of Naples. Too crowded at Moroso? Then why not find a nice pavement cafe?

•Robert Thiemann, Frame magazine

ANNEMARTINE VAN KESTEREN

When I don’t know what to do or am faced with a difficult dilemma, I often stroll through a book-shop. I give my gaze free rein to study the spines of the books. If at all possible, I gently touch the covers with my hands. All completely intuitively, until I suddenly reach that one book that I want to open. I start to read a random page. And funny enough, that’s always how I find the solution to the problem.

It seems that this apparently arbitrary act brings you into contact with a subconscious level of knowledge, and the solution is soon at hand. This has saved me so many times when faced with another almost impossible choice. The Milan furniture fair also falls into this category. Visits are always too short, there is too much to see, and you really can’t make any choices here. Everything is new and interesting, and you have to see it to be able to judge it.

Still, for me the key to a successful visit is using your intuition. I start somewhere where extra ordinary work has been shown before. The key is then to study every thing that you cannot see consciously. Listen to fragments of your co-visitors’ conversations, watch the flows of people in the streets, ask a stranger what stood out for them so far, and, by all means, let your intuition guide you.

The key to successful browsing is never standing still for too long, short conversations, studying what others don’t seem to notice like scraps of paper and flyers near the toilets, avoiding the beaten path, and going against the current.

•Annemartine van Kesteren, Design Curator, Museum Boijmans Van Beuningen

MATYLDA KRZYKOWSKIA Simple Guide to Making the annual trip to Milan necessary It’s very easy to put together a trip to Milan. Unfortunately, that makes putting together a unecessary trip to Milan very easy too. On this page, you’ll find a simple guide to plan a trip, which will not only be less painful for you, but will give you a better understanding of why you are going.

1 Before goingSome important questions need to be answered before making any plans - actually, even before deciding whether trip to Milan is the right way to go:• Will a trip to Milan help me?• Will the presentations and people for it be

in Milan?• How can I reach them?

1.1 Structuring the tripTo decide in which order to see all presentations and how to group them, there are some aspects to consider. If possible, start with the presentations that are light and which are comfortable to reach. Putting these presentations at the beginning might help to avoid lack of interest to see the content driven presentations. You will be eager to find quality between quantities. Keep in mind, that after you’ve come through a certain amount of presentations, you most likely won’t be able to absorb anything anymore.

1.2 What makes a good trip?• The reason for the trip is clear • You know there will be information you need• The trade-off between information and

socialising is in balance

1.3 ConclusionTo conclude, when deciding to go to Milan, you should aim to ask specific questions targeted at the issues you need to answer. Also remember that it doesn’t do any harm to gather a little extra background. If you are going to Milan without really knowing why, you’re most likely to get frustrated. So basically, make it crystal clear why you are going or stay at home and produce good work.

•Matylda Krzykowski, curator, designer, co-director of Depot Basel

The Art of Selectively Browsing

the dots #11 COLUMNS 17

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the dots #1118 PORTRAIT

What is your ethos?I’m interested in designing processes rather than just products. I want to see if I start with the most common and stupid material and develop it, if something new and good can come out of it by creating my own tools.

So this explains why you made a series of lamps out of chicken wire. How do you make them? I start with a roll of high quality chicken wire. It’s cut to size and rolled into a tunnel shape and slipped over a mould. Then I stretch the chicken wire. It shrinks itself around the form and takes its shape.

This was your graduation project in 2011 – what happened next?After I graduated I was broke, and I found people were inter-ested in buying the lamp. I’d developed the tools for shaping the wire and mesh at college, so it was a good plan to start producing them and make some money. Three years later and it’s becoming more efficient and economical. I’ve built my own mini factory, which is not so usual for a designer. I’ve re-cruited people and developed a machine that can stretch the wire very effectively. I’ve got to know my lamps on a whole different level.

Do you see your future in this product?We are dependent on it now: it makes 90% of the turnover. But I don’t see myself as only a lamp producer.

What else are you working on?My studio is in a progressive industrial zone that focuses on clean, green tech nology. At the moment I’m using waste plywood from different facto-ries to work on a table. We get the factories to cut the waste blocks exactly to size, and we buy it. The blocks are glued up in a fishbone pattern – we made a glue-applying machine that distributes the glue evenly – and the end material has a new functional value, and a new aesthetic.

What is your relationship to Milan?It’s good for meeting people, but Milan doesn’t inspire me at all. It sort of paralyses me: if you see a lot of terrible stuff, you hate your profession, and if I see good stuff, I feel not good enough. I’m not inspired by other design, I’m inspired by a good factory.

•www.ricktegelaar.nl•See Atelier Rick Tegelaar at the Milan Design Week at Ventura Lambrate. Find more information at page 30, presentation 54.

RICK TEGELAARText Anna Bates • Photo Daphne Kuilman

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the dots #11 19PORTRAIT

How did you become a textile designer?I come from a fashion academy and specialized in textile de-sign, but it always felt unnatu-ral to me: I would develop nice fabrics, silkscreen and knits and then I had to find a shape to use them in. After college I worked for two years for a fashion brand, but I wanted to do something more closely with material. I did a master course in applied arts at the Sandberg Institute, and realised that the material itself could be the end result.

What is your start point, with a new design?I work from feelings; what I do reflects the way I see the world at that moment. Often it starts with a certain colour. It all becomes connected – the way I dress, my nail polish – I’m in this flow. People often say they recognise my work. This must be because I work from feeling and reflect things I pick up on in my life.

Where do you look for inspiration?I don’t look for trends. I collect things: second hand sweaters, a nice piece of paper, material, colour, a yarn. I also enjoy city life; I’m not someone who goes into the woods to look at nature. Because I work with textiles people sometimes think that, but that is just not me, I enjoy city life too much. My inspira-tions are more likely to come from fashion and architecture.

How does all of this translate into a product?It’s difficult to describe: I can see some kind of image, but mostly it’s a sense for what direction the piece should be. I’ll build a composition with colour, material, technique and pattern. A line could be placed here. It’s not super structured it just has to feel right. I’ll first draw by hand, and then later turn it into a digital file.

Are you heavily involved in the making process?During the development process it is best to stand next to the machine to see what happens. I like to adjust and respond at the spot. I will start with an idea and finish it when we are making the samples. For production the machines do all the work, it just needs to be finished and packed. When I started I used to do some of the finishing stitches myself – now I’m busy with the designing.

What is the importance of Milan for you?It’s a good time to reflect on your work. It can be really clear, when you see your work and have conversations with other people, what you want to do differently. So mostly I make new plans for the coming year.

•www.mae-engelgeer.nl•See Studio Mae Engelgeer at the Milan Design Week at Ventura Lambrate in Via Massimiano 23 and at the presentation of Cor Unum. More information at page 26, presentation 39.

MAE ENGELGEERText Anna Bates • Photo Ilco Kemmere

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the dots #1120 PRESENTATIONS

Press previewMon. 13 Apr. 17.00 – [email protected]

Cocktail PartyFri 17 Apr. 20.00 – 00.00

AboutFor fi ve consecutive years Dutch Invertuals has presented and induced progressive new design within bold, daring, poetic and, sometimes, con-fronting exhibition contexts. Dutch Invertuals has become a well-known hotspot during international design events. They present near Garibaldi Station in the artistic neighbourhood Isola.

PresentationDesigners with diff erent backgrounds, but with one thing in common: exper-iment is principal. They took on the challenge to work outside the canvas. This exhibition is a prelude to the next step, a new material, technique or insight.

03Dutch Invertuals

DesignersAliki van der Kruijs, Alissa + Nienke, Arnout Meijer, Daphna Laurens, Dienke Dekker, Edhv, Germans Ermič s, Jetske Visser & Michiel Martens, Laura Lynn Jansen & Thomas Vailly, Nina van Bart, Philipp Weber, NOMAN, Tijmen Smeulders, Victoria Ledig

LocationSpazio O’ – IsolaVia Pastrengo 1220159 Milano

ContactWendy PlompFuutlaan 12bNL - 5613 AB Eindhoven+31 (0)6 41 55 58 [email protected]

Opening timeDaily 10.30 – 20.00

FUORI SALONE

AboutOur aim is to ponder the poetry of normalcy; to tease the rules and discover exceptions; combining forgotten solutions with nowadays needs and possibilities to create surprising, poetic and useful objects.

PresentationThe Radiolaria, Bernotat&Co’s collec-tion of lamps made of 3D-knitted glow-in-the-dark textile, inspired by micro-scopic organisms, are shown as part of ‘The Natural Circle’. This event, curated by Offi cina Temporanea, ad-dresses the dialogue between nature, art and a poetic vision of the world, combined with the attention to issues of sustainability.

05Bernotat&Co

DesignersAnke Bernotat, Jan Jacob Borstlap

LocationGOODESIGN 2015: The Natural Circle, Cascina Cuccagna Via Cuccagna 2/4 (corner Via Muratori)

ContactAnke BernotatHendrik van Wijnstraat 10NL - 1065 AS Amsterdam+31 (0)6 29 03 70 [email protected]/BernotatCo

Opening time14 Apr. – 3 MayDaily 10.00 – 20.00Weekends till 22.00

Opening partyTue. 14 Apr. 21.00 – 24.00

AboutStudio Drift explores the relationship between nature, technology and man kind. Their working process in-volves continuing collaborations with scientists, university departments, research facilities, programmers and engineers; the results are truly inno-vative and ground-breaking projects – a testament to the cross-pollination between the technically advanced, the aesthetically beautiful and aware-ness of future potentials.

PresentationNola is a landscape of light captured in glass bells. By combining pastel tinted glass with programmable red, green, blue and white led’s, Studio Drift establishes a unique color palette for new Dutch design label Buhtiq 31.

04Studio Drift & Buhtiq31Nola.

DesignersLonneke Gordijn, Ralph Nauta

LocationBRAND NEW WORLD MILANO 2015 @ DUŠANDusan ShowroomVia Antonio Zarotto 120124 Milan

ContactEsther DriessenAsterweg 20 B1 NL - 1031 HN Amsterdam+31 (0) 20 840 69 93esther@studiodrift.comwww.studiodrift.comwww.buhtiq31.comwww.brandnewworld.ch

Opening timeDaily 11.00 – 19.00

Press previewMon. 13 Apr. 11.00 – 19.00Powered by Laufen

AboutCo-founded and directed by curator and author Renny Ramakers, design company Droog creates cutting edge products, projects and events glob-ally. Droog has been pioneering new directions for design since the early nineties, redefi ning international notions of luxury in design. Today, Droog continues to develop new con-cepts with the native Droog twist.

PresentationVisit us in the Ferramenta, full of con-struction elements, small functional hardware that you normally want to hide. But we think hardware should be made visible, so that it can add optic and tangible character to design.

02DroogDroog Hardware

DesignersStudio Droog

LocationFerramenta Alfredo Viganò e C. di P. ViganòVia Panfi lo Castaldi 4020124 Milan

ContactDroogc/o Lara MikockiStaalstraat 7A/BNL - 1011 JJ Amsterdam+31 (0)6 83 66 96 [email protected]

Opening timeDaily 10.00 – 19.00

Press previewTue. 14 Apr. 10.30 – 12.30

AboutFor more than 30 years Modular Lighting Instruments has been push-ing the boundaries of architectural lighting. We wrote history with our bold designs and daring campaigns. Being provocative allowed us to create icons within the lighting industry. Innovative problem solving enables us to write the future. By anticipating future energy trends and by developing and using cutting-edge technology we remain faithful to our role as pioneers in the industry.

PresentationModular will take you on a journey through light, refl ection and modern art. Discover the latest light fi ttings, such as Vaeder, in a surreal and artis-tically surprising setting. Step inside a mirrored world and continue your journey through the illuminated spirit of modern art in a series of diff erent rooms. Your journey will lead you to the Modular Art Bar. Embark on it if you dare…

DesignersBasten Leijh, Couvreur.Devos, Gerd Couckhuyt

LocationCorso Como 920154 Milan

ContactPatty BeukBouwerij 54NL - 1185 XX Amstelveen+31 (0)6 51 02 47 [email protected]

Opening timeDaily 10.00 – 21.00

Press previewMon. 13 Apr. 13.00 – 15.00

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the dots #11 PRESENTATIONS 21

AboutIn the characteristic and charming Brera district in Milan, eQ+ and Forbo Flooring, in cooperation with Jesse Visser and Geke Lensink, have created a fine presentation of international stature. In a pleasing spaces totaling some 110m2, a variation of interesting settings are being presented merging the exhibits in a surprising way

PresentationeQ+ is a brand which focusses on the project market, concepting furniture which attracts both the architect as well as the end user. The collections and products stand out because of the unconventional use of materials, presenting a balance between craftsmanship and modern production technology. In the Brera presentation there is special attention to the Alumini Collection, a series of new aluminum chairs, executed in various designs.Forbo Flooring develops and produces a wide range of floor coverings, both soft and hard. In Milan Forbo presents a new collections of floor designs created by a modular format of its natural Marmoleum range. In addition examples of the new project vinyl Eternal Collection ‘digital print’ are being introduced.Next to their designs for eQ+, Geke Lensink and Jesse Visser also show a number of products of their own.Jesse Visser presents some remarkable minimalistic light fixtures, including two exclusive triptychs as well as a series of simple clear hanging lights.Under the denominator ‘Industrial Artifacts’ Geke Lensink shows a number of new furniture objects as well as an expansion on the bowl 892 gr. porcelain.

DesignersGeke Lensink, Jesse Visser, Forbo Design Studio

LocationVia del Carmine 11 (Brera)20121 Milan

[email protected]+31 (0)88 02 709 00

[email protected]+31 (0)6 50 27 66 88

[email protected]+31 (0)6 26 16 84 56

[email protected]+31 (0)6 50 20 74 39

Opening timeDaily 10.00 – 19.00

06eQ+ – Forbo Flooring – Jesse Visser – Geke Lensink

Page 22: Connecting the Dots - Milan Design Week 2015

the dots #1122 PRESENTATIONS

OrganisersMindert de Koningh, Davide Gramatica, David Heldt, DJ Mulat, DJ Deleau, Chef Martin

LocationFuori MercatoVia Savona 9720144 Milan

ContactFuori Mercatoc/o Davide GramaticaVia Savona 97IT - 20144 Milan+39 (0)329 54 218 [email protected]

Connecting the Dotsc/o David HeldtJacob van Lennepkade 386-2NL - 1053 NM Amsterdam+31 (0)6 15 51 07 [email protected]

Opening PartyTue. 14 Apr. from 19.00 (entrance by invitation only)Supported by Heineken

AboutFuori Mercato and Connecting the Dots organise an opening cocktail together on Tuesday 14 April from 19.00.

Fuori Mercato presents an inter-national group of self-producing designers in their own characteristic workshop.

Connecting the Dots bring together all Dutch designers and brands during the Milan Design Week.

Request an invitation by sending an email to [email protected] or [email protected]. Dress code: pois (dots)

PresentationDuring this exhibition Marjan van Aubel and Jólan van der Wiel will disclose hidden potential energies through their objects. Playing with different natural forces and processes such as gravity and photosynthesis, their objects will react to and visualize these laws of nature.

Thanks to: creative industries fund NL

07Energies Unseen

DesignersMarjan van Aubel & Jólan van der Wiel

LocationRossana OrlandiUnit 4Via Matteo Bandello 14-1620123 Milan

ContactMarjan van AubelUnit 104, Taplow House Thurlow StreetUK - London SE17 2UL+44 (0)777 544 89 [email protected]@jolanvanderwiel.comwww.jolanvanderwiel.com

Opening timeDaily 10.00 – 21.00

AboutBathroom Mania Inc. is an innovative design company by Dutch designer Meike van Schijndel. Meike has gotten international fame with her Kisses urinal. Bathroom Mania is currently working on expanding their design company outside of the bathroom, starting with the famous Dutch Design Classic the Delta Vase by Mart van Schijndel.

PresentationThe Delta Vase by Dutch architect and designer Mart van Schijndel (1943 – 1999) has become a Dutch Design Classic. This famous vase from 1981 is an icon of modern design. Mart’s daughter and designer Meike van Schijndel is reintroducing the original Delta Vase after ten years absence. The Delta Vase is hand-made in The Netherlands, all glass and engraved with a signature of the designer.

DesignersMart van Schijndel, Meike van Schijndel

LocationFuori MercatoVia Savona 9720144 Milan

ContactMeike van SchijndelBrigittenstraat 2NL - 3512 KK Utrecht+31 (0)30 [email protected]

Opening timeWed. 15 till Sat. 18 Apr. 14.00 – 19.00

Opening partyTue. 14 Apr. from 19.00

Closing partySat. 18 Apr. from 20.00

11Fuori Mercato

DesignersMeike van Schijndel, Sander Lorier, Tijn van Orsouw, Mischa Vos

LocationFuori Mercato 20144 Milan

ContactDavide GramaticaVia Savona 97IT - 20144 Milan+39 (0)329 54 218 [email protected]

Opening timeWed. 15 till Sat. 18 Apr. 14.00 – 19.00

Opening partyTue. 14 Apr. from 19.00

Closing partySat. 18 Apr. from 20.00

AboutFuori Mercato is an exhibition and event with the objective to encourage and sustain designers and self production. It is hosted by Mindert de Koningh’s ZOOI lab, situated in a fascinating ex-industrial complex. Check out the events and program on our website.

AboutMacGuffin is a design & crafts maga-zine featuring fabulous stories about the life of ordinary things. Like the Macguffins in Hitchcock films, these objects are not iconic, but do have a strong personality; they drive the narrative forward. Each biannual edition of MacGuffin takes an object, space or material, using it as a starting point to explore the visual, literal, cultural, historical … or down-right incredible stories it generates. MacGuffin uncovers the personal and sometimes curious relationships we have with the stuff that surrounds us. Issue #1, ‘The Bed’, is being launched on April 14th.

09MacGuffin Magazine EditorsKirsten Algera, Ernst van der Hoeven, Chris Kabel

LocationPalazzo ClericiVia Clerici 520121 Milano

ContactMacGuffinNieuwpoortkade 2aNL - 1055 RX Amsterdam+31 (0)6 19 91 06 [email protected]

Opening timeDaily 8.00 – 20.00. Tue. 14 and Thu. 16 till 00.00

10SYNOPSISPrologue

DesignersBrit van Nerven, Commonplace, Emilie Pallard & Niels Heymans, OS ∆ OOS, PlueerSmitt

LocationAtelier ClericiVia Clerici 520121 Milan

ContactSYNOPSISc/o Sophie MensenZwaanstraat 1, TAB Building, Strijp TNL - 5651 CA Eindhoven+31 (0)6 28 40 17 [email protected]

Opening timeDaily 10.00 – 20.00

AboutAt Palazzo Clerici the five practices present contemporary objects for use and thought. Through the juxta-position of the everyday and the unfamiliar, fact and fiction, materials and the immaterial, the group searches for a new discourse and aesthetic within design. Working under the collective name Synopsis, this presentation acts as a prologue for future products, publications, and manifestations.

PresentationThe exhibition has to be experienced, a safe haven in a busy area, a silent shout where reality collapses into facts and fiction. All participants share an interest for the ‘unfamiliar’ in order to force a dialogue between man and object. All have created new works where a strong feeling for a mysterious like approach to the objects is evident, presented for the first time together: Prologue.

AboutOskar Peet and Sophie Mensen are studio OS ∆ OOS, a design studio based in Eindhoven, the Netherlands. The work of OS ∆ OOS strives to find a balance between concept, form, function, material and their relation to the surroundings and the user. This results into products that find themselves in the grey area of product design and autonomous objects.

PresentationOS ∆ OOS will present new works on three different locations this year. The upholstered Keystone chair and a Mono-Light installation at Spazio Rossana Orlandi. We have been invited by Wallpaper* for the Handmade exhibition where we show a series of a small benches. Lastly with a small collective of like minded designers called Synopsis, we present Prologue at Atelier Clerici.

08OS ∆ OOS

DesignersOskar Peet, Sophie Mensen

LocationsSpazio Rossana OrlandiVia Matteo Bandello 1420123 Milan

Wallpaper* HandmadeVia San Gregorio 4320124 Milan

Atelier ClericiVia Clerici 520121 Milan

ContactSophie MensenTAB Building, Strijp TZwaanstraat 1NL - 5651 CA Eindhoven+31 (0)6 28 40 17 [email protected]

Opening timeDaily 9.00 – 20.00

13Delta Vaas / Bathroom Mania bv

12Mixing the Dots Opening CocktailFuori Mercato & Connecting the Dots

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the dots #11 PRESENTATIONS 23

FIERA

20Atelier Max Lipsey DesignersMax Lipsey

LocationSaloneSatellite, Hall 24, stand D20Salone Internazionale del MobileStrada Statale del Sempione 2820145 Rho Milano

ContactMax LipseyVoorterweg 136NL - 5611 TS Eindhoven+31 (0)6 43 01 76 [email protected]

Opening timeDaily 9.30 – 18.30

18Johanson & Ineke HansAline stool by Ineke Hans

DesignerIneke Hans

LocationFiera: Hal 10, stand A11Salone Internazionale del MobileStrada Statale del Sempione 2820145 Rho Milano

ContactJohanson – Lina JohnssonAnders Anderssons Väg 7SE - 285 35 Markaryd+46 (0)433 72502lina@johansondesign.sewww.johansondesign.sewww.inekehans.com

Opening timeDaily 9.30 – 18.30

AboutJohanson is a company with more than 60 years of experience in creating Swedish furniture, featuring pure, simple and well balanced design. They focus on furniture for public interiors and upholstery plays an important role. All furniture is produced in Sweden, and designed by some of the foremost European designers.

PresentationThe new collaboration between Ineke Hans and Johanson is presented this spring. The result is barstool Aline: an outspoken stool with a distinctive silhouette. The metal ‘lining’ of ALINE creates functionality and a familiar archetypical character at the same time.

19eli5e by Elise LuttikUpside Down Collection

DesignerElise Luttik

LocationDutch SatelliteSalone Internazionale del MobileSaloneSatellite, Hall 24, stand B7Strada Statale del Sempione 2820145 Rho Milano

ContactElise LuttikAdmiralengracht 49-1NL - 1057 EN Amsterdam+31 (0)6 55 77 79 [email protected]

Opening timeDaily 9.30 – 18.30

AboutA design studio founded by Elise Luttik. eli5e designs interactive prod-ucts and furniture. And is specialized in designing for 3D printing and designing for emotion.

PresentationAt the SaloneSatellite Elise Luttik will present the Upside Down Collection. It is a complete interior concept consisting of the Upside Down Chair, Table and Lamp with a double func-tion. Resulting in an interesting combination of high tech and hand-crafted wooden design.

21Dutch SatelliteConsulate General of the Netherlands

DesignersDavid Derksen, Ingrid Hulskamp, Elise Luttik, Phil Procter

LocationDutch SatelliteSalone Internazionale del MobileSaloneSatellite, Hall 24, stand B7Strada Statale del Sempione 2820145 Rho Milano

ContactConsulate General of the Netherlandsc/o Margo CurtoVia G. Donizetti 20IT - 20122 Milan+39 02 48 55 84 [email protected]

Opening timeDaily 9.30 – 18.30

17Arco

DesignersAmong others: Jorre van Ast, Ineke Hans, Bertjan Pot

LocationFiera: Hall: 20 Stand: F20Salone Internazionale del MobileStrada Statale del Sempione 2820145 Rho Milano

ContactJony van den MosselaarParallelweg 2-IIINL - 7102 DE Winterswijk+31 (0)543 54 60 [email protected]/en

Opening timeDaily 9.30 – 18.30

AboutArco is a Dutch design brand that has been making high-quality furniture for homes and offi ces for more than a century. Our chairs, dining tables and cabinets are designed with love, craftsmanship and a genuine passion for what we do and are produced in the Netherlands with innovative technology and expertise.

PresentationDrawer Table – Ineke Hans Homes no longer follow the lounge + dining room + kitchen formula. The various living uses fl ow into each other more and more, which puts diff erent demands on the furniture. Tables in particular have to be multi-talented. The Drawer table is one of those all-rounders. It looks like a simple, mod-ern table, but it hides an impressive secret: virtually invisible drawers.

15Studio Lorier

DesignerSander Lorier

LocationFuori MercatoVia Savona 9720144 Milan

ContactSander LorierZwaanshals 271-a2NL - 3035 KG Rotterdam+31 (0)6 10 76 33 [email protected]

Opening timeWed. 15 till Sat. 18 Apr. 14.00 – 19.00

Opening partyTue. 14 Apr. from 19.00

Closing partySat. 18 Apr. from 20.00

16MO,OSpliners by Maarten Olden DesignerMaarten Olden

LocationMuseo Nazionale della Scienza e della Tecnologia Leonardo da VinciSala BiancamanoVia San Vittore 2120123 Milano

ContactMaarten OldenDijkmanshuizenstraat 78NL - 1024 XR Amsterdam+31 (0)6 15 31 55 [email protected]

Opening timeDaily 9.30 – 17.00

14MVOS

DesignerMischa Vos

LocationsBelgian Village by DiftVia Private Giovanni Ventura 1220134 Milano

Fuori MercatoVia Savona 9720144 Milan

ContactMischa VosNewtonstraat 97NL - 1098 HC Amsterdam+31 (0)6 48 97 83 [email protected]

Opening timeFor Fuori Mercato see presentation 11 at page 22Belgian Village: Daily 10.00 – 20.00Sun. 19 Apr. till 18.00

Opening partyBelgian Village: Wed. 15 Apr. 20.00 – 22.00

STRADA STATALE DEL SEMPIONE

STRADA STATALE DEL SEMPIONE

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the dots #1124 PRESENTATIONS

VENTURA LAMBRATE

23ReduxdesignWe Cast Furniture

DesignerMarcel van Heeswijk

LocationVentura StationVia Privata Oslavia 720134 Milan

ContactMarcel van HeeswijkLijmbeekstraat 154NL - 5612 NJ Eindhoven+31 (0)6 11 22 06 [email protected]

Opening timeDaily 10.00 – 20.00 Sun. 19 Apr. till 18.00

CocktailWed. 15 Apr. 20.00 – 22.00

AboutReduxdesign and Marcel van Heeswijk stand for: exploring the edges of existing techniques and materials, to bring us new and better uses.

PresentationWe Cast Furniture – With the Concrete Sofa, the design studio shows there’s more to the material. Concrete can be surprisingly smooth as skin and seemingly soft to touch. Bulb TL – Eff ortless transition to LED. The transition from incandescent bulbs to low energy LED, serves as an inspiration to design a lamp to fi t both types of lights.

22Roos Soetekouw

DesignerRoos Soetekouw

LocationVentura LAPVia Privata Cletto Arrighi 1920134 Milan

ContactThea van UnenStrekkerweg 79NL - 1033 DA Amsterdam+31 (0)6 45 07 22 [email protected]

Opening timeDaily 10.00 – 20.00

CocktailWed. 15 Apr. 20.00 – 22.00

AboutRoos Soetekouw is a textile designer based in Amsterdam whose work is balancing between art, design and fashion. Her outspoken designs refl ect her ability to look at life from a unique perspective. There is a growing demand for her dreamy style and feeling for tactile combinations, presented in luxurious fabrics.

PresentationRefl ecting wavesCurious and with a twinkly edge. Overwhelming as the power of water. Soetekouw presents refl ecting waves. A waterfall of fabrics welcomes you in an mystic underwater world. Dreams and fantasy come alive in fashionable and outspoken designs, showing a curiosity to life. Ride the wave!

24Studio Ineke van der Werff Single Glass

DesignersIneke van der Werff

LocationVia Privata Oslavia 720134 Milano

ContactIneke van der Werff Europalaan 2BNL - 3526 KS UtrechtNetherlands+31 (0)6 20 63 42 34info@inekevanderwerff .nlwww.inekevanderwerff .nl

Opening timeDaily 10.00 – 20.00Sun. 19 Apr. till 18.00

Opening nightWed. 15 Apr. 20.00 – 22.00

AboutStudio Ineke van der Werff is all about experimenting. With a main focus on ceramics, Ineke is constantly looking for new and exciting ways to combine and recycle materials.

PresentationSINGLE GLASS is a study to develop a new way to recycle glass into a glaze for porcelain. Glass used for this project is processed glass from the bottle bank.

DesignersMAFAD presents a diversity of students, alumni designers and co-creations of the past 10 years

LocationHedra 4Via Privata Oslavia 1720134 Milano

ContactNienke van KordenoordtHerdenkingsplein 12NL - 6211 PW Maastricht+31 (0)6 41 82 85 [email protected]/studeren/studieoverzicht/vormgeving/english

Opening timeDaily 10.00 – 20.00Sun. 19 Apr. till 18.00

OpeningWed. 15 till 22.00

PresentationRedefi ning our own position and profi le we invited alumni of the past 10 years to show work which refers towards the profi les we will be focusing on for the upcoming years, putting them in specifi c contexts such as: food, hospitality and luxury. Themes that are imbedded in Maastricht and where we as MAFAD will take our role in developing new defi nitions or values. The title Slow City refers to the way these themes are being experienced in this area and our students and Alumni.

25Maastricht Academy of Fine Arts and Design‘Slow City’ Maastricht

DesignersVarious designers

LocationCorner Via Gaetano Crespi and Via Dei Canzi20134 Milan

ContactDesign Academyc/o Danielle AretsEmmasingel 14, 3rd fl oorNL - 5611 AZ Eindhoven+31 (0)40 239 39 [email protected]

Opening timeDaily 10.00 – 21.00. Sun. 19 Apr. till 18.00

Breakfast Talks15, 16 and 17 April 10.00 – 11.00 (in collaboration with the Creative Industries Fund NL)

PresentationThis year our Milan presentation cen-ters around the new Food Non Food department under the title EAT SHIT.It is a confronting headline that embraces all the various themes the exhibition explores. It is about what we eat, what we produce, but is also an expletive that captures the passion of protest. We look at secretion as a technique, disposal as a necessity and contemporary agriculture as a challenge.We are transferring the entire Food Non Food department – 16 students plus their teachers – on site to Milan. There they will continue their school-ing in front of an audience in an au-thentic exploration of the relationship between education and exhibition. We will also present a select group of alumni from the past four years whose projects connect to the theme.This exhibition communicates the breadth of the topic of food and works as a sort of public laboratory for the department.

26Design Academy EindhovenEAT SHIT

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29Project EGG

DesignerMichiel van der Kley

LocationVentura XVVia Privata Giovanni Ventura 15Milano 20134

ContactMichiel van der KleyLanciersstraat 42NL - 5017 CS Tilburg+31 (0)6 55 17 79 [email protected]

Opening timeDaily 10.00 – 20.00 Sun. 19 Apr. till 18.00

Opening nightWed. 15 Apr. 20.00 – 22.00

AboutA new way of thinking, new possibilities. That’s what this is actually all about. New in the way we produce, new in the way we collaborate, new in the outcome and new in the way it will evolve.From the summer of 2012 Michiel van der Kley has been playing, muddling around and wondering with 3Dprinters and the fascinating possibilities of the new software at his fingertips. It made him want to do something new, really new. In a number of ways he has tried to shift boundaries with project EGG. If you are willing to have an eye for the fact that most large things often consists of a collection of small things you are suddenly not limited by the size of the printer itself. If you see the power of internet you can communicate and collaborate with people from all over the world and invite them to build together.

PresentationCombining all the ideas he had with technology, engineering, building, inventing, parametric 3D software and design turned the whole of the process into a lovely discovery that has become this organically shaped pavilion of 4760 slightly different – unique stones, measuring 4 x 5 x 3 meters. This project crosses bridges between art, design and architecture. Project Egg moves you, makes you wonder what it is you’re experiencing. It makes you wonder about what a next step in the process of design can be. Could it be an attempt to create a new shape language?

DesignersIvo van den Baar, Nicole Driessens

LocationVentura XVVia Private Giovanni Ventura 1520134 Milan

ContactIvo van den BaarGooilandsingel 11NL - 3083 DP Rotterdam+31 (0)6 40 36 70 [email protected] www.wandschappenwebshop.com

Opening timeDaily 10.00 – 20.00. Wed. 15 Apr. till 22.00Sun.19 Apr. till 18.00

CocktailThu. 16 Apr. 18.00 – 20.00

AboutWANDSCHAPPEN is a design studio, founded by Nicole Driessens & Ivo van den Baar in Rotterdam Charlois, The Netherlands. As designers they develop products, based on visual art concepts, transformed into producible design. Their love for textiles and crafts has lead to high quality handmade design, shown and sold world wide.

PresentationIn this fabulous presentation design label WANDSCHAPPEN connects its strong felt plants silhouettes to the visionary colour scheme of IJMcolour. With the warmth of the felt sculptural shapes will appear in the transparent world of a greenhouse in which the plants are cultivated.

30WANDSCHAPPENCOLOUR PLANT of WANDSCHAPPEN curated by IJMcolour

DesignersA collaboration between Lieke Jildou de Jong, Arlette Beerenfenger and Nicky Groenewoud, other alumni and students of HKU Design

LocationSpace LimboVia dei Canzi 1920134 Milano

ContactMarinda Verhoeven-SpekIna Boudier-Bakkerlaan 50 NL - 3582 VA Utrecht+31 (0)6 18 35 96 [email protected]/hkudesignpresents

Opening timeDaily 10.00 – 20.00 Sun. 19 Apr. till 18.00

Opening nightWed. 15 Apr. 20.00 – 22.00

AboutHKU Design trains designers who can stand firmly in this continually trans-forming world, in which norms and values are changing at an ever-increasing speed. With clear insight and an open attitude, they create new designs for the right situation. The product is part of a dialogue with the environment.

PresentationHKU Design takes you into its daily reality: a flexible, multiform world in which young designers develop themselves. A liminal space where they experiment, explore and discover. Where questions are more important than answers. They move across the limits of what they were, into what they are to be.

27HKU Design / HKU University of the Arts UtrechtLiminal Space

DesignersMarcia Nolte, Stijn van der Vleuten and Bob Waardenburg

LocationVentura XVVia Privata Giovanni Ventura 1520134 Milano

ContactKyra MeilinkTorenallee 40-06NL - 5617 BD Eindhoven+31 (0)6 28 14 84 [email protected]

Opening timeDaily 10.00 – 20.00Sun. 19 Apr. till 18.00

Opening nightWed. 15 Apr. till 22.30

AboutMU Artspace, rooted in Eindhoven, is an adventurous guide in the suburbs of present and future contemporary art, for a diverse audience. MU allows hybrid talents to sprout and is proud to be present in Milan for the third year, with the retrospective exhibition of Kneeling: Five years of We Make Carpets.

PresentationSimple, everyday materials you can find in your kitchen drawer. For Marcia Nolte, Stijn van der Vleuten and Bob Waardenburg – the three artists behind We Make Carpets – anything from pasta to clothes pegs, drinking straws and even sponges can become part of the ingenious aesthetic patterns they build up from the inside outwards. On their knees.In 5 years’ time, they created about 50 different temporary carpets, big and small, inside and outside, from deserts to art spaces. The carpets hardly ever lasted longer than a couple of weeks. Combining craft with contemporary critical design, they make concrete and crayons look smooth, while cold coffee and toy soldiers can suddenly be aesthetically appealing.During the Salone del Mobile in Milan, MU presents the exhibition: Kneeling, Five years of We Make Carpets at Ventura Lambrate with a selection of their work and by presenting their first book, ‘Kneeling, 5 years of making carpets’.

28MU presents:Kneeling, Five years of We Make Carpets

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AboutThe Zuiderzee Museum is oriented toward art, culture and heritage around the former Zuiderzee area with an outdoor museum, and an indoor museum with several exhibition areas. The Museum keeps the history of this region up to date by asking artists and/or designers to give their views on its collection.

PresentationThe Zuiderzee Museum in Enkhuizen presents its latest acquisition at Salone del Mobile. The Combers Cabinet, a design of studio Kranen/Gille, has been commissioned by this Museum. It consists of nine lamps with combed parts from the Museum’s storage department, presented in a special made cabinet.

DesignersJohannes Gille, Jos Kranen

LocationVentura XVVia Privata Giovanni Ventura 1520134 Milano

ContactNiels LauwersWierdijk 18NL - 1601 LA Enkhuizen+31 (0)6 14 55 13 [email protected]

Opening timeDaily 10.00 – 20.00 Sun. 19 Apr. till 18.00

31Zuiderzee MuseumCombers Cabinet by Studio Kranen/Gille

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32Little Owl DesignFrom A Different Cloth

DesignersMarcello De Simone, Bruce Wayland

LocationVentura XVVia Privata Giovanni Ventura 1520134 Milano

ContactMarcello De SimoneFrederik Hendrik Plantsoen 106 huisNL - 1052 XZ Amsterdam+31 (0)6 18 11 76 [email protected]

Opening timeDaily 10.00 – 22.00 Sun. 19 till 18.00

AboutBruce Wayland (American, New York City) and Marcello De Simone (Italian, Lecce) met in Amsterdam, and formed Little Owl Design in 2010.The first project the duo created – ‘Altered Perspectives’ is a mixed media of Dutch plates and paintings combined together to form unique pieces.They next developed a collection of wallpapers, inspired by nature, from the skies of Holland combined with 18th C. etchings, to 19th C. Dutch herbaria, and a 19th C. Dutch star chart of the Southern Hemisphere. They debuted the collection in 2014 at Ventura Lambrate in Milan.Also in 2014 a new limited edition series – ‘Altered Histories’ was first shown. The linen canvas was cast into the ceramic, producing a tactile surface on the plates, which were then later decorated with transfers of paintings and ceramic décors. The thread of the idea of textiles on ceramics has lead to their latest project.

Presentation‘From A Different Cloth’ – sees the designers taking the idea developed in their first series, and moving it forward – combining two of their passions: ceramics and textiles.Cast textiles become the sole decoration of the fine stoneware, which is coloured with pigments and fired at 1250°C making the collection both waterproof and dishwasher safe. In addition the non-glazed surface gives the finished pieces a wonderfully tactile feel with a mat surface.Many of the different textiles used have a family connection, as they come from Marcello’s family in Puglia, Italy, and each dish is literally ‘cut from a different cloth’.The collection features several small serving dishes and plates in an array of shapes and mouth-watering colours.

37CROWDY HOUSE#DesignMadePossible

DesignersPremiere (launch) platform and marketplace for the world’s best designers and makers

LocationUndai 5Via Ventura 620134 Milan

ContactMark StudholmeBrouwersgracht 246NL - 1013 HE Amsterdam+31 (0)6 31 74 83 [email protected]

Opening timeDaily 9.00 – 18.00 Sun. 19 Apr. till 17.00Meet & Great every day after 18:00 for everyone and anyone

39Cor Unum Collected

DesignersAlex de Witte, David Derksen, Floris Hovers, Floris Wubben, Jeroen Wand, Kranen/Gille, Mae Engelgeer, Roderick Vos. Special guest: Allessandro Mendini

LocationVia Ventura 1420134 Milan

ContactCor Unumc/o Charlotte LandsheerVeemarktkade 8NL - 5222 AE ’s-Hertogenbosch+31 (0)73 303 00 [email protected]

Opening timeDaily 10.00 – 20.00 Sun. 19 Apr. till 18.00

Opening nightWed. 15 Apr. 20.00 – 22.00

AboutThe cross fertilization between pro-fessional designers of our time, the knowledge of the craft of ceramic art-center Cor Unum and the talent trained on art schools in the Netherlands, will increasingly result in innovative products, new design traditions and fruitful collaboration between independent artists and the ceramic production process.

PresentationIn and around the Cor Unum Mobile Gallery we will present the unique products designed by the avant-garde of the Dutch Designers. They all are continuously in search of innovation within the ceramic craft. They all know there’s still a world to win when it comes to expressing designs in ceramics.

38Morgan RubenTERRA

DesignerMorgan Ruben Jansen op de Haar

LocationUndai 4Via Ventura 620134 Milan

ContactMorgan Ruben Jansen op de HaarHopakker 91NL - 3514 BV Utrecht+31 (0)6 28 38 82 [email protected]

Opening timeDaily 10.00 – 20.00. Sun 19 Apr. till 18.00

OpeningWed. 15 till 22.00

33Faberhama

DesignersAlberto Fabbian, Paola Amabile

LocationVentura XVVia Privata Giovanni Ventura 1520134 Milan

ContactPaola AmabileAsterweg 123NL - 1031 HM Amsterdam+31 (0)6 49 35 51 [email protected]

Opening timeDaily 10.00 – 20.00Sun. 19 Apr. till 18.00

41Ineke Otte Design

DesignerIneke Otte

LocationVia Massimiano 620134 Milan

ContactIneke Otte‘s-Heer Elsdorpweg 39NL - 4461 WJ Goes+31 (0)6 11 75 95 [email protected]

Opening timeDaily 10.00 – 19.00

34Studio Mieke Meijer & Studio Jeroen WandSpatial Fragments in Uncharted Materiality

DesignersMieke Meijer, Jeroen Wand

LocationVia Ventura 520134 Milan

ContactJeroen WandHallenweg 11-bNL - 5615 PP Eindhoven+31 (0)6 52 13 81 [email protected], www.miekemeijer.nl

Opening timeDaily 10.00 – 20.00 Sun. 19 till 18.00

OpeningWed. 15 till 22.30

40Label BREED

DesignersDe Makers Van, Chris Kabel, Marleen Kaptein, Christien Meindertsma, Studio Wieki Somers

LocationVia Privata Massimiano 2520135 Milan

ContactSanne RoodnatVan Diemenstraat 410-412NL - 1013 CR Amsterdam+31 (0)6 24 27 93 [email protected]

Opening timeDaily 10.00 – 20.00 Sun. 19 Apr. till 18.00

Opening cocktailTue. 14 Apr. 17.00 – invites only, request invite at [email protected]

Press lunchWed. 15 Apr. 13.30 – invites only, request invite at [email protected]

AboutBREED is a new design label creating an innovative collection through close dialogue between designer and factory – from the start of the design process, to the final result.

PresentationFive in-depth collaborations will create products in which creativity combines with innovative production techniques to create works of unpar-alleled design. Insight in the process of collaboration and the resulting objects will be presented in Milan.

36HandMade IndustrialsBreaking the Mold

DesignersRutger de Regt, Marlies van Putten

LocationVia Ventura 220134, Milan

ContactRutger de RegtLijsterbesstraat 61NL - 2563 KR The Hague+31 (0)6 24 81 15 [email protected]

Opening timeDaily 10.00 – 18.00

35Studio SybrandyThe Infinite Finitude

DesignerNienke Sybrandy

LocationVia Ventura 520134 Milan

ContactNienke SybrandyFrans de Wollantstraat 66NL - 1018 SC Amsterdam+31 (0)6 19 50 48 [email protected]

Opening timeDaily 10.00 – 20.00 Sun. 19 till 18.00

OpeningWed. 15 till 22.30

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TORTONA DESIGN WEEKDesignersDan Sutjahjo, Joost van Uden

LocationTuttobeneOffi cine della TorneriaVia Novi 520144 Milan

ContactDan Sutjahjo, Joost van UdenKeizersgracht 203NL - 1016 DS Amsterdam+31 (0)20 30 901 [email protected]

Opening timeDaily 10.00 – 19.00

Press previewMon. 13 Apr. 14.00 – 19.00

AboutAt Pikaplant we envision a world where anyone can grow healthy plants with minimal eff ort. A plant rich environment makes people more creative and more productive. Plants also reduce stress levels and air pollution. Our products mimic nature to water your plants, so you don’t have to.

PresentationPikaplant makes indoor gardening super easy. Pikaplant One is our vertical garden. It automatically waters your plants with an ebb-and-fl ow system. Tableau applies the same irrigation technique to water up to four plants on your table, counter, or window sill. Pikaplant Jar is the plant you never have to water.

43The Cottage IndustryKaleidos DesignerGiorgia Zanellato

LocationTuttobeneOffi cine della TorneriaVia Novi 520144 Milan

ContactDamian O’SullivanPater Damiaanlaan 28BE - 1150 Sint-Pieters-Woluwe+32 (0)488 303 [email protected]

Opening timeDaily 10.00 – 19.00

Press previewMon. 13 Apr. 14.00 – 19.00

AboutThe Cottage Industry products tread a fi ne line between the ordinary and the extraordinary. Never settling for the mundane and always questioning the everyday objects that surround us. Not too witty, not too clever, just simple products that are guaranteed to bring a smile to your face. This year sees the launch of the Kaleidos vase. Other products from The Cottage Industry include the ON/OFF Mug and the Big Bloom vase.

PresentationWhen Giorgia Zanellato designs a vase, she starts by focusing on the functionality of the vase as an object. But what exactly is the function we attribute to a vase, she muses? To display fl owers surely.The Kaleidos vase uses a faceted mirror to draw attention to the fl ower. The highly polished geometrically arranged mirrored facets accentuate the fl ower, intensify and amplify its colored petals in a dizzyingly, kaleidoscopic fl oral explosion.The fl ower becomes abstracted, distorted, mesmeric…a thoroughly enchanting eff ect. The fl ower as a work of art, a horticultural study, a scientifi c experiment? You decide.Kaleidos is derived from the ancient Greek words kalos, meaning beautiful, and eidos, that which is seen in shape and form.

44TuttobeneMeet & Matter DesignersAlex de Witte, Beate Snuka, Buxkin, David Derksen Design, Fabian Seibert Sülzkotlett, Heetman|Patijn, Jamais Sans Toi, JavyDesign, Jolanda van Goor, knapontwerp, Lensvelt, Marco Iannicelli, NEO/CRAFT, Oato., Pikaplant, Stephan Siepermann, Stilst by Reinier de Jong, StoryTiles, Studio Kalff , The Cottage Industry

LocationOffi cine della TorneriaVia Novi 520144 Milan

ContactRozemarijn KoopmansComeniuslaan 22NL - 1412 GP Naarden+31 (0)6 21 70 15 [email protected]

Opening timeDaily 10.00 – 19.00

Press previewMon. 13 Apr. 14.00 – 19.00

AboutTuttobene encourages and works with designers who aim to develop their inter-national ambitions. This year, Tuttobene will work with collectives and individual designers to create a dense & diverse group presentation.

Presentation‘Meet & Matter’ emphasizes the encounters between designers and their audi-ence, as the personal stories behind a design shape the relationship one develops with an object. Real-life encounters and getting to know a designer defi ne the role an object plays in various contexts.

42PikaplantHappy plants. Minimal effort.

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DesignersPaola Navone, Daniel Rozensztroch, NLXL

LocationVia Tortona 31 – building 2620144 Milan

ContactJopke Thijssen/Casper van DortP.O. Box 11683NL - 2502 AR, The Hague+31 (0)[email protected]

Opening timeDaily 10.00 – 21.00

Press OpeningMon. 13 April

AboutKnown for Scrapwood Wallpaper (ICFF Editor‚ 2nd award 2011), brainchild of Piet Hein Eek and NLXL founders Rick&Esther Vintage. Brooklyn Tins Wallpaper by Merci, Concrete Wallpaper by Piet Boon, Remixed. Wallpaper by Arthur Slenk, Scrapwood Wallpaper 1&2 by Piet Hein Eek, Archives Wallpaper by Studio Job, Biblioteca Wallpaper by Ekaterina Panikanova.

49graypantsmurmurations by graypants DesignersSeth Grizzle, Jonathan Junker

LocationVia Tortona 3120144 Milan

ContactBieke GroeninkKeizersgracht 241 BGNL - 1016 EA Amsterdam+31 (0)6 50 64 71 [email protected]

Opening timeDaily 10.00 – 19.00

Press previewMon. 13 Apr. 14.00 – 19.00

Opening partyTue. 14 Apr. 18.00 (RSVP only [email protected])

AboutGraypants is a team of problem solvers. Anchored in Seattle and Amsterdam, graypants’ bold creativity leads to diverse designs in products, architecture, and other beautiful objects around the world. Our work expands globally with collaborations and custom designs for leading companies worldwide.

PresentationWe’re pleased to announce our latest lighting collection: murmurations by gray-pants. More than just light, this collection is a led-system inspired by a breath-taking natural phenomenon. A spectacle translated into dynamic installations, captivating three-dimensional forms within space. Every light in the flock is connected, creating a different composition from every viewpoint.

DesignersPiet Hein Eek, Richard Hutten

LocationVia Tortona 3120144 Milan

ContactBieke GroeninkKeizersgracht 241 BGNL - 1016 EA Amsterdam+31 (0)6 50 64 71 [email protected]

Opening timeDaily 10.00 – 19.00

Press previewMon. 13 Apr. 14.00 – 19.00

Opening partyTue. 14 Apr. 18.00 (RSVP only [email protected])

AboutLEFF amsterdam is a Dutch design brand, founded in 2011. The company decided to start making clocks in a world where nobody really needs one, because they feel this is where the real challenge lies: creating something beautiful that every-one still wants to have.

PresentationWe’re very proud to announce our latest creations, one designed by Piet Hein Eek, the other by Richard Hutten. Due to the success of our first collaboration with Piet Hein Eek, we’ve decided to add an amazing series of wristwatches to this col-lection. Richard Hutten has designed our very first piece of time-related furniture.

45HEETMAN|PATIJN

DesignersHans Heetman, Jaap Patijn

LocationTuttobeneOfficine della TorneriaVia Novi 520144 Milan

ContactHans HeetmanRoostenlaan 63NL - 5644 GB, Eindhoven+31 (0)[email protected]

Opening timeDaily 10.00 – 19.00

Opening PartyWed 20.00 – 22.00

AboutThe designs of Heetman | Patijn stand their ground and show charac-ter, emphasized by the recognizable, somewhat human expressions. The simplicity of the products and the transparent constructions in their designs makes them clear and easy to grasp, Their products put a smile on the users face and enliven the space.

PresentationNew products at display: Usine, pro-totype version of a serie of pen trays made for the dutch label Soonsalon. SpotOn, a table light made from glass and corck. Elbow, a copper wall candle. Tube Chair, a dining chair. Coupe Soleil, a ceramic table light which is inspired by a typical woman’s haircut.

46Stilst

DesignerReinier de Jong

LocationTuttobeneOfficine della TorneriaVia Novi 520144 Milano

ContactReinier de JongVoorhaven 57NL - 3021 XL Rotterdam+31 (0)10 26 021 [email protected]

Opening timeDaily 10.00 – 19.00

AboutStilst is a design label with an opti-mistic outlook. It is part of a new era that is unfolding. It is part of a world appreciating the small-scale, the integrity and the dedication. The times are changing and so is the way we live. Stilst products are designed to last in our ever-changing world.

PresentationAs part of the acclaimed Tuttobene exhibition, Stilst presents its col-lection of furniture inspired by the simplicity and purity of wooden hand tools: a floor lamp, a pendant lamp, a folding chair, a folding table and side table.

47Felicerossi InternationalIeri, oggi, domani DesignersJacco Bregonje, No Picninc, Riccardo Giovanetti, Marko Macura

LocationSuperstudio / Emporio – Opificio 31Via Tortona 3120144 Milan

ContactJacco BregonjeVia Michelangelo 2IT - 21021 Angera va+39 34 96 02 99 [email protected]

Opening timeDaily 10.00 – 21.00

48NLXLDouble Face, Paola Navone Addiction, Daniel Rozensztroch Obsession, Wallpaper Collections

50LEFF amsterdamNobody really needs a clock.

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AboutFrom its headquarters in Zeist, The Netherlands, LINTELOO connects inter-national designers and European craftsmen to create contemporary furniture that lasts. The collection is exclusively designed for LINTELOO and for sale through an international network of authorized dealers.

PresentationAfter celebrating twenty years of LINTELOO with a spectacular presentation by Paola Navone in Milan last year, this year LINTELOO parties on. Paola Navone will create a new concept for the showroom and presents a new sofa. Dutch designer Sjoerd Vroonland launches his first design – a dining table – for LINTELOO. Niels Bendtsen presents sofa SETTEE and Roderick Vos will present a low, terrazzo casted side table called HEXAGON. Marcel Wolterinck created three new designs for the VERDEN Collection. Last, but not least, LINTELOO Lab introduces casual sitting systeem Southampton and beautiful new cushions and knitted plaids.

51LINTELOO

DesignersPaola Navone, Sjoerd Vroonland, Niels Bendtsen, Roderick Vos, Bart Vos and Linteloo Lab, Marcel Wolterinck voor VERDEN

LocationLINTELOO showroomVia Tortona 3720144 Milan

ContactLars NikolajsenJohannes Postlaan 6NL - 3705 LN Zeist+31 (0)30 212 21 [email protected]

Opening timeDaily 10.00 – 21.00 Sun. 19 Apr. till 17.00

Press previewMon. 13 Apr. 14.00 – 18.00

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52Piet Boon Collection

DesignerStudio Piet Boon

LocationPiet Boon Collection ShowroomVia Tortona 3720144 Milan

ContactJoost van EdeJohannes Postlaan 6NL - 3705 LN Zeist+31 (0)6 52 60 00 15 / +31 (0)30 212 `21 [email protected]

Opening timeDaily 10.00 – 21.00. Sun. 19 Apr. till 17.00

Press previewMon. 13 Apr. 14.00 – 18.00

AboutPiet Boon Collection is the exclusive furniture line of Dutch designstudio Studio Piet Boon and comprises of comfortable dining, living and outdoor furniture, offering authentic signature pieces that embody the Studio Piet Boon design philosophy of balancing functionality, aesthetics and individuality.

PresentationPiet Boon Collection was launched 10 exciting years ago, designed to capture the essence of the Studio Piet Boon identity. Each piece is passion-ately crafted with refined taste and in durable manner, bearing both aes-thetics and intensive use in mind. This year the studio introduces, in the com-fort of its permanent Italian home, a new chapter of Piet Boon Collection. Inspiring new pieces convey the stu-dio’s love for rich and natural materi-als, generous proportions, typical shape and eye for extraordinary detail. A joy to have, a joy to see and most of all, a joy to use. Come see for yourself.

53WeltevreeExplore your surroundings

DesignersFloris Schoonderbeek, Vanhoff-ontwerpen, Thor ter Kulve, Walter van Beirendonck, Erik Stehmann, Studio Siem-Pabon, Raw Color, Scheublin & Lindeman

LocationAutofficinaVia Voghera 820144 Milan

ContactRita GiesbersWestervoortsedijk 73NL - 6827 AV Arnhem+31 (0)26 44 283 [email protected]

Opening timeDaily 10.00 – 21.00

AboutWeltevree is a Arnhem based product label with Dutch designs and bound-less ideas.The reason we exist is because we believe there are other solutions that fulfil your and our dreams about a better life and environment.We stand for durable products and design and support sustainable behavior, without loosing our need for adventure and comfort.

PresentationTogether with 10 designers we ex-plored the boundaries of our collection and your surroundings.The stunning result: 10 new products with a sustainable design and be-haviour, that brings us further than we had ever thought.After enjoying the new products you can slow down in our garden restau-rant where we prepare food and drinks.

DesignersArihiro Miyake, Atelier Van Lieshout, Bas Kosters, Bertjan Pot, Broersen en Lukács, Edward van Vliet, Front, Jonas Forsman, Jurgen Bey, Klaus Haapaniemi, Maison Christian Lacroix, Marcel Wanders, Marian Bantjes, Moooi Works, Neri & Hu, Ross Lovegrove, Sonya Pletes, and Studio Job

LocationArea 56Via Savona 5620144 Milan

ContactMoooic/o Laura Ramos Bello – KluitMinervum 7003NL - 4817 ZL Breda+31 (0)76 206 07 [email protected]

Opening time14 till 18 Apr. 10.00 – 21.00 Sun. 19 Apr. till 17.00

Press previewMon. 13 Apr. 15.00 – 19.00

Press BreakfastWed. 15 Apr 9.00 – 10.00

AboutMoooi welcomes you to be blown away by their presentation in via Savona 56! Showcasing an assembly of inspirational living quarters, timeless product haikus and launching Moooi Carpets, harmoniously absorbed into the breath-taking depths of Rahi Rezvani’s artistic photography.

54WorkmatesGood News DesignersJoris de Groot, Klaas Kuiken, Roos Meerman, Rick Tegelaar, Casper Tolhuisen

LocationsVarious location throughout the cityLaunch party at WeltevreeVia Voghera 820144 Milano

ContactAnne-Marie GeurinkApeldoornsestraat 4NL - 6828 AB Arnhem+31 (0)6 15 11 16 [email protected]

Weltevree and Workmates Release PartyTue. 14 Apr. 19.00 – 21.00With launch of Workmates Good News-paper, Via Voghera 8, 20144 Milano

Weltevree + Workmates MeetUpThu. 16 Apr. 19.00 – 21.00

AboutThe open collective Workmates – currently Roos Meerman, Joris De Groot, Rick Tegelaar, Klaas Kuiken and Casper Tolhuisen – work inde-pendently of each other, and across subject areas. But all of the designers share a hands-on approach, practice in a workshop environment, and produce work that is experimental with a strong focus on process.

PresentationThis year during Milan Furniture Fair, Dutch design collective Workmates will distribute Good News, a newspa-per put together by the five members, celebrating the ideas and processes behind their work. Good News will take visitors into the workshops of the designers to show what happens behind-the-scenes.

55MoooiFind your way home to Moooi’s Unexpected Welcome

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INDEXAKirsten Algera · 09 p.22Alissa + Nienke · 03 p.20Paola Amabile · 33 p.27Arco · 17 p.23Jorre van Ast · 17 p.23Atelier Max Lipsey · 20 p.23Atelier Van Lieshout · 55 p.31Marjan van Aubel · 07 p.22

BIvo van den Baar · 30 p.25Marian Bantjes · 55 p.31Nina van Bart · 03 p.20Bathroom Mania bv · 13 p.22Arlette Beerenfenger · 27 p.25Walter van Beirendonck · 53 p.31Niels Bendtsen · 51 p.30Anke Bernotat · 05 p.20Bernotat&Co · 05 p.20Jurgen Bey · 55 p.31Piet Boon · 52 p.31Jan Jacob Borstlap · 05 p.20Jacco Bregonje · 47 p.29Broersen en Lukács · 55 p.31Buhtiq31 · 04 p.20Buxkin · 44 p.28

CChef Martin · 12 p.22Commonplace · 10 p.22Cor Unum Collected · 39 p.27Gerd Couckhuyt · 01 p.20Couvreur.Devos · 01 p.20CROWDY HOUSE · 37 p.27

DDavid Derksen Design · 21, 39, 44 p.23, 27, 28De Makers Van · 40 p.27Dienke Dekker · 03 p.20Delta Vaas · 13 p.22David Derksen · 21, 39, 44 p.23, 27, 28Design Academy Eindhoven · 26 p.24DJ Deleau · 12 p.22DJ Mulat · 12 p.22Nicole Driessens · 30 p.25Droog · 02 p.20Dutch Invertuals · 03 p.20Dutch Satellite · 21 p.23

EEdhv · 03 p.20Piet Hein Eek · 50 p.29eli5e · 19 p.23Energies Unseen · 07 p.22Mae Engelgeer · 39 p.27eQ+ · 06 p.21Germans Ermičs · 03 p.20

FAlberto Fabbian · 33 p.27Faberhama · 33 p.27Felicerossi International · 47 p.29Forbo Design Studio · 06 p.21Forbo Flooring · 06 p.21Jonas Forsman · 55 p.31Front · 55 p.31Fuori Mercato · 11 p.22

GJohannes Gille · 31, 39 p.26, 27Riccardo Giovanetti · 47 p.29Jolanda van Goor · 44 p.28Lonneke Gordijn · 04 p.20Davide Gramatica · 12 p.22graypants · 49 p.29Seth Grizzle · 49 p.29Nicky Groenewoud · 27 p.25Joris de Groot · 54 p.31

HKlaus Haapaniemi · 55 p.31HandMade Industrials · 36 p.27Ineke Hans · 17, 18 p.23Marcel van Heeswijk · 23 p.24Hans Heetman · 44, 45 p.28, 29Heetman|Patijn · 44, 45 p.28, 29David Heldt · 12 p.22Niels Heymans · 10 p.22HKU Design · 27 p.25HKU University of the Arts Utrecht · 27 p.25Ernst van der Hoeven · 09 p.22Floris Hovers · 39 p.27Ingrid Hulskamp · 21 p.23Richard Hutten · 50 p.29

IMarco Iannicelli · 44 p.28Ineke Otte Design · 41 p.27

JJamais Sans Toi · 44 p.28Laura Lynn Jansen · 03 p.20Morgan Ruben Jansen op de Haar · 38 p.27JavyDesign · 44 p.28Lieke Jildou de Jong · 27 p.25Johanson · 18 p.23Reinier de Jong · 44, 46 p.28, 29Jonathan Junker · 49 p.29

KChris Kabel · 09, 40 p.22, 27Marleen Kaptein · 40 p.27Michiel van der Kley · 29 p.25knapontwerp · 44 p.28Mindert de Koningh · 12 p.22Bas Kosters · 55 p.31Jos Kranen · 31, 39 p.26, 27Kranen/Gille · 39 p.27Aliki van der Kruijs · 03 p.20Klaas Kuiken · 54 p.31Thor ter Kulve · 53 p.31

LLabel BREED · 40 p.27Daphna Laurens · 03 p.20Victoria Ledig · 03 p.20LEFF amsterdam · 50 p.29Basten Leijh · 01 p.20Geke Lensink · 06 p.21Lensvelt · 44 p.28LINTELOO · 51 p.30Linteloo Lab · 51 p.30Max Lipsey · 20 p.23Little Owl Design · 32 p.27Sander Lorier · 11, 15 p.22, 23Ross Lovegrove · 55 p.31Elise Luttik · 19, 21 p.23

MMaastricht Academy of Fine Arts and Design · 25 p.24MacGuffin Magazine · 09 p.22Marco Macura · 47 p.29Maison Christian Lacroix · 55 p.31Michiel Martens · 03 p.20Roos Meerman · 54 p.31Arnout Meijer · 03 p.20Mieke Meijer · 34 p.27Christien Meindertsma · 40 p.27Allessandro Mendini · 39 p.27Sophie Mensen · 08, 10 p.22Mixing the Dots · 12 p.22Arihiro Miyake · 55 p.31MO,O · 16 p.23Modular Lighting Instruments · 01 p.20Moooi · 55 p.31Moooi Works · 55 p.31MU · 28 p.25MVOS · 14 p.23

NRalph Nauta · 04 p.20Paola Navone · 48, 51 p.29, 30NEO/CRAFT · 44 p.28Neri & Hu · 55 p.31Brit van Nerven · 10 p.22NLXL · 48 p.29Marcia Nolte · 28 p.25NOMAN · 03 p.20No Picninc · 47 p.29

OOato. · 44 p.28Maarten Olden · 16 p.23Tijn van Orsouw · 11 p.22OS ∆ OOS · 08, 10 p.22Ineke Otte · 41 p.27

PEmilie Pallard · 10 p.22Jaap Patijn · 44, 45 p.28, 29Oskar Peet · 08, 10 p.22Piet Boon Collection · 52 p.31Pikaplant · 42, 44 p.28Sonya Pletes · 55 p.31PlueerSmitt · 10 p.22Bertjan Pot · 17, 55 p.23, 31Phil Procter · 21 p.23Project EGG · 29 p.25Marlies van Putten · 36 p.27

RRaw Color · 53 p.31Reduxdesign · 23 p.24Rutger de Regt · 36 p.27Daniel Rozensztroch · 48 p.29Morgan Ruben · 38 p.27

SScheublin & Lindeman · 53 p.31Mart van Schijndel · 13 p.22Meike van Schijndel · 11, 13 p.22Floris Schoonderbeek · 53 p.31Fabian Seibert Sülzkotlett · 44 p.28Stephan Siepermann · 44 p.28Marcello De Simone · 32 p.27Tijmen Smeulders · 03 p.20Beate Snuka · 44 p.28Roos Soetekouw · 22 p.24Erik Stehmann · 53 p.31Stilst · 44, 46 p.28, 29StoryTiles · 44 p.28Studio Drift · 04 p.20Studio Ineke van der Werff · 24 p.24Studio Jeroen Wand · 34 p.27Studio Job · 55 p.31Studio Kalff · 44 p.28Studio Lorier · 15 p.23Studio Mieke Meijer · 34 p.27Studio Piet Boon · 52 p.31Studio Siem-Pabon · 53 p.31Studio Sybrandy · 35 p.27Studio Wieki Somers · 40 p.27Dan Sutjahjo · 42 p.28Nienke Sybrandy · 35 p.27SYNOPSIS · 10 p.22

TRick Tegelaar · 54 p.31The Cottage Industry · 43, 44 p.28Casper Tolhuisen · 54 p.31Tuttobene · 44 p.28

UJoost van Uden · 42 p.28

VThomas Vailly · 03 p.20Vanhoff ontwerpen · 53 p.31VERDEN · 51 p.30Jesse Visser · 06 p.21Jetske Visser · 03 p.20Stijn van der Vleuten · 28 p.25Edward van Vliet · 55 p.31Bart Vos · 51 p.30Mischa Vos · 11, 14 p.22, 23Roderick Vos · 39, 51 p.27, 30Sjoerd Vroonland · 51 p.30

WBob Waardenburg · 28 p.25Jeroen Wand · 34, 39 p.27Marcel Wanders · 55 p.31WANDSCHAPPEN · 30 p.25Bruce Wayland · 32 p.27Philipp Weber · 03 p.20Weltevree · 53 p.31Ineke van der Werff · 24 p.24Jólan van der Wiel · 07 p.22Alex de Witte · 39, 44 p.27, 28Marcel Wolterinck · 51 p.30Workmates · 54 p.31Floris Wubben · 39 p.27

ZGiorgia Zanellato · 43 p.28Zuiderzee Museum · 31 p.26

Page 32: Connecting the Dots - Milan Design Week 2015

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